John Marin: Modernism at Midcentury” Features in Winter 2012 Exhibitions at the Addison Gallery of American Art
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Rockwell Kent Collection
THE ROCKWELL KENT COLLECTION THE ROCKWELL KENT COLLECTION Digitized by the Internet Archive in 2015 https://archive.org/details/rockwellkentcollOObowd THE ROCKWELL KENT COLLECTION BOWDOIN COLLEGE MUSEUM OF ART 1972 COPYRIGHT 1972 BY THE PRESIDENT AND TRUSTEES OF BOWDOIN COLLEGE BRUNSWICK, MAINE LIBRARY OF CONGRESS CATALOG CARD NUMBER 72-93429 Acknowledgments HIS little catalogue is dedicated to Sally Kent in gratitude for her abiding interest and considerable help in the for- mation of this collection. With the aid of Mrs. Kent, and the support of a generous donor, the Bowdoin College Museum of Art was able to obtain a representative collec- tion of the work of the late Rockwell Kent, consisting of six paintings and eighty-two drawings and watercolors. This collection, in addition to the John Sloan collection and the Winslow Homer collection already established here, will provide both the general public and researchers the opportunity to see and study in great detail certain important aspects of American art in the early twentieth century. Our appreciation is also extended to Mr. Richard Larcada of the Larcada Galleries, New York City, for his help during all phases of selection and acquisition. R.V.W. [5] Introduction HE paintings, drawings and watercolors in this collection pro- vide a varied cross section of Rockwell Kent's activities as painter, draftsman and illustrator. They range over a wide variety of style and technique, from finished paintings and watercolors to sketches and notations intended for use in the studio. As such, they provide an insight, otherwise unavailable, into the artist's creative processes and methods. -
Annual Report 2018
2018 Annual Report 4 A Message from the Chair 5 A Message from the Director & President 6 Remembering Keith L. Sachs 10 Collecting 16 Exhibiting & Conserving 22 Learning & Interpreting 26 Connecting & Collaborating 30 Building 34 Supporting 38 Volunteering & Staffing 42 Report of the Chief Financial Officer Front cover: The Philadelphia Assembled exhibition joined art and civic engagement. Initiated by artist Jeanne van Heeswijk and shaped by hundreds of collaborators, it told a story of radical community building and active resistance; this spread, clockwise from top left: 6 Keith L. Sachs (photograph by Elizabeth Leitzell); Blocks, Strips, Strings, and Half Squares, 2005, by Mary Lee Bendolph (Purchased with the Phoebe W. Haas fund for Costume and Textiles, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017-229-23); Delphi Art Club students at Traction Company; Rubens Peale’s From Nature in the Garden (1856) was among the works displayed at the 2018 Philadelphia Antiques and Art Show; the North Vaulted Walkway will open in spring 2019 (architectural rendering by Gehry Partners, LLP and KXL); back cover: Schleissheim (detail), 1881, by J. Frank Currier (Purchased with funds contributed by Dr. Salvatore 10 22 M. Valenti, 2017-151-1) 30 34 A Message from the Chair A Message from the As I observe the progress of our Core Project, I am keenly aware of the enormity of the undertaking and its importance to the Museum’s future. Director & President It will be transformative. It will not only expand our exhibition space, but also enhance our opportunities for community outreach. -
'Body' of Work from Artist and Athlete
