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Excursions from the Square Cultural Tours Since 1992

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EXCURSIONS FROM THE SQUARE CULTURAL TOURS SINCE 1992 PITTSBURGH & FALLINGWATER APRIL 26-28, 2013 STILL TIME to join our weekend trip to PITTSBURGH, a City that grew up in the industrial age and has blossomed into a modern, Cultural, and exCiting metropolis. We will visit CLAYTON, the Charming home of industrialist Henry Clay Frick, the provocative ANDY WARHOL MUSEUM, and THE CARNEGIE, known for its French Impressionist paintings and monumental arChitectural Casts. The highlight of our weekend is a tour of FALLINGWATER, Considered to be one of the finest aChievements of arChitect Frank Lloyd Wright. Enjoy the full bloom of springtime of Central and western Pennsylvania as we travel by deluxe motor CoaCh to Pittsburgh. Stops to and from on the trip to Pittsburgh inClude the FLIGHT 93 NATIONAL MEMORIAL in SOMERSET and JOHNSTOWN, rebuilt after the devastating floods of the last 140 years. TRIP COST: $1090 per person, double ocCupanCy. The single supplement is $175. A SUMMER ART TOUR BOSTON, MAINE, NEW HAMPSHIRE, VERMONT and more! JULY 27-AUGUST 3, 2013 Join our summer odyssey and discover the arts and natural beauty of NEW ENGLAND. Travel by air-Conditioned motorCoaCh to BOSTON, one of the world’s great Cities with its rich array of historic sites, inComparable arChitecture in every style, and iconic museums suCh as the INSTITUTE OF CONTEMPORARY ART on the waterfront, the BOSTON MUSEUM OF FINE ARTS with its exCiting new renovations, and the ISABELLA STEWART GARDINER MUSEUM nearby. Continue north to MAINE where we will visit five exquisite small museums inCluding OGONQUIT, BOWDOIN COLLEGE, and PORTLAND. In NEW HAMPSHIRE, the CURRIER MUSEUM OF AMERICAN ART with its ZIMMERMAN HOUSE by FRANK LLOYD WRIGHT and the HOOD MUSEUM at DARTMOUTH COLLEGE are also on our itinerary. A highlight of the trip is the MIDDLEBURY COLLEGE MUSEUM OF ART where a special exhibition, EDWARD HOPPER in VERMONT, is on view. This exhibition was inspired by an extraordinary book by Philadelphia writer BONNIE TOCHER CLAUSE. Lobster dinners, Charming seaside villages, and majestic mountains will also be ours to enjoy on this unforgettable journey. TRIP COST: $2475 per person, double oCCupanCy. The single supplement is $675. Options are available for BOSTON ONLY, or MAINE/NEW HAMPSHIRE/VERMONT ONLY. Call for details. SAVE $100 IF YOU RESERVE BY MAY 8. MARLBORO MUSIC FESTIVAL AUGUST 8-12, 2013 We invite you, onCe again, to immerse yourself in this atmosphere of artistry and exCellenCe at the MARLBORO MUSIC FESTIVAL. Each summer on a rural hilltop in Marlboro, Vermont, master ConCert artists join for seven weeks with exCeptional young professionals on the Campus of Marlboro College where they rehearse, study, and play together as one musical family. Our motorCoach will stop along the way to enjoy the beautiful landscapes of New England with its Charming villages, Country stores, and museums and enjoy farm-fresh meals at some of southern Vermont’s charming country inns and restaurants. A visit to WILLIAMSTOWN to tour the fabulous CLARK ART MUSEUM is on our itinerary. On our way home we have planned a special stop at COOPERSTOWN for an optional performance of Richard Wagner’s THE FLYING DUTCHMAN at the innovative GLIMMERGLASS OPERA. TRIP COST: $1675 per