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Passing Through: the Allure of the White Mountains
Passing Through: The Allure of the White Mountains The White Mountains presented nineteenth- century travelers with an American landscape: tamed and welcoming areas surrounded by raw and often terrifying wilderness. Drawn by the natural beauty of the area as well as geologic, botanical, and cultural curiosities, the wealthy began touring the area, seeking the sublime and inspiring. By the 1830s, many small-town tav- erns and rural farmers began lodging the new travelers as a way to make ends meet. Gradually, profit-minded entrepreneurs opened larger hotels with better facilities. The White Moun- tains became a mecca for the elite. The less well-to-do were able to join the elite after midcentury, thanks to the arrival of the railroad and an increase in the number of more affordable accommodations. The White Moun- tains, close to large East Coast populations, were alluringly beautiful. After the Civil War, a cascade of tourists from the lower-middle class to the upper class began choosing the moun- tains as their destination. A new style of travel developed as the middle-class tourists sought amusement and recreation in a packaged form. This group of travelers was used to working and commuting by the clock. Travel became more time-oriented, space-specific, and democratic. The speed of train travel, the increased numbers of guests, and a widening variety of accommodations opened the White Moun- tains to larger groups of people. As the nation turned its collective eyes west or focused on Passing Through: the benefits of industrialization, the White Mountains provided a nearby and increasingly accessible escape from the multiplying pressures The Allure of the White Mountains of modern life, but with urban comforts and amenities. -
Telling New England's Stories
BY PETER TRIPPI TRACK INSIDE TELLING NEW ENGLAND’S STORIES n view near Boston from later this year through March 2021 is In preparation for this project, Carlisle and I reviewed hundreds of paint- a unique new exhibition, Artful Stories: Paintings from Historic ings before narrowing the list down to this group of 45 “top hits.” It has been New England. Its distinctive character derives from the remark- a pleasure to work with her while drawing upon our complementary perspec- Oable organization that owns all 45 of its artworks, 14 of which tives to ensure that each painting tells an interesting story. Carlisle’s expertise are illustrated here. The backstory of Historic New England as a social and cultural historian specializing in New England’s material cul- (HNE) itself is intriguing and worth relaying. ture, and my own knowledge of European art, have dovetailed to offer visitors William Sumner Appleton (1874–1947) was a lifelong resident of Bos- some fresh insights. ton and also America’s first full-time professional preservationist. In 1910, he Beyond the research we have undertaken, another joy has been watch- founded the Society for the Preservation of New England Antiquities, now ing the artworks emerge from conservation treatments that have them looking known as Historic New England. For the next 37 years, Appleton led and their best again. All of the paintings have been well cared for over the years, but inspired the rapidly growing organization. He defined its purpose; persuaded, it’s only natural — especially in historic houses — that varnishes begin to yel- charmed, and occasionally hectored the membership; raised money (some- low and nicks appear in a frame’s carving. -
“The Humble, Though More Profitable Art”