3 THURSDAY, OCTOBER 15, 2009 Local CP The Star Art Adventure I Sam Dalkilic-Miestowski ‘Body’ of work from artist and athlete C R O W N P O I N T ver the past year the Steeple Gallery has exhibited the works froOm Chicago artist Christina STAR Body. Chicago native, Christina Body, received a MANAGING EDITOR Bachelor of Fine Arts degree in painting and Kimberley Mathisen minors in photography and theater from [email protected] Southern Illinois University, in Carbondale. She was also an art and athletic scholarship recipient at SIU. Classified and Subscriptions (219) 663-4212 FAX: (219) 663-0137 Office location 112 W. Clark Street Crown Point, IN 46307 ADVERTISING DEADLINES Display Friday 12:00 p.m. Classified Friday 12:00 p.m. Legals Friday 12:00 p.m. fascinated by the qualities of light and the end- less variations in color and temperature that it SUBSCRIPTIONS reveals. Painting en plein air is an emotional and spiritual experience. Capturing brilliant light and One year $26.00 its radiance in the natural and built world leaves School $20.00 me feeling clear, elated and ethereal all at the One year out of state $32.00 same time.” Body paints en plein air through the One year (foreign) $54.00 seasons in Chicago and also finds inspiration painting the tropics with extended stays in Jamaica, Key West, Florida and her travels abroad. Body’s award winning paintings have earned her participation in juried shows and national plein air painting competitions and invitational’s, including ‘2008 Door County Plein Air Festival, I N D E X Door County, Wis. -
Harn Museum of Art / Spring 2021
HARN MUSEUM OF ART / SPRING 2021 WELCOME BACK After closing to the public to prevent the spread welcoming space for all in 2021 while continuing to of COVID-19 in March and reopening in July with provide virtual engagement opportunities, such as precautions in place, the Harn Museum of Art Museum Nights, for UF students and community welcomed 26,685 visitors in 2020. It has been our members alike. pleasure to have our doors open to you at a time when the power of art is needed most and in our As we bring in 2021 and continue to celebrate our 30th Anniversary year. We are especially pleased to 30th Anniversary, we are pleased to announce the welcome UF students back to campus this semester acquisition of The Florida Art Collection, Gift of and to provide a safe environment to explore and Samuel H. and Roberta T. Vickers, which includes learn—whether in person or virtually—through more than 1200 works by over 700 artists given our collection. The Harn looks forward to being a as a generous donation by Florida’s own Sam and Robbie Vickers. As an integral part of the University of Florida 3 EXHIBITIONS campus, the Harn Museum of Art will utilize 10 ART FEATURE the Vickers’ gift as an important new resource to 11 CAMPUS AND strengthen faculty collaboration, support teaching COMMUNITY DESTINATION and enhance class tours, and provide research 13 VICKERS COLLECTION projects for future study. 22 TEACHING IN A PANDEMIC 23 ART KITS ENCOURAGE The collection presents a wonderful opportunity CREATIVITY for new and collection presents a wonderful 25 GIFT PLANNING opportunity for new and original student research 26 INSPIRED GIVING and internships across a variety of disciplines in 27 BEHIND THE COVER alignment with our Strategic Plan goals. -
Halpert & Marin
Telling Stories: Edith Halpert & Her Artists October 9 – December 11, 2020 John Marin (1870-1953), Tree Forms, Autumn, 1915, watercolor on paper, 19 x 16 1/8 in. Edith Halpert had always had her eye on John Marin. In her days as a teenager studying art at The National Academy of Design and the Art Students League, she had visited Alfred Stieglitz’s groundbreaking “291” gallery to see works by Marin alongside the European avant-garde. However, despite Halpert’s persistent entreaties, Marin was in no rush to join the Downtown Gallery roster. After Stieglitz’s death in 1946, Marin, whose popularity was at its height, was quickly courted by many of Halpert’s competitors. By August 1949, her patience and restraint wore out, writing to Marin: I have always been hesitant, because of my admiration and awe of you, and my deep regard for Stieglitz, in pushing myself forward into your plans...I can say, without hesitation — and I am sure that you know it — that you are my favorite artist, American or otherwise, possibly more so because not otherwise. I can also say, with all due modesty, that I — or The Downtown Gallery — is the logical and only place for Marin...I want to be the agent for John Marin. (Downtown Gallery Records, AAA) In order to secure Marin, Halpert agreed to hire his son, John Jr., and provide a space for Downtown Gallery press release announcing representation of Marin. the year-round display of Marin’s work. Courtesy of the Archives of American Art. Constructed in the gallery’s backyard, the Marin room not only exhibited his paintings, but included a dedicated area for etchings and books on the artist. -
