DOCSLIB.ORG

Annual , Water Color

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Annual , Water Color ANNUAL , ANNUAL MEMBE~SHIP WATER COLOR JN AND THE PENNSYLVANIA ACADEMY "MINIATURE · OF THE FINE ARTS EXH.IBITIONS Annual members are such persons as contribute $10 annually for the maintenance of the Academy. ,;t i;t LIFE MEMBERSHIP CATALOGUE f{ - _,........ Life members are those who contribute the sum -~·- of $100. Annual and life members are admitted to all the public exhibitions and lectures at the Academy, have a right to use its library, subject to the regula­ tions of the institution, and receive an admission ticket. They have all the privileges of stock­ holders except the right to vote. Checks may be sent to George H. McFadden, Treasurer, at the Academy. FORM OF BEQU~T I giale, Jeoise anJ bequeath to "The Pennsgl­ oania Academy of the Fine Arts"·············-····· Dollars In trust lo invest and keep lrtPesieJ anJ appiJ, the income only to the maintenance of the The Pennsylvania Academy said Academ_y. of the Fine Arts 1914 MOST OF THE WORK IN THIS EXHI­ BITION IS FOR SALE AT STUDIO PRICES. INFORMATION IN REGARD TO SALES MAY BE HAD FROM THE SALES-MAN­ AGER OR FROM ANY ATTENDANT IN THE GALLERIES OR AT THE OFFICE. DUPLICATE PRINTS OF ETCHINGS CAN, IN MOST CASES, BE SUPPLIED. THE PENNSYL V ANJA ACADEMY OF THE FINE ARTS FOUNDED 1805 • THE PHILADELPHIA WATER COLOR CLUB The Schools of The Pennsylvania Academy THE PENNSYLVANIA SOCIETY o.f the Fine Arts train students in painting, OF MINIATURE PAINTERS sculpture and illustrating. The success achieved by the Schools is testified to by the number of artists of great reputation CATALOGUE OF THE TWELFTH who recelved their training in them. The present instructors are : Cecilia Beaux, ANNUAL PHILADELPHIA WATER Hugh H . Breckenridge, Charles Grafly, Henry Mccarter, Frank Miles Day, Joseph COLOR EXHIBITION, AND THE T. Pearson, Jr., Daniel Garber, Violet Oakley, Philip L. Hale, Emil Carlsen, and Henry THIRTEENTH ANNUAL EXHIBITION Erdmann Radasch, M .Sc., M.D. Detailed information in regard to the Schools will OF MINIATURES gladly be furnished to any one interested in the subject. The second term of the present school year begins February r, r915, NOVEMBER 8 TO DECEMBER 13, 1914 but students may enter at any time,· • PHILADELPHIA 1914 \ MANAGEMENT OF THE PENNSYLVANIA ©fficers anti members of tbe ACADEMY OF THE FINE ARTS lPbilabelpbia 'il'Ulater <rolor <riub 1914 PRESIDENT, VICE-PRESIDENT, PRESIDENT, GEORGE WALTER