DOCSLIB.ORG

64997 Frontier Loriann

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
64997 Frontier Loriann FALL/WINTER 2009 A Clean Start for Rare Plants GIVING NEW LUSTER TO OLD MASTERPIECES RECONSTRUCTING ULYSSES S. GRANT The Huntington Library, Art Collections, and Botanical Gardens The Huntington Library, Art Collections, and Botanical Gardens FROM THE EDITOR SENIOR STAFF OF THE HUNTINGTON STEVEN S. KOBLIK FUGITIVE MATERIALS President GEORGE ABDO Vice President for Advancement JAMES P. FOLSOM Marge and Sherm Telleen/Marion and Earle Jorgensen T THE SOUTH END OF THE DESERT GARDEN STANDS A REAL Director of the Botanical Gardens showstopper—the Agave mapisaga var. lisa . At its most spectacular, KATHY HACKER a giant asparagus-like stalk towers above a massive rosette of leaves. Executive Assistant to the President Agaves are monocarpic, which means they flower only once and then SUSAN LAFFERTY Adie. Years—sometimes decades—might pass before an agave begins its singular Nadine and Robert A. Skotheim Director of Education bloom. As the flower stalk, or inflorescence, reaches its full height, the plant redirects SUZY MOSER Associate Vice President for Advancement its resources from its leaves and roots to the production of seeds. The spiraling JOHN MURDOCH rosette soon collapses, leaving the slender stalk standing like a lone sentry for a Hannah and Russel Kully Director of Art Collections year or two while, with luck, a handful of the thousands of seeds take root nearby. ROBERT C. RITCHIE Agave mapisaga var. lisa specimens are not known in the wild. The variety was W. M. Keck Foundation Director of Research cultivated centuries ago in Mexico and was likely admired for its remarkable size RANDY SHULMAN and beauty. Such a lineage is a reminder of the role humans have long played as Assistant Vice President for Advancement stewards of the environment. For decades, Huntington staff and volunteers have LAURIE SOWD propagated rare and endangered plants through techniques such as hand polli - Associate Vice President for Operations nation, germination, or grafting. While in the past they might have had to wait ALISON D. SOWDEN Vice President for Financial Affairs years to harvest seeds from a plant like the massive agave, they now can produce hundreds of plants in a matter of months. In The Huntington’s Tissue Culture SUSAN TURNER-LOWE Vice President for Communications Lab, a team of volunteers is showing how tiny pieces of sterilized plant tissue can DAVID S. ZEIDBERG yield spectacular returns (page 22). Avery Director of the Library Preserving great masterpieces in the art collection can also be a battle against time. Oil paint changes as it ages. Dark colors become darker and more trans - parent, while lighter colors tend to retain all of their original intensity. Getty MAGAZINE STAFF paintings conservator Mark Leonard says that Sir Joshua Reynolds sometimes Editor used a red pigment that disappeared altogether. Known as a fugitive material to MATT STEVENS conservators, the paint may have once embellished a fair complexion but in time Designer LORI ANN ACHZET left a ghostly face on the canvas. Fortunately, Reynolds did not use fugitive materials on Sarah Siddons as the Huntington Frontiers is published semiannually by Tragic Muse , the most famous of his many paintings that eventually would become the Office of Communications. It strives to connect part of the Huntington collection. Leonard, who retires from the Getty in January, read ers more firmly with the rich intellectual life of The Huntington, capturing in news and features the has helped clean and restore nearly two dozen Huntington paintings in a unique work of researchers, educators, curators, and others collaboration between the two institutions (page 14). Often he has removed a across a range of disciplines. yellowed layer of varnish from a work to reveal the rich palette of colors that Frontiers is published through charitable gifts and advertising revenues. For information about how to remain vibrant underneath. Other times he has touched in paint to compensate support this publication, please contact Randy for a loss—a chip, a tear, or a poorly conceived treatment by a previous restorer. Shulman, Associate Vice President for Advancement, 626-405-2293 or [email protected]. Like the volunteers in the Tissue Culture Lab, Leonard does not believe he is INQUIRIES AND COMMENTS: intruding or intervening in any way but rather is carrying out a form of steward - Matt Stevens, Editor Huntington Frontiers ship. When visitors see a Reynolds painting, he says, they shouldn’t see Mark 1151 Oxford Road Leonard. “My job is to disappear,” he says. He has done his job effectively, yet San Marino, CA 91108 [email protected] his presence will be felt for years to come. Unless otherwise acknowledged, photography provided MATT STEVENS by The Huntington’s Department of Photographic Services. Sir Joshua Reynolds (1723–1792), Sarah Siddons as the Tragic Muse (detail), Printed by Pace Lithographers, Inc. Opposite page, upper left: City of Industry, Calif. 