DOCSLIB.ORG

Exhibitions Photographs Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exhibitions Photographs Collection Exhibitions Photographs Collection This finding aid was produced using the Archivists' Toolkit November 24, 2015 Describing Archives: A Content Standard Generously supported with funding from the National Historical Publications and Records Commission (NHPRC) Archives and Manuscripts Collections, The Baltimore Museum of Art 10 Art Museum Drive Baltimore, MD, 21032 (443) 573-1778 [email protected] Exhibitions Photographs Collection Table of Contents Summary Information ................................................................................................................................. 3 Scope and Contents....................................................................................................................................... 4 Arrangement...................................................................................................................................................4 Administrative Information .........................................................................................................................5 Controlled Access Headings..........................................................................................................................5 Collection Inventory...................................................................................................................................... 7 Exhibitions............................................................................................................................................... 7 Museum shop catalog.......................................................................................................................... 128 Sales and Rental Gallery..................................................................................................................... 129 Antiques catalog...................................................................................................................................129 - Page 2 - Exhibitions Photographs Collection Summary Information Repository Archives and Manuscripts Collections, The Baltimore Museum of Art Title Exhibitions Photographs Collection Date [inclusive] 1923 - 2008 Extent 26.7 Linear feet General Physical (64 boxes, 6 oversize items) Description Language English Abstract The Exhibitions Photographs Collection, 26.7 linear feet, contains photographs of exhibitions at the Baltimore Museum of Art from 1923 to 2008. Content mainly consists of gallery installation views, individual objects images, exhibition openings, and visitors to the exhibition. - Page 3 - Exhibitions Photographs Collection Scope and Contents The Exhibitions Photographs Collection contains photographs of exhibitions at the Baltimore Museum of Art from 1923 to 2008. As not all BMA exhibitions were originally photographed, not all exhibitions are included in this collection, and the volume of materials ranges widely between exhibitions. The collection primarily includes exhibitions from the Museum’s original temporary home at 101 W. Monument Street and the BMA Downtown gallery as well as the permanent Wyman Park location. In some cases, photographs of exhibitions at other institutions are included, such as traveling exhibitions that also visited the BMA. Some named exhibitions that took place in the Museum shop, the Member’s Room or the Sales and Rental Gallery are included alongside regularly held exhibitions. At the end of the Exhibitions series are partially and unidentified images of BMA exhibitions. Content mainly consists of gallery installation views, individual objects images, exhibition openings, and visitors to the exhibition. In some cases, photographs of the artist, BMA staff or special guests are also included. Maryland and Regional Artists exhibitions photographs often feature the exhibition jurors as well. Images from the Museum Shop catalog, the Sales and Rental Gallery, and 1989 Antiques catalog are also included in this collection. The Museum Shop catalog includes images of people and merchandise featured in the publication. The Sales and Rental Gallery images highlight individual artworks and exhibitions composed by the Women’s Committee. The artworks displayed in the Sales and Rental Gallery were available to the public for purchase or loan. The 1989 Antiques catalog images include art