American Painting
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THE ARTIST's EYES a Resource for Students and Educators ACKNOWLEDGEMENTS
THE ARTIST'S EYES A Resource for Students and Educators ACKNOWLEDGEMENTS It is with great pleasure that the Bowers Museum presents this Resource Guide for Students and Educators with our goal to provide worldwide virtual access to the themes and artifacts that are found in the museum’s eight permanent exhibitions. There are a number of people deserving of special thanks who contributed to this extraordinary project. First, and most importantly, I would like to thank Victoria Gerard, Bowers’ Vice President of Programs and Collections, for her amazing leadership; and, the entire education and collections team, particularly Laura Belani, Mark Bustamante, Sasha Deming, Carmen Hernandez and Diane Navarro, for their important collaboration. Thank you to Pamela M. Pease, Ph.D., the Content Editor and Designer, for her vision in creating this guide. I am also grateful to the Bowers Museum Board of Governors and Staff for their continued hard work and support of our mission to enrich lives through the world’s finest arts and cultures. Please enjoy this interesting and enriching compendium with our compliments. Peter C. Keller, Ph.D. President Bowers Museum Cover Art Confirmation Class (San Juan Capistrano Mission), c. 1897 Fannie Eliza Duvall (1861-1934) Oil on canvas; 20 x 30 in. Bowers Museum 8214 Gift of Miss Vesta A. Olmstead and Miss Frances Campbell CALIFORNIA MODULE ONE: INTRO / FOCUS QUESTIONS 5 MODULE FOUR: GENRE PAINTING 29 Impressionism: Rebels and Realists 5 Cityscapes 30 Focus Questions 7 Featured Artist: Fannie Eliza Duvall 33 Timeline: -
Finding Aid for the John Sloan Manuscript Collection
John Sloan Manuscript Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum The John Sloan Manuscript Collection is made possible in part through funding of the Henry Luce Foundation, Inc., 1998 Acquisition Information Gift of Helen Farr Sloan, 1978 Extent 238 linear feet Access Restrictions Unrestricted Processed Sarena Deglin and Eileen Myer Sklar, 2002 Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum Related Materials Letters from John Sloan to Will and Selma Shuster, undated and 1921-1947 1 Table of Contents Chronology of John Sloan Scope and Contents Note Organization of the Collection Description of the Collection Chronology of John Sloan 1871 Born in Lock Haven, Pennsylvania on August 2nd to James Dixon and Henrietta Ireland Sloan. 1876 Family moved to Germantown, later to Philadelphia, Pennsylvania. 1884 Attended Philadelphia's Central High School where he was classmates with William Glackens and Albert C. Barnes. 1887 April: Left high school to work at Porter and Coates, dealer in books and fine prints. 1888 Taught himself to etch with The Etcher's Handbook by Philip Gilbert Hamerton. 1890 Began work for A. Edward Newton designing novelties, calendars, etc. Joined night freehand drawing class at the Spring Garden Institute. First painting, Self Portrait. 1891 Left Newton and began work as a free-lance artist doing novelties, advertisements, lettering certificates and diplomas. 1892 Began work in the art department of the Philadelphia Inquirer. -
Monet and American Impressionism
Harn Museum of Art Educator Resource Monet & Impressionism About the Artist Claude Monet was born in Paris on November 14, 1840. He enjoyed drawing lessons in school and began making and selling caricatures at age seventeen. In 1858, he met landscape artist Eugène Boudin (1824-1898) who introduced him to plein-air (outdoor) painting. During the 1860s, only a few of Monet’s paintings were accepted for exhibition in the prestigious annual exhibitions known as the Salons. This rejection led him to join with other Claude Monet, 1899 artists to form an independent group, later known as the Impressionists. Photo by Nadar During the 1860s and 1870s, Monet developed his technique of using broken, rhythmic brushstrokes of pure color to represent atmosphere, light and visual effects while depicting his immediate surroundings in Paris and nearby villages. During the next decade, his fortune began to improve as a result of a growing base of support from art dealers and collectors, both in Europe and the United States. By the mid-1880s, his paintings began to receive critical “Everyone discusses my acclaim. art and pretends to understand, as if it were By 1890, Monet was financially secure enough to purchase a house in Giverny, a rural town in Normandy. During these later years, Monet began painting the same subject over and over necessary to understand, again at different times of the day or year. These series paintings became some of his most when it is simply famous works and include views of the Siene River, the Thames River in London, Rouen necessary to love.” Cathedral, oat fields, haystacks and water lilies. -
