July 1, 2012–June 30, 2013 FY13: a LOOK BACK
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Untitled Leaves Clues About the Man Whose Portrait He Captured
October 15, 2016–February 12, 2017 Published on the occasion of the exhibition The New Westward: Trains, Planes, and Automobiles that Move the Modern West organized by the Tucson Museum of Art and Historic Block October 15, 2016–February 12, 2017 ©Tucson Museum of Art and Historic Block CURATOR AND AUTHOR: Christine C. Brindza, James and Louise Glasser Curator of Art of the American West, Tucson Museum of Art FOREWORD: Jeremy Mikolajczak, Chief Executive Officer EDITOR: Katie Perry DESIGN: Melina Lew PRINTER: Arizona Lithographers, Tucson, Arizona ISBN: 978-0-911611-21-2 LIBRARY OF CONGRESS CONTROL NUMBER: 2016947252 Tucson Museum of Art and Historic Block 140 North Main Avenue Tucson, Arizona 85701 tucsonmuseumofart.org FRONT COVER: Ray Strang (1893–1957), Train Station, c.1950, oil on paper, 14 x 20 in. Collection of the Tucson Museum of Art. Gift of Mrs. Dorothy Gibson. 1981.50.20 CONTENTS 07 Foreword Jeremy Mikolajczak, Chief Executive Officer 09 Author Acknowledgements 11 The New Westward: Trains, Planes, and Automobiles that Move the Modern West Christine C. Brindza 13 Manifest Destiny, Westward Expansion, and Prequels to Western Imagery in the Modern Era 19 Trains: A Technological Sublime 27 Airplanes: Redefining Western Expanses 33 The Automobile: The Great Innovation 39 Works Represented 118 Bibliography 120 Exhibition and Catalogue Sponsors FOREWORD The Tucson Museum of Art is proud to present The New Westward: Trains, Planes, and Automobiles that Move the Modern West, a thematic exhibition examining the role transportation technology has played in the American West in visual art. In today’s fast-moving, digitally-connected world, it is easy to overlook the formative years of travel and the massive overhauls that were achieved for railroads, highways, and aircraft to reach the far extended terrain of the West. -
George Bellows on Monhegan Island
David Peters Corbett The World Is Terrible and It Is Not There at All: George Bellows on Monhegan Island Painted on Monhegan Island off the coast of Maine during the summer of 1913, George Bellows’s small oil on panel Churn and Break (fig. 1) depicts a shore and its surrounding sea. The observer’s gaze encounters a mound of dark, almost black, rocks, which glisten with trails of moisture and light. To the left, the sea, sweeping in a great wave up against the rocks, threatens to overtop the ridge. In the midground, further dramatic swells rise and fall, and overhead, in a dreary sky, Bellows’s paint describes the insistent perpendicular fall of rain. Above the rocks and to the right, a plume of spray, dense and gray and white, jets up in a balletic swirl of creamy pigment. Bellows’s painting uses dazzling mixed brushwork to portray the variety of forms and textures of this scene, from the fluid lines and sinuous handling of the fore- ground sea to the dragged marks that describe the descending curtain of rain and cast a shadowy veil across the distance. The world we are confronted by in Churn and Break seems to fall into two disparate levels of experience: on the one hand, a discrete, self-contained universe of vital but inhuman matter, formed by the crashing sea and mute shoreline; on the other, an intimately human domain, the gestural runs and virtuoso flourishes of Bellows’s hand and brush.1 Despite this apparently radical division, the two levels also merge fleetingly into a single identity. -
254 CHAPTER 10 Proportion CHAPTER 10 Proportion
ᮡ FIGURE 10.1 This painting is a fresco. Italian for “fresh,” fresco is an art technique in which paint is applied to a fresh, or wet, plaster surface. Examine the size of the figures depicted in this fresco. Is this depiction always realistic? Diego Rivera. The Making of a Fresco Showing the Building of a City. 1931. Fresco. 6.9 x 9 m (22’7” ϫ 29’9”). Located at the San Francisco Art Institute, San Francisco, California. Gift of William Gerstle. 254 CHAPTER 10 Proportion CHAPTER 10 Proportion ou may be taller than some students in your art class, Yshorter than others. Distinctions like these involve proportion, or relative size. As an art principle, proportion can direct the viewer’s eye to a specific area or object in an artwork. In this chapter, you will: Explain and recognize the Golden Mean. Identify scale and proportion in artworks. Create visual solutions using direct observation to reflect correct human proportions. Compare and contrast the use of proportion in personal artworks and those of others. Figure 10.1 was painted by the Mexican artist Diego Rivera (1886–1957). At age 21, Rivera went to study art in Europe, where he met Paul Cézanne and Pablo Picasso. Returning to Mexico in 1921, Rivera rejected what he had learned. He chose instead to imitate the simplified forms of his pre-Columbian ancestors in Mexico. Rivera also became a champion of the rights of the working class. Social themes inspired him to create large mural paintings. His murals, which adorn the walls of public buildings, all have political or historical themes. -
Download Curriculum Vitae