person, double occupanCy. The single supplement is $285. $100 DISCOUNT EXTENDED IF YOU RESERVE BY MAY 8. SAVE BY BOOKING EARLY! CALL ABOUT DISCOUNTS AVAILABLE FOR EVERY EXCURSION! NEW YORK CITY DAY TRIPS GROUND ZERO MEMORIAL, plus a walking tour of the FINANCIAL DISTRICT in LOWER MANHATTAN WEDNESDAY, APRIL 24 Sponsored by the GEOGRAPHICAL SOCIETY OF PHILADELHIA $135/$125 if you are a member Call 610 649 5220 to reserve. SYLVIA at the AMERICAN BALLET THEATRE WEDNESDAY, JUNE 26 Don’t miss Sir Frederick Ashton’s mythological love story Performed by ABT at the METROPOLITAN OPERA HOUSE at LINCOLN CENTER $170 for orchestra seat and bus/$60 bus only BARD MUSIC FESTIVAL STRAVINSKY AND HIS WORLD AUGUST 16-18, 2013 The purpose of THE BARD MUSIC FESTIVAL is “to promote new ways of understanding the history of music to a Contemporary audienCe.” FoCusing on one Composer eaCh season, we will be attending WEEKEND TWO: Stravinsky Reinvented: From Paris to Los Angeles. Six ConCerts, each preceded by pre-ConCert talks, will take place in the Frank Gehry-designed RICHARD B. FISHER CENTER FOR THE PERFORMING ARTS or OLIN HALL, a small building on the Campus of Bard College. SeleCted museum visits in the Hudson River Valley and dinner at the CULINARY INSTITUTE OF AMERICA, are also part of this fabulous and intensive weekend EXCURSION. See http://fisherCenter.bard.edu/bmf/2013/ for detailed information. COST: $1195 per person, double ocCupanCy. The single supplement is $165. InCluded: all transportation by deluxe motorCoaCh, two nights at the Marriott in Kingston, NY, museum visits, one lunCh and one dinner plus your ChoiCe of ConCert tickets ($224 if you purChase all six!) SAVE $100 IF YOU RESERVE BY MAY 15. CHICAGO WITH AN OPTIONAL EXTENSION TO MILWAUKEE OCTOBER 3-6, 2013 Travel to CHICAGO and immerse yourself in the city’s incomparable museums and architectural treasures. Visit OAK PARK and view the Prairie Style ArChitecture of FRANK LLOYD WRIGHT. Discover the exciting diversity of Chicago’s finest buildings and enjoy a guided walk through the remarkable new MILLENNIUM PARK in the heart of downtown Chicago. An ARCHITECTURAL RIVER CRUISE and a speCial highlights tour of the ART INSTITUTE OF CHICAGO, with its beautiful new addition designed by RENZO PIANO, are inCluded. An optional extension to WISCONSIN (October 6-8) will inClude a visit to the speCtaCular MILWAUKEE ART MUSEUM, designed by Spanish arChitect SANTIAGO CALATRAVA, and tours of MADISON and TALIESEN, Frank Lloyd Wright’s incomparable home in SPRING GREEN. COST FOR LAND ARRANGEMENTS: $1495 per person, double oCCupanCy. The single supplement is $375. Airfare is additional. SAVE $100 IF YOU RESERVE BY MAY 15. Pick up points for our motorcoaCh EXCURSIONS are available near City Line Avenue, the Art Museum Area, and Rittenhouse Square. All Checks should be made payable to EXCURSIONS FROM THE SQUARE and mailed to EXCURSIONS FROM THE SQUARE, PO Box 2189, Philadelphia, PA 19103. We aCCept Visa, MasterCard, and American Express for overnight trips only, for a small additional fee. If you no longer wish to receive information from us in the mail, please let us know. If you are not receiving our frequent online bulletins, please call or send us your email address. For complete details about all of our EXCURSIONS call 215 732 8487 [email protected] www.squaretrips.com .
Recommended publications
  • Edward Hopper, Landscape, and Literature