DAWSON. DLANCHE DILLA YE. JOHN FREDERICK LEWIS. SECRETARY, TREASURER, JOHN J. DULL. VICE-PRESIDENT, THORNTON OAKLEY. CLEMENT B. NEWBOLD. EXECUTIVE COMMITTEE THE OfFICE!tS A N U HONORARY VICE-PRESIDENT, HUGH H . BRECKENRIDGE, GEORGE M. HARDING, E. BURGESS WARREN. ANNA WHELAN BETTS, JESSIE WILLCOX SMITH. DIRECTORS, 'iHonorar'Q members THEOPHILUS P. CHANDLER, ALFRED C. HARRISON, CECILIA BEAU~, ALEXANDER HARRISON, HERBERT M. HOWE, M.D., CLARENCE C. ZANTZINGER, FLORENCE ESTE, MAXFIELD PARRISH, GEORGE H. MCFADDEN, T. DEWI'fT CUYLER, JOHN MCLURE HAMILTON, JOSEPH PENNELL, CLEMENT B. NEWBOLD, ARTHUR H. LEA, JOHN S. SARGENT. EDWARD T. STOTESBURY, CHARLEMAGNE TOWER, THEODORE N. ELY, JOSEPH E. WIDENER, ~embers FRANK H. CAVEN. ELENORE PLAISTED ABBOTT, ELIZABETH H. INGHAM, ELLEN WETHERALD AHRENS, LAURA D. S. LADD, JOHN WESLEY LITTLE, TREASURER, W. ]. AYLWOOD, ETHEL FRANKLIN BETTS BAINS, DODGE MACKNIGHT, GEORGE H. MCFADDEN. PAULA HIMMELSBACH BA.LANO, CLARA N. MADEIRA, ANNA WHELAN BETTS, DAVID B. MILNE, SECRETARY, ALEXANDER BOWER, THORNTON OAKLEY, SUSAN A. BRADLEY, VIOLET OAKLEY, JOHN ANDREW MYERS. HUGH H. BRECKENRIDGE, AMY OTIS, CHARLOTTE HARDING BROWN, MARGARET PATTERSON, HONORARY CURATOR OF PRINTS, EDWIN S. CLYMER, KATHERINE PATTON, SARAH MINIS HAYS. MARY RUSSELL FERREL COLTON, MARGARET REDMOND, LUCY S. CONANT, ALEXANDER ROBINSON, ALICE SCHILLE, CURATOR OF SCHOOLS, COLIN CAMPBELL COOPER, EMMA LAMPERT COOPER, SARAH C. SEARS, ANNA T. BENNETT. EMMA.SITA REGISTER CORSON, JESSIE WILLCOX SMITH, ALICE CUSHMAN, HENRY J. THOURON, FRED WAGNER, CURATOR OF PAINTINGS, GEORGE WALTER DAWSON, BLANCHE DILLA YE, FRANK REED WHITESIDE, GILBERT S. PARKl';R:· JOHN J. DULL, ELEANOR PALMER WILLIAMS, ELIZABETH SHIPPEN GREEN ELLIOTT, ALBERT PAUL WILLIS, SOLICITOR, HERBERT E. EVERETT, LOUISE WOOD WRIGHT, N. C. WYETH, JOHN G, JOHNSON. W. W. GILCHRIST, JR., BLANCHE GREER, M. W. ZIMMERMAN. GEORGE M. HARDING, COMMITTEE ON EXHIBITIONS, CLEMENT B. NEWBOLD, CHAIRMAN, IDeceaseO Members GEORGE H. MCFADDEN, THEODORE N. BLY, EDWIN A. ABBEY, MAY S. HAYDOCK, EDWARD T. STOTESBURY, ALFRED C. HARRISON, THOMAS P. AllSHUTZ, MARGARETTE LIPPINCOTT. JOSEPH E. WIDENER. CHARLES E. DANA, 2 3 -~ ®tftcers an~ .Members of tbe JPenns}2l'1anla Soclet}2 Of miniature !Painters • PRESIDENT, EMILY DRAYTON TAYLOR. I ,; VICE-PRESIDENT, HARRY L. JOHNSON. 