DOCSLIB.ORG

Oliver Tostmann Curriculum Vitae Curatorial Positions Held

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

1 Oliver Tostmann Curriculum Vitae Curatorial Positions Held Wadsworth Atheneum Museum of Art, Hartford, CT. November 2013-: Susan Morse Hilles Curator of European Art Isabella Stewart Gardner Museum, Boston, MA. April 2011- October 2013: Lia and William Poorvu Curator of the Collection National Gallery of Art, Washington D.C. May 2008-May 2011: Postdoc Andrew W. Mellon Fellowship, Department of Italian and Spanish Paintings and French Paintings September 2007-May 2008: Joseph McCrindle Fellowship, Department of Italian and Spanish Paintings Teaching Visiting Assistant Professor of Fine Arts: Trinity College, Hartford, 2021-2022 Lecturer: Akademie der Staatlichen Museen von Berlin (National Museums in Berlin), 2005-2007 Exhibitions (selection) By Her Hand. Artemisia Gentileschi and Women Artists in Italy, 1500-1800, Wadsworth Atheneum Museum of Art, Hartford Fall/Winter 2021/2022 and Detroit Institute of Arts (as co-curator with Eve Straussman-Pflanzer). A Remarkable Friendship: Henri de Toulouse-Lautrec and Jane Avril, Wadsworth Atheneum, Hartford, Spring- Summer 2021. Giorgio Vasari, Salvator Rosa, Giambattista Tiepolo: Italian Master Drawings from the Collection, Wadsworth Atheneum of Art, Hartford 2019-2020. Giorgione’s La Vecchia, Wadsworth Atheneum Museum of Art, Hartford 2019 (in collaboration with Cincinnati Art Museum). Monsters & Myths. Surrealism and War in the 1930s and 1940s, Wadsworth Atheneum Museum of Art, Hartford 2018 and Baltimore Museum of Art (as co-curator with Oliver Shell). Fine Prints and Drawings by Rembrandt and His Contemporaries, Wadsworth Atheneum Museum of Art, Hartford 2018. Sublime North: Romantic Painters Discover Norway, Wadsworth Atheneum Museum of Art, Hartford 2017. Utamaro and the Lure of Japan, Wadsworth Atheneum Museum of Art, Hartford 2017 (in collaboration with Hakone Museum, Okada). 2 Ornament & Illusion. Carlo Crivelli of Venice, Isabella Stewart Gardner Museum, Boston, 2015 (as co-curator with Stephen Cambell, Nathaniel Silver). Donatello, Michelangelo, Cellini. Sculptors’ Drawings from Renaissance Italy, Isabella Stewart Gardner Museum, Boston, 2014 (as co-curator with Michael Cole). Anders Zorn. A European Artist Seduces America, Isabella Stewart Gardner Museum Boston, 2013. Publications Books Artemisia Gentileschi and Women Artists in Italy, 1500-1800, Eve Straussman-Pflanzer and Oliver Tostmann (eds.), (will be published September 2021 with Yale University Press). Monsters & Myths. Surrealism and War in the 1930s and 1940s, Oliver Shell and Oliver Tostmann (eds.), New York: Rizzoli 2018. Anders Zorn: A European Artist Seduces America, Oliver Tostmann (ed.), London: Paul Holberton 2013. Articles „Unknown Drawings by Carlo Maratti and His Circle at the Wadsworth Atheneum Museum of Art“, draft, c. 4000 words. „Collecting Modern Art in Hartford: James Thrall Soby, the Wadsworth Atheneum, and Surrealism,“, pp. 73-94. Networks, Museums and Collections. Surrealism in the United States, Fabrice Flahutez, Julia Drost, Anne Helmreich, Martin Schieder (eds.), Passages online No. 3, Centre Allemand d’Histoire de l’Art, Paris/Heidelberg 2019, pp. 77- 98. „Sebastiano