SHELBURNE MUSEUM ANSWERS to FREQUENTLY ASKED QUESTIONS, 2017 Table of Contents
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Using Color As Expression
MUSEUM LEARNING: PLANS & RESOURCES Using Color as Expression We are going to explore colors, how we see them, and the ways we can mix them to create amazing art. By exploring an important painting at Shelburne Museum–The Grand Canal, Venice (Blue Venice) painted by Edouard Manet in 1875, we will look closely at how the artist used color to create his masterpiece. Goals We will learn some art vocabulary to identify color schemes, explore Manet’s techniques and create our own version of Manet’s The Grand Canal, Venice painting. Edouard Manet, The Grand Canal, Venice (detail), 1875. Oil on canvas, Background Information 23 1/8 x 28 1/8 in. Gift of the Electra Havemeyer Webb Fund, Inc. 1972 69.15. In 1875, Manet painted this view on the Grand Canal, which H. O. Havemeyer purchased for his wife Louisine 20 years later. She was particularly fond of More Resources the picture and changed its name to Blue Venice. Mrs. Havemeyer wrote that her friend Mary Cassatt n Edouard Manet (1832-83), The Met, “congratulated us when we bought this picture, https://bit.ly/`met-SM saying she considered it one of Manet’s most brilliant n What’s the Difference between Manet and Monet, works; it was so full of light and atmosphere and The Iris: Behind the Scenes at the Getty, expressed the very soul and spirit of Venice.” Her https://bit.ly/Getty2-SM daughter Electra Havemeyer Webb inherited Blue n Impressionism: Art & Modernity, The Met, Venice, which hangs in the living room of her New https://bit.ly/met1-SM York City apartment, reinstalled in Shelburne Museum’s Memorial Building. -
RETROSPECTIVE BOOK REVIEWS by Esley Hamilton, NAOP Board Trustee
Field Notes - Spring 2016 Issue RETROSPECTIVE BOOK REVIEWS By Esley Hamilton, NAOP Board Trustee We have been reviewing new books about the Olmsteds and the art of landscape architecture for so long that the book section of our website is beginning to resemble a bibliography. To make this resource more useful for researchers and interested readers, we’re beginning a series of articles about older publications that remain useful and enjoyable. We hope to focus on the landmarks of the Olmsted literature that appeared before the creation of our website as well as shorter writings that were not intended to be scholarly works or best sellers but that add to our understanding of Olmsted projects and themes. THE OLMSTEDS AND THE VANDERBILTS The Vanderbilts and the Gilded Age: Architectural Aspirations 1879-1901. by John Foreman and Robbe Pierce Stimson, Introduction by Louis Auchincloss. New York: St. Martin’s Press, 1991, 341 pages. At his death, William Henry Vanderbilt (1821-1885) was the richest man in America. In the last eight years of his life, he had more than doubled the fortune he had inherited from his father, Commodore Cornelius Vanderbilt (1794-1877), who had created an empire from shipping and then done the same thing with the New York Central Railroad. William Henry left the bulk of his estate to his two eldest sons, but each of his two other sons and four daughters received five million dollars in cash and another five million in trust. This money supported a Vanderbilt building boom that remains unrivaled, including palaces along Fifth Avenue in New York, aristocratic complexes in the surrounding countryside, and palatial “cottages” at the fashionable country resorts. -
A Mechanism of American Museum-Building Philanthropy
