Celebrations, Wishes and Hopes
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Leaping Show Info
! ! ! ! ! ! ! ! ! ! ! WHAT IS THAT LEAPING IN YOUR CHEST? ! ____________________________________________________________________! ! ARTIST STATEMENTS! + BIOS ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Collar Works Gallery | Troy, NY | www.collarworks.org Susan Anthony !Troy Project, 2013 - ongoing, Archival Digital Prints, $200 ea. Troy, New York was one of the most prosperous cities in the United States during the Industrial Revolution, because of its proximity to the Hudson River, the Mohawk River and the Erie Canal. Troy suffered greatly when industry moved West and the economy has never really recovered. There are signs of change because of the community's resilience, but it is a slow, uphill battle. The story of Troy is one of suffering and sadness, but it is also one of hope and growth. My photographs depict the juxtaposition of past and present, old and new, !decay and rebirth in this remarkable historical city. Susan never planned to do this project. She visited Troy with a friend one day and fell in love with the city. She continued photographing on the street every other week until she met a Rabbi who introduced her to a number of Troy’s residents. Susan began photographing as many people who were interested, and each photo !shoot led to another. She’s been photographing in Troy for almost five years. !______________________________________________________________________________ Susan Anthony was born in Brooklyn, NY. Susan received her Bachelor’s Degree at Cooper Union, her Master’s Degree in Fine Arts at Berkeley, and a Master’s in Teaching Fine Art and Art Therapy at NYU and The New School. Many of her photographs are done in upstate New York, where she has a home in Columbia County, and in downtown Manhattan, where she has lived and worked for many years. -
Joseph Hirsch Banquet 1945
Joseph Hirsch Banquet 1945 Joseph Hirsch (American, 1910–1981) Banquet, 1945 Lithograph on beige wove paper Image: 9 3/4 x 13 3/4 inches Sheet: 12 x 15 7/8 inches Gift of Christopher Russell 2015.21.1 American artist Joseph Hirsch (1910–1981) emerged at Hirsch’s print comments on the state of the workplace in Hirsch created this print through the process of lithography—a printing process based on the fact that grease and water the forefront of the Social Realist art movement during the 1940s. Following the start of World War II, there was a do not mix. Invented in the late eighteenth century, lithography is a technique which involves drawing on a flat surface, the twentieth century, taking inspiration for his work from high demand for workers in war-related industries. However, traditionally limestone, with a greasy substance such as a crayon or a liquid called tusche. Once the image is completed everyday events and ordinary people. Born and raised in African Americans were often denied better-paying jobs and ready to print, the artist applies a chemical mixture on the surface of the stone to secure the image in place. Water is Philadelphia, Hirsch left to pursue art in New York City in and were discouraged from joining the military. In 1941, then applied to the surface, adhering to the non-greasy areas of the plate and allowing the artist to roll ink only onto the the early 1930s. This period, following the end of World labor and civil rights leader A. Philip Randolph (1889— image. -
Gallery, May 8, 2015.Qxp
THE GALLERY ț THE GALLERY ț THE GALLERY ț THE GALLERY ANTIQUES AND THE ARTS WEEKLY ț 5 CHURCH HILL RD ț BOX 5503 ț NEWTOWN, CONNECTICUT, 06470 ț SPRING 2015 2 - THE GALLERY May 8, 2015 — Antiques and The Arts Weekly THE GALLERY ț THE GALLERY ț THE GALLERY THE GALLERY R. Scudder Smith, Executive Publisher & Editor Carol Sims, Gallery Editor Pamela Ashbahian, Production Director Tel.203-426-8036 or 426-3141 or Fax. 203-426-1394 www.AntiquesandTheArts.com email - [email protected] THE GALLERY ț THE GALLERY ț THE GALLERY THE GALLERY Published by The Bee Publishing Company, Box 5503, Newtown Connecticut 06470 Historic WWI Illustrations At Schoonover Studios BY JOHN SCHOONOVER were selected for the American Expeditionary Force in years, American aviation quickly responded with the CURATOR, SCHOONOVER STUDIOS, LTD Europe: George Harding, Harry Townsend, William formation of the American Expeditionary Force ( AEF As we enter the centennial years of World War I, we Aylward and Harvey Dunn. Of these, Dunn produced ). Although urgent plans called for manufacture of are reminded that many of the pictorial narratives of some of the most compelling illustrations as an imme- several thousand planes, bureaucratic delays hampered the events in Europe, 1914 to 1919, including war- diate observer of combat in the trenches. Ironically, production, forcing many AEF pilots to fly British and fare, appeared in various publications as illustrations. many of his paintings didn’t even reach the War French planes in the face of well-trained and dogged Notable among these illustrators were six students of Department until after the Armistice and initially were German pilots (The Bosche). -
