Art and Artist Are in the Spotlight Studio Artists Set

Total Page:16

File Type:pdf, Size:1020Kb

Art and Artist Are in the Spotlight Studio Artists Set Vol.2 No. 1 Winter 2009 Art and artist are in the spotlight Studio artists set ashington, DC will be a L Wilson’s personal items featured in the painting, for gallery show Wspecial place for Studio such as the microscope, Incamminati Founder and Artistic are planned for he first-ever gallery show dedicated permanent display at the Director Nelson Shanks this year. Tto showcasing the works of Studio Smithsonian Institution. Both, his artwork and the artist Incamminati artists is set for June at the Bucks Edward O. Wilson Gallery of Fine Art in Newtown, PA. The himself will take center stage there. Nelson Shanks On April 25, Nelson receives Oil on canvas catalog show is further evidence of Studio 2008 – 2009 Incamminati’s growing reputation in the art the Portrait Society of America’s 50” x 46” M most distinguished honor, the world. In the past few years, the studio’s artists Gold Medal, at a special ceremony increasingly have been garnering prestigious during the group’s annual Art awards and commissions. of the Portrait conference. The It also illustrates the studio’sgrowing presence Gold Medal is awarded to artists in Bucks County.Working with the Central Bucks who have made a significant Chamber of Commerce, Studio Incamminati has contribution to the art of the already enjoyed a successful art auction and sale portrait. Previous award recipients and a landscape-painting workshop. include Andrew Wyeth, Jamie “This is another step in our growth,” said Wyeth and Burton Silverman. Executive Director Jay Pennie. “We are very Then, Nelson’s portrait of excited to be working with the Bucks Gallery esteemed American naturalist and of Fine Art in this important first step Pulitzer Prize winner E. O. Wilson for Studio Incamminati.” will be included in the upcoming National Museum of Natural ARTISTS OF STUDIO INCAMMINATI Opening reception I Sat., June 6 I 6 - 9 p.m. History exhibition “Ants,” running from May 30 – Oct. 10. The portrait was painted in Boston at Bucks Gallery of Fine Art I Fenway Studios and at Nelson’s 201 South State St. Newtown, PA 18940 215-579-0050 home studio at Chelwood. for high school students. In addition to our ever- The excitement continues popular Intensive Painting and Advanced ven as I catch my breath and reflect on Many of them will explore full-time studies here. Portrait workshops featuring demonstrations by Ehow exciting 2008 was here at Studio On March 14, Instructors Kerry Dunn and Nelson Shanks, we have new offerings featuring Incamminati, it is clear 2009 is shaping up to be Stephen Early present to members of the Greater Sherri McGraw and Jon deMartin leading more of the same. Norristown Arts League. April 25, Nelson drawing workshops and Dan Thompson Our recent approval to join the Shanks receives the prestigious Gold Medal from teaching figure painting. government’s Student and Exchange Visitor the Portrait Society of America. I’m eagerly looking forward to this event- Information System eases the path for foreign Our artists show their work at new filled 2009 and sharing it with all our old artists to study here. We have already welcomed exhibitions at the Church of the Holy Trinity on and new friends. a woman from India as our first-ever full-time Ritttenhouse Square in May and at the Bucks student from abroad. Gallery of Fine Art, Newtown, PA, in June. On March 27-28, we welcome artists from Our summer workshop schedule kicks off around the country at our annual Open House. in June with our new Emerging Artists workshop Executive Director Studio Incamminati welcomes your support. For information, please call Executive Director Jay Pennie at 215.592.1918. 340 NORTH 12TH STREET I SUITE 400 I PHILADELPHIA, PA 19107 I www.StudioIncamminati.org I 215.592.7910 First-year students: diverse backgrounds, shared passion to paint W ILL D ICKINSON J ASON E SPEY S ARAH F REDERICKS PENNY H ARRIS Previous life: National Park Service, Architect Previous life: Construction worker, art student Previous life: Office administration in cosmetic dentistry and in the Previous life: Painter U.S. Senate uring a marathon painting session at an ason discovered Studio Incamminati on the enny, an experienced artist and Pennsyl- D art league in Virgina, Will asked people JInternet while attending an art school “out esearching art schools led Sarah to a visit P vania Academy of Fine Arts grad, says she where he could pursue a daily schedule of west.” Reviewing the Studio Incamminati R to Studio Incamminati. had reached a wall in her artistic development. intensive painting. The near-unanimous website, the Huntsville, AL, native was Though she had heard positive comments answer: Studio Incamminati. He has been impressed by the