del Piombos Porträt von Kardinal Bendinello Sauli und das Kardinalsporträt im frühen Cinquecento,“ Zeitschrift für Kunstgeschichte, 3/2011, pp. 311-348. “ÆTERNÆ FOEDERA PACIS? Darstellungen des Pyrenäenfriedens in Frankreich und Spanien, “La Paix des Pyrénées et son impact, Guy Thewes (ed.), Musée d’Histoire de la Ville de Luxembourg 2010/2011. “Cold Anger: Salvator Rosa as a Painter of Battle Pieces,” Salvator Rosa (1615-1673) e il suo tempo, Sybille Ebert- Schifferer, Caterina Volpi, Helen Langdon (eds.), Rome 2010/2011, pp. 197-215. “Plus oultre: Zur Verwendung von Tapisserien im Cinquecento, “Zeitschrift für Kunstgeschichte, 1/2008, pp. 73- 100. “A la recherche des pays boréales: Die Lithografien der Nordlandfahrt Auguste Mayers (1838-52) “/ “A la recherche des pays boréales: The Lithographs of the Journey to the Nordic Countries from Auguste Mayer (1838-52),” norrøna. Zeitschrift für Kultur, Geschichte und Politik der nordischen Länder, 20th year, no. 36, 2005, pp. 8-16. Exhibition Catalogue Essays „The Advantages of Painting Small: Italian Women Artists and the Matter of Size, By Her Hand. Artemisia Gentileschi and Women Artists in Italy, 1500-1800, Eve Straussman-Pflanzer and Oliver Tostmann (eds.), Wadsworth Atheneum Museum of Art, Detroit Institute of Arts, New Haven 2021, in print, ca. 6000 words. 3 „Van Gogh or Not? Forgeries, Copies, and Misattributions in Van Gogh’s Still Life’s,“ Van Gogh: Still Lifes, Ortrud Westheider and Michael Philipp (eds.), Museum Barberini, Potsdam, Munich/London/New York 2019, pp. 100-115. „Sorolla’s Painterly Style after 1900,“ Sorolla. Spanish Master of Light, Gabriele Finaldi (ed.), The National Gallery, London; The National Gallery of Ireland, Dublin, London 2019, pp. 48-61. „The Surrealists and Their Monsters in a „Time of Distress,“ Monsters & Myths. Surrealism and War in the 1930s and 1940s, Oliver Shell and Oliver Tostmann (eds.), Wadsworth Atheneum Museum of Art; Baltimore Museum of Art, New York 2018, pp. 19-46. „Bernard Berenson and America’s Discovery of Sandro Botticelli,“ Botticelli Reimagined, Ana Debenedetti, Mark Evans, Ruben Rebmann, Stefan Weppelmann (eds.), Gemäldegalerie – Staatliche Museen zu Berlin, Berlin; The Victoria and Albert Museum, London, 2016, pp. 106-109. “An “Inordinate” Passion? Carlo Crivelli and his Reception in America,” Ornament & Illusion. Carlo Crivelli of Venice, Stephen Campbell (ed.), Isabella Stewart Gardner Museum Boston, London 2015, pp. 112-131. “The Sculptor as Draftsman: A Motif in Florentine Portraiture,” Donatello, Michelangelo, Cellini. Sculptors’ Drawings from Renaissance Italy, Michael Cole (ed.), Isabella Stewart Gardner Museum Boston, London 2014, pp. 102-121. „Anders Zorn and His International Success“ in: Anders Zorn: A European Artist Seduces America, Oliver Tostmann (ed.), London 2013, pp. 12-26. “Historische Einführung“/ „Introduction“, Die Entdeckung des Orients in der Druckgraphik der Frühen Neuzeit, Exhib. Cat., Nils Büttner, Mila Horky (eds.), Herzog Anton Ulrich Museum Braunschweig 2000, pp. 8-9. Shorter catalogue contributions and reviews Sonja Brink and Francesco Grisolia: Die Zeichnungen des Giovan Battista Beinaschi aus der Sammlung der Kunstakademie Düsseldorf im Museum Kunstpalast, Petersberg 2020, in: The Burlington magazine, 163. 