DOCSLIB.ORG

Lord Spencer to Highlight Benefit Gala

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lord Spencer to Highlight Benefit Gala Vol.1 No.3 Summer 2008 Lord Spencer to Highlight Benefit Gala celebration of art, history and friendship that Aspans the Atlantic Ocean will be renewed when Studio Incamminati hosts Charles Edward Maurice, the Ninth Earl Spencer, for a benefit gala Sept. 12 at The Union League of Philadelphia. Nelson Shanks, Studio Incamminati founder and artistic director, painted portraits of Lord Spencer and his sister Princess Diana that still hang in the family home, Althorp. The dinner event will feature Lord Spencer’s reminiscences, “Growing Up at Althorp,” the magnificent estate that celebrates its 500th anniversary this year. In addition, Nelson Shanks will share his memories of “Painting Princess Diana.” An exhibition of sketches and photos of Diana, from Shanks’ private archives, also will be on display. In keeping with the British theme, selections from the Gilbert and Sullivan songbook will provide the entertainment. M Althorp, the Spencer family home since 1508, sits on 14,000 acres of English countryside. L Lord Spencer speaks about “Growing Up at Althorp,” at L Nelson Shanks will share memories of his time spent the September benefit gala. painting Diana. A Rare Friendship Provides a Memorable Evening e are so excited and honored to have great friendship that continues today. This gala will provide a rare opportunity to WCharles Edward Maurice, the Ninth Earl Most of us remember the moment when we meet Lord Spencer and understand what it was like Spencer, come to Philadelphia for our special first heard the tragic news of Princess Diana’s growing up with Diana at Althorp. Nelson will gala on Sept. 12 to benefit Studio Incamminati. death. We were especially moved by the tribute share his most cherished memories of painting When Nelson was commissioned to paint Lord that Lord Spencer, Diana’s brother gave at her Diana. It will no doubt be a very fascinating and Spencer’s portrait, he spent seven weeks at memorial service, handwritten on a piece of memorable evening for everyone. Althorp, the magnificent family home. During paper mere hours before. Nelson captured that I hope to see you there. that time, Nelson and Leona got to know Lord very personal document eternally in the portrait Spencer very well and struck up a of Lord Spencer. Executive Director Studio Incamminati welcomes your support. For information, please call Executive Director Jay Pennie at 215.592.1918. 340 N ORTH 12 TH STREE T I SUITE 40 0 I PHILADELPHIA , PA 19107 I www.StudioIncamminati.org I 21 5.59 2.7910 Award Celebrates Commitment to Youth elson Shanks unflagging commitment to art opportunity for committed high-school Neducation for youth, evidenced in Studio students to learn the fundamentals of life Incamminati programs such as Emerging Artists, drawing and painting in a traditional Artist in Residence and Art Educators Workshops, atelier environment. garnered yet more recognition when Nelson received Meanwhile, Studio Incamminati the first annual visionary award from Fresh Artists. artists take their knowledge out into L Nelson Shanks received the first annual Visionary Award The group uses corporate donations to purchase the high school classroom through from Fresh Artists. He is flanked by Tessie Varthas and supplies for needy schools in the Philadelphia School the Artist in Residence program. The Dr. Dennis W. Creedon from the Philadelphia School District’s District and provides the businesses with quality program is funded by a grant from Office of Language, Culture and the Arts. reproductions of student artwork for office display. the 5-County Arts Fund, supported by the by Studio Incamminati that not only address Working successfully with the Philadelphia National Endowment for the Arts and PECO Pennsylvania Academic and National Standards School District is nothing new for Studio and administered by the Greater Philadelphia for Arts Education, but also allow them to earn Incamminati. Over the past several years, Studio Cultural Alliance. up to 30 hours of Pennsylvania Department of Incamminati’s Emerging Artists program has given the Art Educators can attend workshops offered Education Act 48 continuing education credits. Burton Silverman to Speak he future of realism in the portrait world, will be Duly Noted the subject of a talk by noted artist and educator T I A painting demonstration by Nelson Burton Silverman Wednesday, Aug. 27. Shanks, Studio Incamminati founder and Silverman will discuss realism in portraiture and its artistic director, drew a packed house to the impact on collectors and those that commission portraits. new fifth-floor studio on March 12. Among his numerous awards are an honorary doctorate from the Academy of Art University in San Francisco I Patrick Connors, artist and educator, and the Gold Medal from the National Portrait Society. offered two lectures in March on The talk is open to the public. For information: Representationist thought and imagery L The famed artist will