“THE HUMBLE, THOUGH MORE PROFITABLE ART”: PANORAMIC SPECTACLES IN THE AMERICAN ENTERTAINMENT WORLD, 1794- 1850 by Nalleli Guillen A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History Spring 2018 © 2018 Nalleli Guillen All Rights Reserved “THE HUMBLE, THOUGH MORE PROFITABLE ART”: PANORAMIC SPECTACLES IN THE AMERICAN ENTERTAINMENT WORLD, 1794- 1850 by Nalleli Guillen Approved: __________________________________________________________ Arwen P. Mohun, Ph.D. Chair of the Department of History Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Ann L. Ardis, Ph.D. Senior Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Katherine C. Grier, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Rebecca L. Davis, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ David Suisman, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. -
May 16, 2013 Free
VOLUME 37, NUMBER 27 MAY 16, 2013 FREE THE WEEKLY NEWS & LIFESTYLE JOURNAL OF MT. WASHINGTON VALLEY Artistic Journeys Benjamin Champney, ‘Dean’ of the White Mountain school Page 2 Valley Feature Behind the scenes at Riverstones Bake Shop Page 3 On the Links “New Boys” take the lead at Wentworth Page 19 A SALMON PRESS PUBLICATION • (603) 447-6336 • PUBLISHED IN CONWAY, NH Artistic Journeys By Cynthia Melendy, Ph.D. State Museum. For those who remark, “Who needs another “A great portion of my art museum?” the answer lies life has been spent in North here, once the artists’ umbrel- Conway and my thoughts la mind is opened. turn pleasantly to that place,” Then, it is always worth- wrote Benjamin Champney in while returning to former his memoirs of his life in Eu- haunts close to home to see rope, North Conway, and the how artists and their friends woods. He is considered the have grown over the seasons. ‘Dean’ of the White Mountain There is always a fresh sur- School of Art, and takes his prise and a welcome regenera- place as the leader of artists in tion when it comes to art. Just the last 150 years of art in the wait a while. Mount Washington Valley. One case in point is the No doubt Champney is a Mount Washington Valley hero to many, and the morn- Arts Association, which is ing the rains came this week, collaborating with the Met to I spent some time in the warm display members’ work in the bluebird skies tracing the Downstairs Gallery as well as march of Spring across the the Upstairs Gallery of the Valley and the Mountains. -
Seeing in Stereo: Albert Bierstadt and the Stereographic Landscape
Kirsten M. Jensen Seeing in Stereo: Albert Bierstadt and the Stereographic Landscape Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013) Citation: Kirsten M. Jensen, “Seeing in Stereo: Albert Bierstadt and the Stereographic Landscape,” Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013), http://www.19thc- artworldwide.org/autumn13/jensen-on-albert-bierstadt-and-the-stereographic-landscape. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Jensen: Seeing in Stereo: Albert Bierstadt and the Stereographic Landscape Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013) Seeing in Stereo: Albert Bierstadt and the Stereographic Landscape by Kirsten M. Jensen We call the attention of admirers of photographs to a series of views and studies taken in the White Mountains, published by Bierstadt Brothers of New Bedford, Mass. The artistic taste of Mr. Albert Bierstadt, who selected the points of view, is apparent in them. No better photographs have been published in this country. —The Crayon (January 1861)[1] In 1860, Charles and Edward Bierstadt, brothers of the landscape painter Albert, published a small compilation of stereographic views complete with prismatic viewing lenses, titled Stereoscopic Views Among the Hills of New Hampshire.[2] As the passage above indicates, Albert was closely involved in their new commercial venture, and his collaboration with his brothers had been publicized earlier in the Cosmopolitan Art Journal which noted, “Bierstadt . has gone into the White Mountain region to sketch, and to experiment photographically, along with his brother, a photographist of eminence.”[3] Bierstadt’s sketching and painting activities in the White Mountains were documented by a stereograph his brothers took of him working en plein air (fig. -
