JANUARY 1998 CAA NEWS JANUARY 1998 5 Accomplishing the Goals I've Stated

Total Page:16

File Type:pdf, Size:1020Kb

JANUARY 1998 CAA NEWS JANUARY 1998 5 Accomplishing the Goals I've Stated Do you have a submission We'll Get for CAA News? Your Meeting [email protected] OffToA In an effort to ensure the accuracy of your listings and announce­ ments in eAA News, contact the editors bye-mail: caanews@ collegeart.org. Send us your opportunity announcements, calls 5 for papers, grants, awards, and honors, or other listings by the Good Start. issue deadline. Materials for "Solo Exhibitions by eAA Members" may be mailed to the CAA office. Photos cannot be returned. AmericanAirlines Is Proud To Be The Official In order to accomodate as many free listings as possible, we Airline Of The College ArtAssociation. cannot always confirm reciept of a listing,. provide proofs or extra AmericanAirlines· copies, or guarantee that your announcement will be printed in Americanfot" subsequent issues. Late submissions will be held for the next curious document from him~I liked the and I found that it wasn't just professors issue. We also reserve the right to edit according to style and space requirements. For paid advertising, contact the advertising Phyllis P. grade, it was an A+++------but it wasn't who belonged. This must have been the manager at advertising@collegearlorg. the kind of grade any Wellesley fall of 1941. That's why I'm one of the Our aim is,to provide worthwhile resources for and to professor gave you. There were jocular oldest members." celebrate the achievements of CANs 16,000 members. Your Bober comments all the way through in the Juggling commitments to raising a questions and/ or comments about the newsletter or website margins, too. Very puzzling. He family, teaching, and various scholarly (www.collegeart.org) are always welc9me. MeetingAttendees Can Enjoy Up ToA 10% Savings' OIfAny Applicable Fare OnAmerlcan. explained he had been at the CAA pursuits, Bober became an active Note: For address changes or other inquiries, contact: Plus, Receive AnAdditional 5% Discount When onCAA annual meeting, and some friends had member only in the late 1970s. While [email protected] or [email protected]. You Purchase YourTlckets 60 Days In Advance. come to his room for a little gathering. dean of the Graduate School of Arts and For .[1 i , Now I understand that they had Sciences at Bryn Mawr College, she was Deadlinefor March 1998 CAA News: January 30,1998. probably been drinking. But he didn't asked to serve on the Morey Prize change the grade; it stayed on my Committee. "For the first time, College hyllis Bober is a wonderful record. So I thought CAA was some­ Art was asking something of me. Then I raconteur, whose stories reveal thing pretty good, a chowder and was elected to the board. In those days her archaeologist's eye for marching society for the professors." we didn't have long position state­ P Shortly after entering graduate ments; if we had, I probably wouldn't detail, her art historian's preoccupation with the role of the arts in culture, and a school at the Institute for Fine Arts in have gotten on the board because I had s humanitit's appreciation of the value of New York, Bober became a member of no agenda. No ideas for the CAA at all. education. Combine thetie with her CAA herself. "Walter W. W. s. Cook, Then I began to find out how important profound sense of fair play, her compas­ who was the director, made all the new it was or could be for its membership, January 1998 sion for living things, and a gently self­ graduate students each year join CAA, not only the art historians but the artists effacing sense of humor, and you have as well and also the junior people; all of College Art Association us had common interests." 275 Seventh Avenue the recipe for a complete mensch. When New York, New York 10001 I was asked to interview my former Her activity on the board in the adviser Professor Bober about her 1980s, first as a member, then as chair of experiences as a fifty-six-year member the Art Historians' Committee, and Board of Directors and past president of CAA for the finally as president from 1988 to 1990, coincided with a period of remarkable Leslie King~Hammond, President History Project, I was delighted to have growth and change. "The truly activist John R. Clarke, Vice~President an excuse to hmch with her. What Nancy Macko, Secretary follows are some morsels from our CAA we have now dates from 1985 or John W. Hyland, Jr., Treasurer conversation together. 