2021, pp. 556-557. 30 cat. entries, By Her Hand. Artemisia Gentileschi and Women Artists in Italy, 1500-1800, New Haven 2021. 38 cat. entries, Wadsworth Atheneum Museum of Art. Uncommon Legacy, New York 2017. Cat. Entry „Caravaggio: Saint Francis in Ecstasy“, Dentro Caravaggio, Exhib. Cat. Milan, Rossella Vodret (ed.), Palazzo Reale Milan 2017, pp. 70-73. Cat. Entry „Aniello Falcone (and workshop?): Battle Painting“, Caravaggios Erben. Barock in Neapel, Exhib. Cat. Wiesbaden, Peter Forster, Elisabeth Oy-Marra, Heiko Damm (eds.), Mueseum Wiesbaden 2016, pp. 362-363. Nineteen cat. entries in: Anders Zorn: A European Artist Seduces America, Exhib. Cat. Boston, Oliver Tostmann (ed.), London 2013. Five cat. entries (Gherardo Cibo, Giovanni Balducci, Pier Francesco Mola, Ciro Ferri, Giovanni Paolo Panini), The Mc Crindle Gift. A Distinguished Collection of Drawings and Watercolors, Exhib. Cat. Washington D.C., Margaret Morgan Grasselli, Arthur K. Wheelock Jr. (eds.), National Gallery of Art Washington D.C. 2012. Johann Evangelist Holzer (1709-1740): Augsburg, in: The Burlington magazine, 152. 2010, 1292, pp. 767-768 Johann Heinrich Schönfeld (1609-1682): Friedrichshafen, in: The Burlington magazine, 152. 2010, 1283, pp. 128- 129 4 Cécile Michaud: Johann Heinrich Schönfeld. Un Peintre Allemand du XVIIe Siècle en Italie, München: Martin Meidenbauer 2006, in: Sehepunkte 7 (2007), Nr. 11 [15.11.2007], (http://www.sehepunkte.de/2007/11/12781.html) Sabine Jacob/ Susanne König –Lein: Die italienischen Gemälde des 16. bis 18. Jahrhunderts/ Herzog Anton Ulrich Museum Braunschweig, München: Hirmer 2004, in: Sehepunkte 5 (2005), Nr. 11, [15.11.2005], (http://www.sehepunkte.de/2005/11/6430.html) Acquisitions for the Wadsworth Atheneum Museum of Art Georg Tappert, Geisha-Revue; Jan Brueghel the Elder, A Mountaineous Landscape with Herdsmen; Johan Wilhelm Baur, Ecce Homo; Luis de Morales, Man of Sorrows (shortlisted in Apollo Magazine 2018 Acquisition of the Year); Salomon van Ruisdael, Riverscape; Aniello Falcone, Cavalry Battle between Turks and Christians; Artemisia Gentileschi, Self-Portrait as a Lute Player (shortlisted in Apollo Magazine 2014 Acquisition of the Year). Public Lectures (selection) National Gallery of Art, Washington DC; Boston Museum of Fine Arts; Bibliotheca Hertziana, Rome; Kunsthistorisches Institut, Florence; Centre Allemand d’Histoire de l’Art, Paris; Palazzo Barberini, Potsdam, Musée d’Histoire de la Ville de Luxembourg, Luxembourg; Slovenian Academy of Sciences and Arts, Ljubljana; Park Avenue Armory, New York; The Kitchen, New York; Newport Symposium, R.I.; Trinity College, Hartford; as well as Isabella Stewart Gardner Museum, Boston; Wadsworth Atheneum Museum of Art, Hartford. Education Freie Universität Berlin, Scuola Normale Superiore Pisa, Université Paris I-Sorbonne, Humboldt- Universität Berlin Freie Universität Berlin July 2008, Dr. phil., magna cum laude Supervisors: Dr. Thomas W. Gaehtgens (former Getty Research Institute, Los Angeles) and Dr. Sybille Ebert- Schifferer (former Bibliotheca Hertziana/ Max Planck Institute for Art History, Rome) Dissertation: “Battaglie:
Recommended publications
  • Reviews to Be Completed by Visits to His Frescoes in Coldrerio and Rome, Nettuno and Viterbo