1783–84. Bottom: Agave mapisaga var. lisa . Photo by John Sullivan . Right: Ulysses S. Grant. From General U. S. Grant: The Soldier, Patriot, and Statesman (Boston: U.S. Instantaneous Photo Co., 1885). © 2009 The Huntington Library, Art Collections, and Botanical Gardens. All rights reserved. Reproduction or use of the contents, in whole or in part, without per mission of the publisher is prohibited. [ VOLUME 5, ISSUE 2 ] Contents FALL/WINTER 2009 HISTORY, RECONSTRUCTED 8 Moving beyond a caricature of U. S. Grant By Joan Waugh FINISHING TOUCHES 14 Getty paintings conservator Mark Leonard recalls some brushes with greatness By Matt Stevens A CLEAN START 22 Propagating rare plants in The Huntington’s Tissue Culture Lab By Traude Gomez Rhine 14 22 8 DEPARTMENTS WORK IN PROGRESS: Center of a movement By Kevin Leonard 4 BOOKER CLUB: Fact-checking fiction 7 IN PRINT: Recommended reading 28 HUNTINGTON FRONTIERS 3 [ WORK IN PROGRESS ] Beyond the Headlines PRESERVING A HISTORIC COMMUNITY by Kevin Leonard recently drove south from downtown Los Angeles along Central Avenue and saw only a few remnants of what was, from the 1920s through the 1940s, the famed cultural center of the West’s largest African American community. When the Harlem Renaissance began, the intersection of 12th Street Iand Central Avenue was the heart of the community. Now that stretch of the avenue is lined by factories, warehouses, and parking lots. By the 1940s, the hub of African American Los Angeles was the intersection of Central Avenue and 42nd Place. The structure that once housed the Dunbar Hotel—built to host the 1928 NAACP national con vention—still stands there, but the clubs, theaters, and shops that served African Americans are gone. The transformation of Central Avenue reflects many of the historical developments that have remade Los Angeles since World War II. The transformation of Central Avenue reflects many of the historical developments that have remade Los Angeles since World War II. Industry pushed south from downtown, displacing the people who lived and worked there. The construction of the freeway put a nearly block-wide concrete structure over the street and brought incessant traffic noise into the homes and yards of nearby residents. The neighborhood’s composition changed in part because African Americans’ efforts to end housing discrimination largely succeeded in the decade following World War II, perhaps most notably through the legal battles waged by Los Angeles attorney Loren Miller, who teamed up with partner Thurgood Marshall in the 1940s to fight racially restrictive housing covenants before the U.S. Supreme Court. As African Americans moved into other neighborhoods, immigrants from Mexico and Central America took their places. Although many African Americans lost contact with the Central Avenue district when they moved elsewhere, a number 4 Fall /Winter 2009 of community leaders worked to preserve and improve this historic neighborhood. When I began my research into race relations in Los Angeles after World War II more than a decade ago, I thought that I would focus mostly on discrim - ination in housing and employment, police-community relations, and electoral politics. Articles in the weekly African American newspapers, however, led me in a dif ferent direction. The California Eagle (published between 1951 and 1964 by the polymath Loren Miller, who success - fully blended careers in journalism and the law), the Los Angeles Sentinel , and the Los Angeles Tribune ran numerous articles and editorials that drew attention to hazardous sites and eyesores in the neighborhood. They reported explosions, drownings, and an outbreak of rabies in 1955 and 1956 that spread throughout the Eastside. The city’s mainstream media largely ignored the impact of these events on African Americans, but local black newspapers told stories about the many community members whose demands indicated that the roots of the environmental justice movement in cities like Los Angeles date back to the 1940s and 1950s. my one-year fellowship, I will attempt to find out what The black newspapers are essential sources for Miller decided not to publish in The Eagle , since he and any scholar interested in the history of African other prominent African Americans wrote privately to one Americans in Los Angeles. However, newspapers another about environmental conditions in the Central are inherently filters; they include only items that Avenue district. And although it is tempting to lament the editors and publishers consider newsworthy. absence of more archives like those of Miller, I have also Archival collections such as the Loren Miller learned to find traces of the old Central Avenue in the papers at The Huntington contain equally papers of elected officials of the era, especially since African important source material. This year, during American activists corresponded frequently with them, Left: Loren Miller served as editor of The California Eagle in the 1950s. Also a successful lawyer, he went on to sit on the Superior Court bench for the county of Los Angeles (1964–67).