    Edward Hopper, Landscape, and Literature

    Edward Hopper, Landscape, and Literature Gail LEVIN The art of Edward Hopper, the American realist painter, contains many clues that allow us to trace his interest in literature, which in turn helps to characterize his particular brand of realism. １） Signs of Hopper’s engagement with literature emerge already in his boyhood. Born in 1882, Hopper grew up in Nyack, New York, a town on the Hudson River, some forty miles north of New York City, where he went to attend art school and lived as an adult, until his death in 1967, shortly before his eighty-fifth birthday. Among the early indications that literature affected Hopper is a plaque that he designed for a Boys’ Yacht Club, which he formed together with three pals. Hopper designed this plaque with the names of the members’ boats. While the other boys chose female names that were upbeat and innocuous, Edward’s choice, Water Witch (Fig. 1), telegraphs an effect of reading on his imagination. He took the name for his boat from The Water- Witch, James Fenimore Cooper’s 1830 novel that tells how the “exploits, mysterious character, and daring of the Water-Witch, and of him who sailed her, were in that day, the frequent subjects of anger, admiration and surprise.... ” ２） His boyhood interest led Hopper to build not only a sailboat but a canoe. Later he would remark, “I thought at one time I’d like to be a naval architect because I am interested in boats, but I got to be a Fig. 1: Edward Hopper, Water Witch on painter instead.” ３） His interest in nautical life sign, Private Collection.
  • With His Art and Legacies Edward Hopper

    With His Art and Legacies Edward Hopper

    Güzel Sanatlar Fakültesi Dergisi, 2020, Cilt 2, Sayı 2, 173-184 WITH HIS ART AND LEGACIES EDWARD HOPPER Ufuk ÇETİN1 Abstract The works of Edward Hopper, one of the most important artists of America in the 20th century, are universal. Its impressive content is emotionally explained to the lives at the contemporary audience. He illustrates moments and more significantly, characters nearly every viewer can instantly know. There is no ambiguity inside Hopper’s works in a visual cultural way. He impacted lots of artists, photographers, filmmakers, set designers, dancers, writers, and his effect has touched many artists like Rothko, Segal and Oursler, who work with different mediums. He is an interesting artist in the way of impressing nearly all photographers from Arbus to Eggleston. Including Mendes, Lynch and Welles, generations have been inspired from Hopper’s dramatic viewpoints, lighting, and moods. His painting, “Residence by the Railroad” (1925) stimulated Alfred Hitchcock’s house in Psycho (1960) as well as that in Terrence Malick’s Days of Heaven (1978). This article introduces the artist with some examples of his personality and samples from his works. Hopper’s paintings are attractive to some writers and musicians. For instance, Tom Waits made an album known as “Nighthawks on the Diner”. Also, Madonna selected a name for a live performance tour after Hooper’s “Girlie Display”. Keywords: Painting, Edward Hopper, American art, landscape painting, visual culture. 1 Öğr. Gör. Dr. Tekirdağ Namık Kemal Üniversitesi, Çorlu Mühendislik Fakültesi, Bilgisayar Mühendisliği Bölümü, [email protected], https://orcid.org/0000-0001-5102-8183 174 Ufuk ÇETİN Sanatı ve Efsaneleriyle Edward Hopper Özet Amerika’nın 20.
  • Edward Hopper's Adaptation of the American Sublime

    Edward Hopper's Adaptation of the American Sublime

    Rhetoric and Redress: Edward Hopper‘s Adaptation of the American Sublime A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Fine Arts Rachael M. Crouch August 2007 This thesis titled Rhetoric and Redress: Edward Hopper’s Adaptation of the American Sublime by RACHAEL M. CROUCH has been approved for the School of Art and the College of Fine Arts by Jeannette Klein Assistant Professor of Art History Charles A. McWeeny Dean, College of Fine Arts Abstract CROUCH, RACHAEL M., M.F.A., August 2007, Art History Rhetoric and Redress: Hopper’s Adaptation of the American Sublime (80 pp.) Director of Thesis: Jeannette Klein The primary objective of this thesis is to introduce a new form of visual rhetoric called the “urban sublime.” The author identifies certain elements in the work of Edward Hopper that suggest a connection to earlier American landscape paintings, the pictorial conventions of which locate them within the discursive formation of the American Sublime. Further, the widespread and persistent recognition of Hopper’s images as unmistakably American, links them to the earlier landscapes on the basis of national identity construction. The thesis is comprised of four parts: First, the definitional and methodological assumptions of visual rhetoric will be addressed; part two includes an extensive discussion of the sublime and its discursive appropriation. Part three focuses on the American Sublime and its formative role in the construction of
  • The Mind in Motion: Hopper's Women Through Sartre's Existential Freedom