A MECHANISM OF AMERICAN MUSEUM-BUILDING PHILANTHROPY, 1925-1970 Brittany L. Miller Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Departments of History and Philanthropic Studies, Indiana University August 2010 Accepted by the Faculty of Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. ____________________________________ Elizabeth Brand Monroe, Ph.D., J.D., Chair ____________________________________ Dwight F. Burlingame, Ph.D. Master’s Thesis Committee ____________________________________ Philip V. Scarpino, Ph.D. ii ACKNOWLEDGEMENTS In the same way that the philanthropists discussed in my paper depended upon a community of experienced agents to help them create their museums, I would not have been able to produce this work without the assistance of many individuals and institutions. First, I would like to express my thanks to my thesis committee: Dr. Elizabeth Monroe (chair), Dr. Dwight Burlingame, and Dr. Philip Scarpino. After writing and editing for months, I no longer have the necessary words to describe my appreciation for their support and flexibility, which has been vital to the success of this project. To Historic Deerfield, Inc. of Deerfield, Massachusetts, and its Summer Fellowship Program in Early American History and Material Culture, under the direction of Joshua Lane. My Summer Fellowship during 2007 encapsulated many of my early encounters with the institutional histories and sources necessary to produce this thesis. I am grateful to the staff of Historic Deerfield and the thirty other museums included during the fellowship trips for their willingness to discuss their institutional histories and philanthropic challenges. -
Physical Accessibility Guide 2020
Physical Accessibility Guide 2020 Terrain Details for Paths, Walkways and Road Surfaces •Packed and loose gravel, slate, stone and brick. •Grade varies from easy to steep. Travel on the Grounds •Wheelchairs are available at the Museum Store. •Children's strollers and wagons are available at the Museum Store. •Accessible shuttle completes a circuit around the grounds approximately every 15 minutes. Service Accessibility •All services at the Museum Store and Café are fully accessible. •Additional accesible restrooms are located at Railroad Station and Stagecoach Inn. •The Ticonderoga reading room includes an Access and Explore notebook containing images and descriptions of areas of the boat that are not accessible. •Audio and/or video interpretive installations are located in exhibitions in Beach Gallery, the Ticondergoa, the Meeting House, Dorset House, and Variety Unit. •Handheld "i-loview" video magnifiers may be checked out at the Museum Store. The devices magnify up to 32x while also adjusting for brightness and contract, and are best for reading label text and signage. Generously donated by Ai Squared, a Vermont-based accessible technology company. Each exhibit building is listed below, including detailed information on accessibility. Unless otherwise noted, all steps are 8” high or less, and all doorways are at least 32” wide. This symbol indicates first floor accessibility Building Entrance Interior Exit Apothecary Shop Ramp on south side Same as entrance Beach Gallery Level entrance Level exit Beach Lodge Ramp on north side 2 interior -
NELL Beacon January 2011 FINAL
New England Lighthouse Lovers A Chapter of the American Lighthouse Foundation NELLNELL BeaconBeacon January 2011 NELL’S 2010 YEAR IN REVIEW By Tom Kenworthy, NELL President he weather for the weekend of January 14 Light Foundation (NLLLF). In T and 15, 2010 was sunny with blue skies: his request, Anthony stated perfect for NELL’s annual Lighthouses, Hot NLLLF needed help in Chocolate & You weekend. The Hilton Hotel, scraping, spackling, and Mystic CT was our host hotel. general cleaning. He also stated that the only reason We first visited Morgan Point the work party would be Lighthouse for our 2004 cancelled would be due to LHHC&Y. Having received so inclement weather and/or high many requests to visit/revisit seas. Thankfully, the weather, Morgan Point Lighthouse, it wind, and waves were calm and Anthony made good sense to use that reported that much was accomplished and he is as our starting point for our looking forward to another Project H.O.P.E. at 2010 LHHC&Y. the Ledge Light sometime in the coming year. Leaving Morgan Point, we made the short drive Receiving many requests from our members to to USS Nautilus and the Submarine Force travel to “foreign lands” (outside of New Museum. Here, members decided which to England), Ron and Mike put together a trip to visit first, with it being about a 50-50 split. I the St. Lawrence Seaway. On the weekend of went to the museum first and then toured the May 14-16, we went to lands not traveled to by Nautilus. -