Load more

Recommended publications
  • Pale Intrusions Into Blue: the Development of a Color Hannah Rose Mendoza
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 Pale Intrusions into Blue: The Development of a Color Hannah Rose Mendoza Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE PALE INTRUSIONS INTO BLUE: THE DEVELOPMENT OF A COLOR By HANNAH ROSE MENDOZA A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts Degree Awarded: Fall Semester, 2004 The members of the Committee approve the thesis of Hannah Rose Mendoza defended on October 21, 2004. _________________________ Lisa Waxman Professor Directing Thesis _________________________ Peter Munton Committee Member _________________________ Ricardo Navarro Committee Member Approved: ______________________________________ Eric Wiedegreen, Chair, Department of Interior Design ______________________________________ Sally Mcrorie, Dean, School of Visual Arts & Dance The Office of Graduate Studies has verified and approved the above named committee members. ii To Pepe, te amo y gracias. iii ACKNOWLEDGMENTS I want to express my gratitude to Lisa Waxman for her unflagging enthusiasm and sharp attention to detail. I also wish to thank the other members of my committee, Peter Munton and Rick Navarro for taking the time to read my thesis and offer a very helpful critique. I want to acknowledge the support received from my Mom and Dad, whose faith in me helped me get through this. Finally, I want to thank my son Jack, who despite being born as my thesis was nearing completion, saw fit to spit up on the manuscript only once.
    [Show full text]
  • Stanley Kubrick's 18Th Century
    Stanley Kubrick’s 18th Century: Painting in Motion and Barry Lyndon as an Enlightenment Gallery Alysse Peery Abstract The only period piece by famed Stanley Kubrick, Barry Lyndon, was a 1975 box office flop, as well as the director’s magnum opus. Perhaps one of the most sumptuous and exquisite examples of cinematography to date, this picaresque film effectively recreates the Age of the Enlightenment not merely through facts or events, but in visual aesthetics. Like exploring the past in a museum exhibit, the film has a painterly quality harkening back to the old masters. The major artistic movements that reigned throughout the setting of the story dominate the manner in which Barry Lyndon tells its tale with Kubrick’s legendary eye for detail. Through visual understanding, the once obscure novel by William Makepeace Thackeray becomes a captivating window into the past in a manner similar to the paintings it emulates. In 1975, the famed and monumental director Stanley Kubrick released his one and only box-office flop. A film described as a “coffee table film”, it was his only period piece, based on an obscure novel by William Makepeace Thackeray (Patterson). Ironically, his most forgotten work is now considered his magnum opus by critics, and a complete masterwork of cinematography (BFI, “Art”). A remarkable example of the historical costume drama, it enchants the viewer in a meticulously crafted vision of the Georgian Era. Stanley Kubrick’s film Barry Lyndon encapsulates the painting, aesthetics, and overall feel of the 18th century in such a manner to transform the film into a sort of gallery of period art and society.