discuss realism and portraiture. www.studioinacamminati.org/events or 215-592-7910 . and how they influence modern painting. New Instructors Named I Studio Incamminati instructors and tarting this fall, Dan Thompson and John Prize for Best of Show, students traveled near and far to broaden SDeMartin will be instructors at Studio American Society of their artistic perspective. In May, they Incamminati’s full- Portrait Artists 2001 journeyed by bus to The Metropolitan time Professional International Portrait Museum of Art in New York City to view Program. Both Competition at the the first full retrospective of the French have studied under Metropolitan Museum artist Gustave Courbet (1819–1877) in 30 Jon deMartin Nelson Shanks and of Art. L years. In March, the group walked several both bring the DeMartin has taught in studios and ateliers blocks to The Pennsylvania Academy of Fine Arts for a retrospective on American L Dan Thompson insight of successful worldwide. His drawings and paintings have careers in art and art educaton. been exhibited in New York, California and figure painter Cecilia Beaux. Thompson, who has taught art around the Virginia and have been published in American I Studio Incamminati hosted several country, has shown his work in dozens of shows Artist, Art in America, ARTNews and The hundred persons during its annual Open and received numerous honors including Grand Classicist. House April 4-5. The visitors toured the newly expanded studios, attended painting The Face of Anatomy demonstrations and spoke with instructors rtist/anatomist Eliot Goldfinger offered a detailed and students about atelier life. As a direct Alook at how the intricate mechanics of muscles, result of the event, several persons enrolled bones and flesh create facial expressions in his May 14 into – and were accepted into – the full- lecture, “Anatomy of the Face and Facial Expression.” time Professional Program. L Artist/anatomist Eliot Goldfinger explains muscles behind the expressions. STUD IO INCAMMINATI NEWS I VOLUME ONE , N UMBER THREE I SUMMER 2008 340 N ORT Studio Incamminati Artworks Artists to Inspire Arkansas Students Recognized rt students at the University of Arkansas - Fort Smith haven’t nstructor Lea Colie Ayet met Studio Incamminati students, but they will still be IWight’s painting, drawing inspiration from them. “Life Study,” was one This fall, a “teaching wall,” designed to demonstrate the of 10 finalists in painting process will display 10 color studies by Studio Incamminati American Artist/ artists. Their art will hang next to Nelson Shanks portrait of local Drawing magazine's artist Benham Dangers in the school’s Mary Tinnin Jaye Gallery. 2008 cover art Don Lee, a painting instructor at the 6,000-student school on competition... Student Color studies, Yoni Park’s artwork was the Arkansas-Oklahoma border, says that while the university is not like those by an art school, painting classes there are taught in agreement with the Erin McGrath featured at the juried principles of Studio Incamminati. (above) and 36th Annual Art Show Joe Dolderer (left), “Being exposed to serious student work and seeing it in context will hang on a at Daylesford Abbey, will augment their learning experience,” says Lee, who studied under “teaching wall” Paoli, PA... Instructors at the University Nelson Shanks in Memphis in the mid-1960s. of Arkansas – Natalie Italiano and “The idea that one does not go into beginning painting classes in Fort Smith. Robin Frey had their order to make ‘art’ but to learn a craft and develop one’s vision will be artwork chosen for the clarified by seeing firsthand the approach to study and by comparing Philadelphia Sketch and evaluating the results after a period of time and energy.” Club’s juried show, The school’s goal, Lee said, is to accumulate an outstanding the 145th Annual permanent collection and to share the wealth with the community as Exhibition of Small well as the university. Oil Paintings. Bucks Chamber a Unique Partner in Art n what was termed an unprecedented partnership, Bucks Fever program, the chamber has been a Ithe Central Bucks Chamber of Commerce and preeminent promoter of arts and culture in Bucks Barley Sheaf Farm Estate and Spa hosted artists from County. We are thrilled to take the lead once again Studio Incamminati for a plein air workshop taught in promoting fine arts in our region” by landscape artist Simon Parkes. Christine Figueroa, owner of Barley Sheaf The artists were in residence at the inn and Estate and Spa, said “We are thrilled and honored spa and immersed themselves in the painting of to partner with the Central Bucks Chamber and scenes of the exquisite Barley Sheaf Estate as well Nelson Shanks by hosting Studio Incamminati’s as other vistas throughout Bucks County. The artists in residence. It is our hope that Barley Sheaf’s L Barley Sheaf Farm hosted Studio Incamminati artists. original paintings will be auctioned off at a 100+ acres of open pasture, woodlands, scenic through this unique partnership and program,” said chamber art exhibition and auction this fall.