ED350244.Pdf
DOCUMENT RESUME ED 350 244 SO 022 631 AUTHOR True, Marshall, Ed.; And Others TITLE Vermont's Heritage: A Working Conferencefor Teachers. Plans, Proposals, and Needs. Proceedingsof a Conference (Burlington, Vermont, July 8-10, 1983). INSTITUTION Vermont Univ., Burlington. Center for Researchon Vermont. SPONS AGENCY Vermont Council on the Humanities and PublicIssues, Hyde Park. PUB DATE 83 NOT:, 130p.; For a related document,see SO 022 632. PUB TYPE Collected Works Conference Proceedings (021) EDRS PRICE MFOI/PC06 Plus Postage. DESCRIPTORS Cultural Education; *Curriculum Development; Educational Resources; Elementary Secondary Education; Folk Culture; Heritage Education; *Instructional Materials; Local History;*Material Development; Social Studies; *State History;Teacher Developed Materials; *Teaching Methods IDENTIFIERS *Vermont ABSTRACT This document presents materials designedto help teachers in Vermont to teachmore effectively about that state and its heritage. The materials stem froma conference at which scholars spoke to Vermont teachers about theirwork and about how it might be taught. Papers presented at the conferenceare included, as well as sample lessons and units developed byteachers who attended the conference. Examples of papers includedare: "The Varieties of Vermont's Heritage: Resources forVermont Schools" (H. Nicholas Muller, III); "Vermont Folk Art" (MildredAmes and others); and "Resource Guide to Vermont StudiesMaterials" (Mary Gover and others). Three appendices alsoare included: (1) Vermont Studies Survey: A Report -
American Quilts
CATALOGUE AMERICAN QUILTS 1819 -- 1948 From the Museum Collection Compiled by Mildred Davison The Art Institute of Chicago, Department of Decorative Arts Exhibition April 20, 1959 - October 19, 1959 AMERICAN QUILTS 1819 - 1948, FROM THE MUSEUM COLLECTION The Art Institute of Chicago, April Z0 1 1959 --October 19, 1959 Although patchwork has been known and practised since ancient times, nowhere has it played such a distinctive and characteristic part as in the bed covers of early America where it added the finishing touches to eighteenth and nineteenth century bed chambers. The term "patchwork" is used indiscriminately to include the pieced and the appliqued quilts. Pieced quilts are generally geometric in pattern being a combination of small patches sewn together with narrow seams. The simplest form of pieced pattern is the eight-pointed star formed of diamond shaped patches. This was known as the Star of Le Moyne, named in honor of Jean Baptiste Le Moyne who founded New Orleans in 1718, and from it was developed numerous others including all of the lily and tulip designs. In applique quilts, pieces were cut to form the pattern and appliqued to a back - ground material with fine hemming or embroidery stitches, a method which gave a wider scope for patterns. By 1850, applique quilts reached such a degree of elaboration that many years were spent in their making and they were often intend ed for use as counterpanes. The most common fabrics for quilts were plain and figured calicoes and chintzes with white muslin..., The source of these materials in early times and pioneer communities was the scrap bag. -
AVERAGIUM Newsletter of Harvey Ashby Limited, Average Adjusters & Claims Consultants Summer 2000
AVERAGIUM Newsletter of Harvey Ashby Limited, Average Adjusters & Claims Consultants Summer 2000 Is this a warranty I see before me? We have always stressed to our clients the importance of complying with warranties contained in their policies. These range in character from the ‘warranted classed and class maintained’ provision contained in the vast majority of marine hull policies, to survey warranties which require the approval of specified surveyors to certain operations conducted under offshore construction projects. The reason for this is not only the effect that a breach of warranty might have on the recoverability of a loss sustained as a result of the breach; but also the additional draconian