    Reviews to Be Completed by Visits to His Frescoes in Coldrerio and Rome, Nettuno and Viterbo

    a few of his Roman altarpieces, but the experience had Reviews to be completed by visits to his frescoes in Coldrerio and Rome, Nettuno and Viterbo. The biggest lacuna for this writer was the absence of any visual reference, except a small sketch for the figure of the saint (cat. no. III.71), Pier Francesco Mola, 1612-1666. to Mola's last masterpiece, the Vision of St. Bruno (Malibu, TheJ. Paul Getty Museum) of 1662-63. If the Exhibition catalogue by Giuliano Briganti et al., 1989-90 (Museo Cantonale d'Arte, Lugano and Musei Capitolini, Rome). painting could not be included in the exhibition, it Drawings catalogued by Nicolas Turner with additional essays should have been a priority to illustrate it in the catalogue by Marcel Roethlisberger and Manuela Kahn-Rossi. 356 pp., numerous black and white illus., 63 color plates. and one of the more elaborate related preparatory studies should have appeared as a stand-in (Turner is right to The exhibition devoted to Pier Francesco Mola in the suspect that the drawing in the Stadelsches Kunstinstitut, fall and winter of 1989-90 had two venues: Lugano, Frankfurt, Inv. no. 423, is a copy). As it was, Mola's near the artist's birthplace, Coldrerio; and Rome, where career seemed to peter out in a flurry of mordant, self- he was raised as a child and eventually settled for the last mocking caricatures. The results of several important two decades of his life. A team of scholars was assembled recent discoveries could be incorporated into the cata- to do justice to his achievements.
  • But Why: a Podcast for Curious Kids How Do

    But Why: a Podcast for Curious Kids How Do

    But Why: A Podcast for Curious Kids How Do You Make Paint? June 10, 2016 [00:00:00] Tell your parents now that you need this rock. Is going to do something cool with it. And it's worth it. [00:00:26] [Jane] I’m Jane Lindholm and this is But Why? A Podcast for Curious Lids from Vermont Public Radio. Every episode we take a question from you, our listeners, and we help find cool people to offer an answer for what's on your mind. [00:00:42] You can find all the instructions at butwhykids.org for how to record a question with an adult's help on a smartphone. We are getting some really incredible questions so keep them coming. Before we get started today, we're excited to announce a new sponsor. This episode of But Why? is supported by Seventh Generation asking “But why?”[00:01:03] for over 27 years. Why don't cleaning products have to list their ingredients on the label? Why are so many laundry detergents such crazy colors? Seventh Generation encourages kids of all ages to keep asking why. Learn more at seventhgeneration.com. OK, let's get to the show and hear today's questions. [00:01:27] [Addison] My name is Addison Bee. I am five years old and I live in Edmonds, Washington and I want to know about how we make paints. [00:01:39] [Jane] There are a lot of different ways that paint is made. If you're painting your house, you're probably using industrial paint that was made in a very big factory.
  • Bart Pushaw for Display in Paris at the World’S Fair That Same Year