from the BMA collection featured in different articles within the publication. Formats include black and white and color photographic prints, black and white and color negatives (acetate and polyester), color slides, and color transparencies. For some more recent exhibitions, the Collection includes digital images, and their associated storage formats. Arrangement Folders are arranged chronologically by year, and alphabetically by exhibition title within each year. Partially identified and unidentified exhibition images can be found at the end of the collection, followed by Sales and Rental Gallery and Museum Shop images. - Page 4 - Exhibitions Photographs Collection Administrative Information Publication Information Archives and Manuscripts Collections, The Baltimore Museum of Art Restrictions on Use The Exhibitions Photographs Collection is the physical property of the Archives and Manuscripts Collections, The Baltimore Museum of Art. Copyright, except in cases where material has passed into the public domain, belongs to the authors or their legal heirs and assigns. For further information, consult a Library staff member. Provenance Materials in this collection were transferred to Archives from the Image Services and Rights Department. Additional materials were removed from records in the Archives during earlier NHPRC processing projects. Processing Information Processed by Alexanne Brown and Rebecca Pad in 2015. This collection was originally a series within the BMA Photograph Collection. The original Photograph Collection was processed from 2004-2014 by Emily Rafferty. Controlled Access Headings Subject(s) • Art museum visitors • Art museums -- Exhibitions • Art museums -- United States • Art, African -- Exhibitions • Art, American -- Exhibitions • Art, European -- Exhibitions • Art, Modern -- 20th Century -- Exhibitions • Art, Modern -- 21st century -- Exhibitions - Page 5 - Exhibitions Photographs Collection • Baltimore Museum of Art • Decorative arts -- Exhibitions • Quilts -- United States -- Exhibitions - Page 6 - Exhibitions Photographs Collection Exhibitions Collection Inventory Exhibitions 1923 Box 1 Inaugural Loan Collection. 1923 Feb-Apr. photographic prints, negatives. 1 Sculpture by American Artists. 1923. photographic prints. 1 Colonial kitchen installed at BMA by Mrs. Miles White, Jr. 1923 Dec. photographic prints. 1 Paintings and Furnishings by Lester D. Boronda. 1923. photographic print. 1924 Box 1 Garden Arrangement with Tables, Hand Decorated China, Glass, and Linen. 1924 Jun- Sep. photographic prints. 1925 Box - Page 7 - Exhibitions Photographs Collection 1929 1 Modern French Art. 1925 Jan-Feb. photographic print. 1 Memorial Exhibition of Sculpture by Edward Berge. 1925 Feb-Mar. photographic prints. 1 Eighteenth Century American Furniture, from Halsted Collection. 1925. photographic print. 1 Paintings by Modern Spanish Artists. 1925 Oct-Nov. photographic print. 1929 Box 1 Paintings from the Collections of Jacob Epstein and Theodore Marburg. 1929 Apr. photographic print. 1930 Box 1 Carnegie Institute International. 1930 Jan-Feb. photographic print. 1 Henri Mattisse, Thannhauser Gallery exhibition (Berlin). 1930. photographic prints. 1 Whitridge Collection of Ceramics. 1930 Jun-Dec. photographic print. 1931 Box - Page 8 - Exhibitions Photographs Collection 1932 1 Christmas Wreaths. circa 1930-1931. photographic prints 1 First Baltimore Pan American Exhibition of Contemporary Paintings. 1931 Jan- Mar. photographic prints. 1932 Box 1 Abbes Collection of Chinese Ceramics and Orientalia. 1932 Feb. photographic prints. 1 Modern French Paintings from the Collection of Mrs. Saidie A. May. 1932 May. photographic prints. 1 De Weerth Collection of Seventeenth Century Dutch Paintings. 1932 Jun- Sep. photographic prints. 1933 Box 1 Egyptian and Classical Antiquities Lent by Dr. David M. Robinson and Johns Hopkins University. 1932 Nov-1933 May. photographic prints. 1 Early American Costumes. 1933 Jan-Mar. photographic prints. 1 First Annual Exhibition of Maryland Painters, Sculptors, and Printmakers. 1933 Apr- May. photographic print. - Page 9 - Exhibitions Photographs Collection 1934 1934 Box 1 Collection of Mrs. Saidie A. May. 1933 Oct-1934 Apr. photographic prints. 1 Art of the Gothic Period. 1933 Nov-Dec. photographic prints. 1 Cone Collection. 1934. photographic prints. Location of Associated Material Several related photographs are in the Claribel Cone and Etta Cone. 1937 Box 1 Art of Maya. 1937 Nov-Dec. photographic prints. 