penalty which can be applied by insurers. “JUPITER” - Bay City, September 1990 (NOAA) The Marine Insurance Act [1906] provides that a warranty is a condition which must be exactly complied with and if it is not, the breach of a warranty under the policy would be a bar to a the insurer is discharged from liability as from the date of the claim whether or not it was material to any such claim. breach. It is, of course, always open to an insurer to waive a Nevertheless, the Judge decided that the warranty was not a breach, or the policy may provide for some alternative penalty; warranty but a ‘suspensive condition’ the effect of which was nevertheless the fact, and the risk, remains that an insurer may merely to suspend cover from the time that the inspection was avoid all liability under the policy from the date of the breach. -
Impressionist Still Life 2001
Impressionist Still Life 2001- 2002 Finding Aid The Phillips Collection Library and Archives 1600 21st Street NW Washington D.C. 20009 www.phillipscollection.org CURATORIAL RECORDS IN THE PHILLIPS COLLECTION ARCHIVES INTRODUCTORY INFORMATION Collection Title: Impressionist Still Life; exhibition records Author/Creator: The Phillips Collection Curatorial Department. Eliza E. Rathbone, Chief Curator Size: 8 linear feet; 19 document boxes Bulk Dates: 1950-2001 Inclusive Dates: 1888-2002 (portions are photocopies) Repository: The Phillips Collection Archives INFORMATION FOR USERS OF THE COLLECTION Restrictions: The collection contains restricted materials. Please contact Karen Schneider, Librarian, with any questions regarding access. Handling Requirements: Preferred Citation: The Phillips Collection Archives, Washington, D.C. Publication and Reproduction Rights: See Karen Schneider, Librarian, for further information and to obtain required forms. ABSTRACT Impressionist Still Life (2001 - 2002) exhibition records contain materials created and collected by the Curatorial Department, The Phillips Collection, during the course of organizing the exhibition. Included are research, catalogue, and exhibition planning files. HISTORICAL NOTE In May 1992, the Trustees of The Phillips Collection named noted curator and art historian Charles S. Moffett to the directorship of the museum. Moffett, a specialist in the field of painting of late-nineteenth-century France, was directly involved with the presentation of a series of exhibitions during his tenure as director (1992-98). Impressionist Still Life (2001-2002) became the third in an extraordinary series of Impressionist exhibitions organized by Moffett at The Phillips Collection, originating with Impressionists on the Seine: A Celebration of Renoir‟s Luncheon of the Boating Party in 1996, followed by the nationally touring Impressionists in Winter: Effets de Neige, on view at the Phillips in 1998. -
Dorset House Catalog
DORSET HOUSE PUBLISHING About Dorset House Books on Software and Systems Development www.dorsethouse.com ounded in 1984, Dorset House Publishing has emerged as a valued Fsource for high-quality, readable titles for the systems and software Adrenaline Perfect Software: professional. Rather than follow fads, we select books that will have a Junkies and And Other lasting impact on the way systems and software engineers and managers Illusions About Template Zombies work. Specific topic areas include requirements analysis, systems Testing by DeMarco, engineering, software development, software quality, management, Hruschka, Lister, by Gerald M. McMenamin, and Weinberg productivity, design, programming, testing, consulting, and more. See page 37. J. & S. Robertson orset House is an independent publisher, and we only release about See page 4. Dtwo books per year. Each book is carefully chosen for its excellence. We pride ourselves on the amount of attention and care our editors Agile Software iTeam: devote to the quality of the text. That same concern for quality is shared Development Putting the “I” by our Website, mail-order, and phone-order staffs. We want to make it with Distributed Back into Team as easy as possible for our readers to purchase—and read!—our books. Teams by William E. Perry by Jutta Eckstein See page 29. he quality of our books and service also draws the best authors to us. As See page 6. Tcolumnist Warren Keuffel puts it: “I always pay particular attention to new releases from Dorset House. what it lacks in quantity of titles released each year it makes up for in quality—the authors’ list reads like a SEE INSIDE FOR THESE FORTHCOMING TITLES who’s who in software engineering. -