1986, the change from a Mom and Pop Susan Ball, Executive Director Bober first encmmtered CAA while organization with a New York office of an undergraduate at Wellesley. "I used two people and an honorary counsel to the Art Bulletin and Parnassus, which an organization that really is structured Ellen T. Baird Christine Kondoleon for a vast new inclusive and more Marilyn R. Brown Patricia Leighten was then one of the publications, but I diverse membership than was the case Diane BUfko Joe Lewis didn't know CAA was something that Whitney Davis Arhtro Lindsay individuals belonged to at all. I thought in the past. I was part of choosing the Joe Deal Yang Soon Min colleges and universities all got together new executive director when we Vishakha Desai John Hallmark Neff and published in art history, which was selected Susan Ball. That was the be­ Bailey Doogan Beatrice Rehl still a relatively new discipline." She girming of a real transformation. The Jonathan Fineberg Rita Robillard ubsequently learned of the annual whole board was changing; people were Node Sato' Shifra M. Goldman meetings when her professor, Sandy much more politically engaged, and we Linda C. Hults Roger Shimomura Campbell, took student papers with Susan L. Huntington Jeffrey Chipps Smith Phyllis Pray Bober, former CAA President (1988-90j and CAA member since 1941 CONTINUED ON PAGE 2 Michi Itami Alan Wallach him to a CAA meeting: "I got back this Phyllis P. Bober on CAA must do for our junior membership, Museum of Art; Peter Walsh, Davis Art will take place 2:30-5:00 P.M.:in room (i0on 'ten 'ts CONTINUED FROM PAGE 1 especially to help minorities and Annual Museum, Wellesley College. For many 716B of the Convention Centre. Contact women, although it wasn't limited. That institutions and individuals involved in Katie Hollander with questions or were getting more political questions to was the idea behind the support Volume 23, Numher J the study of art, advances in image suggestions: [email protected]. For deal with, such as what to do about our fellowships that I'm happy to say are teclmology-including digital imaging, information about the luncheon (limited Jail/wI)' 199X Conference investments in South Africa. We ultim­ still continuing. campus intranets, and the Web-have to 20-25 participants), contact Lori ately divested." U All the things that were said about only led to confusion and anxiety. Such Gross, director of the Museum Loan Bober on eAA 1 Phyllis P. Other international issues arose CAA being led by an East Coast group Update vexing issues as electronic rights, data Network: 617/252-1888; [email protected]. during Bober's presidency. "I received of good old guys were fairly true when I standards, fair use, and the digitization 3 Annual Conference Update hate mail from Cypress authorities, first first joined it in the 1940s. It was a men's of slide libraries and other types of Post-Convocation Reception the Ambassador of Cypress, then the club. It was also the club of the Ivy visual collections have blunted the The Art Gallery of Ontario will be Notice of Allnual Business Meeting President of the Turkish Republic of League .... I prefer the diversity now, benefits teclmology was supposed to hosting a post-convocation reception CAA in the News Northern Cypress," she recalled with a the fact that specialized interests have 4 herald. In 1997 AMICO, a nonprofit for conference attendees on Friday, chuckle, "because I had written a letter now become affiliated societies that have Session Updates consortium of twenty-three leading February 27, 7:30-9:00 P.M. Shuttle of protest on behalf of CAA and our joined with us so that we're sort of a UNational Support Structures: How 5 1998-2002 New Board Slate North American art museums, began service will be available from the members to the European Parliament flagship for things that go on all over the Best to Administer Public Funding for work on a solution that promises new Convention Centre's South Building. Art Jounwl Editorial Board about the kind of scavenging that was country .... It was an interesting time, I the Arts and Humanities," Friday, Member Sought pathways around the technological 6 February 27, 12:30-2:00 P.M. Panelists going on in Christian churches, for must say, to be there when CAA was impasse. The panel will show how AMICO will address themes relevant to the Audio Taping mosaics and so forth that were just then changing so profOlUldly. We were the is tackling the complexities of standards, future of national funding for the arts Selected sessions will be available for 7 Legal Update surfacing all over in art dealers' hands. first learned society to think about long­ hardware, intellectual rights, electronic and humanities in the United States and sale on audio tape at the conference and The great Indianapolis Mosaic, remem­ range planning and go out after raising distribution systems, and confus:ing Canada. Audience members will gain by mail after the conference. Durillg the ber that case? There was also the case of an endowment.
