Kindred Spirits
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Hudson River School
Hudson River School 1796 1800 1801 1805 1810 Asher 1811 Brown 1815 1816 Durand 1820 Thomas 1820 1821 Cole 1823 1823 1825 John 1826 Frederick 1827 1827 1827 1830 Kensett 1830 Robert 1835 John S Sanford William Duncanson David 1840 Gifford Casilear Johnson Jasper 1845 1848 Francis Frederic Thomas 1850 Cropsey Edwin Moran Worthington Church Thomas 1855 Whittredge Hill 1860 Albert 1865 Bierstadt 1870 1872 1875 1872 1880 1880 1885 1886 1910 1890 1893 1908 1900 1900 1908 1908 1902 Compiled by Malcolm A Moore Ph.D. IM Rocky Cliff (1857) Reynolds House Museum of American Art The Beeches (1845) Metropolitan Museum of Art Asher Brown Durand (1796-1886) Kindred Spirits (1862) Crystal Bridges Museum of American Art The Fountain of Vaucluse (1841) Dallas Museum of Art View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm - the Oxbow. (1836) Metropolitan Museum of Art Thomas Cole (1801-48) Distant View of Niagara Falls (1836) Art Institute of Chicago Temple of Segesta with the Artist Sketching (1836) Museum of Fine Arts, Boston John William Casilear (1811-1893) John Frederick Kensett (1816-72) Lake George (1857) Metropolitan Museum of Art View of the Beach at Beverly, Massachusetts (1869) Santa Barbara Museum of Art David Johnson (1827-1908) Natural Bridge, Virginia (1860) Reynolda House Museum of American Art Lake George (1869) Metropolitan Museum of Art Worthington Whittredge (1820-1910) Jasper Francis Cropsey (1823-1900) Indian Encampment (1870-76) Terra Foundation for American Art Starrucca Viaduct, Pennsylvania (1865) Toledo Museum of Art Sanford Robinson Gifford (1823-1880) Robert S Duncanson (1821-1902) Whiteface Mountain from Lake Placid (1866) Smithsonian American Art Museum On the St. -
Durand Release
COMMUNICATIONS DIVISION VIRGINIA MUSEUM OF FINE ARTS 200 N. Boulevard I Richmond, Virginia 23220 www.VMFA.museum/pressroom FOR IMMEDIATE RELEASE Dec. 13, 2018 Asher B. Durand’s Progress, Most Valuable Gift of a Single Work of Art in VMFA’s History, Enters Museum Collection Gift marks first time the painting has been in public domain since its creation in 1853 Richmond, VA––The Virginia Museum of Fine Arts recently received the generous anonymous gift of Asher B. Durand’s painting Progress (The Advance of Civilization), which was approved by the VMFA Board of Trustees yesterday. One of the most important works of American art in private hands, this is the highest valued gift of a single work of art in VMFA’s history, and represents the first time the painting has been held outside of private collections since it was painted in 1853. Because of the extraordinary generosity of the donor, this beloved, canonical painting now enters the public domain, allowing the citizens of Virginia to be among the first to benefit from its presence in its new home at VMFA. Commissioned by the financier and industrialist Charles Gould (1811–1870), this work complements VMFA’s collection of paintings by other Hudson River School artists, including Thomas Cole, Jasper Francis Cropsey, Frederic Edwin Church, George Inness and Robert Seldon Duncanson. Only a handful of masterpieces in American art—including Thomas Cole’s The Oxbow and George Inness’s The Lackawanna Valley (which hang in the Metropolitan Museum of Art and the National Gallery of Art respectively)—rival Progress in dramatizing the meeting of nature and civilization. -
The Hudson River School
Art, Artists and Nature: The Hudson River School The landscape paintings created by the 19 th century artist known as the Hudson River School celebrate the majestic beauty of the American wilderness. Students will learn about the elements of art, early 19 th century American culture, the creative process, environmental concerns and the connections to the birth of American literature. New York State Standards: Elementary, Intermediate, and Commencement The Visual Arts – Standards 1, 2, 3, 4 Social Studies – Standards 1, 3 ELA – Standards 1, 3, 4 BRIEF HISTORY By the mid-nineteenth century, the United States was no longer the vast, wild frontier it had been just one hundred years earlier. Cities and industries determined where the wilderness