student work and the Talking with instructors and school about Studio Incamminati, it was a Nelson impressed by the studio’s approach of curriculum. Seeking more intensity and focus administration, she found that her intense Shanks painting demonstration that prompted measuring everything in visual terms. Simple in his art studies, he felt this was the next step interest in figurative work would be satisfied. her to enroll. The experience here has been forms and shapes competently drawn result in in his career progression. Even though the Sarah, who commutes daily from outside “incredibly challenging and exhilarating,” she the understanding of complex forms. There isn’t instant gratification, workload is daunting and the goals seem far off, he says, the Baltimore, MD, says she hasn’t been disappointed because the school says. “I’ve learned more in these few months than I ever have before.” he notes, it takes time, endurance and focused concentration. instructors’ knowledge and guidance assure him that he is achieving has changed the way she thinks about light and forms and the rhythm artistic mastery. of the figure. A LISYN K UNTZ M ONICA L EVINE A DELE M CCOY E LLIE M CC ARDELL -S AMUELSON Previous life: Mother, homemaker, graphic designer, illustrator, set Previous life: Interior designer in Chicago Previous life: Taught art education in public and private schools, Previous life: high-school student designer, creative director for her husband’s corporate administrative roles. software company n Open House was all it took to llie’s prep school art teacher recognized a A convince Monica that Studio ager to jettison corporate life, Adele’s art E talent that she felt could best be lthough she had attended a studio Open Incamminati was the place for her. Almost E background led her to research art schools sharpened by attending art school full-time. A House, it was a classroom moment in immediately, she says, she saw the students’ where she was intrigued by the painting- Her teacher knew of Studio Incamminati’s instructor Robin Frey’s class that was the work, felt the positive energy and “knew I had intensive atelier approach. That, of course, led reputation and steered Ellie there. After impetus for enrolling full-time, says Alisyn. to be there.” She continues to be inspired by her to Studio Incamminati. Adele says she is visiting the studio and speaking with While she is enthused by the mission of the upper-level artists who, she says, keep her continually amazed at how basic concepts, instructors and students, Ellie knew it would bringing realism to the forefront of art, she focused on working hard and progressing to executed with lots of easel time, elevate her be the best opportunity for her. says it is the passion and generosity of the people in her classes that the next level of achieving her own artistic goals. work. She is equally excited by the sense of community, brought by have affected her most. teachers and students, which makes the time productive and enjoyable. C HRISTINA ROSE S AKIKO S HINKAI J AY VARMA C AROLINE W EITZMAN Previous life: Freelance illustrator and graphic designer Previous life: Office worker Previous life: Owned and managed an advertising studio, a publishing Previous life: Student at Brandeis University, earning a B.A. in art company and a pub. history in 2008. he Florida transplant says she knew akiko wanted to improve her painting T about Studio Incamminati, but it was S through the intensive study of light and ay came from India to study fine arts at the aroline decided her goal of becoming a mutual friend of hers and instructor Kerry shadow and by mastering the contrasting JUniversity of Michigan, but discovered Cpainter could best be realized in an Dunn’s that prompted her to take evening and values of an object and the surrounding area. Studio Incamminati on the Internet, and came atelier. She chose Studio Incamminati at the weekend classes. That led to enrolling in the Studio Incamminati, she says, has given her to Philadelphia. recommendation of Rob Liberace, a former Portfolio program. She is surrounded by that opportunity. The native of Japan, who instructor at the school. The skill and inspiration and her art has improved most recently lived in Hawaii, says she is He has been moved by learning the core generosity of the instructors, and the diversity dramatically, she says: especially impressed by the way the advanced principles of the gesture in the human figure of their methods, approaches, and styles, has students are eager to help the newcomers. The studio develops all the and how the artist moves from big shapes to smaller ones, keeping made a dramatic impact on her painting, she says. “You just have to come with determination, focus and an open mind.” artists, she says, and “No one is left behind.” refinement of the line until much later.