11 SECRETARY, THE PHILADELPHIA ~ A. MARGARETTA ARCHAMBAULT, WATER COLOR CLUB TREASURER,_ .. EDNA F. HUESTIS SIMPSON. EXECUTIVE COMMITTEE, 5ut}2 of Selection ELLEN WETHERALD AHRENS, AMY OTIS, COLIN CAMPBELL COOPER, VIOLET OAKLEY, SARAH YOCUM MCFADDEN BOYLE. JOHN J. DULL, ALICE SCHILLE, MEMBERS, DODGE MACKNIGHT, FRED WAGNER. ELLEN WETHERALD AHRENS, JEAN WILLIAMS LUCAS, A. MARGARETTA ARCHAMBAULT, AMY OTIS, EULABEE DIX BECKER, REBECCA BURD PEALE PATTERSON, 'ltanglng <tommlttee ALICE SECKINGTON, BERTHA E. PERRIE, JOHANNA M. BOERICKE, EVELYN PURDIE, GEORGE WALTER DAWSON, THORNTON OAKLEY. MARY W. BONSELL, HELOISE GILLOfr REDFIELD SARAH YOCUM MCFADDEN BOYLE, CARLOTA SAINT-GAUDENS, ELLA SHEPARD BUSH, EDNA F. HUESTIS SIMPSON, SALLY CROSS, LUCY MAY ST ANTON, HELEN WINSLOW DURKEE, MARIE JUDSON STREAN, LUCIA FAIRCHILD FULLER, MARY H. TANNAHILL, MARGARET FOOTE HAWLEY, EMILY DRAYTON TAYLOR, HARRY L. JOHNSON, MABEL R. WELCH, HELEN V. LEWIS, ALICE RUSHMORE WELLS, LYDIA EASTWICK LONGACRE, DECEASED MEMBERS, LUDWIG E. FABER, CAROLINE S. YARDLEY. ISABEL NASH, 4 5 / ' E .flq .tit 11• .. '"' •' ,I l ~ D'j.1["1. _f ... ~ c i ·- THE PENNSYLVANIA SOCIETY OF MINIATURE PAINTERS ... 5Ut)2 of Selection WILLIAM J. BAER, VIOLET OAKLEY, EMIL CARLSEN, EDNA HUESTIS SIMSON, RICHARD BLOSSOM FARLEY, EMILY DRAYTON TAYLOR. 'JHa ngtng aommtttee JOHANNA M. BOERICKE, HENRY L. JOHNSON REBECCA BURD PEALE PATTERSON. A K I ,/}rood JTFe.-r 6 PLAN OF THE ACADEMY GALLERIES 7 THE BECK PRIZE • Through the liberality of Mr. Charles W. Beck, Jr., a prize of One Hundred Dollars is awarded this year for the tenth time to the best work in this exhibition, which has been reproduced in color. The award is made by the Jury of Selection. The prize has been pre­ viously awarded· to Joseph Lindon Smith, Henry McCarter, Elizabeth Shippen Green, Maxfield Parrish, Ernest L. Blumenschein, N. C. Wyeth, Jessie Willcox Smith, W. J. Aylward, and J nles Guerin. 8 THE CARPET BA ZAAR : CA IRO. BY CH ARLES E. DANA SNOW-COVERED HILLS. BY FRED WAGNER ------- - ll3d00'.l TI3S:dWV'.l NI'IO'.l AH '3SDOH 3J,IHM 3HL THE AQUEDUCT. llY JOHN \\"RIGHT 0 XHdl!Ql'J: A:!nana NNVrna3H MI V'!Q}~ va OZV'I'!Vd MILLS ON THE MEUSE. BY JOSEPH PENNELL KOSNH!Oll <I:'!ONVX'1"JV .UI 'll'11'.JNV.L WINTER LANDSCAPE. BY JOHN J. DULL FLORETTA. BY LILIAN WESTCOTT HALE THE AMBUSCADE. BY F. WALTER TAYLOR ~ f-< ~ >< ~ 0 z >< j P'l DEAD GOOSE. BY FRANK W. BENSON LH '.ll N)IJVW 3'.1000 All .3dV:JSONV"I _.... ___ _ ~' ,,:; < ~ P'1 ,...:, ::;; < ::l ~ "' 3: "..-< >< § P'1 ;;: <z <::; z "::> ..."' 0 "':i: >< <) >o.. °'0 u 3:TIIH'.JS 3:'.J n V 1-U 0 SUV3:1' 9NISSVd :>!HJ, ,) MINIATURE l\llN"fA'l'URF. JUNIOR. BY JOSEPHINE J. FOOTE FORTRAIT OF SALLY C.