    The Mind in Motion: Hopper's Women Through Sartre's Existential Freedom

    Intercultural Communication Studies XXIV(1) 2015 WANG The Mind in Motion: Hopper’s Women through Sartre’s Existential Freedom Zhenping WANG University of Louisville, USA Abstract: This is a study of the cross-cultural influence of Jean-Paul Sartre on American painter Edward Hopper through an analysis of his women in solitude in his oil paintings, particularly the analysis of the mind in motion of these figures. Jean-Paul Sartre was a twentieth century French existentialist philosopher whose theory of existential freedom is regarded as a positive thought that provides human beings infinite possibilities to hope and to create. His philosophy to search for inner freedom of an individual was delivered to the US mainly through his three lecture visits to New York and other major cities and the translation by Hazel E. Barnes of his Being and Nothingness. Hopper is one of the finest painters of the twentieth-century America. He is a native New Yorker and an artist who is searching for himself through his painting. Hopper’s women figures are usually seated, standing, leaning forward toward the window, and all are looking deep out the window and deep into the sunlight. These women are in their introspection and solitude. These figures are usually posited alone, but they are not depicted as lonely. Being in outward solitude, they are allowed to enjoy the inward freedom to desire, to imagine, and to act. The dreaming, imagining, expecting are indications of women’s desires, which display their interior possibility or individual agency. This paper is an attempt to apply Sartre’s philosophy to see that these women’s individual agency determines their own identity, indicating the mind in motion.
  • Ground Swell

    Ground Swell

    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Edward Hopper American, 1882 - 1967 Ground Swell 1939 oil on canvas overall: 91.92 × 127.16 cm (36 3/16 × 50 1/16 in.) framed: 127.3 × 152.4 cm (50 1/8 × 60 in.) Inscription: lower right: EDWARD HOPPER; on reverse of frame: frame made for / Edward Hopper by / Carl Sandelin framemaker / 133 E 60th St NYC. Corcoran Collection (Museum Purchase, William A. Clark Fund) 2014.79.23 ENTRY In a vast expanse of open sea, a catboat heels gently to starboard as it navigates a course that has brought it close to a bell buoy. [1] Under feathery cirrus clouds and a brilliant blue sky, the boat’s three passengers and pilot gaze at, and presumably listen to, the buoy’s bell, which tilts toward them as it crests one of a sequence of rolling waves. Although Edward Hopper is renowned for lonely urban scenes that have led his work to be understood as emblematic of the mood of the modern city and the isolation of its inhabitants, he was also a dedicated painter of nautical subjects. Born in Nyack, New York, Hopper spent his formative years sketching the maritime industry of this bustling shipbuilding port on the Hudson River. [2] From 1930 onward, Hopper and his wife, Josephine “Jo” Nivison, whom he had met in art school, spent summers painting in Truro, Massachusetts, on Cape Cod. In 1934 they built a cottage in South Truro; Ground Swell was painted in the adjacent studio.
  • Edward Hopper and the Discourse of Anti-Urbanism