Load more

Recommended publications
  • Zeller Int All 6P V2.Indd 1 11/4/16 12:23 PM the FIGURATIVE ARTIST’S HANDBOOK
    zeller_int_all_6p_v2.indd 1 11/4/16 12:23 PM THE FIGURATIVE ARTIST’S HANDBOOK A CONTEMPORARY GUIDE TO FIGURE DRAWING, PAINTING, AND COMPOSITION ROBERT ZELLER FOREWORD BY PETER TRIPPI AFTERWORD BY KURT KAUPER MONACELLI STUDIO zeller_int_all_6p_v2.indd 2-3 11/4/16 12:23 PM Copyright © 2016 ROBERT ZELLER and THE MONACELLI PRESS Illustrations copyright © 2016 ROBERT ZELLER unless otherwise noted Text copyright © 2016 ROBERT ZELLER Published in the United States by MONACELLI STUDIO, an imprint of THE MONACELLI PRESS All rights reserved. Library of Congress Cataloging-in-Publication Data Names: Zeller, Robert, 1966– author. Title: The figurative artist’s handbook : a contemporary guide to figure drawing, painting, and composition / Robert Zeller. Description: First edition. | New York, New York : Monacelli Studio, 2016. Identifiers: LCCN 2016007845 | ISBN 9781580934527 (hardback) Subjects: LCSH: Figurative drawing. | Figurative painting. | Human figure in art. | Composition (Art) | BISAC: ART / Techniques / Life Drawing. | ART / Techniques / Drawing. | ART / Subjects & Themes / Human Figure. Classification: LCC NC765 .Z43 2016 | DDC 743.4--dc23 LC record available at https://lccn.loc.gov/2016007845 ISBN 978-1-58093-452-7 Printed in China Design by JENNIFER K. BEAL DAVIS Cover design by JENNIFER K. BEAL DAVIS Cover illustrations by ROBERT ZELLER Illustration credits appear on page 300. 10 9 8 7 6 5 4 3 2 1 This book is dedicated to my daughter, Emalyn. First Edition This book was inspired by Kenneth Clark's The Nude and Andrew Loomis's Figure Drawing for All It's Worth. MONACELLI STUDIO This book would not have been possible without the help of some important peo- THE MONACELLI PRESS 236 West 27th Street ple.
    [Show full text]
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]
  • Kate Sammons U Expect the Unexpected
    8 Kate Sammons u Expect the Unexpected by Molly Siple Self-portrait step in closely and see the painting on an intimate scale. I want Oil on panel 200 3 160 them to feel the sensation of drifting with the waves and to Collection of the Artist smile at the thought of floating along with eels.” Another painting that she daydreamed her way into ate Sammons is a delightful bundle of is Stairs and Flowers. “I found this mass of flowers to be energy who brings an exacting and inquisitive mind the perfect fertile area to get lost in,” says Sammons. She Kto her masterful work as an artist. Trained classically graphically makes the point by adding surreal stairs and a and drawing inspiration from the arts of the Renaissance, doorway to the composition, the flowers acting as an entry Sammons is known for her exquisitely rendered still life and point into her mental wanderings. This painting is especially portraiture. But most interestingly, she bravely steps away from interesting as it features both Sammons’ classical rendering typical versions of these, inventing her own intriguing imagery. skills and her freer handling with pigment and form— “I am trained as a realist painter and have a very academic demonstrating control, plus spontaneity. “I could have been background,” explains Sammons, “but these days I find myself a middle child,” Sammons says, “since I’m always trying to longing to reach into the subconscious and dreams and balance different elements and find ways to compromise. The memories for subject matter. You know when you see something just on the edge of your vision…almost like one of those floaters you can see in your eye… the ideas I have for a painting are almost like these.