New York Realists
NEW YORK REALISTS 1 9 0 0 - 1 9 1 4 H U H ROBERT ENRI , GEORGE L KS , JO N SLOAN $ W I LL I A M G LACKEN S , ERN ES T L AWS ON V SHINN GEORGE BELLOWS , E ERETT f GLENN O AND GUY P DU . COLEMAN ENE BOIS FEBRU RY $I$ H TO R H 5TH 1 3 A Q MA C , 9 7 WH I TN EY MU SEU M O F AMER IC A N A RT TEN WES T E IG H T H S TREE T NEW YORK F O R E WO R D TH E title Realists is perhaps too confining a term under which to group such individualists as the nine artists whose work is represented in this exhibition . But considered in relation to the more academic school of the early years of si nifi the century , the word might justly claim a special g cance . All these men had this in common $ that they turned directly to nature and did not scorn any phase of the f r human scene as fit subjects o their art . Space does not allow the inclusion of other distinguished artists who also were associated with this group $ but the nine men in the present exhibition may be considered as representative of a Vital and significant phase of American art . INTRODU CTION E do not with sufficient plainness or sufficient profoundness address circum f ourselves to life , nor dare we chant our times and social a . ff M st nce Banks and tari s , the newspaper and the caucus , ethodism U $at foun f and nitarianism , are and dull to dull people , but rest on the same of of dations wonder as the town of Troy , and the temple Delphos , and are as swiftly passing away . -
Bingoi Hartford, July 29 (4*>- Five EVERY SAT
PA6B . SATURDAY, JULY 27, 1967 Ayerage Dtiily Net Press Run The Weather For the Week Ended Fereeast at V. B. Weather BTarasa ^anrbfBtfr Sufttittg !|?ralb Jime 8. 1887 Chance of scattered abowera te> •eema to have a jinx on hla cars night. Low In mid 60s. Tueeday, About Tohpd on vacation tfipi. 12,540 scattered ahoiyera and thpnder- Several years, ago he had a nar Area Youths Member et the Andit ahowera In afternoon and evening. Heard Along Main Street High near 80. riremen of the 8th Dlitricf'Fire row escape in a colliaion. and this Bnrean of drcalatiea Pepartment will hold a-Depart year he tangled with a hurricane. THE ARMY aod NAVY Manchester— A City o f Village Charm ment meeting Monday at 7:30 p.m. And on Some of Manchester*» Side Streets, It aeema that he was driving In Win Awards southern Illlnoia when the tall end At the fire headquarters, Main and (Claaaifted Advertlaing en Pago 13) PRICE FIVE CENT» HlUlard SU. of Hurricane Audrey swept by. VOL. LXX V I, NO. 254 (FOURTEEN PAGES) MANCHESTER, CONN., MONDAY, JULY 29. 1957 Nothing to Maintain the shear face of the hill carrying He and hla family were in a brand At 4*H Week There are four beautiful tennis Indian pumps. Tuesday eveninif's weighinf - in new car driving through the wide courts near E, Center 8 t. on the 1V-0 men stayed v^lth the truck open fields o f the Midwest which Storrs, July 27 (Special)—Twelve aession by Manchester WATES High School grounds. -
Center Bridge Burning
Burning of Center Bridge, 1923 Edward W. Redfield (1869-1965 oil on canvas H. 50.25 x W 56.25 inches James A. Michener Art Museum, acquired with funds secured by State Senator Joe Conti, and gifts from Joseph and Anne Gardocki, and the Laurent Redfield Family Biography The Pennsylvania school born in the Academy at Philadelphia or in the person of Edward W. Redfield is a very concise expression of the simplicity of our language and of the prosaic nature of our sight. It is democratic painting—broad, without subtlety, vigorous in language if not absolutely in heart, blatantly obvious or honest in feeling. It is an unbiased, which means, inartistic, record of nature. —Guy Pene du Bois Among the New Hope impressionists, Edward Willis Redfield was the most decorated, winning more awards than any other American artist except John Singer Sargent. Primarily a landscape painter, Redfield was acclaimed as the most “American” artist of the New Hope school because of his vigor and individualism. Redfield favored the technique of painting en plein air, that is, outdoors amid nature. Tying his canvas to a tree, Redfield worked in even the most brutal weather. Painting rapidly, in thick, broad brushstrokes, and without attempting preliminary sketches, Redfield typically completed his paintings in one sitting. Although Redfield is best known for his snow scenes, he painted several spring and summer landscapes, often set in Maine, where he spent his summers. He also painted cityscapes, including, most notably, Between Daylight and Darkness (1909), an almost surreal, tonalist painting of the New York skyline in twilight. -
American Impressionism Treasures from the Daywood Collection