would remain, and a clear shift in feeling toward the American wilderness was increasingly ruled by a new found reverence and longing for the undisturbed land. At the same time, European influences - including the European Romantic Movement - continued to shape much of American thought, along with other influences that were distinctly and uniquely American. The traditions of American Indians and their relationship with nature became a recognizable part of this distinctly American Romanticism. American writers put words to this new romantic view of nature in their works, further influencing the evolution of American thought about the natural world. It found means of expression not only in literature, but in the visual arts as well. A focus on the beauty of the wilderness became the passion for many artists, the most notable came to be known as the Hudson River School Artists. The Hudson River School was a group of painters, who between 1820s and the late nineteenth century, established the first true tradition of landscape painting in the United States. -
Suitability/Feasibility Study, Thomas Cole
LTh0maS Cole __ -ri ___ Suitability/Feasibility Study PLEASE RETURN TO TECHNICAL INFORMATIrJ CENTER nvi DENVER SERVICE CENTEF YII VI LV NATIONAL PARK SERVICE This report was prepared by the National Park Service Department of the Interior under the terms of Memorandum of Agreement with the National Parks and Conservation Association 1776 Massachusetts Avenue N.W Washington D.C 20036 This study was made possible by the generous support of the Thomas Cole Foundation the L.J and Mary Skaggs Foundation the Hudson River Foundation and The Andy Warhol Foundation for the Visual Arts Inc For additional copies or more information contact Planning and Development North Atlantic Regional Office National Park Service 15 State Street Boston MA 02109 Telephone 617 223-5131 Thomas Cole Suitability/Feasibility Study National Park Service North Atlantic Regional Office 15 State Street Boston MA 02109 September 1991 Contents Executive Summary II Purpose III Significance IV Suitability 12 Adequacy of Representation in the System Location Site Description The Regional Landscape Adequacy of Configuration for Public Use Ownership and Acquisition Costs Threats Study Goals 22 VI Management Alternatives 23 Alternative Cole National Historic Site Alternative Cole Interpretive Center Alternative Status Quo VII Feasibility Alternatives Compared 29 VIII Appendices 32 Sanctity of Place Why Thomas Cole Resided in Catskill Study Team Organizations Consulted Illustrations Executive Summary The Thomas Cole Suitability/Feasibility Study was prepared by the North Atlantic -
The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
Picturing America at the KIA………………………………………………………………………………………3
at the Kalamazoo Institute of Arts 314 S. Park Street Kalamazoo, MI 49007 269/349-7775, www.kiarts.org 2 Table of Contents Information about Picturing America at the KIA………………………………………………………………………………………3 The Art John Singleton Copley, Mars, Venus and Vulcan: The Forge of Vulcan , 1754……………………….…………..………………4 Charles Willson Peale, The Reverend Joseph Pilmore , 1787……………………………………………………………………...5 John James Audubon, White Headed Eagle , 1828………………………………………………………………………..………...6 Hiram Powers, George Washington , 1838-1844……………………………………………………………………………………..7 Severin Roesen, Still Life with Fruit and Bird’s Nest , n.d………………………………………..…………………………………..8 Johann Mongels Culverhouse, Union Army Encampment , 1860…………………………………………………………………..9 William Gay Yorke, The Great Republic , 1861…………………………………………………………………..………………….10 Eastman Johnson, The Boy Lincoln , 1867………………………………………………………………………………….……….11 Robert Scott Duncanson, Heart of the Andes , 1871……………………………………………………………..………………...12 Albert Bierstadt, Mount Brewer from Kings River Canyon , 1872……………………………………………………..……..........13 Edmonia Lewis, Marriage of Hiawatha , 1872………………………………………………………………………….…………….14 Jasper Francis Cropsey, Autumn Sunset at Greenwood Lake, NY , 1876…………………………………………….…………15 Henry Ossawa Tanner, The Visitation , 1890-1900……………………………………………………..…………………………..16 Frederick William MacMonnies, Nathan Hale , 1890………………………………………………………………………………..17 William Merritt Chase, A Study in Pink (Mrs. Robert MacDougal), 1895………………………………………………..……….18 Alfred Stieglitz, The Steerage , 1907…………………………………………………………………………………………...........19 -