\ ME RON. BY ETiTEL FRANCES MUNDY '1' 1~T?\T .\ TVRE l\TTXTA'l'UnE FRANCES. BY A. MARGARETTA ARCHAMBAULT PETIT JEAN. BY ANNA HURLBURT JACKSON ..{ MINIATURE THE PINK SCARF. llY ELSIE DODGE PATTEE MlXl.A'J'liHE CORINNE DORDEN FREEMAN. BY EMILY DRAYTON TAYLOR CATALOGUE OF THE I THIRTEENTH ANNUAL EXHIBITION OF MIN IATURES. 9 GALLERY I. 9 BRENETTA HERRMAN CRAWFGRD. 1 Riccardo Martin. MARTHA WHEELER BAXTER. 2 My Mother. EDITH SA WYER. 3 Mrs. Andrew Sawyer. EMMA K. H. INGERSOLL. 4 Portrait Sketch. MINIATURE BABY. BY EULABEE DIX BECKER CLARA LOUISE BELL. .~ 5 Elizabeth. REBECCA BURD PEALE PATTERSON. 6 George, Jr. LUCIA FAIRCHILD FULLER. 7 In the Looking-Glass. 9 MINIATURES. MINIATURES. HELEN WINSLOW DURKEE. MARIA J. STREAN. 8 The Flowered Dress. 19 Portrait. ADELYN BUSHNELL. CAROLYN D. TYLER. 9 Portrait of an Old Man. 20 Jeannette. HELEN WINSLOW DURKEE. BERTHA COOLIDGE. 21 Portrait of a Russian Girl. 10 Still Life. ELSIE DODGE PATTEE. GERTRUDE J. BARNES. · II The Pink Scarf. 22 Girl With Persian Cat. ANNIE M. FENDERSON. LILA CHASE. 12 Portrait: Wilhilmenia. 23 Elizabeth. HARRY L. JOHNSON. MARTHA WHEELER BAXTER. 24 Moon Before Sundown. 13 Theodore. EULABEE DIX BECKER. SALLY CROSS. 25 Philip Dix Becker. 14 Portrait: Miss Lilian Gardener. WILLIAM J. BAER. ANNA LYNCH. 26 Young Diana. 15 Marion Stanton. EDNA HUESTIS SIMPSON. MARTHA WHEELER BAXTFR. 27 Outdoor Sketch. 16 The Peacock Fan. HARRY L. JOHNSON. EVELYN PURDIE. 28 The Inquiry. 17 Portrait. SARAH BARTRAM STEWART. MARY H. TANNAHILL. 29 Brother and Sister. 18 Girl With Parrot. II IO MINIATURES. MINIATURES. LYDIA EASTWICK LONGACRE. A. MARGARETTA ARCHAMBAULT. 30 The Blue Kimono. 41 Portrait. 42 Frances. BRENETTA HERRMAN CRAWFORD. 43 Miss K. c. 31 Colonel Bradley. MARIAN DUNLAP HARPER. S. CORINNE JAMAR. 44 Miss G. 32 Bob. LUCIA FAIRCHILD FULLER. BERTHA COOLIDGE. 45 Head of a Young Woman. 33 Portrait of Miss E. L. S. ANNIE HURLBURT JACKSON. , A HELOISE GUILLOU REDFIELD. 46 Petit Jean. 31 Portrait of Miss Sarah Y erxa. 47 Helen Kreck. EMMA K. H. INGERSOLL. EDITH SA WYER. 35 Baby Dan. 48 Miss Katherine Ecob. ELLEN WETHERALD AHRENS. EMILY ORA YTON TAYLOR. 36 Miss G. C. 49 Miss Corinne B. Freeman. LUCIA FAIRCHILD FULLER. MARTHA B. WILLSON. 37 Sketch of a Man. 50 The Lace Cap. MABEL R. WELCH. ANNIE HURLBURT JACKSON. 38 Mrs,.Sheridan. 51 Louise Russell. A. MARGARETTA ARCHAMBAULT. MARGARET HERR. 39 Miss J. C. 52 Malvina. EDA NEMOEDE CASTERTON. ELIZABETH F. WASHINGTON. 40 Miss Pauline Batchelder. 53 Abdul Baha. 12 13 MINIATURES. MINIATURES.