    Bart Pushaw for Display in Paris at the World’S Fair That Same Year

    Sámi, Indigeneity, and In 1900, the Swedish artist Karl Nordström painted a connection with the natural world, citing the declaration colossal landscape of a place he had never been.1 Unlike of Swedish poet Verner von Heidenstam that “it is the many of his other landscape paintings, this new work was primitive that we city dwellers seek in the rural areas during the Boundaries of Nordic not supposed to be a “landscape of the soul.” Instead, the summer, the primitive and its peace.”3 Large tracts of Nordström was working under the commission of the wilderness and a historically low population density in the National Romanticism Luossavaara-Kiirunavaara Aktiebolag (LKAB), a mining Nordic countries had long fostered an intimate connection company founded in 1890 to extract iron ore from between humankind and the natural world. Only in the northernmost Sweden. His task was to paint a panoramic late nineteenth century did Nordic urbanites consider this view over the pristine, steppe-like landscape of Kiirunavaara relationship under threat from rapid industrialization. Bart Pushaw for display in Paris at the World’s Fair that same year. At the display, Nordström’s painting was encircled by a wooden Nordic peoples and artists sought to reclaim this connection frame bearing the names of the sites of the company’s new with nature by tracing the roots of their character, chiselled mining ventures: Gällivare, Luossavaara, and Kiirunavaara by their resilience in a harsh climate, specifically to their (fig. 1). Below the painting were geological samples of native land. Art historians have routinely argued that while local iron and other minerals found in the region.
  • Excerpted from Bernard Berenson and the Picture Trade

    Excerpted from Bernard Berenson and the Picture Trade

    1 Bernard Berenson at Harvard College* Rachel Cohen When Bernard Berenson began his university studies, he was eighteen years old, and his family had been in the United States for eight years. The Berensons, who had been the Valvrojenskis when they left the village of Butrimonys in Lithuania, had settled in the West End of Boston. They lived near the North Station rail yard and the North End, which would soon see a great influx of Eastern European Jews. But the Berensons were among the early arrivals, their struggles were solitary, and they had not exactly prospered. Albert Berenson (fig. CC.I.1), the father of the family, worked as a tin peddler, and though he had tried for a while to run a small shop out of their house, that had failed, and by the time Berenson began college, his father had gone back to the long trudging rounds with his copper and tin pots. Berenson did his first college year at Boston University, but, an avid reader and already a lover of art and culture, he hoped for a wider field. It seems that he met Edward Warren (fig. CC.I.16), with whom he shared an interest in classical antiquities, and that Warren generously offered to pay the fees that had otherwise prevented Berenson from attempting to transfer to Harvard. To go to Harvard would, in later decades, be an ambition of many of the Jews of Boston, both the wealthier German and Central European Jews who were the first to come, and the poorer Jews, like the Berensons, who left the Pale of Settlement in the period of economic crisis and pogroms.1 But Berenson came before this; he was among a very small group of Jewish students, and one of the first of the Russian Jews, to go to Harvard.
  • Stained Glass Conservation at the Isabella Stewart Gardner Museum

    Stained Glass Conservation at the Isabella Stewart Gardner Museum

    Article: Stained glass conservation at the Isabella Stewart Gardner Museum: Putting the pieces together Author(s): Valentine Talland and Barbara Mangum Source: Objects Specialty Group Postprints, Volume Four, 1996 Pages: 86-98 Compilers: Virginia Greene and John Griswold th © 1996 by The American Institute for Conservation of Historic & Artistic Works, 1156 15 Street NW, Suite 320, Washington, DC 20005. (202) 452-9545 www.conservation-us.org Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the American Institute for Conservation. Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation of Historic & Artistic Works (AIC). A membership benefit of the Objects Specialty Group, Objects Specialty Group Postprints is mainly comprised of papers presented at OSG sessions at AIC Annual Meetings and is intended to inform and educate conservation-related disciplines. Papers presented in Objects Specialty Group Postprints, Volume Four, 1996 have been edited for clarity and content but have not undergone a formal process of peer review. This publication is primarily intended for the members of the Objects Specialty Group of the American Institute for Conservation of Historic & Artistic Works. Responsibility for the methods and materials described herein rests solely with the authors, whose articles should not be considered official statements of the OSG or the AIC. The OSG is an approved division of the AIC but does not necessarily represent the AIC policy or opinions. STAINED GLASS CONSERVATION AT THE ISABELLA STEWART GARDNER MUSEUM: PUTTING THE PIECES TOGETHER Valentine Talland and Barbara Mangum Introduction In the Spring of 1994 the Gardner Museum began the conservation of nine medieval and Renaissance stained glass windows in its permanent collection.
  • Botticelli: Heroines + Heroes on View: February 14, 2019 – May 19, 2019