Icon Grid 07
F orging a N ational I dentity 19th Century American Paintings Featuring the collection of Matthew S. and Helen M. Mickiewicz Forging a NIational dentity 19th Century American Paintings Featuring the collection of Matthew S. and Helen M. Mickiewicz May 19 - June 30, 2012 Forging a National Identity: Artists in 19th Century America by Marcia L. Vose We are honored that the Mickiewicz Family has chosen Vose Galleries These tight strictures were soon to be challenged, however, when an to present twelve nineteenth-century American paintings from the prominent col - English immigrant named Thomas Cole became enthralled by the American out - lection of their late parents, Matthew S. and Helen M. Mickiewicz. Many of these doors and set out to follow a new path, one dedicated to painting the American works were purchased from Vose Galleries, including the cover, Jasper Cropsey’s landscape solely for its own beauty and connection to the divine. Beginning in Greenwood Lake, New Jersey . We remember with great fondness the senior Mick - the second decade of the 1800s, a loosely formed school of American landscape iewiczes when they spent the weekend in Boston celebrating the galleries’ 150th painting emerged—the Hudson River School—that would hold sway over land - anniversary in 1991. They participated in every event during the weekend: a gala scape painting for the next fifty years. Painters would be inspired by the great au - dinner and behind the scenes tour of the Museum of Fine Arts, Boston, a walk - thors writing early in the century—Ralph Waldo Emerson (1803-1882), Henry ing tour of artist Frank Benson’s Salem, a lunch and tour of the Peabody Essex David Thoreau (1817-1862), Nathaniel Hawthorne (1804-1864) and Henry Museum and a luncheon at the home of one of our dearest clients. -
Nineteenth-Century American Artists in France, 1850-1900
The Controversy about French Influence: Nineteenth-Century American Artists in France, 1850-1900 By JESSICA PROVENCHER Bachelor of Arts in Art History University of Tulsa Tulsa, Oklahoma 2014 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS May, 2016 THE CONTROVERSY ABOUT FRENCH INFLUENCE: NINETEENTH-CENTURY AMERICAN ARTISTS IN FRANCE, 1850-1900 Thesis Approved: Dr. Louise Siddons Thesis Adviser Dr. Jennifer Borland Dr. James Huston ii ACKNOWLEDGEMENTS First and foremost, I offer my sincerest gratitude to my advisor, Dr. Louise Siddons. She has supported me throughout my thesis with her patience, encouragement, and immense knowledge while allowing me the room to work in my own way. Without her guidance, this thesis would not have been possible. I would also like to thank my committee members, Dr. Jennifer Borland and Dr. James Huston, for their insightful comments, useful suggestions, and difficult questions. Their feedback greatly enhanced this thesis. Finally, I am deeply grateful to Dr. Kirsten Olds for encouraging me to attend graduate school and for her continued support while I completed both my Bachelor’s and Master’s degrees. iii Acknowledgements reflect the views of the author and are not endorsed by committee members or Oklahoma State University. Name: Jessica Provencher Date of Degree: MAY, 2016 Title of Study: The Controversy about French Influence: Nineteenth-Century American Artists in France, 1850-1900 Major Field: Art History Abstract: While it is well-known that many nineteenth-century American artists were encouraged to travel to the art center of Paris to study, there were also many critics and artists who opposed this idea. -
Benjamin Champney