    [Show full text]
  • Smithsonian National Portrait Gallery News Winter/Spring 2008 from the Acting Director
    PROFILESmithsonian National Portrait Gallery News Winter/Spring 2008 From the Acting Director Over Presidents’ Day weekend, nearly 25,000 peo- Steichen: Portraits” pre- ple visited the Donald W. Reynolds Center. I would sents celebrity photo- like to think that what motivated so many to come graphs that complement Ken Rahaim to the museums at Gallery Place was the National those of the less-well-known Zaida Ben-Yusuf—the Portrait Gallery’s permanent collection, which is subject of the groundbreaking loan show “Zaida currently enhanced by the loan of Charles Willson Ben-Yusuf: New York Portrait Photographer.” If Peale’s splendid 1779 portrait of George Washing- you traveled to the National Portrait Gallery twice, ton after the Battle of Princeton. This iconic por- once in the winter and again in late spring, you trait of the triumphant General Washington com- would have seen “The Presidency and the Cold plements our own equally iconic “Lansdowne” War” and its replacement, “Herblock’s Presidents: portrait of Washington as president, completed by ‘Puncturing Pomposity,’” which takes a less-than- Gilbert Stuart in 1796. Both of these imposing por- reverential look at those who occupy our nation’s traits, which represent the cornerstones of Wash- highest office. Two one-person shows have also been ington’s career, were initially destined for European big draws: “KATE: A Centennial Celebration,” il- collections: Peale’s portrait was sent to Spain the luminates moments in the life of Katharine Hep- year it was completed, and Stuart’s portrait was a burn, while Stephen Colbert’s portrait, displayed gift to Lord Lansdowne, an English supporter of over the water fountains between the second-floor the American Revolution.
    [Show full text]
  • Canadian Philatelist Philatéliste Canadien
    The Canadian Philatelist Le Philatéliste canadien September/October 2008 septembre/octobre - VOL. 59 • NO.5 PM40069611 $5.00 R 9828 5,00$ Journal of THE ROYAL PHILATELIC SOCIETY OF CANADA Revue de LA SOCIÉTÉ ROYALE DE PHILATÉLIE DU CANADA Canadians in Les Canadiens Hollywood: à Hollywood, The Sequel la suite Four more Canadians who made it big in Ce jeu de timbres met en vedette Hollywood—Marie Dressler, Raymond Burr, quatre autres Canadiens qui ont brillé Norma Shearer and Chief Dan George— dans l’exercice de leur art à Hollywood : star on this classic quartet of stamps. Marie Dressler, Raymond Burr, Norma Shearer et le chef Dan George. Don’t miss this exciting sequel. Buy your stamps and collectibles today. Ne ratez pas cette suite ! Procurez-vous ces timbres et articles de collection dès aujourd’hui. $ 208 Souvenir sheet Bloc-feuillet 403708145 16* Booklet of 8 stamps 64* Set of 4 booklets $ 4 Carnet de 8 timbres $ 16 Ensemble de 4 carnets 413708701 * Selection of individual booklet covers is random except when purchasing at participating post offi ces. Set of four booklets available by phone or online only. Le choix de la couverture individuelle des carnets est aléatoire, sauf si vous achetez les carnets 413708111 aux bureaux de poste participants. Vous pouvez vous procurer l’ensemble des quatre carnets, uniquement par téléphone ou en ligne. Offi cial First Day Cover and postcards also available. Sont également offerts un pli Premier Jour offi ciel ainsi que des cartes postales. Available at participating post offices or | Offert dans les bureaux de poste participants ou Canada / U.S.