    Botticelli: Heroines + Heroes on View: February 14, 2019 – May 19, 2019

    FOR IMMEDIATE RELEASE Botticelli: Heroines + Heroes On View: February 14, 2019 – May 19, 2019 Sandro Botticelli (Italian, 1444 or 1445-1510), The Tragedy of Lucretia, 1499-1500. Tempera and oil on panel, 83.8 x 176.8 cm (33 x 69 5/8 in.) Isabella Stewart Gardner Museum, Boston (P16e20) BOSTON, MA (October 2018) – For the forthcoming Botticelli: Heroines + Heroes exhibition in early 2019, the Isabella Stewart Gardner Museum will be the sole venue in the United States to reunite Renaissance master Sandro Botticelli’s The Story of Lucretia from the Gardner Museum collection with the painter’s Story of Virginia, on loan from Italy for the first time. This presentation explores Botticelli’s revolutionary narrative paintings and brings them into dialogue with contemporary responses. The exhibition opens Feb. 14, 2019 and runs through May 19, 2019. Painted around 1500, eight monumental works – including important loans from museums in Europe and the U.S. - demonstrate Botticelli’s extraordinary talent as a master storyteller. He reinvented ancient Roman and early Christian heroines and heroes as role models, transforming their stories of lust, betrayal, and violence into parables for a new era of political and religious turmoil. Considered one of the most renowned artists of the Renaissance, Botticelli (about 1445-1510) was sought after by popes, princes, and prelates for paintings to decorate Italian churches. His Medici-era madonnas elevated Botticelli to a household name in Gilded Age Boston. Yet the painter achieved iconic status through his secular paintings for domestic interiors – like the Primavera. All of the works in the Gardner’s exhibition originally filled the palaces of Florence, adorning patrician bedrooms with sophisticated modern spins on ancient tales.
  • Office of Performance Management & Oversight

    Office of Performance Management & Oversight

    OFFICE OF PERFORMANCE MANAGEMENT & OVERSIGHT FISCAL 2014 ANNUAL REPORT GUIDANCE The Office of Performance Management & Oversight (OPMO) measures the performance of all public and quasi‐public entities engaged in economic development. All agencies are required to submit an Annual Report demonstrating progress against plan and include additional information as outlined in Chapter 240 of the Acts of 2010. The annual reports of each agency will be published on the Office of Performance Management website, and will be electronically submitted to the clerks of the Senate and House of Representatives, the Chairs of the House and Senate Committees on Ways and Means and the House and Senate Chairs of the Joint Committee on Economic Development and Emerging Technologies. Filing Instructions: The Fiscal Year 2014 report is due no later than Friday, October 3, 2014. An electronic copy of the report and attachments A & B should be e‐mailed to [email protected] 1) AGENCY INFORMATION Agency Name Massachusetts Cultural Council Agency Head Anita Walker Title Executive Director Website www.massculturalcouncil.org Address 10 St. James Avenue, Boston, MA 02116 2) MISSION STATEMENT Please include the Mission Statement for your organization below. Building Creative Communities. Inspiring Creative Minds. OUR MISSION The Massachusetts Cultural Council (MCC) is a state agency that promotes excellence, access, education, and diversity in the arts, humanities, and interpretive sciences to improve the quality of life for all Massachusetts residents and contribute to the economic vitality of our communities. The Council pursues this mission through a combination of grant programs, partnerships, and services for nonprofit cultural organizations, schools, communities, and artists.
  • Nya Grepp I Skärgården VERTIKALT HÄNG #1/2016 Innehåll