VOLUME 35, NUMBER 33 JANUARY 13, 2011 FREE THE WEEKLY NEWS & LIFESTYLE JOURNAL OF MT. WASHINGTON VALLEY Artistic Journeys: Valley Folks and Focus: A Mount Washington Valley Born on Jan. 2, meet Memorial Legacy: When people think of Hospital’s First Baby of the White Mountain Art, the first Year, Trenton name that comes to mind is McGowan… A6 Benjamin Champney. A2 … A SALMON PRESS PUBLICATION • (603) 447-6336 • PUBLISHED IN CONWAY, NH Page Two Benjamin Champney: A Mount Washington Valley Legacy By Cynthia Melendy, Ph.D. Contributing Writer WHEN PEOPLE THINK of White Mountain Art, the first name that comes to mind is Benjamin Champney. A native of New Hampshire, most credit him with establish- ing the Mount Washington Valley as a destination for visu- al artists from all over America in the nineteenth century. He believed that our country should have its own unique brand of American art. Champney had many artist Jackson Falls mentors and friends that helped throughout his career. He believed in doing the same for others. If you went to Champney’s studio, you would meet a number of well-known White Mountain artists. Benjamin Champney was born Nov. 17, 1817 in New Ipswich. After his father died, he was sent to Lebanon, where he attended school twelve weeks a year and worked at a cotton mill owned by an uncle. From an early age, he enjoyed drawing and sketching. He Benjamin Champney in his studio went to Boston at age 16 to Thompson Falls work for a shoe dealer. He destroyed by fire in New York not often so much beauty and In 1853 he married Mary harmony with nature and por- became interested in the work City in October 1857. -
19Th Century American Genre, Marine, Adn Still Life Paintings
Inside and Out 1 9 t h c e n t u r y a m e r i c a n g e n r e , m a r i n e , a n d s t i l l l i f e p a i n t i n g s January 15–February 23, 2018 Debra Force F I N E A RT , I N C . James Henry Beard (1811–1893) The Illustrious Guest (A Distinguished Stranger), 1847 signed JH Beard and dated painted 1847 , center right, oil on canvas, 25 × 30½ in. A M E S H E N RY B E A R D , a renowned rigorously for his Whig Party’s Presidential his fellow man as well as gaming, fddling, J genre painter and portraitist, was born candidacy in 1840. The artist painted a and imbibing. His carpet bag in the in Buffalo, New York, and as a teenager, cabinet portrait of Harrison (Charleston foreground implies that he has been moved with his family to Painesville, Ohio. City Hall, South Carolina) that served briefy traveling. While residing there, he took lessons from as the source for an engraving used The tavern was the center for commu- an itinerant artist and gained experience by extensively in his campaign. nication in frontier America. In addition executing likenesses of friends and family. The Illustrious Guest (A Distinguished to a bar, it was often a stagecoach stop, In 1834, he settled in Cincinnati, which Stranger), depicting Henry Clay, the a repository for news and messages, an remained his principal home for nearly prominent Kentucky statesman, Senator, inn for lodging, and a central location for forty years. -
Vose Galleries of Boston
1855-1950 Vose Galleries of Boston 1855-1950 Nancy Allyn Jarzombek with an essay by Michelle L. Hoeffler and contributions from Siobhan Wheeler and Robin Dabney October 12 ~ December 29, 2000 VO SE GALL ERIES OF BOSTON DEALERS IN FINE PAINTINGS FOR FIVE GENERATIONS 238 NEWBURY STREET BOSTON MASSACHUSETTS 02116 TEL 617-536-6176 ESTABLISHED 1841 FAX 617-247-8673 E-MAIL INFO @ VOSEGALLERIES . COM WEBSITE WWW . VOSEGALLERIES . COM Marcus A. Waterman (1834-1914) Figures and Camels Resting in a Shaded Court Oil on canvas 16 x 20 inches 33185 Inside front and back covers: Edwin Whitefield (1816-1892) View of the Public Garden and Boston Common, 1866 tinted lithograph published by J.H. Buford’s Lith., published by P.R. Stewart. Collection of the Boston Athenaeum z ii å Table of Contents Acknowledgments v Foreword vii A Taste for High Art: Boston and the Boston Art Club 1 Nancy Allyn Jarzombek The Architectural Identity of the Boston Art Club 21 Michelle L. Hoeffler Founders of the Boston Art Club 29 Nancy Allyn Jarzombek Illustrations Landscapes 33 Seascapes 