Recommended publications
  • Zeller Int All 6P V2.Indd 1 11/4/16 12:23 PM the FIGURATIVE ARTIST’S HANDBOOK
    zeller_int_all_6p_v2.indd 1 11/4/16 12:23 PM THE FIGURATIVE ARTIST’S HANDBOOK A CONTEMPORARY GUIDE TO FIGURE DRAWING, PAINTING, AND COMPOSITION ROBERT ZELLER FOREWORD BY PETER TRIPPI AFTERWORD BY KURT KAUPER MONACELLI STUDIO zeller_int_all_6p_v2.indd 2-3 11/4/16 12:23 PM Copyright © 2016 ROBERT ZELLER and THE MONACELLI PRESS Illustrations copyright © 2016 ROBERT ZELLER unless otherwise noted Text copyright © 2016 ROBERT ZELLER Published in the United States by MONACELLI STUDIO, an imprint of THE MONACELLI PRESS All rights reserved. Library of Congress Cataloging-in-Publication Data Names: Zeller, Robert, 1966– author. Title: The figurative artist’s handbook : a contemporary guide to figure drawing, painting, and composition / Robert Zeller. Description: First edition. | New York, New York : Monacelli Studio, 2016. Identifiers: LCCN 2016007845 | ISBN 9781580934527 (hardback) Subjects: LCSH: Figurative drawing. | Figurative painting. | Human figure in art. | Composition (Art) | BISAC: ART / Techniques / Life Drawing. | ART / Techniques / Drawing. | ART / Subjects & Themes / Human Figure. Classification: LCC NC765 .Z43 2016 | DDC 743.4--dc23 LC record available at https://lccn.loc.gov/2016007845 ISBN 978-1-58093-452-7 Printed in China Design by JENNIFER K. BEAL DAVIS Cover design by JENNIFER K. BEAL DAVIS Cover illustrations by ROBERT ZELLER Illustration credits appear on page 300. 10 9 8 7 6 5 4 3 2 1 This book is dedicated to my daughter, Emalyn. First Edition This book was inspired by Kenneth Clark's The Nude and Andrew Loomis's Figure Drawing for All It's Worth. MONACELLI STUDIO This book would not have been possible without the help of some important peo- THE MONACELLI PRESS 236 West 27th Street ple.
    [Show full text]
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]
  • Lord Spencer to Highlight Benefit Gala
    Vol.1 No.3 Summer 2008 Lord Spencer to Highlight Benefit Gala celebration of art, history and friendship that Aspans the Atlantic Ocean will be renewed when Studio Incamminati hosts Charles Edward Maurice, the Ninth Earl Spencer, for a benefit gala Sept. 12 at The Union League of Philadelphia. Nelson Shanks, Studio Incamminati founder and artistic director, painted portraits of Lord Spencer and his sister Princess Diana that still hang in the family home, Althorp. The dinner event will feature Lord Spencer’s reminiscences, “Growing Up at Althorp,” the magnificent estate that celebrates its 500th anniversary this year. In addition, Nelson Shanks will share his memories of “Painting Princess Diana.” An exhibition of sketches and photos of Diana, from Shanks’ private archives, also will be on display. In keeping with the British theme, selections from the Gilbert and Sullivan songbook will provide the entertainment. M Althorp, the Spencer family home since 1508, sits on 14,000 acres of English countryside. L Lord Spencer speaks about “Growing Up at Althorp,” at L Nelson Shanks will share memories of his time spent the September benefit gala. painting Diana. A Rare Friendship Provides a Memorable Evening e are so excited and honored to have great friendship that continues today. This gala will provide a rare opportunity to WCharles Edward Maurice, the Ninth Earl Most of us remember the moment when we meet Lord Spencer and understand what it was like Spencer, come to Philadelphia for our special first heard the tragic news of Princess Diana’s growing up with Diana at Althorp. Nelson will gala on Sept.