    [Show full text]
  • Edrs Price Descriptors
    DOCUMENT RESUME ED 088 224 EA 005 958 AUTHOR Kohl, Mary TITLE Guide to Selected Art Prints. Using Art Prints in Classrooms. INSTITUTION Oregon Association for Supervision and Curriculum Development, Salem. PUB DATE Mar 74 NOTE 43p.; Oregon'ASCD Curriculum Bulletin v28 n322 AVAILABLE FROMOregon Association for Supervision and Curriculum Development, P.O. Box 421, Salem, Oregon 9730A, ($2.00) EDRS PRICE MF-$0.75 HC-$1.85 DESCRIPTORS *Art Appreciation; *Art Education; *Art Expression; Color Presentation; Elementary Schools; *Painting; Space; *Teaching Guides IDENTIFIERS Texture ABSTRACT A sequential framework of study, that can be individually and creatively expanded, is provided for the purpose of developing in children understanding of and enjoyment in art. .The guide indicates routes of approach to certain kinds of major art, provides historical and biographical information, clarifies certain fundamentals of art, offers some activities related to the various ,elements, and conveys some continuing enthusiasm for the yonder of art creation. The elements of art--color, line, texture, shape, space, and forms of expression--provide the structure of pictorial organization. All of the pictures recomme ded are accessible tc teachers through illustrations in famil'a art books listed in the bibliography. (Author/MLF) US DEPARTMENT OF HE/ EDUCATION & WELFAS NATIONAL INSTITUTE I EOW:AT ION THIS DOCUMENT HAS BEEF DUCED EXACTLY AS RECEIV e THE PERSON OR ORGANIZATIO ATING IT POINTS OF VIEW OR STATED DO NOT NECESSAR IL SENT OFFICIAL NATIONAL INS1 EDUCATION POSIT100. OR POL Li Vi CD CO I IP GUIDE TO SELECTED ART PRINTS by Mary Kohl 1 INTRODUCTION TO GUIDE broaden and deepen his understanding and appreciation of art.
    [Show full text]
  • L1013 Wolf, Goya's Red Boy, 144-173, FINALFINAL
    REVA WOLF Goya’s “Red Boy” The Making of a Celebrity R W Reva Wolf came to study with Jonathan Brown when, as a student in his seminar on Francisco Goya, she discovered the topic of her Ph.D. dissertation. Brown served as co-advisor with Robert Rosenblum for the dissertation, entitled “Francisco Goya and the Interest in British Art and Aesthetics in Late Eighteenth-Century Spain”, which Wolf defended in . Growing directly out of this Ph.D. work was Wolf’s book and exhibition, Goya and the Satirical Print (). She also wrote one of her two Master’s degree qualifying papers, The Hall of Battles at El Escorial, under Brown’s guidance. Her first professional writing assignment, the essay “Onlooker, Witness and Judge in Goya’s Disasters of War,” for the catalogue of the exhibition Fatal Consequences: Callot, Goya, and the Horrors of War (), was due to Brown’s recommendation. Wolf has n , Harry B. Wehle, a curator at the Metropolitan Museum of Art in New contributed several catalogue entries to the forthcoming publication IYork, proclaimed that Francisco Goya’s portrait of Don Manuel Osorio de accompanying an exhibition of Spanish drawings at The Frick Collection for Zúñiga (fig. ) “is so popular among American art lovers as to require no com- which Brown is co-curator ( ). ment.” Indeed, Goya’s painting of the strikingly delicate young boy had enjoyed Wolf holds the position of Professor of Art History at the State University of an enthusiastic audience since shortly after its arrival in the United States nearly New York at New Paltz.
    [Show full text]
  • John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic
    JOHN BOYDELL'S SHAKESPEARE GALLERY AND THE PROMOTION OF A NATIONAL AESTHETIC ROSEMARIE DIAS TWO VOLUMES VOLUME I PHD THE UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2003 2 TABLE OF CONTENTS Page Volume I Abstract 3 List of Illustrations 4 Introduction 11 I Creating a Space for English Art 30 II Reynolds, Boydell and Northcote: Negotiating the Ideology 85 of the English Aesthetic. III "The Shakespeare of the Canvas": Fuseli and the 154 Construction of English Artistic Genius IV "Another Hogarth is Known": Robert Smirke's Seven Ages 203 of Man and the Construction of the English School V Pall Mall and Beyond: The Reception and Consumption of 244 Boydell's Shakespeare after 1793 290 Conclusion Bibliography 293 Volume II Illustrations 3 ABSTRACT This thesis offers a new analysis of John Boydell's Shakespeare Gallery, an exhibition venture operating in London between 1789 and 1805. It explores a number of trajectories embarked upon by Boydell and his artists in their collective attempt to promote an English aesthetic. It broadly argues that the Shakespeare Gallery offered an antidote to a variety of perceived problems which had emerged at the Royal Academy over the previous twenty years, defining itself against Academic theory and practice. Identifying and examining the cluster of spatial, ideological and aesthetic concerns which characterised the Shakespeare Gallery, my research suggests that the Gallery promoted a vision for a national art form which corresponded to contemporary senses of English cultural and political identity, and takes issue with current art-historical perceptions about the 'failure' of Boydell's scheme. The introduction maps out some of the existing scholarship in this area and exposes the gaps which art historians have previously left in our understanding of the Shakespeare Gallery.
