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A Finding Aid to the Marion Greenwood Papers, 1883, Circa 1933-Circa 1960, in the Archives of American Art
A Finding Aid to the Marion Greenwood papers, 1883, circa 1933-circa 1960, in the Archives of American Art Megan Bean 2016 August 1 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 Arrangement..................................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 4 Series 1: Biographical Materials, circa 1960............................................................ 4 Series 2: Printed Materials, 1883, 1937-1960 (bulk 1937-1960).............................. 5 Series 3: Photographic materials, circa 1933-circa 1960......................................... 6 Marion Greenwood papers AAA.greemari Collection Overview Repository: -
The Hudson River School of Artist
THE HUDSON RIVER SCHOOL OF ARTIST The following is a list of painters in the Hudson River School, a midth-century American art . a Hudson River School artist, and the two painted similar subjects. Sister Julie Hart Beers (Kempson) was also a landscape artist of this school. A rusted silo looms over a parking lot where he had seen dirt roads and marshland. Albert Bierstadt painted mountain landscapes on enormous canvases which included pictures of wild scenery filled with mists and clouds. It was promoted as a single-picture attraction—i. The Hudson River School origins date back to these romantic and nationalism ages of America. Fully illustrated, this website brings a personal dimension to the artists of the 19th century. The Wadsworth Atheneum in Hartford, Connecticut houses one of the largest collections of paintings by artists of the Hudson River School. So where Cropsey saw unkempt groves and choppy currents buffeting sailboats from a window there, we consoled ourselves with views of not much more than a fenced-off duck pond in the shadow of a street overpass. However, a new American school of landscape painting was about to emerge along with a new form of public entertainment — the art museum. Cole painted pictures as depicted by the novelist. If Cole is rightly designated the founder of the school, then its beginnings appear with his arrival in New York City in Advertisement People fishing there were staring at the water and their rods. Rain was threatening by the time I scrambled back up to the main trail, so we flagged down a passing flatbed truck for a ride to our car. -
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. -
Marion Greenwood in Tennessee (Exhibition Catalogue)
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Ewing Gallery of Art & Architecture Art 2014 Marion Greenwood in Tennessee (Exhibition Catalogue) Sam Yates The University of Tennessee, Knoxville, [email protected] Frederick Moffatt The University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_ewing Part of the American Art and Architecture Commons, Fine Arts Commons, and the Painting Commons Recommended Citation Yates, Sam and Moffatt, Frederick, "Marion Greenwood in Tennessee (Exhibition Catalogue)" (2014). Ewing Gallery of Art & Architecture. https://trace.tennessee.edu/utk_ewing/1 This Publication is brought to you for free and open access by the Art at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Ewing Gallery of Art & Architecture by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. MARION GREENWOOD in TENNESSEE MARION GREENWOOD in TENNESSEE This catalogue is produced on the occasion of Marion Greenwood in Tennessee at the UT Downtown Gallery, Knoxville, TN, June 6 - August 9, 2014. © Copyright of the Ewing Gallery of Art and Architecture, 2014. UT Downtown Gallery Director and Curator: Sam Yates Manager: Mike C. Berry Catalogue editor: Sam Yates foreword by: Sam Yates Catalogue design and copy editing: Sarah McFalls essay by: Dr. Frederick C. Moffatt Printed by UT Graphic Arts Services Photography credits: Detail images of The History of Tennessee (p. 2-6), image of The History of Tennessee (p. 1 and 10-11) installation photographs, preparatory sketches (p. 20) Haitian Nights (p 22) Haitian Work Song in the Jungle (p. -
Oral History Interview with Sylvan Cole, 2000 June-October
Oral history interview with Sylvan Cole, 2000 June-October 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 tape-recorded interview with Sylvan Cole from June through October, 2000. The interview took place at the Sylvan Cole Gallery, New York and was conducted by Avis Berman for the Archives of American Art, Smithsonian Institution. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written prose. Interview AVIS BERMAN: This is Avis Berman on June 28th, 2000, interviewing Sylvan Cole in his gallery at 101 West 57th Street. And at the risk of being a little bit redundant, would you begin by stating your full name and your date of birth? SYLVAN COLE: Sylvan Cole, Junior – that’s the way I was born, no middle initial. And I was born January 10th, 1918. MS. BERMAN: Now I will start, and ask you how did you get the name Sylvan? MR. COLE: I am a junior. And Dad got the name – It’s interesting; Dad was Sylvan Cohn, C-O-H-N. And right after I was born – I actually was born Cohn – I guess I was a year old, and the name was changed to Cole for business purposes and all the rest. And the funny thing is, all Sylvans – or most Sylvans – are Jewish. -