    Nya Grepp I Skärgården VERTIKALT HÄNG #1/2016 Innehåll

    #1 / 2016 • PRIS 30 KR • SKARGARDSSTIFTELSEN.SE MÖT ANNA WAXIN, STIFTELSENS NYA VD GUIDNING I SKÄRGÅRDEN ZORN SOM FOTOGRAF nya grepp i skärgården VERTIKALT HÄNG #1/2016 Innehåll Älskar du skärgården? Örskär Vi äger klippor, skär, fjärdar, vikar och strän der. Vi förvaltar hus som är vandrarhem, stugbyar och krogar. Och det är vi STÅNGMÄRKET som rår om jord bruk, gästbryggor, badstränder och allt det N 59° 27.448’ E 18° 49.586’ andra som så många förknippar med den skärgård som är ÖREGRUND en så självklar del av livet. Men det är inte så självklart. För om inte Skärgårdsstiftelsen fanns, vem skulle då se till att våra områden var öppna för ett fritt och rörligt friluftsliv? Vårt jobb är att bevara miljöerna, hålla landskapet öppet och göra skärgården tillgänglig. Vi gör allt från att tömma 7 Ren båtbotten utan miljögift sopor till att dra upp långsiktiga strate gier för att be vara Havstulpanprojektet fortgår med full styrka skärgården också för kommande generationer. Vi älskar 8 Vertikalt häng just det här lilla hörnet av världen som råkar vara Stockholms Se skärgården på ett nytt sätt skärgård. Om du också gör det – stöd vårt arbete. Bli vän. 21 Historiska platser Utö värdshus Ålands Hav 30 Gissa instrumentpanelen Båten – skärgårdsbons arbetshäst Arholma Anna Waxin, Stiftelsens nya VD Idö 4 skargardsstiftelsen.se NÄSTA Lidö NORRTÄLJE Ridders- Fejan NUMMER holm Vidinge 21/3 Stensholmen 2016 Norrpada Röder Salskären Själbottna Skarv Östra Lagnö Fredlarna Särsö Kallskär Kålgårdsön Finnhamn Hälsingholmarna Svenska Möja-Björndalen Gillöga Högarna Grinda Hjälmö- Möja- Gällnö Lådna skärgården STOCKHOLM Anders Zorn Grönskär i Stockholms Björnö skärgård Boskapsön 16 L.
  • Swedish Club Newsletter Aug 2017 Rev 1

    Swedish Club Newsletter Aug 2017 Rev 1

    THE SWEDISH CLUB NEWS The Swedish Club of Houston Preserving Swedish Heritage on the Texas Gulf Coast since 1986 Club Updates In the News • Sweden's gross domestic •Join us for our second Swedish product (GDP) grew by 1.7 Club Movie Night @ 7:00 pm on percent in the second quarter of Friday, August 18th @ Jake's 2017, f r e s h f i g u r e s f r o m Sports Bar, 2944 Chimney Rock Statistics Sweden (Statistiska Road. Movie to be announced. centralbyrån, SCB) show. That means the country's year-on- •We are going sailing! Come sail year growth rate landed at 4 with the Swedish Club of percent, beating the Houston on a three-hour sail economists' forecast growth of aboard the Blue Marlin, a 38' 2.8 percent. sailboat berthed in Kemah, on • Sarah Sjöström became Saturday September 30! Only the first woman to win four one time slot is available: golds in the women's 100 m 5:30-8:30 pm. The price is $35 butterfly on July 24th at the per person, and there is a limit of world championships. The 23- 12 persons per cruise -- you year-old clocked 55.53 may register and pay online at seconds, a new championships www.swedishclub.org record, just 0.05sec from her (reservations are not confirmed own world record set at the Rio until payment is received in full)! de Janeiro Olympics last year. If you want to send a check, She is the first reigning Olympic please make check payable to champion to add the world title Swedish Club of Houston and in the event She is the first mail to: Swedish woman to win Swedish Club of Houston an Olympic gold medal in c/o Karen Wolz swimming.
  • Art for All the Swedish Experience in Mid-America Art for All the Swedish Experience in Mid-America

    Art for All the Swedish Experience in Mid-America Art for All the Swedish Experience in Mid-America