1938 Box 1 Sixth Annual Exhibition of Maryland Artists. 1938 Mar-Apr. photographic prints. LN4 Photographs from Life and Fortune. 1938 Jul-Aug. negatives. LN4 National Exhibition of Representative Buildings of the Postwar Period. 1938 Oct. negatives. - Page 10 - Exhibitions Photographs Collection 1939 LN4 Life Magazine’s “Eight Houses for Modern Living." 1938 Oct. negatives. LN4 Labor in Art. 1938 Sep. negatives. 1939 Contemporary Negro Art. 1939 Feb. photographic prints, negatives. Box LN4 Graphic materials Box 1 Graphic materials Art of the Medici. 1939 Oct-Nov. photographic prints, negatives. Box LN1 Graphic materials Box 1 Graphic materials Box LN4 Graphic materials American Building: Progress and Digression. 1939 Dec. photographic
Load more

Recommended publications
  • September-October 1990 CAA News
    <:> '";;!i IlJ ,Jd'" 0 ...u 0 ~ IlJ'" "S .l!i Po, IlJ Cfl N W 5 tn... IlJ 1 CAA to z ~ IlJ Tour 5 .E Baltimore ~ J:: 0 .....''=... u <:> ..r:"''" s a complement to the 1991 ~ IlJ Wqshington conference sessions OJ) IlJ Aand special events, eAA is .-< pleased to offer a day-long tour of the -<:> museums and culhlral institutions of U Baltimore, Maryland. This postconfer- IlJ >:S ence tour will include visits to the National Aquarium ..... Baltimore Museum of Art; the Walters <:> Art Gallery; historic properties, with ... extensive art collections, on the campus ~ IlJ ofjohns Hopkins University; and the '" internationally acclaimed National -~ Aquarium, designed by Cambridge Z Seven Associates. The tour is scheduled IlJ for Sunday, February 24. The cost of the tour is $50 per person, which includes tl lunch, round-trip transportation, and all fees. Buses will depart from the Sheraton Hotel in Washington at 8:15 A.M. and return by 7:00 PM. The first stop will be at the National Aquarium, one of the largest and most sophisticated aquari­ ums in the world. Nicholas Brown, its director, will welcome the group. The aquarium's collection includes over 5,000 aquatic animals. While it is perhaps an unusual stop for CAA members, Paul Claudel, the early 20th- century poet, recognized the relevance Walters Art Gallery of aquariums to the art world. He structure is in its original form, includ­ dent on the continuing support and From the Executive Director Contents explained, IIAuqariums are the link ing the horse stalls and wood panels. involvement of CAA's increasing mem­ Annual between art and science." After lunch, the group will visit Ev­ bership.
    [Show full text]
  • Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
    Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis.
    [Show full text]
  • Collaborative “Mail Art” Puts the Post in Postmodernism Letters, Envelopes and Enclosures Take Center Stage in an Intimate New Art Show
    Collaborative “Mail Art” Puts the Post in Postmodernism Letters, envelopes and enclosures take center stage in an intimate new art show Envelope decoration was always a staple of the mail art experience. This colorful letter was sent from performance artist Anna Banana (Anna Lee Long) to collagist John Evans in 2010. (John Evans papers, Archives of American Art). By Ryan P. Smith JULY 30, 2018 In the era of instant messaging and FaceTime on the go, it can be easy to forget the pleasure of shuffling out to the mailbox in hope of discovering a thoughtful note from an old friend. Removing a letter from its envelope is a rich tactile experience, and marginalia, cross-outs, distinct penmanship and quirky enclosures combine to give epistolary exchanges a uniquely personal flavor. In the experimental artistic simmer of the late 1950s, the everyday creativity of letter-writing gave rise to a veritable movement: that of “mail art,” an antiestablishment, anything-goes mode of serial imaginative expression whose inclusive nature has kept it alive even into the Digital Age. Now a new show, “Pushing the Envelope,” organized by the Smithsonian's Achives of 2018 American Art and opening August 10 at the Lawrence A. Fleischman Gallery in Washington, D.C., promises to shine a spotlight on the medium. The enigmatic Neo-Dada collagist Ray Johnson, a Detroit native who struggled with fame even as he appropriated images of movie stars for his art, pioneered in the field of mail art, weaving together an immense spider web of collaborators that would survive him following his sudden suicide in 1995.