    [Show full text]
  • An Exploration of Salvador Dalí's “Society Portraits”
    ©Rev. Robert Keffer, 2021 Moguls, Matrons, and Aristocracy: An Exploration of Salvador Dalí’s “Society Portraits” from the 1940’s Through the 1960’s By Rev. Robert Keffer, OSB What is the Society Portrait? How do art critics and historians define the society portrait? The first definition that might come to mind may be pejorative: a slick, glossy and flattering depiction of an unattractive person, who happened to be blessed with money and pedigree. Many would consider the society portrait a hack job; something the artist creates to pay the bills and/or to gain entré into a higher level of society. This criticism has been applied especially to the portraiture styles of the late 19th century, and the continuation of their style to the current time: portraiture that is academic/realist, and follows mainly the techniques of John Singer Sargent and his imitators. Current revisionist criticism, however, will show that the society portrait can and often does have lasting artistic merit. Consider, for instance, the famous Portrait of Consuelo, Duchess of Marlborough and Her Son, Lord Ivor Spencer-Churchill (1906), by Giovanni Boldini. Grace Glueck in her New York Times article, “Society Portraits of Giovanni Boldini”, considers this famous work nothing more than “a frothy meringue… an almost erotic tableau in which a beautiful small boy sprawls against the slender body of his vivacious mother, who is regally ensconced on a Louis XV settee, and clad in a long splash of shimmering satin.”1 However, Ms. Glueck, in the same article, states that Boldini could also do work of real character with “his vibrant 1897 rendering of a world-weary Whistler, for instance, lounging against a chair back, his head supported by an eloquently ‘artistic’ hand and a wonderful self-portrait of 1911 in which, his portly little body half-turned to the viewer, he seems to regard with jaded eyes a rogue's gallery of subjects visible only to him.”2 Boldini aside, history refutes the theory that the society portrait has always been and always will be empty flattery and vain show.
    [Show full text]
  • Governor John Engler Portrait Unveiling
    G OVERNOR J OHN E NGLER P ORTRAIT U NVEILING GOVERNOR JOHN ENGLER PORTRAIT UNVEILING Program Introductions Chief Justice Clifford Taylor, Master of Ceremonies Welcome Governor Jennifer Granholm Remarks Lieutenant Governor Connie Binsfeld Lieutenant Governor Dick Posthumus Introduction of Artist Eugene A. Gargaro, Jr. Chairman of the Board of Directors of the Detroit Institute of Arts Comments by the Artist Nelson Shanks Remarks Governor John Engler # # # # # Portrait Unveiling Margaret, Hannah and Madeleine Engler # # # # # Reception The Governor John Mathias Engler was Michigan’s 46th governor. His tenure, from 1991 till 2003, was exceeded by only one chief executive in state history. During his twelve years in office, Michigan’s economy improved dramatically and its public schools experienced far-reaching reform. John Engler was born in Mount Pleasant, Michigan, on October 12, 1948, the son of Agnes and Matt, a Beal City farmer and cattleman. After attending Catholic and public schools, he went to Michigan State University, where he graduated with a degree in agricultural economics. It was in 1970, during his senior year in college, that he first ran for a seat in the state House of Representatives. By dint of smart campaigning and hard work, he beat a powerful incumbent to become the then-youngest member ever elected to the Michigan legislature; he was 22 years old. In 1978, after being elected to the House four times, John Engler challenged and defeated another incumbent in the state Senate, where he served for 12 years and was majority leader from 1984-1990. Attending law school while serving in the Senate, he earned a J.D.