Mythmakers: the Art of Winslow Homer and Frederic Remington
ISSN: 2471-6839 Cite this article: Mark Thistlethwaite, review of Mythmakers: The Art of Winslow Homer and Frederic Remington, Amon Carter Museum of American Art, Panorama: Journal of the Association of Historians of American Art 7, no. 1 (Spring 2021), doi.org/10.24926/24716839.11889. Mythmakers: The Art of Winslow Homer and Frederic Remington Curated by: Margaret C. Adler, Diana Jocelyn Greenwold, Jennifer R. Henneman, and Thomas Brent Smith Exhibition schedule: Denver Art Museum, June 26–September 7, 2020; Portland Museum of Art, September 25–November 29, 2020; Amon Carter Museum of American Art, December 22, 2020–February 28, 2021 Exhibition catalogue: Margaret C. Adler, Claire M. Barry, Adam Gopnik, Diana Jocelyn Greenwold, Jennifer R. Henneman, Janelle Montgomery, Thomas Brent Smith, and Peter G. M. Van de Moortel, Homer | Remington, exh. cat. Fort Worth: Amon Carter Museum of American Art; Denver: Denver Art Museum; Portland, ME: Portland Museum of Art, in association with Yale University Press, 2020. 224 pp.; 179 color illus.; Cloth: $50.00 (ISBN: 9780300246100) Reviewed by: Mark Thistlethwaite, Kay and Velma Kimbell Chair of Art History Emeritus, Texas Christian University Surprisingly, given the popular appeal of the art it presents, Mythmakers: The Art of Winslow Homer and Frederic Remington offers the first major museum exhibition to explore the similarities and differences in work by these “American Titans” (as an early working exhibition title styled them).1 Were it not for the pandemic, the exhibition, consisting of more than sixty artworks in a variety of media, would have undoubtedly attracted large, enthusiastic crowds to each of its three venues. -
Winslow Homer Lecture Series Pr
August 19, 2008 Press Release For Immediate Release Contact: Andrew E. Albertson, Curator of Education & Public Programs Phone: (518) 673-2314 x.109 Arkell Museum Begins Winslow Homer Lecture Series with Syracuse University Professor David Tatham CANAJOHARIE, NY—The Arkell Museum at Canajoharie announces a three-week Winslow Homer lecture series to complement “Winslow Homer Watercolors,” a temporary exhibition at the new museum. All lectures are on Tuesday evenings, August 26 through September 9, at 7pm. “Winslow Homer Watercolors” presents the Arkell Museum’s renowned collection of the artist’s breathtaking watercolors with highlights including Homework , Moonlight and On the Cliff . Visitors may also view the Museum’s six Homer oil paintings, which are on permanent display in the Arkell American Art Gallery. David Tatham, a Syracuse University Professor Emeritus of Art History who is a recognized Homer author and scholar, will begin the lecture series with “Winslow Homer at Work in New York State: A Bounty of Paintings” on Tuesday, August 26 at 7pm. Tatham has authored seven books and more than eighty scholarly articles, exhibition catalogue essays, and journal reviews concerning American art of the nineteenth and twentieth centuries. He is known for his books on Homer, including: Winslow Homer in the Adirondacks ; Winslow Homer in the 1880s: Watercolors, Drawings, and Etchings ; Winslow Homer and the Illustrated Book ; and Winslow Homer and the Pictorial Press . Tatham’s lecture will focus on Homer’s paintings of New York State. On Tuesday, September 2, Robert Demarest will present “Traveling with Winslow Homer: America’s Premier Artist/Angler” at 7pm; he is the author of the book by the same name. -
Bruce and Barbara Feldacker Labor Art Collection Reference Collection