The Jersey Homesteads Mural: Ben Shahn, Bernarda Bryson, and History Painting in the 1930S”Published in Redefining History Painting, Cambridge University Press, 1995
RESEARCH ESSAY “The Jersey Homesteads Mural: Ben Shahn, Bernarda Bryson, and History Painting in the 1930s”published in Redefining History Painting, Cambridge University Press, 1995. ©Susan Noyes Platt Jersey Homestead Mural, (detail), photograph by Susan Platt In a mural for the community of Jersey Homesteads, (now Roosevelt), New Jersey, Ben Shahn, with the assistance of Bernarda Bryson,1 redefined contemporary history painting by combining the difficult medium of true fresco with unusual historical themes, and a spatial order that dramatizes the psychological aspect of the scenes. Painted during 1937-1938 in a medium which demands rapid work in large simple forms, the mural nonetheless includes three detailed and interrelated historical episodes with many subordinate scenes and references. The primary themes are Jewish immigration, Union organizing, and the planning of a cooperative community in the early New Deal Resettlement Administration. Spatially, the mural combines the traditional linear perspective of the Renaissance, the shallow space of some photographic portraits, the three dimensionality of theatrical sets, and the arrested action of film frames. These various devices serve to underline the contrasts between the dynamic and the static experiences depicted. 2 In narrating history, the mural departs from the tradition of the unified tableau, based in the theory of Diderot, which focuses on a single moment in which the action hangs in the balance, the peripateia. In the traditional tableau there is frequently a single identifiable heroic figure who with gesture and pose, implies the leadership of the moment in history depicted. This concept of history descends into still photography as the "decisive moment." Instead of the peripateia, the mural created in Jersey Homesteads, New Jersey presents groups of figures acting as part of an on-going process. -
The Finding Aid to the Alf Evers Archive
FINDING AID TO THE ALF EVERS’ ARCHIVE A Account books & Ledgers Ledger, dark brown with leather-bound spine, 13 ¼ x 8 ½”: in front, 15 pp. of minutes in pen & ink of meetings of officers of Oriental Manufacturing Co., Ltd., dating from 8/9/1898 to 9/15/1899, from its incorporation to the company’s sale; in back, 42 pp. in pencil, lists of proverbs; also 2 pages of proverbs in pencil following the minutes Notebook, 7 ½ x 6”, sold by C.W. & R.A. Chipp, Kingston, N.Y.: 20 pp. of charges & payments for goods, 1841-52 (fragile) 20 unbound pages, 6 x 4”, c. 1837, Bastion Place(?), listing of charges, payments by patrons (Jacob Bonesteel, William Britt, Andrew Britt, Nicolas Britt, George Eighmey, William H. Hendricks, Shultis mentioned) Ledger, tan leather- bound, 6 ¾ x 4”, labeled “Kingston Route”, c. 1866: misc. scattered notations Notebook with ledger entries, brown cardboard, 8 x 6 ¼”, missing back cover, names & charges throughout; page 1 has pasted illustration over entries, pp. 6-7 pasted paragraphs & poems, p. 6 from back, pasted prayer; p. 23 from back, pasted poems, pp. 34-35 from back, pasted story, “The Departed,” 1831-c.1842 Notebook, cat. no. 2004.001.0937/2036, 5 1/8 x 3 ¼”, inscr. back of front cover “March 13, 1885, Charles Hoyt’s book”(?) (only a few pages have entries; appear to be personal financial entries) Accounts – Shops & Stores – see file under Glass-making c. 1853 Adams, Arthur G., letter, 1973 Adirondack Mountains Advertisements Alderfer, Doug and Judy Alexander, William, 1726-1783 Altenau, H., see Saugerties, Population History files American Revolution Typescript by AE: list of Woodstock residents who served in armed forces during the Revolution & lived in Woodstock before and after the Revolution Photocopy, “Three Cemeteries of the Wynkoop Family,” N.Y. -
The Domestication of History in American Art: 1848-1876
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1998 The domestication of history in American art: 1848-1876 Jochen Wierich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Wierich, Jochen, "The domestication of history in American art: 1848-1876" (1998). Dissertations, Theses, and Masters Projects. Paper 1539623945. https://dx.doi.org/doi:10.21220/s2-qc92-2y94 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Vida Americana: Mexican Muralists Remake American Art, 1925–1945