Recommended publications
  • Porcellian Club Centennial, 1791-1891
    nia LIBRARY UNIVERSITY W CALIFORNIA SAN DIEGO NEW CLUB HOUSE PORCELLIAN CLUB CENTENNIAL 17911891 CAMBRIDGE printed at ttjr itttirnsiac press 1891 PREFATORY THE new building which, at the meeting held in Febru- ary, 1890, it was decided to erect has been completed, and is now occupied by the Club. During the period of con- struction, temporary quarters were secured at 414 Harvard Street. The new building stands upon the site of the old building which the Club had occupied since the year 1833. In order to celebrate in an appropriate manner the comple- tion of the work and the Centennial Anniversary of the Founding of the Porcellian Club, a committee, consisting of the Building Committee and the officers of the Club, was chosen. February 21, 1891, was selected as the date, and it was decided to have the Annual Meeting and certain Literary Exercises commemorative of the occasion precede the Dinner. The Committee has prepared this volume con- taining the Literary Exercises, a brief account of the Din- ner, and a catalogue of the members of the Club to date. A full account of the Annual Meeting and the Dinner may be found in the Club records. The thanks of the Committee and of the Club are due to Brothers Honorary Sargent, Isham, and Chapman for their contribution towards the success of the Exercises Literary ; also to Brother Honorary Hazeltine for his interest in pre- PREFATORY paring the plates for the memorial programme; also to Brother Honorary Painter for revising the Club Catalogue. GEO. B. SHATTUCK, '63, F. R. APPLETON, '75, R.
    [Show full text]
  • Names and Addresses of Living Bachelors and Masters of Arts, And
    id 3/3? A3 ^^m •% HARVARD UNIVERSITY. A LIST OF THE NAMES AND ADDRESSES OF LIVING ALUMNI HAKVAKD COLLEGE. 1890, Prepared by the Secretary of the University from material furnished by the class secretaries, the Editor of the Quinquennial Catalogue, the Librarian of the Law School, and numerous individual graduates. (SKCOND YEAR.) Cambridge, Mass., March 15. 1890. V& ALUMNI OF HARVARD COLLEGE. \f *** Where no StateStat is named, the residence is in Mass. Class Secretaries are indicated by a 1817. Hon. George Bancroft, Washington, D. C. ISIS. Rev. F. A. Farley, 130 Pacific, Brooklyn, N. Y. 1819. George Salmon Bourne. Thomas L. Caldwell. George Henry Snelling, 42 Court, Boston. 18SO, Rev. William H. Furness, 1426 Pine, Philadelphia, Pa. 1831. Hon. Edward G. Loring, 1512 K, Washington, D. C. Rev. William Withington, 1331 11th, Washington, D. C. 18SS. Samuel Ward Chandler, 1511 Girard Ave., Philadelphia, Pa. 1823. George Peabody, Salem. William G. Prince, Dedham. 18S4. Rev. Artemas Bowers Muzzey, Cambridge. George Wheatland, Salem. 18S5. Francis O. Dorr, 21 Watkyn's Block, Troy, N. Y. Rev. F. H. Hedge, North Ave., Cambridge. 18S6. Julian Abbott, 87 Central, Lowell. Dr. Henry Dyer, 37 Fifth Ave., New York, N. Y. Rev. A. P. Peabody, Cambridge. Dr. W. L. Russell, Barre. 18S7. lyEpes S. Dixwell, 58 Garden, Cambridge. William P. Perkins, Wa}dand. George H. Whitman, Billerica. Rev. Horatio Wood, 124 Liberty, Lowell. 1828] 1838. Rev. Charles Babbidge, Pepperell. Arthur H. H. Bernard. Fredericksburg, Va. §3PDr. Henry Ingersoll Bowditch, 113 Boylston, Boston. Rev. Joseph W. Cross, West Boylston. Patrick Grant, 3D Court, Boston. Oliver Prescott, New Bedford.