    [Show full text]
  • Kate Sammons U Expect the Unexpected
    8 Kate Sammons u Expect the Unexpected by Molly Siple Self-portrait step in closely and see the painting on an intimate scale. I want Oil on panel 200 3 160 them to feel the sensation of drifting with the waves and to Collection of the Artist smile at the thought of floating along with eels.” Another painting that she daydreamed her way into ate Sammons is a delightful bundle of is Stairs and Flowers. “I found this mass of flowers to be energy who brings an exacting and inquisitive mind the perfect fertile area to get lost in,” says Sammons. She Kto her masterful work as an artist. Trained classically graphically makes the point by adding surreal stairs and a and drawing inspiration from the arts of the Renaissance, doorway to the composition, the flowers acting as an entry Sammons is known for her exquisitely rendered still life and point into her mental wanderings. This painting is especially portraiture. But most interestingly, she bravely steps away from interesting as it features both Sammons’ classical rendering typical versions of these, inventing her own intriguing imagery. skills and her freer handling with pigment and form— “I am trained as a realist painter and have a very academic demonstrating control, plus spontaneity. “I could have been background,” explains Sammons, “but these days I find myself a middle child,” Sammons says, “since I’m always trying to longing to reach into the subconscious and dreams and balance different elements and find ways to compromise. The memories for subject matter. You know when you see something just on the edge of your vision…almost like one of those floaters you can see in your eye… the ideas I have for a painting are almost like these.
    [Show full text]
  • Smithsonian National Portrait Gallery News Winter/Spring 2008 from the Acting Director
    PROFILESmithsonian National Portrait Gallery News Winter/Spring 2008 From the Acting Director Over Presidents’ Day weekend, nearly 25,000 peo- Steichen: Portraits” pre- ple visited the Donald W. Reynolds Center. I would sents celebrity photo- like to think that what motivated so many to come graphs that complement Ken Rahaim to the museums at Gallery Place was the National those of the less-well-known Zaida Ben-Yusuf—the Portrait Gallery’s permanent collection, which is subject of the groundbreaking loan show “Zaida currently enhanced by the loan of Charles Willson Ben-Yusuf: New York Portrait Photographer.” If Peale’s splendid 1779 portrait of George Washing- you traveled to the National Portrait Gallery twice, ton after the Battle of Princeton. This iconic por- once in the winter and again in late spring, you trait of the triumphant General Washington com- would have seen “The Presidency and the Cold plements our own equally iconic “Lansdowne” War” and its replacement, “Herblock’s Presidents: portrait of Washington as president, completed by ‘Puncturing Pomposity,’” which takes a less-than- Gilbert Stuart in 1796. Both of these imposing por- reverential look at those who occupy our nation’s traits, which represent the cornerstones of Wash- highest office. Two one-person shows have also been ington’s career, were initially destined for European big draws: “KATE: A Centennial Celebration,” il- collections: Peale’s portrait was sent to Spain the luminates moments in the life of Katharine Hep- year it was completed, and Stuart’s portrait was a burn, while Stephen Colbert’s portrait, displayed gift to Lord Lansdowne, an English supporter of over the water fountains between the second-floor the American Revolution.