    [Show full text]
  • William Cowper and George Romney: Public and Private Men Joan Addison
    William Cowper and George Romney: Public and Private Men Joan Addison It was at Eartham, William Hayley’s Sussex home, in August 1792, that William Cowper met the artist George Romney. In the previous May, Hayley, benefactor of artists and admirer of Cowper, had made his first visit to the poet at Weston. During his visit, he had written to his old friend Romney, suggesting such a meeting. His intention, he wrote in his Life of George Romney, was ‘to enliven [him] with a prospect of sharing with me the intellectual banquet of Cowper’s conversation by meeting him at Eartham’. When the meeting did take place, Hayley’s prediction that the two men would enjoy each other’s company proved correct. ‘Equally quick, and tender, in their feelings’, Hayley wrote, ‘they were peculiarly formed to relish the different but congenial talents, that rendered each an object of affectionate admiration’1. The pleasure that the poet and the painter shared in each other’s company was to result in the production of two notable creations, the portrait Romney made of Cowper during the visit to Eartham, and Cowper’s subsequent sonnet, written to Romney in appreciation of his work. ‘Romney,’ Hayley wrote, was ‘eager to execute a portrait of a person so remarkable’, and worked quickly in crayons to produce it.2 An intimate study of Cowper in informal garb, it is now in the National Portrait Gallery. The portrait, twenty-two and a half by eighteen inches, shows the upper part of Cowper’s body, against a brown background.
    [Show full text]
  • Italy Under the Golden Dome
    Italy Under the Golden Dome The Italian-American Presence at the Massachusetts State House Italy Under the Golden Dome The Italian-American Presence at the Massachusetts State House Susan Greendyke Lachevre Art Collections Manager, Commonwealth of Massachusetts Art Commission, with the assistance of Teresa F. Mazzulli, Doric Docents, Inc. for the Italian-American Heritage Month Committee All photographs courtesy Massachusetts Art Commission. Fifth ed., © 2008 Docents R IL CONSOLE GENERALE D’ITALIA BOSTON On the occasion of the latest edition of the booklet “Italy Under the Golden Dome,” I would like to congratulate the October Italian Heritage Month Committee for making it available, once again, to all those interested to learn about the wonderful contributions that Italian artists have made to the State House of Massachusetts. In this regard I would also like to avail myself of this opportunity, if I may, to commend the Secretary of the Commonwealth of Massachusetts, the Hon. William F. Galvin, for the cooperation that he has graciously extended to the Committee in this particular endeavor. Italians and Italian Americans are rightly proud of the many extraordinary works of art that decorate the State House, works that are either made by Italian artists or inspired by the Italian tradition in the field of art and architecture. It is therefore particularly fitting that the October Italian Heritage Month Committee has taken upon itself the task of celebrating this unique contribution that Italians have made to the history of Massachusetts. Consul General of Italy, Boston OCTOBER IS ITALIAN-AMERICAN HERITAGE MONTH On behalf of the Committee to Observe October as Italian-American Heritage Month, we are pleased and honored that Secretary William Galvin, in cooperation with the Massachusetts Art Commission and the Doric Docents of the Massachusetts State House, has agreed to publish this edition of the Guide.