    [Show full text]
  • ANNUAL REPORT 1998-1999 JUSTIN GUARIGLIA Children Along the Streets of Jakarta, Indonesia, Welcome President and Mrs
    M E S S A G E F R O M J I M M Y C A R T E R ANNUAL REPORT 1998-1999 JUSTIN GUARIGLIA Children along the streets of Jakarta, Indonesia, welcome President and Mrs. Carter. WAGING PEACE ★ FIGHTING DISEASE ★ BUILDING HOPE The Carter Center One Copenhill Atlanta, GA 30307 (404) 420-5100 Fax (404) 420-5145 www.cartercenter.org THE CARTER CENTER A B O U T T H E C A R T E R C E N T E R C A R T E R C E N T E R B O A R D O F T R U S T E E S T H E C A R T E R C E N T E R M I S S I O N S T A T E M E N T Located in Atlanta, The Carter Center is governed by its board of trustees. Chaired by President Carter, with Mrs. Carter as vice chair, the board The Carter Center oversees the Center’s assets and property, and promotes its objectives and goals. Members include: The Carter Center, in partnership with Emory University, is guided by a fundamental houses offices for Jimmy and Rosalynn commitment to human rights and the alleviation of human suffering; it seeks to prevent and Jimmy Carter Robert G. Edge Kent C. “Oz” Nelson Carter and most of Chair Partner Retired Chair and CEO resolve conflicts, enhance freedom and democracy, and improve health. the Center’s program Alston & Bird United Parcel Service of America staff, who promote Rosalynn Carter peace and advance Vice Chair Jane Fonda Charles B.
    [Show full text]
  • Gyã¶Rgy Kepes Papers
    http://oac.cdlib.org/findaid/ark:/13030/c80r9v19 No online items Guide to the György Kepes papers M1796 Collection processed by John R. Blakinger, finding aid by Franz Kunst Department of Special Collections and University Archives 2016 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc Guide to the György Kepes M1796 1 papers M1796 Language of Material: English Contributing Institution: Department of Special Collections and University Archives Title: György Kepes papers creator: Kepes, Gyorgy Identifier/Call Number: M1796 Physical Description: 113 Linear Feet (108 boxes, 68 flat boxes, 8 cartons, 4 card boxes, 3 half-boxes, 2 map-folders, 1 tube) Date (inclusive): 1918-2010 Date (bulk): 1960-1990 Abstract: The personal papers of artist, designer, and visual theorist György Kepes. Language of Material: While most of the collection is in English, there is also a significant amount of Hungarian text, as well as printed material in German, Italian, Japanese, and other languages. Special Collections and University Archives materials are stored offsite and must be paged 36 hours in advance. Biographical / Historical Artist, designer, and visual theorist György Kepes was born in 1906 in Selyp, Hungary. Originally associated with Germany’s Bauhaus as a colleague of László Moholy-Nagy, he emigrated to the United States in 1937 to teach Light and Color at Moholy's New Bauhaus (soon to be called the Institute of Design) in Chicago. In 1944, he produced Language of Vision, a landmark book about design theory, followed by the publication of six Kepes-edited anthologies in a series called Vision + Value as well as several other books.