    [Show full text]
  • Crafting New Citizens: Art and Handicraft in New York and Boston Settlement Houses, 1900-1945 by Diana Jocelyn Greenwold A
    Crafting New Citizens: Art and Handicraft in New York and Boston Settlement Houses, 1900-1945 By Diana Jocelyn Greenwold A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art In the Graduate Division Of the University of California, Berkeley Committee in Charge: Professor Margaretta Lovell, Chair Professor Lauren Kroiz Professor David Henkin Professor Edward S. Cooke Summer, 2016 Abstract Crafting New Citizens: Art and Handicraft in New York and Boston Settlement Houses, 1900-1945 by Diana Jocelyn Greenwold Doctor of Philosophy in History of Art University of California, Berkeley Professor Margaretta Lovell, Chair This dissertation explores the creation and exhibition of immigrant-made art in American settlement houses in New York and Boston from 1900 to 1945. The lace, embroidery, and ceramics Southern and Eastern European immigrant artists created provide an important avenue to illustrate how European traditions survived, changed, or disappeared, and how Jewish and Italian communities in New York and Boston adapted to new circumstances while maintaining distinct identities. This dissertation proposes that art can help reveal what is gained and what is lost when communities uproot and settle far from their homelands: an issue as relevant for turn-of-the-century immigrants as it is for emigrant groups arriving in the United States and countries across the world today. The two object sets that are examined closely—ceramics from Boston’s Paul Revere Pottery and textiles from New York’s Scuola d’Industrie Italiane—reveal the working and living patterns of first and second-generation Jewish and Italian women as they interacted with middle and upper class settlement house reformers, collectors, and museum professionals to negotiate their place in American social and political life.
    [Show full text]
  • Leonardo Reviews
    Leonardo reviews Leonardo reviews Shannon, Jim Fisk, Melvin Kelly, Wil- Editor-in-Chief: Michael Punt liam Baker, John Pierce, William Shock- Managing Editor: Bryony Dalefield ley). Overall, The Idea Factory reads more like a narrative documenting Associate Editors: Dene Grigar, the rise and fall of Bell Labs, which I Martha Blassnigg, Hannah Drayson assume was the author’s intention, than A full selection of reviews is pub- a study of how the work at Bell Labs lished monthly on the LR web site: was a part of a larger revolution in the <leonardoreviews.mit.edu>. 20th century. Because Gertner focused on the Labs’ story through looking at “heroes,” rather than adopting a more systemic approach, the Labs’ impact on Books the culture as a whole is underempha- sized. He mentions that at its peak, in the 1960s, Bell Labs employed nearly he dea acTory eLL T i F : B 15,000 people, including some 1,200 LaBs and The GreaT aGe Ph.D.s, but fails to fully capture the oF american innovaTion scope of the projects that these people by Jon Gertner. Penguin Press, New conducted at this intellectual utopia. York, NY, U.S.A. 2012. 432 pp. Trade. Thus, the end result of his study is less ISBN-13: 978-1-5942-0328-2. a definitive history than a narrowly conceived perspective. Given Gertner’s Reviewed by Amy Ione, Director, the extensive use of interviews and primary Diatrope Institute, Berkeley, CA 94704, documents, it seems extraordinary U.S.A. E-mail: <[email protected]>. projects to foreseeably money-making that he missed so much of what I have innovations.