ISSN: 2471-6839 Cite this article: James Oles, review of “Vida Americana: Mexican Muralists Remake American Art, 1925–1945,” Whitney Museum of American Art, Panorama: Journal of the Association of Historians of American Art 6, no. 2 (Fall 2020), https://doi.org/10.24926/24716839.10757. Vida Americana: Mexican Muralists Remake American Art, 1925–1945 Reviewed by: James Oles, Senior Lecturer, Art Department, Wellesley College Exhibition schedule: Whitney Museum of American Art, February 17, 2020– January 31, 2021 Curated by: Barbara Haskell, with Marcela Guerrero, Sarah Humphreville, and Alana Hernandez Exhibition catalogue: Barbara Haskell, ed., Vida Americana: Mexican Muralists Remake American Art, 1925–1945, exh. cat. New York: Whitney Museum of American Art in association with Yale University Press, 2020. 256 pp.; 139 color and 57 b/w illus., including two gatefolds. Cloth: $65.00 (ISBN: 9780300246698) For more than a generation, since the arrival of former director David Ross and curator Elisabeth Sussman in 1991, the Whitney Museum of American Art has been trying to get Mexico in through the back door.1 This was never easy, for powerful forces—historical, curatorial, and financial—fought to preserve the museum’s focus on the United States at a time when curators, academics, and collectors were increasingly redefining America as a hemispheric instead of a nationalist category, and as the Museum of Modern Art, El Museo del Barrio, the Bronx Museum of the Arts, and other New York institutions were dedicating greater attention to Latin -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W. -
2010 Exhibition Brings Women Artists to Light
Spring 2010 Newsletter A New Organization is Formed 2010 Exhibition Brings A new chapter in the story has Women Artists to Light begun. On October 19th, 2009, May 2 - October 31 the New York State Board of Regents approved a charter This May, join us for the opening of our new exhibi- establishing an independent tion, “Remember the Ladies: Women of the Hudson non-profit organization to own River School,” the Lisa Fox Martin and operate the home of Thom- first known exhibi- Board Chairman as Cole. For the past ten years, tion to focus solely the historic site has been owned by the Greene County on the women art- Historical Society, which owns several other impor- ists associated with tant historic properties. Thomas Cole’s home and the 19th-century studio will now be run as an independent non-profit landscape paint- organization. ing movement. The exhibition will Although the ownership structure is new, the people include approxi- who are involved remain the same. The new orga- mately 25 works of nization’s Board of Trustees consists of the same art by artists such twelve people who were on the “Cole Committee” of as Julia Hart Beers, the Greene County Historical Society, with the same (sister to William officers including Lisa Fox Martin as Chairman. The and James Hart), three paid staff – Betsy Jacks, Joanna Frang, and Linda Evelina Mount Bartula – have been retained by the Trustees to work (niece to William for the new organization. A new part-time person, Sidney Mount) Melissa Gavilanes, was added this year. -
Remember the Ladies: Women of the Hudson River School
Remember the Ladies d women of the hudson river school Charlotte Buell Coman (1833–1924) frontispiece: Forest Brook, 1895 Oil on canvas, 24 x 20 in. Private Collection Remember the Ladies d women of the hudson river school May 2–October 31, 2010 essays by Nancy Siegel and Jennifer Krieger 218 Spring Street, Catskill, NY 12414 518.943.7465 • www.thomascole.org Edith Wilkinson Cook (active 1851–1875) FIG.1: Autumn Landscape with Figures, 1871 1 5 Oil on canvas, 7 /4 x 5 /8 in. Mark Lasalle Fine Art director’s statement d N MAY 2010 THE THOMAS COLE NATIONAL HISTORic SITE opened the first known exhibition to focus Isolely on the women artists associated with the Hudson River School, the nineteenth-century land- scape painting movement. Considering all the attention that has been given to this art movement in recent decades, it is certainly time that the names of these women become better known. The fact that there were women artists who were inspired by the landscape during the same years as Thomas Cole, Asher Durand, and Frederic Church is a story that needs to be told, and we are so pleased to bring their fascinating lives and work to the public. Their landscape paintings, and the stories behind them, speak to these women’s perseverance, triumph, heartbreak, and even their sense of humor about it all. One young woman was forbidden to create art, and her drawings were burned by her stepmother. Another was conducting her art career while raising her children as a single mother. Yet another climbed “all the principal peaks of the Catskills, Adirondacks, and White Mountains, as well as those of the Alps, Tyrol, and Black Forest, often tramping twenty-five miles a day, and sketching as well, often in the midst of a blinding snow- storm,” according to an 1889 article.1 And all this in the sort of clothing we today would not consider practical.