    [Show full text]
  • Annual Report 2014 Annual Report 2014 Report Annual 59
    Annual Report 2014 Philadelphia Museum of Art Annual Report 2014 59 16 2 Board of Trustees 4 Letter from the Chair 47 6 A Year at the Museum 8 Collecting 26 Exhibiting 40 Learning 48 Connecting and Collaborating 58 Building 68 Conserving 76 Supporting 90 Staffing and Volunteering 6 14 96 A Calendar of Exhibitions and Events 104 Financial Statements 110 Committees of the Board of Trustees 112 Support Groups 115 Volunteers 118 Museum Staff 2 Annual Report 2014 Board of Trustees 3 Board of Trustees Trustees Honorary Trustees Trustees Ex-Officio Officers Marta Adelson Mrs. Jack M. Friedland Dr. Donald B. Parks Hon. Arlin M. Adams Hon. Tom Corbett Constance H. Williams Governor, Commonwealth of Chair, Board of Trustees and John R. Alchin Kimberley H. Gray Raymond G. Perelman Nancy M. Berman Pennsylvania Chair of the Executive Committee Dennis Alter David Haas Ajay Raju James D. Crawford Hon. Michael A. Nutter H. F. (Gerry) Lenfest Barbara B. Aronson Anne F. Hamilton Lynda R. Resnick Stephanie S. Eglin Mayor, City of Philadelphia Raymond G. Perelman Chairs Emeriti Andrea M. Baldeck, M.D. Lynne Honickman Lyn M. Ross William H. Flammer, Jr. Hon. Darrell L. Clarke President, City Council Dennis Alter Sheldon M. Bonovitz Osagie O. Imasogie Marsha W. Rothman Dorrance H. Hamilton Barbara B. Aronson Timothy Rub Julian A. Brodsky Ira Brind Joan M. Johnson Pia RoyChowdhury William H. Helfand The George D. Widener David Haas Director and Chief Executive Julian A. Brodsky Berton E. Korman Mark E. Rubenstein James J. Kim Lynne Honickman Officer Victoria McNeil Le Vine Priscilla S.
    [Show full text]
  • Gender Discrimination and the Supreme Court Objectives
    Smoothing the Path: Gender Discrimination and the Supreme Court Compiled by the National Portrait Gallery, Smithsonian Institution Target Grade Level: 9-12 in social studies classes Objectives: After completing this lesson, students will be better able to: • Identify and analyze key components of a portrait and relate visual elements to relevant historical context and significance • Analyze the connections between the first four female Supreme Court justices. • Analyze landmark Supreme Court gender-discrimination cases and understand how they relate to each other and to the careers of the first female justices. Portrait: The Four Justices by Nelson Shanks, oil on canvas, 2012 Background Information for Teachers About the Portrait: A major step in women’s struggle for equality came on March 3, 1879, when Belva Lockwood became the first woman to argue before the Supreme Court. In the 1940s, distinguished jurist Florence Allen was considered for the Court, but opposition, including from the sitting justices, precluded her nomination. In 1981 Sandra Day O’Connor (born 1930) became the first woman to serve on the Court. O’Connor, a graduate of Stanford Law School, was serving on the Arizona Court of Appeals when President Ronald Reagan nominated her as an associate justice. O’Connor retired from the Court in 2006. Ruth Bader Ginsburg (born 1933) graduated from Columbia Law School. She was serving on the U.S. Court of Appeals for the District of Columbia when President Bill Clinton nominated her as an associate justice of the Supreme Court in 1993. Sonia Sotomayor (born 1954) received her J.D. from Yale Law School.
    [Show full text]
  • Russian Flair Charms Gala Crowd
    School for Contemporary Realist Art Vol.4 No.1 Winter 2011 Russian flair charms gala crowd Art tour beckons ussian culture, in all its vibrant color and —and celebrate—Nelson Shanks’ solo Russian n celebration of Nelson’s historic exhibition, Remotional richness, took center stage at exhibition in spring 2011. IStudio Incamminati is offering a chance The Union League of Philadelphia’s plush The Russian Museum in St. Petersburg, to see the exhibition—and help the studio. Lincoln and McMichael rooms as nearly 200 followed by The Russian Academy of Arts The “To Russia, With Love” art tour is an persons enjoyed Studio Incamminati’s third in Moscow, will play host to more than 45 exclusive custom-designed travel program for annual benefit gala “To Russia, With Love,” works by Shanks. He is one of a select few living Oct. 22. American artists to be invited to display his Visit the Of course, there was the quiet elegance work. Gala guests were treated to 18 paintings, exclusive of traditional caviar and vodka. But, there 10 newly painted, which will be part of the tour website for photos, were also the frenetic excitement of whirling exhibitions. The event was chaired by Dan and travel facts Cossack dancers and ringing Balalaikas. All of Dr. Monica DiLella and co-chairs Frank and and the latest that served as the perfect backdrop to preview Dottie Giordano. ◆ tour news. Studio Incamminati friends. Two versions of a spectacular eight-night tour take travelers to Moscow and St. Petersburg, culminating with the private opening of Nelson Shanks’ exhibition at the Russian Museum.