    [Show full text]
  • Guy Peppiatt Fine Art British Portrait and Figure
    BRITISH PORTRAIT AND FIGURE DRAWINGS 2020 BRITISH PORTRAIT AND FIGURE DRAWINGS BRITISH PORTRAIT AND FIGURE DRAWINGS 2020 GUY PEPPIATT FINE ART FINE GUY PEPPIATT GUY PEPPIATT FINE ART LTD Riverwide House, 6 Mason’s Yard Duke Street, St James’s, London SW1Y 6BU GUY PEPPIATT FINE ART Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby’s British Pictures Department in 1993. He soon specialised in early British drawings and watercolours and took over the running of Sotheby’s Topographical sales. Guy left Sotheby’s in 2004 to work as a dealer in early British watercolours and since 2006 he has shared a gallery on the ground floor of 6 Mason’s Yard off Duke St., St. James’s with the Old Master and European Drawings dealer Stephen Ongpin. He advises clients and museums on their collections, buys and sells on their behalf and can provide insurance valuations. He exhibits as part of Master Drawings New York every January as well as London Art Week in July and December. Email: [email protected] Tel: 020 7930 3839 or 07956 968 284 Sarah Hobrough has spent nearly 25 years in the field of British drawings and watercolours. She started her career at Spink and Son in 1995, where she began to develop a specialism in British watercolours of the late 18th and early 19th centuries. In 2002, she helped set up Lowell Libson Ltd, serving as co- director of the gallery. In 2007, Sarah decided to pursue her other passion, gardens and plants, and undertook a post graduate diploma in landscape design.
    [Show full text]
  • Unconventionality in Thomas Gainsborough's Portrait Of
    UNCONVENTIONALITY IN THOMAS GAINSBOROUGH’S PORTRAIT OF HENRY SCOTT: RETHINKING THE REPRESENTATION OF DOGS AS RATIONAL SUBJECTS IN EIGHTEENTH-CENTURY BRITISH PORTRAITURE A Thesis Submitted to the Faculty of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Master of Arts in Interdisciplinary Studies University of Regina By Luba Stephania Kozak Regina, Saskatchewan April 2019 © 2019: Luba Stephania Kozak UNIVERSITY OF REGINA FACULTY OF GRADUATE STUDIES AND RESEARCH SUPERVISORY AND EXAMINING COMMITTEE Luba Stephania Kozak, candidate for the degree of Master of Arts in Interdisciplinary Studies, has presented a thesis titled, Unconventionality in Thomas Gainsborough’s Portrait of Henry Scott: Rethinking The Representation of Dogs as Rational Subjects in Eighteenth-Century British Portraiture, in an oral examination held on April 25, 2019. The following committee members have found the thesis acceptable in form and content, and that the candidate demonstrated satisfactory knowledge of the subject material. External Examiner: *Dr. Lianne McTavish, University of Alberta Co-Supervisor: Dr. Randal Rogers, Department of Visual Arts Co-Supervisor: Dr. Francesco Freddolini, Department of Visual Arts Committee Member: Dr. Darlene Juschka, Department of Religious Studies Committee Member: Dr. Sherry Farrell-Racette, Visual Arts Chair of Defense: Dr. Philip Charrier, Department of History *via Video Conferencing Abstract This thesis reconsiders the perception and status of pets in eighteenth-century Britain through an analysis of the unconventional modes of representation in Thomas Gainsborough’s portrait of Henry Scott, Third Duke of Buccleuch. By examining the social attitudes towards pets in eighteenth-century Britain, this thesis discusses the elevated status of dogs in Britain’s early modern visual culture, which offers new possibilities for understanding the complex and sympathetic relationship between owners and their pets.