Thomas Cole National Historic Site Cedar Grove Catskill, NY Archives
Thomas Cole National Historic Site Cedar Grove Catskill, NY Archives Finding Aid Historical Note: This collection documents both the Cole family and their home, Cedar Grove. Thomas Cole, 1801-1848, is considered one of the founders of American landscape painting and of the Hudson River School of Painting. There are several biographical and critical studies of his life and work available in print and on various web sites. The family members represented in this collection include his spouse Maria Bartow Cole, 1813-1884 and his children Theodore, Mary, Emily, Thomas II, grand-children (Theodore’s children with Eugenia Casey) Florence Haswell, Mary Emily and Thomas III. Thomas Cole, III’s daughter, Edith Cole Hill Silberstein was the last owner of Cedar Grove and she is prominent in these archives. Sarah Cole, Thomas Cole’s sister was also a painter and there is some small documentation of her life in this collection. The Thomson family, particularly, Thomas Thomson and John A. Thomson were the original owners of Cedar Grove and prominent in the community of Catskill, NY and their lives are partly documented in these papers. The members of the Cole family who seemed to have played major parts in the history of Cedar Grove after Thomas Cole’s death and who are well-documented in the collection include Maria Bartow Cole, Theodore Cole, Florence Cole Vincent and Rev. Thomas Cole II. Thomas Cole had two studios, the Old and New Studio, and the history of these two buildings is documented with many photographs of the buildings at various time in their histories, including the use of the Old Studio as an antique shop. -
A Call to the Wild
Q UESTROYAL F INE A RT, LLC A Call to the Wild Thomas Moran John Frederick Kensett Evening Clouds, 1902 New England Coastal Scene with Figures, 1864 Oil on canvas Oil on canvas 141/8 x 20 inches 141/4 x 243/16 inches Monogrammed, inscribed, and dated Monogrammed and dated lower right: JF.K. / ’64. lower left: TMORAN / N.A. / 1902” March 8 – 30, 2019 An Exhibition and Sale A Call to the Wild Louis M. Salerno, Owner Brent L. Salerno, Co-Owner Chloe Heins, Director Nina Sangimino, Assistant Director Ally Chapel, Senior Administrator Megan Gatton, Gallery Coordinator Pavla Berghen-Wolf, Research Associate Will Asencio, Art Handler Rita J. Walker, Controller Photography by Timothy Pyle, Light Blue Studio and Ally Chapel Q UESTROYAL F INE A RT, LLC 903 Park Avenue (at 79th Street), Third Floor, New York, NY 10075 :(212) 744-3586 :(212) 585-3828 : Monday–Friday 10–6, Saturday 10–5 and by appointment : gallery@questroyalfineart.com www.questroyalfineart.com A Call to the Wild Those of us who acquire Hudson River School paintings will of composition, in the application of brushstroke, in texture, in possess something more than great works of art. Each is a perspective, in tone and color, each artist creates a unique visual glimpse of our native land, untouched by man. These paintings language. They have left us a painted poetry that required a compel us to contemplate, they draw us beyond the boundaries combination of imagination and extraordinary technical ability. of a time and space that define our present lives so that we may The magnitude of the artistic achievement of this first American consider eternal truths. -
The Hudson River School at the New-York Historical Society: Nature and the American Vision