Carlquist Lloyd Hyde Thesis 2010.Pdf
1 Introduction As the Colonial Revival reached its zenith in the 1920s, collecting American antiques evolved from nineteenth-century relic hunting into an emerging field with its own scholarship, trade practices, and social circles. The term “Americana” came to refer to fine and decorative arts created or consumed in early America. A new type of Americana connoisseurs collected such objects to furnish idealized versions of America’s past in museums and private homes. One such Americana connoisseur was Maxim Karolik, a Russian-born tenor who donated to the Museum of Fine Arts, Boston one of the most celebrated collections of American paintings, prints, and decorative arts. A report about the collection’s 1941 museum opening described how “connoisseurs looked approvingly” at the silver, “clucked with admiration” over the Gilbert Stuart portraits, and turned “green-eyed at the six-shell Newport desk-and-bookcase.”1 Karolik began collecting antiques in the 1920s, adding to those that had been inherited by Martha Codman Karolik, his “Boston Brahmin” wife. His appetite for Americana grew until he became one of the 1930s’ principal patrons, considered second only to Henry Francis du Pont. He scoured auction houses, galleries, showrooms, and small shops. Karolik loved the chase and consorting with dealers. He enjoyed haggling over prices despite his wife’s substantial fortune.2 1 “Art: Boston’s Golden Maxim,” Time (December 22, 1941). 2 Frieda Schmutzler (of Katrina Kipper’s Queen Anne Cottage), Oral History, May 26, 1978, Winterthur Archives. See also Carol Troyen, “The Incomparable Max: Maxim Karolik and the Taste for American Art,” American Art 7, n 3 (Summer 1993): 65-87. -
COLCHESTER VERMONT from ICE CAP to INTERSTATE (Full Index)
COLCHESTER VERMONT FROM ICE CAP TO INTERSTATE (full index) 1st Airborne Army (WW II) 247 7th Field Artillery Battalion 225, 232, 239, 247, 1st Armored Division (Korean War) 255 252, 253, 257 1st Division Army of Occupation (WW II) 248 7th Naval Construction Battalion (Korean War) 1st European Civil Affairs Regiment (WW II) 254 253 8th Air Force (WW II) 250 1st Infantry Division Band (Korean War) 255 8th Field Artillery Brigade (WW I) 232 1st Marine Corps Recruit Depot (Korean War) 8th Regiment (WW II) 247 254, 258 12th Special Services Co. (WW II) 246 1st Medical Squadron (WW II) 244 13th Engineering Combat Battalion (Korean 1st Medium Tank Battalion 169 War) 258 1st Training Group Quartermaster Replacement 14th Fighter Group 169 Training Center (Korean War) 257 16th Antiaircraft Artillery Gun Battalion (Korean 2d 155mm Gun Battalion (Korean War) 254 War) 257 2d Marine Division Company (Korean War) 16th Field Artillery Battalion (WW II) 253 254, 258 16th Infantry Regiment (WW II) 248 2d Shore Party Battalion (2nd Marine Div.) 254 18th Engineer Combat Battalion 246 2d Quartermaster Company (Korean War) 254, 19th amendment 132 255 19th U.S. Navy Fleet (WW II) 252 3d Marine Division (Korean War) 258 20th Air Force (WW II) 250 4-H 135, 164, 181 20th Armored Regiment (WW II) 239 4-H citizenship 181 22d Infantry Regiment (WW II) 250 4-H clubs 135, 181 23d Infantry Regiment (WW I) 228 4-H Gold Clover certificate 181 23rd Cavalry Reconnaissance Squadron (WW II) 4-H leader 181 240 4-H leadership 181 25th Air Depot Group (WW II) 243 4-H poultry project 181 25th Base Headquarters and Air Base (WW II) 4-H state dress revue (1941) 181 240 4-H'ers 164, 181 25th Tank Battalion (WW II) 253 4th Armoured Division (WW II) 239 25th Veterinary Hospital (WW I) 228 4th Army Division Band (WW II) 242 26th Infantry Division 136 4th Recruit Company (WW I) 227 27th Battalion U.S.