    [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]
  • Frank Bowling Cv
    FRANK BOWLING CV Born 1934, Bartica, Essequibo, British Guiana Lives and works in London, UK EDUCATION 1959-1962 Royal College of Art, London, UK 1960 (Autumn term) Slade School of Fine Art, London, UK 1958-1959 (1 term) City and Guilds, London, UK 1957 (1-2 terms) Regent Street Polytechnic, Chelsea School of Art, London, UK SELECTED SOLO EXHIBITIONS 1962 Image in Revolt, Grabowski Gallery, London, UK 1963 Frank Bowling, Grabowski Gallery, London, UK 1966 Frank Bowling, Terry Dintenfass Gallery, New York, New York, USA 1971 Frank Bowling, Whitney Museum of American Art, New York, New York, USA 1973 Frank Bowling Paintings, Noah Goldowsky Gallery, New York, New York, USA 1973-1974 Frank Bowling, Center for Inter-American Relations, New York, New York, USA 1974 Frank Bowling Paintings, Noah Goldowsky Gallery, New York, New York, USA 1975 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA Frank Bowling, Recent Paintings, William Darby, London, UK 1976 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA Frank Bowling, Recent Paintings, Watson/de Nagy and Co, Houston, Texas, USA 1977 Frank Bowling: Selected Paintings 1967-77, Acme Gallery, London, UK Frank Bowling, Recent Paintings, William Darby, London, UK 1979 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA 1980 Frank Bowling, New Paintings, Tibor de Nagy Gallery, New York, New York, USA 1981 Frank Bowling Shilderijn, Vecu, Antwerp, Belgium 1982 Frank Bowling: Current Paintings, Tibor de Nagy Gallery,
    [Show full text]
  • Cartographic Perspectives Information Society 1
    Number 53, Winterjournal 2006 of the Northcartographic American Cartographic perspectives Information Society 1 cartographic perspectives Number 53, Winter 2006 in this issue Letter from the Editor INTRODUCTION Art and Mapping: An Introduction 4 Denis Cosgrove Dear Members of NACIS, FEATURED ARTICLES Welcome to CP53, the first issue of Map Art 5 Cartographic Perspectives in 2006. I Denis Wood plan to be brief with my column as there is plenty to read on the fol- Interpreting Map Art with a Perspective Learned from 15 lowing pages. This is an important J.M. Blaut issue on Art and Cartography that Dalia Varanka was spearheaded about a year ago by Denis Wood and John Krygier. Art-Machines, Body-Ovens and Map-Recipes: Entries for a 24 It’s importance lies in the fact that Psychogeographic Dictionary nothing like this has ever been kanarinka published in an academic journal. Ever. To punctuate it’s importance, Jake Barton’s Performance Maps: An Essay 41 let me share a view of one of the John Krygier reviewers of this volume: CARTOGRAPHIC TECHNIQUES …publish these articles. Nothing Cartographic Design on Maine’s Appalachian Trail 51 more, nothing less. Publish them. Michael Hermann and Eugene Carpentier III They are exciting. They are interest- ing: they stimulate thought! …They CARTOGRAPHIC COLLECTIONS are the first essays I’ve read (other Illinois Historical Aerial Photography Digital Archive Keeps 56 than exhibition catalogs) that actu- Growing ally try — and succeed — to come to Arlyn Booth and Tom Huber terms with the intersections of maps and art, that replace the old formula REVIEWS of maps in/as art, art in/as maps by Historical Atlas of Central America 58 Reviewed by Mary L.
    [Show full text]
  • Bringing to Light Theodore Wendel (1857-1932) (Left)Rose Arbor, Circa 1905-1915 Oil on Canvas Mounted to Wood Panel 1 1 30 ⁄2 X 21 ⁄8 Inches Signed Lower Right: Theo
    Bringing to Light Theodore Wendel (1857-1932) (left)Rose Arbor, circa 1905-1915 Oil on canvas mounted to wood panel 1 1 30 ⁄2 x 21 ⁄8 inches Signed lower right: Theo. Wendel (front cover, detail) Moonrise on the Farm, pg. 9 Bringing to Light: Theodore Wendel (1857-1932) October 19th - December 7th, 2019 V OSE G ALLER IES An Unsung Impressionist By Courtney S. Kopplin For generations, Vose Galleries has welcomed the opportunity to shine a light on the work of ‘unsung artists’ throughout art history, and in the sphere of American Impressionism there is perhaps no artist more deserving of this attention than Theodore Wendel. As part of the first wave of Americans to visit Giverny in the summer of 1887, joining John Leslie Breck, Willard Metcalf and Theodore Robinson, Wendel became one of the earliest painters to apply impressionist principles to his plein air interpretations of the French countryside; sources later reported that the master himself, Claude Monet, who limited his interactions with the Americans, thought highly of Wendel’s work. In March of 1889, short- ly after settling in Boston, Wendel organized a three-day viewing of his pastoral landscapes at a studio on Boylston Street, coinciding with Met- calf’s exhibition of foreign paintings held nearby at the St. Botolph Club. Theodore Wendel painting daughter Mary, Both artists garnered positive reviews from the local press, and over the Upper Farm, Ipswich, circa 1915 next several years Wendel maintained an active exhibition schedule, including a two-person show with Theodore Robinson in 1892, featu- provided, combined with his steady roster of exhibitions, allowed Wen- ring both oils and pastels; several solo and group shows with his fellow del to feel more financially secure in his profession and in 1897 he and Boston artists at the St.