    [Show full text]
  • The Boston School Tradition
    The Boston School Tradition TRUTH , B EAUTY AND TIMELESS CRAFT Cover: Joseph Rodefer DeCamp (1858-1923), (detail) The Kreutzer Sonata (The Violinist II) Oil on canvas, 48 1/4 x 40 1/4 inches, signed and dated lower left: Joseph DeCamp 1912, (pg. 19) The Boston School Tradition TRUTH , B EAUTY AND TIMELESS CRAFT June 6 - July 18, 2015 V OSE Fine American Art for Six Generations EST 1841 G ALLERIES LLC Boston Art Schools, Clubs and Studios E.A. Downs, Boston, 1899 , George H. Walker & Co. Lithography, Boston Courtesy of The Norman B. Leventhal Map Center, Boston Public Library Edited by Marcia L. Vose Designed by Stephanie M. Madden and Elizabeth Vose Frey Written by Courtney S. Kopplin, Stephanie M. Madden, and Catharine L. Holmes Photography by Tyler M. Prince Original Museum of Fine Arts location in Printing by Puritan Capital, Hollis, NH Copley Square, circa 1895 © 2015 Copyright Vose Galleries, LLC. All rights reserved. Vose Galleries Archives Foreword by Marcia L. Vose, Vice President Stuffed Sharks or Truth and Beauty? One of our artists, Joel Babb, recently gave me a book that As the definition of “art” becomes increasingly diverse, I I am in the midst of reading, Don Thompson’s The $12 hope future historians will distinguish today’s realist painters Million Stuffed Shark: The Curious Economics of Contem - as upholders of an art form that has been passed down for porary Art . I have had a glimpse into the machinations of centuries, with each succeeding generation applying tradi - this dizzying world, which originated around 1970, and tional methods and timeless craft in new and inventive ways.
    [Show full text]
  • No. 17 Winter 2011
    No. 17 FRIENDS Winter 2011 of the Non-Catholic Cemetery in Rome N E W S L E T T E R Sculptors in the Cemetery: their legacy cemeteries, most of them in the United States. The one at Stanford University in California is commonly, but incorrectly, said to have continues… been erected in memory of the victims of the 1906 San Francisco earthquake. In 1900 Jane Lathrop Stanford had chosen the design from Story’s Angel of Grief in reproduction a photo for her brother’s memorial. She had an exact replica made by the Bernieri brothers in Tuscany from a single block of Carrara marble. The sculpture of The Angel of Grief Weeping over the Dismantled Weighing some seven tons, it was transported with some difficulty to Altar of Life is the most popular one for visitors. The inscription on Stanford where it was installed under a domed canopy resting on six its base records that it was William Wetmore Story’s last work, one columns. The canopy collapsed during the 1906 earthquake, damaging that in his profound grief he designed to surmount the tomb of his the sculpture which was then restored but without the canopy. (See wife Emelyn (1820-1894). He himself was laid to rest there 18 Rita Jamison, The many sorrows of an angel. Sandstone and Tile, months later. As for the angel, art historians debate the Florentine Summer 1994, available online). quattrocento influences on Story’s neoclassical style. But, whatever its inspiration, from the moment that Henry James first saw it in Another sculptor who has faced the difficulty of replicating the Angel Story’s studio the sculpture has elicited widespread admiration.
    [Show full text]
  • UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Crafting New Citizens: Art and Handicraft in New York and Boston Settlement Houses, 1900- 1945 Permalink https://escholarship.org/uc/item/0889b757 Author Greenwold, Diana Jocelyn Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Crafting New Citizens: Art and Handicraft in New York and Boston Settlement Houses, 1900-1945 By Diana Jocelyn Greenwold A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art In the Graduate Division Of the University of California, Berkeley Committee in Charge: Professor Margaretta Lovell, Chair Professor Lauren Kroiz Professor David Henkin Professor Edward S. Cooke Summer, 2016 Abstract Crafting New Citizens: Art and Handicraft in New York and Boston Settlement Houses, 1900-1945 by Diana Jocelyn Greenwold Doctor of Philosophy in History of Art University of California, Berkeley Professor Margaretta Lovell, Chair This dissertation explores the creation and exhibition of immigrant-made art in American settlement houses in New York and Boston from 1900 to 1945. The lace, embroidery, and ceramics Southern and Eastern European immigrant artists created provide an important avenue to illustrate how European traditions survived, changed, or disappeared, and how Jewish and Italian communities in New York and Boston adapted to new circumstances while maintaining distinct identities. This dissertation proposes that art can help reveal what is gained and what is lost when communities uproot and settle far from their homelands: an issue as relevant for turn-of-the-century immigrants as it is for emigrant groups arriving in the United States and countries across the world today.