C O R R I N A S E P H O R A 1200 Foster St NW Studio B11W, Box 39 Atlanta, GA 30318 678-523-9969 [email protected] corrinasephora.com Education 2005 MFA Sculpture, Georgia State University, Atlanta, GA 1995 BFA Metals & Sculpture, Massachusetts College of Art and Design, Boston, MA Solo/ Duo Exhibitions 2021 Solo Exhibition, Spalding Nix Fine Art, Atlanta, GA *forthcoming 2020 Blood of the Earth II, Sewell Mill Library & Cultural Center, Marietta, GA *forthcoming 2019 Alchemical Divide, Madison-Morgan Cultural Center, Madison, GA Blood of the Earth, Sinclair Gallery, ArtsXChange, East Point, GA Between the Deep Blue Sea and the Universe, Mason Fine Arts, Atlanta, GA 2017 On Waters of Time, Callanwolde Fine Arts Gallery, Atlanta, GA 2017 Voyages Unforeseen, Kibbee Gallery, Atlanta, GA (Duo) 2015 Emergence from the Waters, Gallery 72, Mayor’s Office of Cultural Affairs, Atlanta, GA 2014 Nautical Observations, Art Partners, High Museum of Art, Atlanta, GA 2013 Soaring on the Surface of the Waters, Norcross Cultural Arts Center, Norcross, GA 2012 Flowing as Water, Rodriguez Room, Goat Farm Arts Center, Atlanta, GA 2008 Rescue Vehicles and Souls of the South, House of Colors, Atlanta, GA Exhibitions 2020 Group Exhibition, Spalding Nix Fine Art, Gallery Residences, Atlanta, GA *forthcoming 2019 Flicker, South River Art Studios, Atlanta, GA Ensemble, Spalding Nix Fine Art, Atlanta, GA Losing Control: Guns, Government, and Group-Think, ATHICA: Athens Institute for Contemporary Art, Athens, -
Bellows, George Also Known As Bellows, George Wesley American, 1882 - 1925
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Bellows, George Also known as Bellows, George Wesley American, 1882 - 1925 Peter A. Juley & Son, George Bellows, c. 1920, photograph, 1913 Armory Show, 50th anniversary exhibition records, 1962–1963, Archives of American Art, Smithsonian Institution BIOGRAPHY George Bellows was born in Columbus, Ohio, on August 12, 1882, the only child of a successful building contractor from Sag Harbor, Long Island, New York. He entered Ohio State University in 1901, where he played baseball and basketball and made drawings for college publications. He dropped out of college in 1904, went to New York, and studied under Robert Henri (American, 1865 - 1929) at the New York School of Art, where Edward Hopper (American, 1882 - 1967), Rockwell Kent (American, 1882 - 1971), and Guy Pène du Bois (American, 1884 - 1958) were his classmates. A superb technician who worked in a confident, painterly style, Bellows soon established himself as the most important realist of his generation. He created memorable images of club fights, street urchins swimming in the East River, and the Pennsylvania Station excavation site and garnered praise from both progressive and conservative critics. In 1909 he became one of the youngest artists ever admitted as an associate member of the National Academy of Design. In 1910 Bellows began teaching at the Art Students League and married Emma Story, by whom he had two daughters. After 1910 Bellows gradually abandoned the stark urban realism and dark palette characteristic of his early work and gravitated toward painting landscapes, seascapes, and portraits. -
High Museum of Art
About the High Museum of Art The High Museum of Art is the leading art museum in the Southeastern United States. Located in Atlanta’s Midtown arts and business district, the High has more than 14,000 works of art in its permanent collection. The Museum has an extensive anthology of 19th- and 20th-century American and decorative art; significant holdings of European paintings; a growing collection of African American art; and burgeoning collections of modern and contemporary art, folk art, photography, and African art. The High is also dedicated to supporting and collecting works by Southern artists, and in 1996 the Museum launched its “Picturing the South” program to commission emerging and established photographers to create new work inspired by the Southern landscape. Established in 1905 as the Atlanta Art Association, the Museum’s first permanent home came in 1926, with the donation by Mrs. Joseph M. High of her family’s residence on Peachtree Street. In 1955, the Museum moved to a new brick structure adjacent to the old High house. After 122 Georgia art patrons died in a plane crash on a Museum-sponsored European tour in 1962, the Atlanta Arts Alliance was founded in their memory, and the Atlanta Memorial Arts Center opened in 1968—constructed around the existing Museum. In 1979, Coca-Cola magnate Robert W. Woodruff offered a $7.5 million challenge grant to build a new facility; Museum officials matched and exceeded the grant, generating a total of $20 million. The High Museum of Art’s building designed by noted architect Richard Meier opened to worldwide acclaim in 1983, and it has received many design awards, including a 1991 citation from the American Institute of Architects as one of the “ten best works of American architecture of the 1980s.” Meier’s 135,000-square-foot facility, now known as the Stent Family Wing, tripled the Museum’s space, enabling the institution to mount more comprehensive displays of its collections. -
Archives Alive!