    [Show full text]
  • Canadian Philatelist Philatéliste Canadien
    The Canadian Philatelist Le Philatéliste canadien September/October 2008 septembre/octobre - VOL. 59 • NO.5 PM40069611 $5.00 R 9828 5,00$ Journal of THE ROYAL PHILATELIC SOCIETY OF CANADA Revue de LA SOCIÉTÉ ROYALE DE PHILATÉLIE DU CANADA Canadians in Les Canadiens Hollywood: à Hollywood, The Sequel la suite Four more Canadians who made it big in Ce jeu de timbres met en vedette Hollywood—Marie Dressler, Raymond Burr, quatre autres Canadiens qui ont brillé Norma Shearer and Chief Dan George— dans l’exercice de leur art à Hollywood : star on this classic quartet of stamps. Marie Dressler, Raymond Burr, Norma Shearer et le chef Dan George. Don’t miss this exciting sequel. Buy your stamps and collectibles today. Ne ratez pas cette suite ! Procurez-vous ces timbres et articles de collection dès aujourd’hui. $ 208 Souvenir sheet Bloc-feuillet 403708145 16* Booklet of 8 stamps 64* Set of 4 booklets $ 4 Carnet de 8 timbres $ 16 Ensemble de 4 carnets 413708701 * Selection of individual booklet covers is random except when purchasing at participating post offi ces. Set of four booklets available by phone or online only. Le choix de la couverture individuelle des carnets est aléatoire, sauf si vous achetez les carnets 413708111 aux bureaux de poste participants. Vous pouvez vous procurer l’ensemble des quatre carnets, uniquement par téléphone ou en ligne. Offi cial First Day Cover and postcards also available. Sont également offerts un pli Premier Jour offi ciel ainsi que des cartes postales. Available at participating post offices or | Offert dans les bureaux de poste participants ou Canada / U.S.
    [Show full text]
  • An Exploration of Salvador Dalí's “Society Portraits”
    ©Rev. Robert Keffer, 2021 Moguls, Matrons, and Aristocracy: An Exploration of Salvador Dalí’s “Society Portraits” from the 1940’s Through the 1960’s By Rev. Robert Keffer, OSB What is the Society Portrait? How do art critics and historians define the society portrait? The first definition that might come to mind may be pejorative: a slick, glossy and flattering depiction of an unattractive person, who happened to be blessed with money and pedigree. Many would consider the society portrait a hack job; something the artist creates to pay the bills and/or to gain entré into a higher level of society. This criticism has been applied especially to the portraiture styles of the late 19th century, and the continuation of their style to the current time: portraiture that is academic/realist, and follows mainly the techniques of John Singer Sargent and his imitators. Current revisionist criticism, however, will show that the society portrait can and often does have lasting artistic merit. Consider, for instance, the famous Portrait of Consuelo, Duchess of Marlborough and Her Son, Lord Ivor Spencer-Churchill (1906), by Giovanni Boldini. Grace Glueck in her New York Times article, “Society Portraits of Giovanni Boldini”, considers this famous work nothing more than “a frothy meringue… an almost erotic tableau in which a beautiful small boy sprawls against the slender body of his vivacious mother, who is regally ensconced on a Louis XV settee, and clad in a long splash of shimmering satin.”1 However, Ms. Glueck, in the same article, states that Boldini could also do work of real character with “his vibrant 1897 rendering of a world-weary Whistler, for instance, lounging against a chair back, his head supported by an eloquently ‘artistic’ hand and a wonderful self-portrait of 1911 in which, his portly little body half-turned to the viewer, he seems to regard with jaded eyes a rogue's gallery of subjects visible only to him.”2 Boldini aside, history refutes the theory that the society portrait has always been and always will be empty flattery and vain show.