    [Show full text]
  • Nattaiiooga, Icnnesses Or Any C.Ourse J F Chatta Nooga Rivilege of Me Hip In
    I Jn 00"' .nattaiiooga, icnnesses or any c.ourse j f Chatta nooga rivilege of me hip in nut .uae a; me university is issumption thai the student r fundamental importance of hi H itim community. 9 if ei m enterprise between student and m f fvff between student and student, of dishonesty violates and weakens nship and lessens the value of the tf 'he student is pursuing. '.£. University of Chattanooga BULLETIN CATALOG ISSUE Record for 1965-66 Announcements 1966-67 The University of Chattanooga bulletin is published quarterly. Vol. 45, No. 2, April 1966, Catalog Issue. Second class postage paid at Chattanooga, Tennessee. THE UNIVERSITY The University of Chattanooga is an accredited, privately controlled and endowed, coeducational college, with a strong liberal arts orientation. It offers courses of study leading to the degrees of Bachelor of Arts, Bachelor of Science, Bachelor of Music, Master of Education, Master of Arts in Teaching, Master of Business Ad­ ministration and Master of Science. Located in the center of the industrial South, in an area of great natural beauty and historic interest, it provides in a metropolitan setting the advantages of a small campus atmosphere. ACCREDITATION Accreditation is a measure of standing among educational institu­ tions. To be accredited means that the University has met stand­ ards established by an accrediting agency. Accreditation is impor­ tant to the student. It assures him that credits earned at the Uni­ versity are transferable to other colleges and universities, are acceptable to employers and to certification agencies, and that degrees from the University of Chattanooga are recognized by "grad­ uate and professional schools.
    [Show full text]
  • The Studio Homes of Daniel Chester French by Karen Zukowski
    SPRING 2018 Volume 25, No. 1 NEWSLETTER City/Country: The Studio Homes of Daniel Chester French by karen zukowski hat can the studios of Daniel Chester French (1850–1931) tell us about the man who built them? He is often described as a Wsturdy American country boy, practically self-taught, who, due to his innate talent and sterling character, rose to create the most heroic of America’s heroic sculptures. French sculpted the seated figure in Washington, D.C.’s Lincoln Memorial, which is, according to a recent report, the most popular statue in the United States.1 Of course, the real story is more complex, and examination of French’s studios both compli- cates and expands our understanding of him. For most of his life, French kept a studio home in New York City and another in Massachusetts. This city/country dynamic was essential to his creative process. BECOMING AN ARTIST French came of age as America recovered from the trauma of the Civil War and slowly prepared to become a world power. He was born in 1850 to an established New England family of gentleman farmers who also worked as lawyers and judges and held other leadership positions in civic life. French’s father was a lawyer who eventually became assistant secretary of the U.S. Treasury under President Grant. Dan (as his family called him) came to his profession while they were living in Concord, Massachusetts. This was the town renowned for plain living and high thinking, the home of literary giants Amos Bronson Alcott, Ralph Waldo Emerson, Nathaniel Hawthorne, and Henry David Thoreau at Walden Pond nearby.
    [Show full text]
  • A Finding Aid to the Raymond and Margaret Horowitz Papers, 1903-2007, Bulk 1960-2007, in the Archives of American Art
    A Finding Aid to the Raymond and Margaret Horowitz Papers, 1903-2007, bulk 1960-2007, in the Archives of American Art Joy Goodwin 2015 May 3 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Art Collection Files, 1943-2007................................................................ 4 Series 2: Artwork, Sold, or Donated, 1903, 1950-2003........................................... 9 Series 3: Accession Records, 1959-circa 1994..................................................... 17 Series 4: Catalog Information, circa 1960-1967....................................................
    [Show full text]