ARCHIVES ALIVE! An Introduction to Primary Sources: Art in the Archives TARGET GRADE RANGE: 6-12 OVERVIEW By looking closely at artworks from the City of Savannah Municipal Archives’ collections, students will learn the basic tools for analyzing artistic images using description and reflection in order to improve visual literacy, as well as to identify the strengths and weaknesses of using art as a historical tool. Students will create a brief story, journal entry, or art piece reflecting on the subjects of the images. What is a Primary Source? A primary source is a first-hand, original account or record about a person, place, object, or an event. Oral histories, objects, photographs, and documents such as newspapers, census records, diaries, and journals are primary sources. Secondary sources are accounts, records, or evidence derived from original or primary sources. Textbooks are secondary sources. Objectives: After completing this learning activity, students will be able to: Describe the subjects of artworks and place them in a historical context Understand the components of an in-depth visual analysis Time Required: 1 hour Topic/s: Social Studies, Art, Creative Writing Standards: VA6.RE.1 VA7.RE.1 VA8.RE.1 Reflect on the context of personal works of art in relation to community, culture, and the world. a. Identify how the issues of time, place, and culture are reflected in selected works of art. b. Interpret works or art considering themes, ideas, moods, and/or intentions. c. Define where and how we encounter images in our daily lives and how images influence our view of the world. -
The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
Curriculum Vitae
38 Walker Street New York, NY 10013 tel: 212-564-8480 www.georgeadamsgallery.com LUIS CRUZ AZACETA BORN: Havana, Cuba, 1942. Emigrated to the US 1960; US Citizenship 1967. LIVES: New Orleans, LA. EDUCATION: School of Visual Arts, New York, 1969. GRANTS AND AWARDS: Joan Mitchell Foundation Grant, 2009. Penny McCall Foundation Award, 1991-92. Mid-Atlantic Grant for special projects, 1989. Guggenheim Memorial Foundation Grant, New York, 1985. New York Foundation for the Arts, 1985. Mira! Canadian Club Hispanic Award, 1984. Creative Artistic Public Service (CAPS), New York, 1981-82. National Endowment for the Arts, Washington, D.C., 1980-81, 1985, 1991-92. Cintas Foundation, Institute of International Education, New York, 1972-72, 1975-76. SOLO EXHIBITIONS: “Personal Velocity in the Age of Covid,” Lyle O. Rietzel, Santo Dominigo, DR, 2020-21. “Personal Velocity: 40 Years of Painting,” George Adams Gallery, New York, NY, 2020. “Between the Lines,” Arthur Roger Gallery, New Orleans, LA, 2019. “Luis Cruz Azaceta, 1984-1989,” George Adams Gallery, New York, NY, 2018. “Luis Cruz Azaceta: A Question of Color,” Lyle O. Reitzel, Santo Domingo, DR, 2018. “On The Brink,” Arthur Roger Gallery, New Orleans, LA, 2017. “Luis Cruz Azaceta Swimming to Havana,” Lyle O. Reitzel, New York, NY, 2016-17. “Luis Cruz Azaceta: Dictators, Terrorism, War and Exiles,” American Museum of the Cuban Diaspora, Miami, FL, 2016. “Luis Cruz Azaceta: War & Other Disasters,” Abroms-Engel Institute for Visual Arts, University of Alabama, Birmingham, AL, 2016. “State of Fear,” Pan American Art Projects, Miami, FL, 2015.* “PaintingOutLoud,” Arthur Roger Gallery, New Orleans, LA, 2014.* “Dictators, Terrorism, Wars & Exile,” Aljira: A Center for Contemporary Art, Newark, NJ, 2014.* “Louisiana Mon Amour,” Acadiana Center for the Arts, Lafayette, LA, 2013.* “Falling Sky,” Lyle O. -
Download Lot Listing
IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, May 10, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART 1-118 Elsie Adler European 1-66 The Eileen & Herbert C. Bernard Collection American 67-118 Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. POST-WAR & CONTEMPORARY ART 119-235 A Connecticut Collector Post-War 119-199 Claudia Cosla, New York Contemporary 200-235 Ronnie Cutrone EUROPEAN ART Mildred and Jack Feinblatt Glossary I Dr. Paul Hershenson Conditions of Sale II Myrtle Barnes Jones Terms of Guarantee IV Mary Kettaneh Information on Sales & Use Tax V The Collection of Willa Kim and William Pène du Bois Buying at Doyle VI Carol Mercer Selling at Doyle VIII A New Jersey Estate Auction Schedule IX A New York and Connecticut Estate Company Directory X A New York Estate Absentee Bid Form XII Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private -