Page 1 of 31 Bruce and Barbara Feldacker Labor Art Collection Reference Collection These books may be accessed through the Mercantile Library Rare Book Reading Room. All books are non-circulating. Book # Author Title Publication Info. Notes The Painter's America: Rural and Urban In association with the Whitney 4 Hills, Patricia Life, 1810-1910 [The] New York: Praeger Publishers, 1974 Museum of American Art Selections from the Penny and Elton Yasuna Collection; Essays Jeffett, William, ed. Surrealism in America During the 1930s by Martica Sawin and William 6 (curator) and 1940s FL: Salvador Dali Museum Jeffett With an essay by Guy Davenport; New York: Harry N. Abrams, Inc., from the Museum of Modern Art, 7 Castleman, Riva (ed.) Art of the Forties 1994 New York Los Angeles: The Wheatley Press, In association with the University 8 DeNoon, Christopher Posters of the WPA 1987 of Washington Press, Seattle Social Concern and Urban Realism: Publication Center Cultural Resources, 9 Hills, Patricia American Painting of the 1930s 1983 With an essay by Raphael Soyer Precisionism in America 1915-1941: New York: Harry N. Abrams, Inc., In association with the Montclair 11 Murphy, Diana Reordering Reality 1995 Art Museum 13 Kent, Norman (ed.) Drawings by American Artists New York: Bonanza Books, 1970 ASIN: B000G5WO7Q Page 2 of 31 Slatkin, Charles E. and New York: Oxford University Press, 14 Shoolman, Regina Treasury of American Drawings 1947 ASIN: B0006AR778 15 American Art Today National Art Society, 1939 ASIN: B000KNGRSG Eyes on America: The United States as New York: The Studio Publications, Introduction and commentary on 16 Hall, W.S. -
Artists and Place
ARTISTS AND PLACE Teacher Guide for the Addison Gallery of American Art Winter 2012 Exhibitions Phillips Academy, Andover, MA Education Department: Katherine Ziskin, Education Fellow for School & Community Collaborations John Marin: Modernism at Midcentury [email protected] or 978.749.4198 January 28 through April 1, 2012 Jamie Kaplowitz, Education Associate & Museum Learning Specialist Julie Bernson, Curator of Education Land, Sea, Sky: Contemporary Art in Maine FREE GROUP VISIT HOURS BY APPOINTMENT: Tuesday-Friday 8am-4pm January 28 through March 18, 2012 FREE PUBLIC MUSEUM HOURS: Tuesday-Saturday 10am-5pm & Sunday 1pm-5pm Paintings from the Addison Collection TEACHER RESOURCES, WORKSHOPS, January 14 through April 8, 2012 & EXHIBITION INFORMATION: www.addisongallery.org Addison Gallery of American Art Education Department, Winter 2012 Teacher Guide, p. 1 Artists and Place What connections can be made between John Marin’s paintings and the places that inspired them? John Marin (1870-1953), like many American artists of the early twentieth century, painted in the countrysides and cities of Europe, learning and honing his craft. It is his landscapes of the United States, however, for which the artist is best known. Marin’s dedicated study of his own environments - particularly New York City and the Maine coast - are inspirations for the exhibition John Marin: Modernism at Midcentury. Marin’s early paintings of structured and pointed Manhattan views reveal his cubist roots, while the fluidity of his coastal paintings reveal an ever-increasing tendency toward abstraction (figs. 1-3). Marin worked at various locations in Maine from 1914, but marked shifts in his paintings appeared in 1933 when fig. -
ANNUAL REPORT 2013 BOARD of TRUSTEES 5 Letter from the Chair
BOARD OF TRUSTEES 2 LETTER FROM THE CHAIR 4 A STRATEGIC VISION FOR THE 6 PHILADELPHIA MUSEUM OF ART A YEAR AT THE MUSEUM 8 Collecting 10 Exhibiting 20 Learning 30 Connecting and Collaborating 38 Building 48 Conserving 54 Supporting 60 Staffing and Volunteering 70 A CALENDAR OF EXHIBITIONS AND EVENTS 75 FINANCIAL STATEMENTS 80 COMMIttEES OF THE BOARD OF TRUSTEES 86 SUPPORT GROUPS 88 VOLUNTEERS 91 MUSEUM STAFF 94 BOARD OF TRUSTEES TRUSTEES EMERITI TRUSTEES EX OFFICIO OFFICERS Peter A. Benoliel Hon. Tom Corbett Constance H. Williams Jack R Bershad Governor, Commonwealth Chair, Board of Trustees Dr. Luther W. Brady, Jr. of Pennsylvania and Chair of the Executive Committee Helen McCloskey Carabasi Hon. Michael A. Nutter Mayor, City of Philadelphia H. F. (Gerry) Lenfest Hon. William T. Raymond G. Perelman Coleman, Jr. Hon. Darrell L. Clarke Chairs Emeriti Ruth M. Colket President, City Council