    [Show full text]
  • Governor John Engler Portrait Unveiling
    G OVERNOR J OHN E NGLER P ORTRAIT U NVEILING GOVERNOR JOHN ENGLER PORTRAIT UNVEILING Program Introductions Chief Justice Clifford Taylor, Master of Ceremonies Welcome Governor Jennifer Granholm Remarks Lieutenant Governor Connie Binsfeld Lieutenant Governor Dick Posthumus Introduction of Artist Eugene A. Gargaro, Jr. Chairman of the Board of Directors of the Detroit Institute of Arts Comments by the Artist Nelson Shanks Remarks Governor John Engler # # # # # Portrait Unveiling Margaret, Hannah and Madeleine Engler # # # # # Reception The Governor John Mathias Engler was Michigan’s 46th governor. His tenure, from 1991 till 2003, was exceeded by only one chief executive in state history. During his twelve years in office, Michigan’s economy improved dramatically and its public schools experienced far-reaching reform. John Engler was born in Mount Pleasant, Michigan, on October 12, 1948, the son of Agnes and Matt, a Beal City farmer and cattleman. After attending Catholic and public schools, he went to Michigan State University, where he graduated with a degree in agricultural economics. It was in 1970, during his senior year in college, that he first ran for a seat in the state House of Representatives. By dint of smart campaigning and hard work, he beat a powerful incumbent to become the then-youngest member ever elected to the Michigan legislature; he was 22 years old. In 1978, after being elected to the House four times, John Engler challenged and defeated another incumbent in the state Senate, where he served for 12 years and was majority leader from 1984-1990. Attending law school while serving in the Senate, he earned a J.D.
    [Show full text]
  • Annual Report 2014 Annual Report 2014 Report Annual 59
    Annual Report 2014 Philadelphia Museum of Art Annual Report 2014 59 16 2 Board of Trustees 4 Letter from the Chair 47 6 A Year at the Museum 8 Collecting 26 Exhibiting 40 Learning 48 Connecting and Collaborating 58 Building 68 Conserving 76 Supporting 90 Staffing and Volunteering 6 14 96 A Calendar of Exhibitions and Events 104 Financial Statements 110 Committees of the Board of Trustees 112 Support Groups 115 Volunteers 118 Museum Staff 2 Annual Report 2014 Board of Trustees 3 Board of Trustees Trustees Honorary Trustees Trustees Ex-Officio Officers Marta Adelson Mrs. Jack M. Friedland Dr. Donald B. Parks Hon. Arlin M. Adams Hon. Tom Corbett Constance H. Williams Governor, Commonwealth of Chair, Board of Trustees and John R. Alchin Kimberley H. Gray Raymond G. Perelman Nancy M. Berman Pennsylvania Chair of the Executive Committee Dennis Alter David Haas Ajay Raju James D. Crawford Hon. Michael A. Nutter H. F. (Gerry) Lenfest Barbara B. Aronson Anne F. Hamilton Lynda R. Resnick Stephanie S. Eglin Mayor, City of Philadelphia Raymond G. Perelman Chairs Emeriti Andrea M. Baldeck, M.D. Lynne Honickman Lyn M. Ross William H. Flammer, Jr. Hon. Darrell L. Clarke President, City Council Dennis Alter Sheldon M. Bonovitz Osagie O. Imasogie Marsha W. Rothman Dorrance H. Hamilton Barbara B. Aronson Timothy Rub Julian A. Brodsky Ira Brind Joan M. Johnson Pia RoyChowdhury William H. Helfand The George D. Widener David Haas Director and Chief Executive Julian A. Brodsky Berton E. Korman Mark E. Rubenstein James J. Kim Lynne Honickman Officer Victoria McNeil Le Vine Priscilla S.
    [Show full text]
  • Gender Discrimination and the Supreme Court Objectives
    Smoothing the Path: Gender Discrimination and the Supreme Court Compiled by the National Portrait Gallery, Smithsonian Institution Target Grade Level: 9-12 in social studies classes Objectives: After completing this lesson, students will be better able to: • Identify and analyze key components of a portrait and relate visual elements to relevant historical context and significance • Analyze the connections between the first four female Supreme Court justices. • Analyze landmark Supreme Court gender-discrimination cases and understand how they relate to each other and to the careers of the first female justices. Portrait: The Four Justices by Nelson Shanks, oil on canvas, 2012 Background Information for Teachers About the Portrait: A major step in women’s struggle for equality came on March 3, 1879, when Belva Lockwood became the first woman to argue before the Supreme Court. In the 1940s, distinguished jurist Florence Allen was considered for the Court, but opposition, including from the sitting justices, precluded her nomination. In 1981 Sandra Day O’Connor (born 1930) became the first woman to serve on the Court. O’Connor, a graduate of Stanford Law School, was serving on the Arizona Court of Appeals when President Ronald Reagan nominated her as an associate justice. O’Connor retired from the Court in 2006. Ruth Bader Ginsburg (born 1933) graduated from Columbia Law School. She was serving on the U.S. Court of Appeals for the District of Columbia when President Bill Clinton nominated her as an associate justice of the Supreme Court in 1993. Sonia Sotomayor (born 1954) received her J.D. from Yale Law School.