Matters of Life and Death, Museum of Fine Arts, Boston Hyman Bloo
HYMAN BLOOM Born Brunoviski, Latvia, 1913 Died 2009 SELECTED SOLO EXHIBITIONS 2019 Hyman Bloom: Matters of Life and Death, Museum of Fine Arts, Boston Hyman Bloom American Master, Alexandre Gallery, New York 2013 Alpha Gallery, Boston Massachusetts Hyman Bloom Paintings: 1940 – 2005, White Box, New York 2006 Hyman Bloom: A Spiritual Embrace, The Danforth Museum, Framingham, Massachusetts. Travels to Yeshiva University, New York in 2009. 2002 Color & Ecstasy: The Art of Hyman Bloom, The National Academy of Design, New York 2001 Hyman Bloom: The Lubec Woods, Bates College, Museum of Art. Traveled to Olin Arts Center, Lewiston Maine. 1996 The Spirits of Hyman Bloom: Sixty Years of Painting and Drawing, Fuller Museum, Brockton, Massachusetts 1992 Hyman Bloom: Paintings and Drawings, The Art Gallery, University of New Hampshire, Durham 1990 Hyman Bloom: “Overview” 1940-1990, Terry Dintenfass Gallery, New York 1989 Hyman Bloom Paintings, St. Botolph Club, Boston 1983 Hyman Bloom: Recent Paintings, Terry Dintenfass Gallery, New York 1975 Hyman Bloom: Recent Paintings, Terry Dintenfass Gallery, New York 1972 Hyman Bloom Drawings, Terry Dintenfass Gallery, New York 1971 Hyman Bloom Drawings, Terry Dintenfass Gallery, New York 1968 The Drawings of Hyman Bloom, University of Connecticut of Museum of Art, Storrs. Travels to the San Francisco Museum of Art, San Francisco; the Whitney Museum of American Art, New York; and the Boston University School of Fine and Applied Arts Gallery, Boston. 1965 Hyman Bloom Landscape Drawings 1962-1964, Swetzoff Gallery, Boston 1957 Drawings by Hyman Bloom, Currier Museum of Art, Manchester, NH. Travels to The Museum of Art, Rhode Island School of Design; and the Wadsworth Atheneum, Hartford, CT Hyman Bloom Drawings, Swetzoff Gallery, Boston 1954 Hyman Bloom, Institute of Contemporary Art, Boston. -
Abstract and Figurative: Highlights of Bay Area Painting January 8 – February 28, 2009 John Berggruen Gallery Is Pleased to Pr
Abstract and Figurative: Highlights of Bay Area Painting January 8 – February 28, 2009 John Berggruen Gallery is pleased to present Abstract and Figurative: Highlights of Bay Area Painting, a survey of historical works celebrating the iconic art of the Bay Area Figurative movement. The exhibition will occupy two floors of gallery space and will include work by artists Elmer Bischoff, Theophilus Brown, Richard Diebenkorn, Manuel Neri, Nathan Oliveira, David Park, Wayne Thiebaud, James Weeks, and Paul Wonner. Abstract and Figurative is accompanied by an illustrated catalogue with an introduction by art historian and Director of the Palm Springs Art Museum and former Associate Director and Chief Curator of the Fine Arts Museums of San Francisco, Steven A. Nash. Many of the works included in Abstract and Figurative are on loan from museums and private collections and have rarely been exhibited to the public. John Berggruen Gallery is proud to have this opportunity to bring these paintings together in commemoration of the creative accomplishments of such distinguished artists. Please join us for our opening reception on Thursday, January 8, 2009 between 5:30 and 7:30 pm. Nash writes, “There is no more fabled chapter in the history of California Art than the audacious stand made by Bay Area Figurative painters against Abstract Expressionism in the 1950s.” This regionalized movement away from the canon of the New York School (as championed by artists Jackson Pollock and Willem de Kooning, and critic Clement Greenberg, among others) finds its roots in 1949, when a young painter by the name of David Park “gathered up all his abstract- expressionist canvases and, in an act that has gone down in local legend, drove to the Berkeley city dump and destroyed them.”1 Disillusioned with the strict non-representational tenets of a movement that promoted the Greenbergian notion of “purity” in art towards a perpetually evolving abstraction, Park submitted Kids on Bikes (1950), a small figurative painting, to a 1951 competitive exhibition and won.