    [Show full text]
  • Thomas Gainsborough (1727-88)
    18/03/2007 Thomas Gainsborough (1727-88) Mr. and Mrs. Andrews, detail, 1750, oil on canvas, National Gallery at London. jamp'07 1 jamp'07 2 The Painter's Daughters Chasing a Butterfly, 1755-56, The National Gallery, London. Study of a Sheep, 1757-59, black and white chalks on grey paper, Staatliche Museen, Berlin. jamp'07 3 jamp'07 4 The Painter's Daughters with a Cat, unfinished, 1758-60, The National Mrs. Philip Thicknesse, 1759-60, Gallery, London. Cincinnati Art Museum, Ohio. jamp'07 5 jamp'07 6 1 18/03/2007 Mary, Countess Howe, approx. 1760, Lady Alston, 1760-65, canvas, oil on canvas, Iveagh Bequest Musée du Louvre, Paris. Kenwood. jamp'07 7 jamp'07 8 Portrait of Henrietta Vernon (Lady Grosvenor, wife of Richard, first Earl Grosvenor), 1766-67, oil on canvas, Collection of His Grace, The Duke of Westminster. Studies of a Cat, 1765-69, black chalk, stump and white chalk on paper. Rijksmuseum, Amsterdam. jamp'07 9 jamp'07 10 Portrait of Jonathan Buttall (The Blue Boy), 1770, oil on canvas, The Huntington Art Collections, San Marino. The Harvest Wagon, 1767, oil on canvas, Barber Institute of Fine-Arts at Birmingham. jamp'07 11 jamp'07 12 2 18/03/2007 Portrait of a Lady in Blue, late 1770s, oil on canvas, The Hermitage at St. The Linley Sisters (Mrs. Sheridan and Petersburg. Mrs. Tickell), 1772, Dulwich Picture Gallery, London. jamp'07 13 jamp'07 14 Johann Christian Bach, 1776, oil on canvas, Civico Museo Bibliografico The Honorable Mrs. Graham, 1775-77, Musicale, Bologna.
    [Show full text]
  • Feedback: Let 'The Blue Boy' Have His Safe Sojourn to London
    Feedback: Let ‘The Blue Boy’ have his safe sojourn to London Thomas Gainsborough’s 1770 painting “Blue Boy.” (Huntington Library) JULY 9, 2021 8:16 AM PT Regarding Christopher Knight’s commentary [“Why experts fear return of ‘The Blue Boy’ to London” [July 6]: In fact, experts don’t. Knight’s story is deeply one-sided and misleading. After several years of considerable examination and discussion, and after instituting a rigorous set of protocols, the Huntington has decided to lend Thomas Gainsborough’s “The Blue Boy” to the National Gallery, London — but only upon expert advice and only under very specific, restrictive conditions. The long-term well-being of this iconic work has always been the Huntington’s guiding principle for any discussion about the possibility of a loan. Knight’s piece failed to capture the degree to which we have studied the matter that eventually led us to this important decision. The 2018 panel of conservators he cites met to study the painting’s condition and to recommend a course of conservation treatment for it. They were not charged with advising on possible travel, but rather on the best plan of work to stabilize and respect the historic integrity of the work. We followed all of their recommendations regarding treatment. In 2019 once most of the conservation work was complete, the Huntington convened a second panel of conservators and curators, specifically to advise us about possible travel. These were individuals from pre-eminent North American museums, all having similar collections and extensive experience with Old Master paintings. These professionals are all well-versed in best practices and the latest thinking around fine art transport for masterpieces of “The Blue Boy” caliber.
    [Show full text]
  • By Charles R. Smith Jr. • Illustrated by Jose Ramos
    The Blueby Charles R. Smith Jr. • illustrated byBoys Jose Ramos ® HISTORICAL FICTION LITERATURE Historical Fiction Level Q/40 Look for the genre features noted below as Lexile® 580L you read this book. Use the features to help you understand the text. The story takes place in the past in a real-life setting. The events are The setting realistic for the Onlyis one of the time period and most important may have really features of the happened. story. Historical Fiction ReviewThe story may include a mix At least one of real people character faces from the past a conflict or and made-up problem. © Benchmark Education Company, LLC. All rights reserved. No part of this publication may be characters. reproduced or transmitted in any form or by any means, electronic or mechanical, including The dialogue is photocopy, recording, or anyFor information storage or retrieval system, without permission in writing from the publisher. A natural to the Printed in Guangzhou, China. xxxx-xx-xxxx time period and LEXILE® is a trademark of MetaMetrics, Inc., and may be based is registered in the United States and abroad. E-books and additional digital resources on primary available at benchmarkuniverse.com. sources. ISBN: 978-1-5322-5642-4 Toll-Free 1-877-236-2465 www.benchmarkeducation.com www.benchmarkuniverse.com B e n c h m a r k e d u c a t i o n c o m p a n y 145 Huguenot Street • New Rochelle, NY • 10801 INTRODUCTION The Real Blue Boy The Blue Boy is a famous oil painting by English artist Thomas Gainsborough (1727–1788).
    [Show full text]