    Art for All The Swedish Experience in Mid-America Art for All The Swedish Experience in Mid-America by Cori Sherman North, Birger Sandzén Memorial Gallery Curator with an essay contributed by Donald Myers, Director of the Hillstrom Museum of Art at Gustavus Adolphus College in St. Peter, Minnesota, and introduction and acknowledgements by Ron Michael, Sandzén Gallery Director August 25 through October 20, 2019 2021: Dates to be Determined 2021/22: Dates to be Determined Hillstrom Museum of Art Introduction and Acknowledgements The inclination for the Birger Sandzén Memorial appreciate Director Karin Abercrombie’s assistance to Gallery to develop an ambitious, though certainly not make it happen. comprehensive, exhibition of early Swedish-American artwork has been brewing since the Gallery’s Conservation of several paintings from the Sandzén inception in 1957. Jonas Olof Grafström was one of Gallery’s permanent collection was made possible the true pioneers in this field and his history helped by a generous grant from the Swedish Council of spark the idea for this show. Additionally, there have America, a national non-profit organization dedicated been many instances of these artists making their to preserving and promoting Swedish heritage. way into exhibitions here, but none as far-reaching They also provided support for the printing of this as Art for All. Our namesake, Birger Sandzén, had catalogue. We are deeply grateful to them and hope ties to nearly all of the painters, printmakers, and the organization’s members will be proud of the sculptors represented, showing his amazing ability to exhibition. network. Therefore, it’s fitting that we finally tackle this incredible association of artists and their work, which We are also grateful to those who loaned works from was so important in building an appreciation for art in their collections to help add depth.
  • Birger Sandzén: a Painter and His Two Worlds

    Birger Sandzén: a Painter and His Two Worlds

    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Winter 1985 Birger Sandzén: A Painter And His Two Worlds Emory Lindquist Bethany College - Lindsborg Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Lindquist, Emory, "Birger Sandzén: A Painter And His Two Worlds" (1985). Great Plains Quarterly. 1823. https://digitalcommons.unl.edu/greatplainsquarterly/1823 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. BIRGER SANDZEN A PAINTER AND HIS TWO WORLDS EMORY LINDQUIST Birger Sandzt'!n, Swedish-born painter and lith­ west to paint.... He says there is more ographer, achieved a national reputation during color than light. He defies the Colorado Can­ the more than half a century that he was asso­ yon to do its worst, knowing that he has ciated with Bethany College in Lindsborg, more vermillion in his color box than nature Kansas. His place in the mainstream of Amer­ herself can afford to spend on sunsets .... It ican landscape painting is readily apparent if is all very vehement, splendid and very west- one considers the vast number of exhibitions of ern. 1 his paintings, which ranged from hand-carried portfolios in a school or church to one-man Sandzen's national recogmtIOn following this shows in major galleries in the United States show was enhanced over the years as his work and Europe.
  • John Bauer – En Studie Om Konstnären John Bauers Liv Och Konstnärliga Utveckling

    John Bauer – En Studie Om Konstnären John Bauers Liv Och Konstnärliga Utveckling

    Linköpings universitet | Institutionen för Kultur och Kommunikation B-Uppsats, 7,5 hp | Konstvetenskap 2 Vårterminen 2016 John Bauer – En studie om konstnären John Bauers liv och konstnärliga utveckling Elin Arvidsson Cecilia Svensson Handledare: Niclas Franzén Linköpings universitet SE-581 83 Linköping, Sverige 013-28 10 00, www.liu.se 1 Innehållsförteckning Inledning ................................................................................................................................................. 3 Syfte och frågeställningar ................................................................................................................... 3 Metod och teori .................................................................................................................................. 4 Litteraturöversikt och tidigare forskning ............................................................................................ 6 Biografi .................................................................................................................................................... 8 Konstakademin ................................................................................................................................... 8 Resorna ............................................................................................................................................... 9 Konstnärskapet ................................................................................................................................. 10