Load more

Recommended publications
  • The University of Arizona
    Digging Up Whiskey Row: An Archaeological and Historical Investigation of Industrial Capitalism on the North Shore of Lake Superior Item Type text; Electronic Dissertation Authors Tumberg, Timothy Andrew Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 20:02:27 Link to Item http://hdl.handle.net/10150/247273 DIGGING UP WHISKEY ROW: AN ARCHAEOLOGICAL AND HISTORICAL INVESTIGATION OF INDUSTRIAL CAPITALISM ON THE NORTH SHORE OF LAKE SUPERIOR by Timothy Andrew Tumberg _____________________ Copyright © Timothy Andrew Tumberg 2012 A Dissertation Submitted to the Faculty of the DEPARTMENT OF ANTHROPOLOGY In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2012 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Timothy Andrew Tumberg entitled Digging Up Whiskey Row: An Archaeological and Historical Investigation of Industrial Capitalism on the North Shore of Lake Superior and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy _______________________________________________________________________Date:
    [Show full text]
  • Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
    Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre.
    [Show full text]
  • Historic Houses of Worship in Boston's Back Bay David R. Bains, Samford
    Historic Houses of Worship in Boston’s Back Bay David R. Bains, Samford University Jeanne Halgren Kilde, University of Minnesota 1:00 Leave Hynes Convention Center Walk west (left) on Boylston to Mass. Ave. Turn left on Mass. Ave. Walk 4 blocks 1:10 Arrive First Church of Christ Scientist 2:00 Depart for Trinity Church along reflecting pool and northeast on Huntington Old South Church and Boston Public Library are visible from Copley Square 2:15 Arrive Trinity Church 3:00 Depart for First Lutheran Walk north on Clarendon St. past Trinity Church Rectory (n.e. corner of Newbury and Clarendon) First Baptist Church (s.w. corner of Commonwealth and Clarendon) Turn right on Commonwealth, Turn left on Berkley. First Church is across from First Lutheran 3:15 Arrive First Lutheran 3:50 Depart for Emmanuel Turn left on Berkeley Church of the Covenant is at the corner of Berkley and Newbury Turn left on Newbury 4:00 Arrive Emmanuel Church 4:35 Depart for Convention Center Those wishing to see Arlington Street Church should walk east on Newbury to the end of the block and then one block south on Arlington. Stops are in bold; walk-bys are underlined Eight streets that run north-to-south (perpendicular to the Charles) are In 1857, the bay began to be filled, The ground we are touring was completed by arranged alphabetically from Arlington at the East to Hereford at the West. 1882, the entire bay to near Kenmore Sq. by 1890. The filling eliminated ecologically valuable wetlands but created Boston’s premier Victorian The original city of Boston was located on the Shawmut Peninsula which was neighborhood.
    [Show full text]
  • 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.
    [Show full text]
  • Yeats at Petitpas' 1910/C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 John Sloan American, 1871 - 1951 Yeats at Petitpas' 1910/c. 1914 oil on canvas overall: 66.2 × 81.28 cm (26 1/16 × 32 in.) framed: 80.96 × 96.36 × 6.51 cm (31 7/8 × 37 15/16 × 2 9/16 in.) Inscription: lower right: John Sloan Corcoran Collection (Museum Purchase, Gallery Fund) 2014.136.54 ENTRY In August 1910 the realist painter John Sloan began this group portrait of regulars at Petitpas’, a French restaurant and boardinghouse in the Chelsea district of Manhattan. The work joined other Ashcan school artists’ depictions of casual dining experiences in urban eateries that focused on portraiture and narrative, such as At Mouquin’s by William Glackens (American, 1870 - 1938) [fig. 1]. [1] The Ashcan school, informally led by Robert Henri (American, 1865 - 1929), generally focused on the everyday life of the working classes rather than idealized views of the city. George Luks (American, 1866 - 1933) and George Bellows (American, 1882 - 1925) completed a watercolor and a print, respectively, featuring Petitpas’ as well [fig. 2], but Sloan’s large image in oil is the most ambitious of the three. [2] The scene takes place in the enclosed backyard of the restaurant, where the dining room was located in the hot summer months. The party gathers around a table placed under an awning decorated with a French flag. [3] At the head sits John Butler Yeats, smoking and sketching. Yeats, the Irish portrait painter and father of the poet William Butler Yeats, lived at Petitpas’ from 1909 until his death in 1922.