    Edward Hopper and the Discourse of Anti-Urbanism

    Social & Cultural Geography, Vol. 3, No. 2, 2002 Fear of the city 1882–1967: Edward Hopper and the discourse of anti-urbanism Tom Slater Department of Geography, King’s College London, Strand Campus, London WC2R 2LS, UK This paper traces the extent to which some of the major cityscape representations of the American ‘Realist’ painter, Edward Hopper, have contributed to the production and articulation of the discourse of anti-urbanism in American culture. Following an introduc- tory background to this discourse, the paper discusses the development of Realism in American art, and how the urban representations that emerged were a response to the rapidly changing, early twentieth-century American city. A brief biographical account of Edward Hopper is presented to explore the intertextual inuences behind his anti-urban sentiments, and how these translated into the unique form of Realism for which Hopper is renowned. This sets the stage for a reading of four key Hopper works that are suggestive of the anti-urban discourse: Night Shadows, Nighthawks, Approaching a City and Sunday. The powers of representation and the artist’s popularity have fed into the discourse of anti-urbanism—a discourse that has a material effect on urban life in America. Key words: discourse, anti-urbanism, cityscape, Edward Hopper, representation. Introduction The ‘celebrated thinkers’ to which they refer include Thomas Jefferson, Ralph Waldo Emer- But when in American history has there not been a son, Henry David Thoreau, Edgar Allan Poe, fear of the city … ? (Kazin
  • Custer, Review of Edward Hopper and the American Hotel

    Custer, Review of Edward Hopper and the American Hotel

    ISSN: 2471-6839 Cite this article: Lee Ann Custer, review of Edward Hopper and the American Hotel, Virginia Museum of Fine Arts, Richmond, Panorama: Journal of the Association of Historians of American Art 6, no. 1 (Spring 2020), https://doi.org/10.24926/24716839.10048. Edward Hopper and the American Hotel Curated by: Leo G. Mazow, Louise B. and J. Harwood Cochrane Curator of American Art at Virginia Museum of Fine Arts, with assistance from Sarah G. Powers Exhibition Schedule: Virginia Museum of Fine Arts, Richmond, October 26, 2019– February 23, 2020; Indianapolis Museum of Art at Newfields, June 6–September 13, 2020 Exhibition Catalogue: Leo G. Mazow with Sarah G. Powers, Edward Hopper and the American Hotel, exh. cat. Richmond: Virginia Museum of Fine Arts, in association with Yale University Press, 2019. 216 pp.; 267 color illus., including two removable maps. Softcover: $40.00 (ISBN: 9780300246889) Reviewed by: Lee Ann Custer, University of Pennsylvania Edward Hopper and the American Hotel is a monographic show that promises, in its titular scope, to be broader than its singular champion. The exhibition, organized by the Virginia Museum of Fine Arts in partnership with the Indianapolis Museum of Art at Newfields, explores the ties between Hopper’s work and the industry and built environment of hospitality. As the exhibition makes plain, Hopper, who was a frequent traveler, was deeply familiar with hotels, tourist homes, motels, and other hospitality services, such as luggage assistance and restaurants. Hotels and their dualistic trappings of mobility and rest, and of isolation and community, figure prominently in his work.
  • Mapping Edward Hopper: Jo Hopper As Her Husband's Cartographer

    Mapping Edward Hopper: Jo Hopper As Her Husband's Cartographer

    Artl@s Bulletin Volume 7 Article 6 Issue 2 Cartographic Styles and Discourse 2018 Mapping Edward Hopper: Jo Hopper as her husband’s Cartographer Gail Levin The City University of New York, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the Arts and Humanities Commons Recommended Citation Levin, Gail. "Mapping Edward Hopper: Jo Hopper as her husband’s Cartographer." Artl@s Bulletin 7, no. 2 (2018): Article 6. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. Cartographic Styles and Discourse Mapping Edward Hopper: Jo Hopper as her husband’s Cartographer Gail Levin * City University of New York Abstract Josephine Hopper’s two hand-drawn pictorial maps of South Truro and Cape Cod link art and cartography. She made them to introduce the places she shared with her husband, Edward Hopper, to collectors who bought his painting of a site she mapped. Her mid- 1930s maps have little regard for accurate scale, showing artistic rather than technical style. They feature landmarks, both natural and constructed, from either Edward’s or Jo’s paintings, or both. The style of her maps resembles both contemporaneous American and turn-of-the-century pictorial maps of Paris.
  • Due to Copyright Restrictions, This Image Is Only Available in the Print Version of Christian Reflection