The Hudson River School at the New-York Historical Society: Nature and the American Vision Marie-François-Régis Gignoux (1814–1882) Mammoth Cave, Kentucky , ca. 1843 Oil on canvas Gift of an Anonymous Donor, X.21 After training at the French École des Beaux-Arts , Gignoux immigrated to the United States, where he soon established himself as a landscape specialist. He was drawn to a vast underground system of corridors and chambers in Kentucky known as Mammoth Cave. The site portrayed has been identified as the Rotunda—so named because its grand, uninterrupted interior space recalls that of the Pantheon in Rome. Gignoux created a romantic image rooted in fact and emotion. In contrast to the bright daylight glimpsed through the cavern mouth, the blazing fire impresses a hellish vision that contemporaneous viewers may have associated with the manufacture of gunpowder made from the bat guano harvested and rendered in vats in that very space since the War of 1812. William Trost Richards (1833–1905) June Woods (Germantown) , 1864 Oil on linen The Robert L. Stuart Collection, S–127 Richards followed the stylistic trajectory of the Hudson River School early in his career, except for a brief time in the early 1860s, when he altered his technique and compositional approach in response to the Pre-Raphaelite aesthetics of the English critic John Ruskin. Ruskin’s call for absolute fidelity to nature manifested itself in the United States in a radical 1 group of artists who formed the membership of the Association for the Advancement of Truth in Art, to which Richards was elected in 1863. -
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Bringing to Light
Bringing to Light A Century of American Painting Brooklyn-born Guy Carleton Wiggins’ career flourished early, and at age 20 he became the youngest American to have a work accepted into the permanent col- lection of the Metropolitan Museum of Art. He painted numerous views of the city in winter from the windows of offic- es in Manhattan, and this blustery de- piction of a snow-covered Wall Street is typical of Wiggins’ oeuvre. The bright- ly-colored flags and bustling crowds lend the scene energy in the midst of a chilly day. (left) Guy Carleton Wiggins (1883-1962) Wall Street Winter 1 Oil on canvas on board, 12 x 9 ⁄8 inches Signed lower left:Guy Wiggins (front cover, detail) Newell Convers Wyeth (1882-1945), The Artist’s Studio, Chadds Ford, Pennsylvania, pg. 7 Bringing to Light: A Century of American Painting November 23rd, 2019 - January 25th, 2020 V OSE G ALLER IES The Isles of Shoals have inspired artists for generations. Warren Sheppard was also enamored with the area—this example, depicting White Island Light on the south- Warren W. Sheppard (1858-1937) A Schooner off White Island Light, Isles of Shoals, NH ernmost atoll, serves as one of his more tranquil renditions as he depicts a moored 1 1 vessel delivering supplies to the outpost. His dual background as mariner and artist Oil on canvas, 20 ⁄8 x 26 ⁄8 inches comes into full view through his careful delineation of the rigging and sails. Signed lower left:WARREN SHEPPARD 2 V OSE G ALLERIES B RIN G IN G TO L I G HT : Alvan Fisher was one of the earliest American pioneers of painting. -
2010 Exhibition Brings Women Artists to Light
Spring 2010 Newsletter A New Organization is Formed 2010 Exhibition Brings A new chapter in the story has Women Artists to Light begun. On October 19th, 2009, May 2 - October 31 the New York State Board of Regents approved a charter This May, join us for the opening of our new exhibi- establishing an independent tion, “Remember the Ladies: Women of the Hudson non-profit organization to own River School,” the Lisa Fox Martin and operate the home of Thom- first known exhibi- Board Chairman as Cole. For the past ten years, tion to focus solely the historic site has been owned by the Greene County on the women art- Historical Society, which owns several other impor- ists associated with tant historic properties. Thomas Cole’s home and the 19th-century studio will now be run as an independent non-profit landscape paint- organization. ing movement. The exhibition will Although the ownership structure is new, the people include approxi- who are involved remain the same. The new orga- mately 25 works of nization’s Board of Trustees consists of the same art by artists such twelve people who were on the “Cole Committee” of as Julia Hart Beers, the Greene County Historical Society, with the same (sister to William officers including Lisa Fox Martin as Chairman. The and James Hart), three paid staff – Betsy Jacks, Joanna Frang, and Linda Evelina Mount Bartula – have been retained by the Trustees to work (niece to William for the new organization. A new part-time person, Sidney Mount) Melissa Gavilanes, was added this year.