A Finding Aid to the Abraham Rattner and Esther Gentle Papers, 1891-1986, in the Archives of American Art
A Finding Aid to the Abraham Rattner and Esther Gentle Papers, 1891-1986, in the Archives of American Art Wendy B. Bruton 1999 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 Note............................................................................................................. 2 Scope and Content Note................................................................................................. 5 Arrangement..................................................................................................................... 7 Index: List of Major Correspondents in Various Series................................................... 7 Names and Subjects ...................................................................................................... 9 Container Listing ........................................................................................................... 11 Series 1: Biographical Files, 1893-1978, undated................................................. 11 Series 2: Interviews with Abraham Rattner, 1957-1975, undated.......................... 13 Series 3: Correspondence Files, 1933-1978, undated.......................................... -
Faces of the League Portraits from the Permanent Collection
THE ART STUDENTS LEAGUE PRESENTS Faces of the League Portraits from the Permanent Collection Peggy Bacon Laurent Charcoal on paper, 16 ¾” x 13 ¾” Margaret Frances "Peggy" Bacon (b. 1895-d. 1987), an American artist specializing in illustration, painting, and writing. Born in Ridgefield, Connecticut, she began drawing as a toddler (around eighteen months), and by the age of 10 she was writing and illustrating her own books. Bacon studied at the Art Students League from 1915-1920, where her artistic talents truly blossomed under the tutelage of her teacher John Sloan. Artists Reginald Marsh and Alexander Brook (whom she would go on to marry) were part of her artistic circle during her time at the League. Bacon was famous for her humorous caricatures and ironic etchings and drawings of celebrities of the 1920s and 1930s. She both wrote and illustrated many books, and provided artworks for many other people’s publications, in addition to regularly exhibiting her drawings, paintings, prints, and pastels. In addition to her work as a graphic designer, Bacon was a highly accomplished teacher for over thirty years. Her works appeared in numerous magazine publications including Vanity Fair, Mademoiselle, Harper’s Bazaar, Vogue, Dial, the Yale Review, and the New Yorker. Her vast output of work included etchings, lithographs, and her favorite printmaking technique, drypoint. Bacon’s illustrations have been included in more than 64 children books, including The Lionhearted Kitten. Bacon’s prints are in the collections of the Whitney Museum of American Art, the Brooklyn Museum, and the Museum of Modern Art, all in New York. -
Ebook Free Master Class in Figure Drawing
Ebook Free Master Class In Figure Drawing “For decades, Hale's admirers throughout America have hoped that his lectures on drawing and anatomy would become available in book form. I am delighted that this moment has come at last. For this book is not only a permanent record of Hale's teachings, but the crowing achievement of a man who remains an unforgettable presence in the live of artists throughout America.â€Ââ€â€Philippe De Montebello, Director of the Metropolitan Museum of Art“Robert Beverly Hale is a beloved teacher. He is a tall, spare, somewhat rumpled patrician of seventy-six, with black-rimmed glasses and an El Greco face. He teaches two courses, Artistic Anatomy and Elements of Drawing, at the Art Students League, on West Fifty-seventh Street, and his classes are a continual, almost legendary, celebration not only of the beauty and wonder of the human form but of Hale himself. Many people consider Hale the foremost teacher of artistic anatomy in the country, and perhaps the world. His classes are always oversubscribed, and students return year after year. When Hale enters a lecture hall or a studio, his students burst into applause.â€Ââ€â€The New Yorker Profile, June 13, 1977 Paperback: 144 pages Publisher: Watson-Guptill Publications; Reprint edition (September 1, 1991) Language: English ISBN-10: 0823030148 ISBN-13: 978-0823030149 Product Dimensions: 10.2 x 7.3 x 0.4 inches Shipping Weight: 1 pounds Average Customer Review: 4.4 out of 5 stars 29 customer reviews Best Sellers Rank: #317,959 in Books (See Top 100 in Books) #108 in Books > Arts & Photography > Drawing > Specific Objects #218 in Books > Arts & Photography > Drawing > Figure Drawing #294 in Books > Arts & Photography > Study & Teaching Robert Beverly Hale was Curator Emeritus of the American Painting and Sculpture Department at the Metropolitan Museum of Art. -