    Due to Copyright Restrictions, This Image Is Only Available in the Print Version of Christian Reflection

    40 Virtual Lives Due to copyright restrictions, this image is only available in the print version of Christian Reflection. Edward Hopper’s NEW YORK MOVIE creates an alternate reality that begins in the physical world of New York City but ends inside the soul of the viewer. Edward Hopper (1882-1967), NEW YORK MOVIE (1939). Oil on canvas. 36½” x 45”. New York, The Museum of Modern Art. Photo: © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY. Used by permission. Copyright © 2011 Center for Christian Ethics at Baylor University 41 The Field of Experience and Sensation BY HEIDI J. HORNIK ike many of Edward Hopper’s paintings, New York Movie (p. 40) and Sunlight in a Cafeteria (p. 43) appeal to a wide audience, evoking Lfrom viewers differing interpretations relevant to their experiences in America’s large cities. In essence, Hopper’s paintings create an alternate reality, a place that begins in the physical world of New York City but ends inside the soul of the individual viewer. The paintings touch a sensitivity within each of us that may elicit quite diverse thematic interpretations—of isolation and loneliness, or constructive solitude and meditative reflection— at different times in our lives. Edward Hopper was not born in the big city, but he spent a majority of his professional life working there. He is from my hometown, the small Hudson River town of Nyack, which is about thirty miles north of New York City. The house where he and his sister were born has never left the Hopper family.
  • Hopper, Edward American, 1882 - 1967

    Hopper, Edward American, 1882 - 1967

    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Hopper, Edward American, 1882 - 1967 Soichi Sunami, Edward Hopper, c. 1928, Miscellaneous Photographs collection. Archives of American Art, Smithsonian Institution BIOGRAPHY Edward Hopper was born in Nyack, New York, in 1882 to a middle-class family. After he graduated high school in 1899, his parents, though supportive of his artistic ambitions, encouraged him to pursue commercial illustration. He studied at the Correspondence School of Illustrating in New York City for a year before enrolling in classes at the New York School of Art in 1900, where he switched his focus to fine art. There, Hopper studied under William Merritt Chase (American, 1849 - 1916) and Robert Henri (American, 1865 - 1929), who encouraged their students to paint the everyday realities of the world around them. In 1906 he briefly worked part-time as an illustrator and then, over the next four years, made three extended trips to Paris and other European cities, where he was particularly influenced by the works of Edgar Degas (French, 1834 - 1917) and Edouard Manet (French, 1832 - 1883). In 1910, Hopper moved to 3 Washington Square North in Greenwich Village, where he would live and work for the rest of his life (although from 1930 on he spent nearly every summer on Cape Cod and built a house in South Truro in 1934). For the next decade, as Hopper sought recognition from the art world, he continued to earn his living as an illustrator—work he disliked and would later attempt to conceal. During this period Hopper exhibited his paintings in a number of group shows in New York City, including the Exhibition of Independent Artists in 1910 and the 1913 Armory Show.
  • Picturing America - Thematic Rotation Sets