    [Show full text]
  • At the La Salle University Art Museum
    PHILADELPHIA ARTISTS AND THE PENNSYLVANIA ACADEMY OF THE FINE ARTS AT THE LA SALLE UNIVERSITY ART MUSEUM This guide was created for faculty to use independently. It includes a self- tour of paintings by PAFA-affiliated artists at the La Salle University Art Museum and a resource list for where to go to view more artworks by these artists. Contents: - Brief History of the Pennsylvania Academy of the Fine Arts - Distinctive Characteristics of PAFA Training - Artists: Charles Willson Peale (1741-1827) James Peale (1749-1831) Rembrandt Peale (1778-1860) William Trost Richards (1833-1905) Christian Schuessele (1824-1879) Thomas Eakins (1844-1916) Henry Ossawa Tanner (1859-1937) William Glackens (1870-1938) Sidney Goodman (b. 1936) Nelson Shanks (b. 1937) Bo Bartlett (b. 1955) David McShane (b. 1965) - Addresses and Websites for other Institutions Brief History of the Pennsylvania Academy of Fine Arts: After the revolutionary wars, efforts were afoot in both New York and Philadelphia to start art academies. The first one in Philadelphia, the so-called Columbianum lasted only a year from 1794 – 1795 and comprised an association of thirty professional and amateur artists who sponsored a single exhibition in Independence Hall. Following the demise of the Columbianum, Charles Willson Peale and his son Rembrandt were involved in1805 in establishing the Pennyslvania Academy of Fine Arts on the model of that of the New York Academy of Fine Arts. Like the New York academy, which had been founded in 1802 by a body of prominent merchants, PAFA was principally run by members of the legal and business community. In fact, the elder Peale, his son Rembrandt, and the sculptor William Rush were the only artists among the seventy-one founders.
    [Show full text]
  • Annual Report 1987
    NATIONAL GALLERY OF ART 1987 ANNUAL REPORT \ 1987 ANNUAL REPORT National Gallery of Art All rights reserved. No part of this publication may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565 Copyright © 1988. Board of Trustees, National Gallery of Art This publication was produced by the Editors Office, National Gallery of Art, Washington Edited by Tarn L. Curry Designed by Susan Lehmann, Washington Printed by Schneidereith & Sons, Baltimore, Maryland The type is Bodoni Book, set by VIP Systems, Inc., Alexandria, Virginia Photo credits: James Pipkin, cover Lucian Perkins, The Washington Post, p. 10 Kathleen Buckalew, pp. 2-3, 98, 102, 104, 106, 148-149 Philip Charles, pp. 97, 122 Ann Hageman, p. 124 Mary Ellen Wilson, p. 65 William Wilson, pp. 74, 77, 92, 100 ISBN 0-89468-116-8 Pages 2-3: Sculpture from the Patsy and Raymond Nasher Collection CONTENTS 6 PREFACE 8 ORGANIZATION 11 DIRECTOR'S REVIEW OF THE YEAR 32 DONORS AND ACQUISITIONS 50 LENDERS 56 LOANS TO EXHIBITIONS 64 EDUCATIONAL SERVICES 64 Department of Public Programs 71 Department of Extension Programs 73 CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS 81 OTHER DEPARTMENTAL REPORTS 81 Curatorial Division 89 Division of Records and Loans 90 Changes of Attribution 91 Library 95 Photographic Archives 95 Conservation Division 101 Editors Office 102 Exhibitions Office 103 Department of Installation and Design 106 Gallery Archives 107 Photographic Services 109 STAFF ACTIVITIES AND PUBLICATIONS 121 MUSIC AT THE GALLERY 123 ADMINISTRATOR'S REPORT 123 Publications Service 123 Facilities, Security, and Attendance 124 Office of Planning and Construction 126 FINANCIAL STATEMENTS 141 ROSTER OF EMPLOYEES AND DOCENTS PREFACE The National Gallery's fiscal year ending 30 September 1987 con- tinued the busy but rewarding pace that has characterized the past few years.
    [Show full text]