List of Exhibitions Held at the Corcoran Gallery of Art from 1897 to 2014
National Gallery of Art, Washington February 14, 2018 Corcoran Gallery of Art Exhibition List 1897 – 2014 The National Gallery of Art assumed stewardship of a world-renowned collection of paintings, sculpture, decorative arts, prints, drawings, and photographs with the closing of the Corcoran Gallery of Art in late 2014. Many works from the Corcoran’s collection featured prominently in exhibitions held at that museum over its long history. To facilitate research on those and other objects included in Corcoran exhibitions, following is a list of all special exhibitions held at the Corcoran from 1897 until its closing in 2014. Exhibitions for which a catalog was produced are noted. Many catalogs may be found in the National Gallery of Art Library (nga.gov/research/library.html), the libraries at the George Washington University (library.gwu.edu/), or in the Corcoran Archives, now housed at the George Washington University (library.gwu.edu/scrc/corcoran-archives). Other materials documenting many of these exhibitions are also housed in the Corcoran Archives. Exhibition of Tapestries Belonging to Mr. Charles M. Ffoulke, of Washington, DC December 14, 1897 A catalog of the exhibition was produced. AIA Loan Exhibition April 11–28, 1898 A catalog of the exhibition was produced. Annual Exhibition of the Work by the Students of the Corcoran School of Art May 31–June 5, 1899 Exhibition of Paintings by the Artists of Washington, Held under the Auspices of a Committee of Ladies, of Which Mrs. John B. Henderson Was Chairman May 4–21, 1900 Annual Exhibition of the Work by the Students of the CorCoran SChool of Art May 30–June 4, 1900 Fifth Annual Exhibition of the Washington Water Color Club November 12–December 6, 1900 A catalog of the exhibition was produced. -
Artists for Victory
THE METROPOLITAN MUSEUM UF ART Artists for Victory M Sxhibition of Contemporary American Art PAINTINGS SCULPTURE PRINTS SPONSORED BY ARTISTS FOR VICTORY, INC ARTISTS FOR VICTORY, INC. 101 PARK AVENUE, NEW YORK, N. Y. Includes the Following Artists' Organizations: ALLIED ARTISTS OF AMERICA ALUMNI ASSOCIATION OF THE AMERICAN ACADEMY IN ROME AMERICAN ABSTRACT ARTISTS AMERICAN INSTITUTE OF DECORATORS AMERICAN SOCIETY OF MINIATURE PAINTERS AMERICAN VETERANS SOCIETY OF ARTISTS AMERICAN WATER COLOR SOCIETY AN AMERICAN GROUP, INC. ARCHITECTURAL LEAGUE OF NEW YORK BOMB SHELL ARTISTS GROUP FEDERATION OF MODERN PAINTERS AND SCULPTORS LEAGUE OF AMERICAN ARTISTS MUNICIPAL ART SOCIETY OF NEW YORK NATIONAL ACADEMY OF DESIGN NATIONAL ASSOCIATION OF WOMEN ARTISTS NATIONAL SCULPTURE SOCIETY NATIONAL SOCIETY OF MURAL PAINTERS NEW YORK CHAPTER OF THE AMERICAN ARTISTS PROFESSIONAL LEAGUE NEW YORK CHAPTER OF THE AMERICAN INSTITUTE OF ARCHITECTS NEW YORK CHAPTER OF THE AMERICAN SOCIETY OF LANDSCAPE ARCHITECTS NEW YORK SOCIETY OF WOMEN ARTISTS PITTSBURGH ARTISTS FOR VICTORY SCULPTORS GUILD, INC. SOCIETY OF AMERICAN ETCHERS UNITED SCENIC ARTISTS THE METROPOLITAN MUSEUM OF ART Artists for Victory An Exhibition of Contemporary American Art SPONSORED BY ARTISTS FOR VICTORY, INC. NEW YORK, 1942 WO. \ FOREWORD HE present exhibition expresses a desire on the part of the Museum Tto proclaim its faith in the American artist during one of the most critical years in our history. We believed that the facilities of the Mu seum should be turned over to the artists to organize an exhibition as they themselves would want it done. Artists for Victory, Inc., the emergency wartime agency representing the twenty-three leading art societies in New York was asked to undertake the task. -
Linesfrom the League
FROM THE LEAGUE STUDENT AND ALUMNI MAGAZINE LINES SUMMER 2012 Letter from the Executive Director I was eight years old when my mother took me to the Frick Museum for the first time. I remember being struck by Vermeer’s Officer and Laughing Girl. It had magic, a life of its own. The girl’s smile was genuine. I wondered what he told her to cause her to react with such warmth. It made me feel good to see it. I didn’t know then that I wanted to be an artist. I thought that only extraordinary people could do anything like that and I am certainly not one of them. But I never forgot that painting or many of the other great masterpieces in that collection. Sixteen years after that first visit to the Frick, and many subsequent visits there and to New York’s other great museums, I decided to come to the League because I needed to find out if I could do it. I imagined the rewards of being able to “draw what I see” to be so enormous, and with the League so affordable, I had nothing to lose. That was 33 years ago. Today I look at that painting by Vermeer with an even greater sense of wonder. Now my fascination is drawn to the structure of the painting; to the relationship of its forms and the echoing spaces in-between (the shape of the officer’s hat is loosely repeated throughout the painting); to how cool tones respond to warm; to the complexities of the drawing and the realization that nothing is arbitrary. -