    Picturing America - Thematic Rotation Sets

    Picturing America - Thematic Rotation Sets I– PORTRAITS OF AMERICA 5-B N.C. Wyeth, Cover Illustration for The Last of the Mohicans, 10-A Augustus Saint-Gaudens, Robert Shaw Memorial, 1884 – 1919 1897 6-B George Catlin, Catlin Painting the Portrait of Mah-to-toh-pa-- 12-A John Singer Sargent, Portrait of a Boy, 1890 Mandan, 1861/1869 17-B Romare Bearden, The Dove, 1964 8-B Black Hawk, "Sans Arc Lakota” Ledger Book, 1880 –1881 18-B Dorothea Lange, Migrant Mother, 1936 9-B Alexander Gardner, Abraham Lincoln, February 5, 1865 II – WHERE IS AMERICA? 1-B Mission Concepción, San Antonio, Texas, 1775 15-A Charles Sheeler, American Landscape, 1930 5-A Thomas Cole, View From Mt Holyoke-The Oxbow, 1836 16-A Edward Hopper, House by the Railroad, 1925 8-A Albert Bierstadt, Looking Down Yosemite Valley, California, 17-B Romare Bearden, The Dove, 1964 1865 20-A Richard Diebenkorn, Cityscape I, 1964 14-B Joseph Stella, Brooklyn Bridge, c. 1919 – 1920 III -- WORK 1-A Pottery and Baskets: c 1100 to c. 1960 13-A Walker Evans, Brooklyn Bridge, New York, 1929 2-A John Singleton Copley, Paul Revere, 1768 14-A Mary Cassatt, The Boating Party, 1893/1894 3-B Gilbert Stuart, George Washington, 1796 17-A Jacob Lawrence, The Migration of the Negro Panel no. 8-A Albert Beirstadt, Looking Down Yosemite Valley, California, 57, 1940 – 1941 1865 19-B James Karales, Selma-to-Montgomery March for Voting 9-A Winslow Homer, The Veteran in a New Field, 1865 Rights in 1965, 1965 IV – LEADERSHIP IN A DEMOCRACY 4-A Emanuel Leutze, Washington Crossing the Delaware, 1851 10-A Augustus Saint-Gaudens, Robert Shaw Memorial, 1884 – 6-B George Catlin, Catlin Painting the Portrait of Mah-to-toh-pa- 1897 Mandan, 1861/1869 15-B William Van Alen, Chrysler Building, 1926 – 1930 7-A Ohio State Capitol, 1838 – 1861 19-B James Karales, Selma-to-Montgomery March for Voting 9-B Alexander Gardner, Abraham Lincoln, February 5, 1865 Rights in 1965, 1965 20-B Martin Puryear, Ladder for Booker T.
  • American Paintings, 1900–1945

    American Paintings, 1900–1945

    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 American Paintings, 1900–1945 Published September 29, 2016 Generated September 29, 2016 To cite: Nancy Anderson, Charles Brock, Sarah Cash, Harry Cooper, Ruth Fine, Adam Greenhalgh, Sarah Greenough, Franklin Kelly, Dorothy Moss, Robert Torchia, Jennifer Wingate, American Paintings, 1900–1945, NGA Online Editions, http://purl.org/nga/collection/catalogue/american-paintings-1900-1945/2016-09-29 (accessed September 29, 2016). American Paintings, 1900–1945 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 CONTENTS 01 American Modernism and the National Gallery of Art 40 Notes to the Reader 46 Credits and Acknowledgments 50 Bellows, George 53 Blue Morning 62 Both Members of This Club 76 Club Night 95 Forty-two Kids 114 Little Girl in White (Queenie Burnett) 121 The Lone Tenement 130 New York 141 Bluemner, Oscar F. 144 Imagination 152 Bruce, Patrick Henry 154 Peinture/Nature Morte 164 Davis, Stuart 167 Multiple Views 176 Study for "Swing Landscape" 186 Douglas, Aaron 190 Into Bondage 203 The Judgment Day 221 Dove, Arthur 224 Moon 235 Space Divided by Line Motive Contents © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 244 Hartley, Marsden 248 The Aero 259 Berlin Abstraction 270 Maine Woods 278 Mount Katahdin, Maine 287 Henri, Robert 290 Snow in New York 299 Hopper, Edward 303 Cape Cod Evening 319 Ground Swell 336 Kent, Rockwell 340 Citadel 349 Kuniyoshi, Yasuo 352 Cows in Pasture 363 Marin, John 367 Grey Sea 374 The Written Sea 383 O'Keeffe, Georgia 386 Jack-in-Pulpit - No.