American Impressionism Treasures from the Daywood Collection American Impressionism: Treasures from the Daywood Collection | 1 Traveling Exhibition Service The Art of Patronage American Paintings from the Daywood Collection merican Impressionism: Treasures from the Daywood dealers of the time, such as Macbeth Gallery in New York. Collection presents forty-one American paintings In 1951, three years after Arthur’s death, Ruth Dayton opened A from the Huntington Museum of Art in West Virginia. the Daywood Art Gallery in Lewisburg, West Virginia, as a The Daywood Collection is named for its original owners, memorial to her late husband and his lifelong pursuit of great Arthur Dayton and Ruth Woods Dayton (whose family works of art. In doing so, she spoke of her desire to “give surnames combine to form the moniker “Daywood”), joy” to visitors by sharing the collection she and Arthur had prominent West Virginia art collectors who in the early built with such diligence and passion over thirty years. In twentieth century amassed over 200 works of art, 80 of them 1966, to ensure that the collection would remain intact and oil paintings. Born into wealthy, socially prominent families on public display even after her own death, Mrs. Dayton and raised with a strong appreciation for the arts, Arthur and deeded the majority of the works in the Daywood Art Gallery Ruth were aficionados of fine paintings who shared a special to the Huntington Museum of Art, West Virginia’s largest admiration for American artists. Their pleasure in collecting art museum. A substantial gift of funds from the Doherty only increased after they married in 1916. -
American Art New York | November 19, 2019
American Art New York | November 19, 2019 AMERICAN ART | 39 2 | BONHAMS AMERICAN ART | 3 American Art at Bonhams New York Jennifer Jacobsen Director Aaron Anderson Los Angeles Scot Levitt Vice President Kathy Wong Specialist San Francisco Aaron Bastian Director American Art New York | Tuesday November 19, 2019 at 4pm BONHAMS BIDS INQUIRIES ILLUSTRATIONS 580 Madison Avenue +1 (212) 644 9001 Jennifer Jacobsen Front Cover: Lot 15 New York, New York 10022 +1 (212) 644 9009 fax Director Inside Front Cover: Lots 47 and 48 bonhams.com [email protected] +1 (917) 206 1699 Inside Back Cover: Lot 91 [email protected] Back Cover: Lot 14 PREVIEW To bid via the internet please visit Friday, November 15, 10am - 5pm www.bonhams.com/25246 Aaron Anderson Saturday, November 16, 10am - 5pm +1 (917) 206 1616 Sunday, November 17, 12pm - 5pm Please note that bids should be [email protected] Monday, November 18, 10am - 5pm summited no later than 24hrs prior to the sale. New Bidders must REGISTRATION also provide proof of identity when IMPORTANT NOTICE SALE NUMBER: 25246 submitting bids. Failure to do this Please note that all customers, Lots 1 - 101 may result in your bid not being irrespective of any previous processed. activity with Bonhams, are CATALOG: $35 required to complete the Bidder LIVE ONLINE BIDDING IS Registration Form in advance of AUCTIONEER AVAILABLE FOR THIS SALE the sale. The form can be found Rupert Banner - 1325532-DCA Please email bids.us@bonhams. at the back of every catalogue com with “Live bidding” in the and on our website at www. -
Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – September 27Th, 2019
Stanford Auctioneers Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – September 27th, 2019 www.stanfordauctioneers.com | [email protected] 1: RUDOLF KOPPITZ - Zwei Bruder USD 1,200 - 1,500 Rudolf Koppitz (Czech/Austrian, 1884-1936). "Zwei Bruder [Two Brothers]". Original vintage photometalgraph. c1930. Printed 1936. Stamped with the photographer's name, verso. Edition unknown, probably very small. High-quality archival paper. Ample margins. Very fine printing quality. Very good to fine condition. Image size: 8 1/8 x 7 7/8 in. (206 x 200 mm). Authorized and supervised by Koppitz shortly before his death in 1936. [25832-2-800] 2: CLEMENTINE HUNTER - Zinnias in a Blue Pot USD 3,500 - 4,000 Clementine Hunter (American, 1886/1887-1988). "Zinnias in a Blue Pot". Gouache on paper. c1973. Signed lower right. Very good to fine condition; would be fine save a few very small paint spots, upper rght. Overall size: 15 3/8 x 11 3/4 in. (391 x 298 mm). Clementine Reuben Hunter, a self-taught African-American folk artist, was born at Hidden Hill, a cotton plantation close to Cloutierville, Louisiana. When she was 14 she moved to the Melrose Plantation in Cane River County. She is often referred to as "the black Grandma Moses." Her works in gouache are rare. The last auction record of her work in that medium that we could find was "Untitled," sold for $3,000 at Sotheby's New York, 12/19/2003, lot 1029. [29827-3-2400] 3: PAUL KLEE - Zerstoerung und Hoffnung USD 800 - 1,000 Paul Klee (Swiss/German, 1879 - 1940). -
1523 Chestnut Street Postal Code: 19102