    [Show full text]
  • The Merry Adventures of Robin Hood Online
    t5q1j [Read download] The Merry Adventures of Robin Hood Online [t5q1j.ebook] The Merry Adventures of Robin Hood Pdf Free Howard Pyle ebooks | Download PDF | *ePub | DOC | audiobook Download Now Free Download Here Download eBook 2009-02-01 9.00 x .47 x 6.00l, #File Name: 1470121557208 pages | File size: 76.Mb Howard Pyle : The Merry Adventures of Robin Hood before purchasing it in order to gage whether or not it would be worth my time, and all praised The Merry Adventures of Robin Hood: 1 of 1 people found the following review helpful. A good, light readBy bookgalDidn't know how I would fee about this book as I should have read it when I was much younger, but I thoroughly enjoyed it, especially for its light deft touch on the man, his associates and his stories. Pyle, who was actually an illustrator who took this and other stories and adapted them for young people, did just that with Robin Hood, creating most definitely an unreal happy-go-lucky, gentle thief who lives in the woods and takes from the rich "to give to the poor."The stories are funny, light and easy to read (only some old English to contend with). If you're looking for a break from the violent, blood, serious or supernatural, here is a good choice.5 of 5 people found the following review helpful. Childhood Favorite - AKA Why I grew up loving books!By Jennifer CarterI found this book on my Mother's bookshelf when I was 5 years-old. Thought I was being naughty so I snuck it into my room to read at night to keep from going crazy due to my ridiculously early bedtime - Love you, Mom.
    [Show full text]
  • Eighth Annual Exhibition of Miniatures Catalogue
    EIGHTH ANNUAL EXHIBITION OF MINIATURES CATALOGUE THE PENNSYLVANIA ACADEMY OF THE FINE ARTS MDCCCCIX THE PENNSYL VANIA ACADEMY OF THE FINE ARTS FOUNDED 1805 THE PENNSYLVANIA SOCIETY OF MINIATURE PAINTERS CATALOGUE OF THE EIGHTH ANNUAL EXHIBITION OF MINIATURES, NOVEMBER 8 TO DECEMBER 19, 1909 PHILADELPHIA MCMIX MANAGEMENT OF THE PENNSYL VANIA ACADEMY OF THE FINE ARTS PRESIDENT, JOHN FREDERICK LEWIS. VICE· PRESIDENT I CLEMENT B. NEWBOLD. HONORARY VICE-PRESIDENTS, JOH N H. CONVERSE, E. BURGESS WARREN. DIRECTORS, THEOPHILUS P. CHANDLER, ALFRED C . HARRISON, HERBERT M. HOWE, M.D., CLARENCE C. ZANTZINGER, GEORGE H. McFADDEN, GEORGE D. WIDENER, CLEMENT B. NEWBOLD, T. DE 'WITT CUYLER, EDWARD T. STOTESBURY, ARTHUR H. LEA, THEODORE N. ELY, CHARLEMAGNE TOWER, FRANK H. CAVEN. TREASURER, ~ GEORGE H. McFADDEN. SECRETARY AND MANAGER, JOHN E. D. TRASK. ASSISTANT TO SECRETARY AND TREASURER, HARRY P. RHOADS. CURATOR OF SCHOOLS, CHARLES F. RAMSEY. SOLICITOR, JOHN G, JOHNSON. COMMITTEE ON EXHIBITIONS, CLEMENT B. NEWBOLD, CHAIRMAN, GEORGE H. McFADDEN, ALFRED C. HARRISON, EDWARD T. STOTESBURY, THEODORE N. ELY, CHARLEMAGNE TOWER. 2 @ff(cers ant> members of tl)e lDennsog{\?anta Soctet\? of miniature lDainters PRESIDENT EMILY DRAYTON TAYLOR VICE· PRESIDENT LUDWIG E. FABER SECRETARY A. MARGARETTA ARCHA~IBAULT TREASURER SARAH YOCUM McFADDEN EXECUTIVE COMMITTEE ELLEN WETHERALD AHRENS AMY OTIS REBECCA PEALE PATTERSON MEMBERS ELLEN WETHERALD AHRENS REBECCA BURD PEALE PATTERSON A. MARGARETTA ARCHAMBAULT EVELYN PURDIE ALICE BECKINGTON EDNA F. HUESTIS SIMPSON ELLA SHEPARD BUSH Lucy MAY STANTON SALLY CROSS MARIA JUDSON STREAN HERMAN DEIGENDESCH MARY H. TANNAHILL EULABEE DIX EMILY DRAYTON TAYLOR LUDWIG E. FABER HELEN M. TURNER JEAN WILLIAMS LUCAS MABEL R.