    [Show full text]
  • Russian Flair Charms Gala Crowd
    School for Contemporary Realist Art Vol.4 No.1 Winter 2011 Russian flair charms gala crowd Art tour beckons ussian culture, in all its vibrant color and —and celebrate—Nelson Shanks’ solo Russian n celebration of Nelson’s historic exhibition, Remotional richness, took center stage at exhibition in spring 2011. IStudio Incamminati is offering a chance The Union League of Philadelphia’s plush The Russian Museum in St. Petersburg, to see the exhibition—and help the studio. Lincoln and McMichael rooms as nearly 200 followed by The Russian Academy of Arts The “To Russia, With Love” art tour is an persons enjoyed Studio Incamminati’s third in Moscow, will play host to more than 45 exclusive custom-designed travel program for annual benefit gala “To Russia, With Love,” works by Shanks. He is one of a select few living Oct. 22. American artists to be invited to display his Visit the Of course, there was the quiet elegance work. Gala guests were treated to 18 paintings, exclusive of traditional caviar and vodka. But, there 10 newly painted, which will be part of the tour website for photos, were also the frenetic excitement of whirling exhibitions. The event was chaired by Dan and travel facts Cossack dancers and ringing Balalaikas. All of Dr. Monica DiLella and co-chairs Frank and and the latest that served as the perfect backdrop to preview Dottie Giordano. ◆ tour news. Studio Incamminati friends. Two versions of a spectacular eight-night tour take travelers to Moscow and St. Petersburg, culminating with the private opening of Nelson Shanks’ exhibition at the Russian Museum.
    [Show full text]
  • At the La Salle University Art Museum
    PHILADELPHIA ARTISTS AND THE PENNSYLVANIA ACADEMY OF THE FINE ARTS AT THE LA SALLE UNIVERSITY ART MUSEUM This guide was created for faculty to use independently. It includes a self- tour of paintings by PAFA-affiliated artists at the La Salle University Art Museum and a resource list for where to go to view more artworks by these artists. Contents: - Brief History of the Pennsylvania Academy of the Fine Arts - Distinctive Characteristics of PAFA Training - Artists: Charles Willson Peale (1741-1827) James Peale (1749-1831) Rembrandt Peale (1778-1860) William Trost Richards (1833-1905) Christian Schuessele (1824-1879) Thomas Eakins (1844-1916) Henry Ossawa Tanner (1859-1937) William Glackens (1870-1938) Sidney Goodman (b. 1936) Nelson Shanks (b. 1937) Bo Bartlett (b. 1955) David McShane (b. 1965) - Addresses and Websites for other Institutions Brief History of the Pennsylvania Academy of Fine Arts: After the revolutionary wars, efforts were afoot in both New York and Philadelphia to start art academies. The first one in Philadelphia, the so-called Columbianum lasted only a year from 1794 – 1795 and comprised an association of thirty professional and amateur artists who sponsored a single exhibition in Independence Hall. Following the demise of the Columbianum, Charles Willson Peale and his son Rembrandt were involved in1805 in establishing the Pennyslvania Academy of Fine Arts on the model of that of the New York Academy of Fine Arts. Like the New York academy, which had been founded in 1802 by a body of prominent merchants, PAFA was principally run by members of the legal and business community. In fact, the elder Peale, his son Rembrandt, and the sculptor William Rush were the only artists among the seventy-one founders.
    [Show full text]