    [Show full text]
  • Central Administrative File, Records, 1908-1974
    Central Administrative File, Records, 1908-1974 Finding aid prepared by Smithsonian Institution Archives Smithsonian Institution Archives Washington, D.C. Contact us at [email protected] Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Historical Note.................................................................................................................. 1 Descriptive Entry.............................................................................................................. 1 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 3 Series 1: SMITHSONIAN ART COMMISSION AND NCFA COMMISSION............. 3 Series 2: NCFA REPORTS...................................................................................... 7 Series 3: NCFA STAFF............................................................................................ 9 Series 4: NCFA SUBJECT FILES.......................................................................... 11 Series 5: EXHIBITION FILE................................................................................... 19 Series 6: NCFA HISTORY AND RELATED MATERIAL........................................
    [Show full text]
  • “The Socialite Archaeologist” Thomas Whittemore (1871-1950) and the Roles of Patronage, Politics, and Personal Connections in Cultural Heritage Preservation
    1 “The Socialite Archaeologist” Thomas Whittemore (1871-1950) and the roles of patronage, politics, and personal connections in cultural heritage preservation An Honors thesis submitted to the History Department of Rutgers University, written under the supervision of Professor Stephen Reinert Rutgers University, March 2010 New Brunswick, NJ 2 Table of Contents Acknowledgments 3 Introduction 6 Chapter One: The First Adventures in Russia 12 Chapter Two: Prelude to Preserving Byzantium - 33 Preserving Russian Minds and Bells Chapter Three: Sailing to Byzantium 52 Conclusion: 69 Bibliography 74 Thomas Whittemore and a friend, probably Charles C. Crane, at a Russian monastery on Mt. Athos, courtesy of Dumbarton Oaks Image Collection and Fieldwork Archive (DO:ICFA) 3 ACKNOWLEDGMENTS My thanks go to Rutgers University first; this paper is the culmination of an interesting and stimulating time on the banks. This institution has provided me with an excellent education and great degree of freedom in investigating different career paths. At first I fancied myself doctor, and Rutgers provided me with a stint in a biological lab right after my freshman year. Despite the patience of my mentor, Dr. Dipak Sarkar, I found that my talents could be better used elsewhere. I returned to my original passion of Byzantine history. The University promptly sent me abroad to Istanbul for a year. I saw the walls of Constantinople and the Hagia Sophia with a joy that comes from finally seeing the place one has read about since childhood. Rutgers has honored the tradition of learning by doing. Specifically, I must offer my deepest thanks to my advisor, Dr.
    [Show full text]
  • The Protestant Cemetery Catalogue
    The Protestant Cemetery Catalogue edited by Sebastian Rahtz January 2000 Contents 1 Country AA: Algeria. 3 2 Country AG: Argentina. 4 3 Country AL: Albania. 5 4 Country AM: America. 6 5 Country AS: Austria. 69 6 Country AU: Australia. 71 7 Country BA: Barbados. 74 8 Country BE: Belgium. 75 9 Country BR: Brasil. 76 10 Country BU: Bulgaria. 77 11 Country CA: Canada. 79 12 Country CE: Ceylon. 84 13 Country CH: China. 85 14 Country CU: Cuba. 86 15 Country CZ: Czechoslovakia. 87 16 Country DA: Denmark. 88 17 Country DE: Germany. 100 18 Country DU: Holland. 156 19 Country EG: Egypt. 160 20 Country EL: English Language. 161 21 Country EN: English. 162 22 Country ES: Estonia. 248 23 Country FI: Finland. 249 24 Country FR: France. 250 25 Country GB: Britain. 261 26 Country GE: German Language. 362 27 Country GI: Gibraltar. 403 28 Country GR: Greece. 404 29 Country HO: Holland. 408 1 () 30 Country HU: Hungary. 409 31 Country IN: India. 411 32 Country IR: Ireland. 413 33 Country IT: Italy. 428 34 Country JA: Japan. 491 35 Country JV: Java. 493 36 Country KE: Kenya. 494 37 Country LA: Latvia. 495 38 Country LE: Lebanon. 497 39 Country LI: Lithuania. 498 40 Country LL: Latin Language. 499 41 Country MA: Malta. 503 42 Country NE: Netherlands. 504 43 Country NO: Norway. 505 44 Country NZ: New Zealand. 509 45 Country PO: Poland. 510 46 Country PR: Prussia. 512 47 Country RA: Rumania. 514 48 Country RU: Russia. 515 49 Country SA: South Africa.