Marjorie Welish Biography Education
SILAS VON MORISSE gallery MARJORIE WELISH (American, lives and works in New York City) Painter and art critic, received her first solo show thanks to Laurie Anderson, then curator of the Whitney Museum Art Resources Center; Welish has exhibited most recently in New York, Paris, Vienna, and Cambridge, England. She received many grants and fellowships, including: Adolph and Esther Gottlieb Foundation, Elizabeth Foundation for the Arts, The Fifth Floor Foundation, Guggenheim Foundation Fellowship, Pollock-Krasner Foundation, and Trust for Mutual Understanding (supporting an exchange between the International Studio Program, New York and the Artists’ Museum, Łódź, Poland). In 2006, she received a Fulbright Senior Specialist Fellowship to teach at the University of Frankfurt, where she also worked on a limited-edition constructed art book, Oaths? Questions? in collaboration with James Siena, published by Granary Books in 2009 (in the collections of the Beinecke Library at Yale, Columbia University, Getty Museum, and The Metropolitan Museum of Art); in 2010 with a Fulbright, she was at Edinburgh College of Art. Writing on her work may be found in Of the Diagram: The Work of Marjorie Welish (Slought Foundation) compiles papers given at a conference on April 5, 2002, at the University of Pennsylvania. Welish’s book of art criticism is Signifying Art: Essays on Art after 1960 (Cambridge University Press). Marjorie Welish is on the Board of the International Studio and Curatorial Program (ISCP), and on the Advisory Board of Satellite Berlin, which also sponsors “Paper Architecture: Urbanism” (a collaborative project with Olivier Gourvil and urbanist Muriel Pagès). Her art is represented by Emanuel von Baeyer, London; Silas von Morisse Gallery, Brooklyn, New York; Aaron Galleries, Chicago. -
The Censored Paintings of Paul Cadmus, 1934-1940
THE CENSORED PAINTINGS OF PAUL CADMUS, 1934-1940: THE BODY AS THE BOUNDARY BETWEEN THE DECENT AND OBSCENE by ANTHONY J. MORRIS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Anthony J. Morris, candidate for the PhD degree*. ________________ Henry Adams ________________ (chair of the committee) ________________ Ellen G. Landau ______________ ________________ T. Kenny Fountain ____________ ________________ Renée Sentilles _______________ Date: March 15, 2010 *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents: Table of Contents: ii. List of Figures v. Acknowledgements xi. Abstract xiii. Chapter I Introduction: Censorship and the American Scene 1. Censorship of Sex: The Comstock Laws 3. Censorship of Hate Speech: Griffith’s “The Birth of a Nation” 10. Censorship of Political Ideology: Diego Rivera 13. Censorship and the New Deal Mural Program 16. Paul Cadmus and Other Painters of the American Scene 21. The Depiction of the Working Class 23. The Depiction of Women and Sexuality 27. The Depiction of Alcohol Following the Prohibition Era 31. Chapter II Historiography of Paul Cadmus: The Gay Satirist 34. 1930s: Repulsive Subjects and Garish Color 35. 1941-1968: Near Silence 41. 1968-1992: Re-emergence and Re-considered 44. 1992-present: Queering Paul Cadmus 51. ii Chapter III The Navy, The New Deal, and The Fleet’s In! Reconsidered 59. The National Exhibition of Art by the Public Works of Art Project 60. -
Abbott Laboratories: Provisioning a Vision Brandon Burrell
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Abbott Laboratories: Provisioning a Vision Brandon Burrell Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATER & DANCE ABBOTT LABORATORIES: PROVISIONING A VISION By BRANDON BURRELL A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2013 Brandon Burrell defended this dissertation on March 20, 2013. The members of the supervisory committee were: Karen A. Bearor Professor Directing Dissertation Valliere Richard Auzenne University Representative Adam Jolles Committee Member Robert Neuman Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii Dedicated to my Jessica and Callista. iii ACKNOWLEDGMENTS I would like to acknowledge the tireless dedication of Dr. Karen Bearor, the support of my committee members Valliere Richard Auzenne, Adam Jolles, and Robert Neuman. I would also like to thank Mrs. Kathy Braun, the Florida Education Fund (McKnight Fellowship), and my parents. iv TABLE OF CONTENTS List of Figures vi Abstract xii 1. INTRODUCTION 1 2. WHAT’S NEW? 15 3. THE ABBOTT LABORATORIES’ YEAR OF PERIL 49 4. PLANE-AIR PAINTING 93 5. PROVISIONING A VISION 145 6. CONCLUSION 194 APPENDICES 200 A. FIGURES 200 B. NAVY ART COLLECTION CLEARANCE 237 C. VAGA IMAGE CLEARANCE 238 BIBLIOGRAPHY 239 BIOGRAPHICAL SKETCH 248 v LIST OF FIGURES 2.1 Dr.