50 Still Life 55 Figures and Portraits 58 Pepper and the Modernists 61 Artist Biographies 65 Siobhan Wheeler Nancy Allyn Jarzombek Robin Dabney Key to the Bibliography 87 z iii å Benjamin Champney (1817-1907) At Peace, Washington Valley , 1864 Oil on canvas 18 x 28 inches JL23 Fuller Art Museum and tour Samuel W. Griggs (1827-1898) Conway Valley, New Hampshire , 1858 Oil on canvas 22 x 36 inches JL98 z iv å Hermann Dudley Murphy (1867-1945) Fields below Mount Monadnock Oil on canvas 3 3 24 ⁄4 x 29 ⁄4 inches 33155 Acknowledgements ThIS exhIBITIon And CATALogue originated with the enthusiasm of one collector, James Lyons. -
Historic New England FRONT COVER
HISTORIC NEW ENGLAND FRONT COVER: BRADDOCK MEAD, aka JOHN GREEN (c. 1688-1757) [compiler], THOMAS JEFFERYS (c. 1710-1771) [publisher] A MAP of the most INHABITED part of NEW ENGLAND, containing the PROVINCES of MASSACHUSETTS BAY and NEW HAMPSHIRE, with the COLONIES of CONNECTICUT AND RHODE ISLAND, Divided into Counties and Townships: The whole composed from Actual Surveys and its Situation adjusted by ASTRONOMICAL OBSERVATIONS 1774 Hand-colored copper plate engraving 41½ x 39½ inches NH: WILLIAM TROST RICHARDS (1833-1905) Whaleback Lighthouse Off Portsmouth, New Hampshire [detail] circa 1872 MA: JOHN SINGLETON COPLEY (1738-1815) Lady Temple (Elizabeth Bowdoin of Boston) circa 1767 CT: FRANK CONVERS MATHEWSON (1862-1941) Noank Shipyard [detail] 1899 VT: JAMES KING BONNAR (1883-1961) Mount Equinox, Manchester, Vermont [detail] circa 1950 RI: JOHN LA FARGE (1835-1910) Newport, Windmill, Near Easton’s Pond. Early Spring, Southeast Wind 1864 ME: WINSLOW HOMER (1836-1910) Sea and Rocks at Prouts Neck, Maine [detail] 1895 “HISTORIC NEW ENGLAND” AN EXHIBITION AND SALE OF PAINTINGS, WATERCOLORS, DRAWINGS, PRINTS, PHOTOGRAPHS, AND SCULPTURE ILLUSTRATING FOUR CENTURIES OF THE HISTORY, CULTURE, AND NATURAL BEAUTY OF THE NEW ENGLAND REGION TO BENEFIT ~ AMERICA’S OLDEST, LARGEST AND MOST COMPREHENSIVE REGIONAL HERITAGE ORGANIZATION ~ AND IN CELEBRATION OF THE CENTENNIAL OF ITS FOUNDING JULY 12 - NOVEMBER 14, 2010 WILLIAM VAREIKA FINE ARTS LTD THE NEWPORT GALLERY OF AMERICAN ART 212 bellevue avenue • newport, rhode island 02840 www.VAREIKaFINEARTS.CoM -
Artist Colonies in Europe, the United States, and Florida
Artist Colonies in Europe, the United States, and Florida by Jennifer L. Aldrich A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts Department of Humanities College of Arts and Sciences University of South Florida Co-Major Professor: Gary Mormino, Ph.D. Christopher Meindl, Ph.D. Rose Marie Prins, Ph.D. Date of Approval: October 3, 2008 Keywords: Regionalism, artwork, creative, painters, beautification © Copyright 2008, Jennifer Aldrich Table of Contents Abstract iii Introduction 1 Chapter One: European Artist Colonies 5 Barbizon, France 6 Pont- Aven, France 9 Skagen, Denmark 12 Chapter Two: American Artist Colonies 17 Hudson River School of Painters 18 New England Colonies 18 Upstate New York Colonies and New York City 21 Western Colonies 24 Monterrey and the coast, California 24 Taos and Santa Fe, New Mexico 27 From Haystacks to Soup Cans: American Modern Art 29 Chapter Three: Florida Artist Colonies 31 St. Augustine, Florida 35 Maitland Art Colony 40 Sarasota Arts Community 43 Towles Court and Other Art Communities 52 Conclusion 55 Bibliography 61 i Florida’s Art Communities: From Rural Artist Colonies to Urban Art Centers Jennifer Aldrich ABSTRACT During the nineteenth century, an artistic trend spread across Europe. As urban centers housed the majority of professional artists, individuals and groups relocated to remote, bucolic areas to form art colonies. Artist colonies are typically defined as a group of artists, generally painters, writers, and composers who worked and lived as a community for a certain period of time.1 Artists left their city lifestyles as a response to urbanization and industrialization.