    [Show full text]
  • The Copyist Emma Conant Church in Paris and Rome
    Jacqueline Marie Musacchio Infesting the Galleries of Europe: The Copyist Emma Conant Church in Paris and Rome Nineteenth-Century Art Worldwide 10, no. 2 (Autumn 2011) Citation: Jacqueline Marie Musacchio, “Infesting the Galleries of Europe: The Copyist Emma Conant Church in Paris and Rome,” Nineteenth-Century Art Worldwide 10, no. 2 (Autumn 2011), http://www.19thc-artworldwide.org/autumn11/infesting-the-galleries-of-europe-the- copyist-emma-conant-church-in-paris-and-rome. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Musacchio: Infesting the Galleries of Europe Nineteenth-Century Art Worldwide 10, no. 2 (Autumn 2011) Infesting the Galleries of Europe: The Copyist Emma Conant Church in Paris and Rome by Jacqueline Marie Musacchio Emma Conant Church (1831–93) was an American artist who had a successful career painting both original works of art and Old Master copies in the United States and Europe. Regular and affordable transatlantic ships and expanding railroad lines brought significant numbers of Americans to and around Europe for travel and study by the mid-nineteenth century.[1] Many of the travelers wanted souvenirs of their trips, and before originals and photographs were widely available and affordable, those souvenirs frequently consisted of full-size or scaled-down casts and Old Master copies.[2] Yet copies, and the copyists who painted them, occupied a rapidly changing cultural position. Many of the most popular and recognizable paintings represented Catholic subjects, and this created an obvious tension for Protestant Americans.[3] Copyists themselves, many of whom were Americans who went to Europe to study, were described as "mere operatives who infest the galleries of Europe," crowding out art lovers and hiding celebrated paintings behind their easels.[4] But the acquisition of painted copies cultivated an appreciation of the past and the cachet of elite culture in their purchasers.
    [Show full text]
  • Temple of Justice
    I .-____ . I <_, bi TEMPLE OF JUSTIC E The Appellate Division Courthouse Plate 2. The Appellate Division Courthouse, photograph by Irving Underhill, 14” x 17” glass negative, 1900, Courtesy Museum of the City of New York Plate 1, Overleaf. Seal of the Supreme Court of the State of Nwv York, Appellatr Division, First Department, 1896 TEMPLE OF JUSTIC E The Appellate Division Courthouse .I‘he Association of the Bar of thr (:itv of New Yor k June 24 - July 22, 1977 The curators would like to thank those who have assisted in the preparation of the exhibition and catalogue. We are especially indebted to those Justices of the Supreme Court, Appellate Division, First Department, who have helped with our research. We are grateful to the following individuals: Hyman W. Gamso, former Clerk of the Appellate Division, whose initial interest and encouragement made the preliminary inquiry possible; Joseph J. Lucchi, present Clerk of the Appellate Division and George Weinschenk of the Appellate Division Courthouse staff whose friendly cooperation was essential to the project; Marita O ’Hare, Administrative Director of The Architectural League of New York, who first found merit in the idea for the exhibition and helped to make it a reality; Carl L. Zanger, Chairman, and the members of the Committee on Art of The Association of the Bar of the City of New York, who encouraged us to mount the exhibition ; Henry Hope Reed, Jr., whose Courthouse History and Guide was the foundation for our work; Allyn Cox, whose knowledge of his father ’s work has been indispensible; Paul Dewitt, Executive Secretary of The Association of the Bar of the City of New York whose thought- ful comments helped shape the exhibition : Gerald MacDonagh and his staff at the House of the Association, who have helped with the planning and installation; and Elaine Evans Dee of the Cooper-Hewitt Museum and Paul Ivory of Chesterwood who were able to prepare the works for exhibition to meet a very demanding schedule.
    [Show full text]