1. ADDRESS OF HISTORIC RESOURCE (must comply with an Office of Property Assessment address) Street address: 1523 Chestnut Street Postal code: 19102 2. NAME OF HISTORIC RESOURCE Historic Name: The Love Building Current Name: Unknown 3. TYPE OF HISTORIC RESOURCE Building Structure Site Object 4. PROPERTY INFORMATION Condition: excellent good fair poor ruins Occupancy: occupied vacant under construction unknown Current use: Commercial 5. BOUNDARY DESCRIPTION Please attach a narrative description and site/plot plan of the resource’s boundaries. 6. DESCRIPTION Please attach a narrative description and photographs of the resource’s physical appearance, site, setting, and surroundings. 7. SIGNIFICANCE Please attach a narrative Statement of Significance citing the Criteria for Designation the resource satisfies. Period of Significance (from year to year): ca.1880-1923 Date(s) of construction: ca.1880 Architects: Unknown Builders: Unknown Original owner: John Beresford Love Significant person: Violet Oakley, Jessie Willcox Smith, Elizabeth Shippen Green, etc. CRITERIA FOR DESIGNATION: The historic resource satisfies the following criteria for designation (check all that apply): (a) Has significant character, interest or value as part of the development, heritage or cultural characteristics of the City, Commonwealth or Nation or is associated with the life of a person significant in the past; or, (b) Is associated with an event of importance to the history of the City, Commonwealth or Nation; or, (c) Reflects the environment in an era characterized -
The Elegant Home
THE ELEGANT HOME Select Furniture, Silver, Decorative and Fine Arts Monday November 13, 2017 Tuesday November 14, 2017 Los Angeles THE ELEGANT HOME Select Furniture, Silver, Decorative and Fine Arts Monday November 13, 2017 at 10am Tuesday November 14, 2017 at 10am Los Angeles BONHAMS BIDS INQUIRIES Automated Results Service 7601 W. Sunset Boulevard +1 (323) 850 7500 European Furniture and +1 (800) 223 2854 Los Angeles, California 90046 +1 (323) 850 6090 fax Decorative Arts bonhams.com Andrew Jones ILLUSTRATIONS To bid via the internet please visit +1 (323) 436 5432 Front cover: Lot 215 (detail) PREVIEW www.bonhams.com/24071 [email protected] Day 1 session page: Friday, November 10 12-5pm Lot 733 (detail) Saturday, November 11 12-5pm Please note that telephone bids American Furniture and Day 2 session page: Sunday, November 12 12-5pm must be submitted no later Decorative Arts Lot 186 (detail) than 4pm on the day prior to Brooke Sivo Back cover: Lot 310 (detail) SALE NUMBER: 24071 the auction. New bidders must +1 (323) 436 5420 Lots 1 - 899 also provide proof of identity [email protected] and address when submitting CATALOG: $35 bids. Telephone bidding is only Decorative Arts and Ceramics available for lots with a low Jennifer Kurtz estimate in excess of $1000. +1 (323) 436 5478 [email protected] Please contact client services with any bidding inquiries. Silver and Objects of Vertu Aileen Ward Please see pages 321 to 323 +1 (323) 436 5463 for bidder information including [email protected] Conditions of Sale, after-sale collection, and shipment. -
In a New Light: American Impressionism 1870 – 1940 Works from the Bank of America Collection on View May 25 to August 18, 2019
The Heckscher Museum of Art Contact 2 Prime Avenue, Huntington, NY 11743 Deborah Johnson 631.351.3250 [email protected] www.Heckscher.org 631.351.3006 FOR IMMEDIATE RELEASE Jill Rowen February 2019 [email protected] 631.351.3006 Heckscher Museum of Art Presents In a New Light: American Impressionism 1870 – 1940 Works from the Bank of America Collection On View May 25 to August 18, 2019 Huntington NY --The Heckscher Museum of Art presents a sweeping survey of American Impressionism with its new exhibition, In a New Light: American Impressionism 1870-1940, Works from the Bank of American Collection. On view from May 25 to August 18, 2019. The exhibition traces the emergence of a truly American style of painting. In a New Light explores how artists interpreted American daily life in rural, maritime, and urban spaces using Impressionistic techniques: brisk brushstrokes, a vibrant palette, and atmospheric effects. In a New Light features works from more than 50 artists, many who depicted scenes of Long Island and New York City. Childe Hassam, Old House East Hampton, 1917, Bank of America Collection The artwork on view provides a historical context for the evolution of American Impressionism, beginning with majestic Hudson River School landscapes, to French-Impressionist-inspired subjects, and finally to 20th –Century modernist trends. The exhibition also acknowledges the many artist colonies and communities established throughout the country during this time, which gave artists a scenic place to work and share ideas. This exhibition is on loan through Bank of America’s Art in Our Communities® program. “Bank of America is pleased to support The Heckscher Museum of Art and Honored to share works from our art collection with the Long Island community,” said Bob Isaksen, Long Island Market President, Bank of America.