Edith Robb Dixon Dennis Alter Hannah L. Henderson Timothy Rub Barbara B. Aronson Julian A. Brodsky B. Herbert Lee The George D. Widener Director and Chief David Haas H. F. (Gerry) Lenfest Executive Officer Lynne Honickman Charles E. Mather III TRUSTEES Victoria McNeil Le Vine Donald W. McPhail Gail Harrity Vice Chairs Marta Adelson Joan M. Johnson David William Seltzer Harvey S. Shipley Miller President and Chief Operating Officer Timothy Rub John R. Alchin Kenneth S. Kaiserman* Martha McGeary Snider Theodore T. Newbold The George D. Widener Dennis Alter James Nelson Kise* Marion Stroud Swingle Lisa S. Roberts Charles J. Ingersoll Director and Chief Barbara B. Aronson Berton E. Korman Joan F. Thalheimer Joan S. -
Washington, D. C. June 1, 1967. the National Gallery Today Announced It
SIXTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215 extension 224 Washington, D. C. June 1, 1967. The National Gallery today announced it will lend 17 American paintings, including the work of Gilbert Stuart, Winslow Homer, and Rembrandt Peale, to the Mint Museum of Art in Charlotte for the inauguration of its new building this fall. John Walker, Director of the National Gallery said the paintings will be on view from September 15 to October 27. He called the opening of the new Mint Museum building a significant event for Charlotte and the Carolinas. Of foremost interest in the exhibition is Gilbert Stuart's portrait of Richard Yates. from the Andrew Mellon Collection, - 2 - and the colorful Allies Day, May 1917 by Childe Hassam. The Yates portrait was finished soon after Stuart returned from Dublin to begin his famous series of George Washington portraits. The Rembrandt Peale painting is of the artist's friend, Thomas Sully, an important American portraitist who was raised in South Carolina. The Winslow Homer painting shows a small boat being beached at sunset. In addition to six primitive American paintings by unknown 18th and 19th century limners, the exhibition will include the work of John James Audubon, Robert Henri, Charles Hofmann, Ammi Phillips, Jeremiah Theus, Ralph E. W. Earl, and Joseph Badger. Director Walker observed that the pictures "share the common value of presenting America as interpreted by artists in their own time." He also noted that a good many of the painters repre sented in the collection lived or worked in the South. -
THE MUSEUM of MODERN ART Jl^^L-MS^&D STREET, NEW YORK 19, N
THE MUSEUM OF MODERN ART jl^^l-MS^&D STREET, NEW YORK 19, N. Y. TELEPHONE: CIRCLE 5-8900 FOR IMMEDIATE RELEASE EXHIBITION OF AMERICAN BATTLE PAINTING OPENS AT MUSEUM OF MODERN ART Under the auspices of the Armed Services Program of the Museum of Modern Art an exhibition of American Battle Painting; 1776-1918 will be held at the Museum from September 27 through November 12. Planned in collaboration with the National Gallery of Art in Washington, the exhibition reveals the continuing American tradition, from the Revolutionary War through World War I, of the use of artists to record war. For the many contemporary American artists who are now inter preting their nation's bitterest struggle, it is hoped that American Battle Painting; 1776-1918 will provide encouragement, as the exhibi tion demonstrates the overwhelming documentary value of our visual records of past wars and emphasizes the need of preserving the chronicles made by artists of the present war. The exhibition was assembled by Pvt. Lincoln Kirstein, now in service in France, and by Mrs. Margaret D. Garrett of the staff of the National Gallery in Washington. The exhibition includes paintings by Trumbull, Peale, Eastman Johnson, Winslow Homer, David Blythe, Conrad Wise Chapman, Alfred Sully, Remington, Sargent, Henry N. Walke, Adalbert Johann Volck, Slackens, Peixotto, Wallace Morgan, Harvey T. Dunn, Kerr Eby and others. George Harding, who is now a combat artist with the Marines, is represented by a drawing made when he was an official artist in World War 1. A study for the picture which generations of American school children have known—George Washington Crossing the Delaware—will also be shown.