    [Show full text]
  • THE NORTHERN PACIFIC Hallway and the FOREST RESERVES A
    THE NORTHERN PACIFIC HAlLWAY AND THE FOREST RESERVES A Thesis Presented to The School of Graduate Studies Drake University In Partial Fulfillment ot the Requirements for the Degree Master ot Arts in History by Terry Wayne Moe August 1970 THE NORTHERN PACIFIC RAILWAY AND THE FOREST BESEHVES by Terry Wayne Moe Approved by Committee: I I I i \",/ ~, U~~ TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION: THE FOREST RESERVE CONTROVERSY UNFOWED • • • • '. ••••.•• . • • .• 1 II. THE EARLY HISTORY OF THE GRANT •••••••••• 19 III. THE CONGRESSIONAL PHASE: PART I • • • • • • • • • 41 IV. THE COI~BESSIONAL PHASE: PART II••••••••• 79 V • THE JUDICIAL PHASE • • • • • • • • • • • • • • 108 VI. CONCLUSION ••.••••••••••••••••• 124 BIBLIex; RAPHY • • • • • • • • • • • • • • • • • • • • • • 131 LIST OF FIGURES FIGURE PAGE 1. The failure by the Northern Pacific to complete the construction of the road in the time specified by Congress • • • • • • • • • • • • • • • • • • • • • 37 2. The Northern Pacific and the conflict with the Portage, Winnebago and Superior Railroad •• . 3. The error at the Kalama Terminal • • • • • • • . 61 4. The overlap at Tacoma, Washington, of the two lines of the Northern Pacific Railroad. The area shown bounded by the points ABCD is the actual overlap. 63 5. The indirect railroad route of the Northern Pacific through ltlashington • • • • • • • • • • • • • • • • 67 6. The overlap at Wallula, Washington, showing the general area in conflict between the acts of 1864 and 1870. The line of 1864 was not bUilt and the land grant along it was forfeited. • • • • • • •• 73 CHAPTER I INTRODUCTION: THE FOREST RESERVE OONrROVERSY UNFOIDED The forest reserve controversy oentered on the ques­ t10n of whether the United States was requ1red to comply fully with a contract whioh was not fully compIled w1th by the other party, the Northern Pacifio Bai1road.
    [Show full text]
  • A Lasting Impression
    1 A Lasting Impression An Introduction to Pennsylvania Impressionism James A. Michener Art Museum’s Traveling Trunk James A. Michener Art Museum • 138 South Pine Street • Doylestown, PA 18901 MichenerArtMuseum.org • 215-340-9800 2 A Lasting Impression James A. Michener Art Museum’s Traveling Trunk Table of Contents Lessons Lesson 1: First Impressions pages 3-4 Lesson 2: Improvisational Theater pages 5-6 Lesson 3: Journals and Boxes page 7 Lesson 4: Contemporary Connections pages 8-9 Lesson 5: The Arts and Media pages 10 Lesson 6: Painting Impressions page 11 Lesson 7: Michener Museum Impressions pages 12-13 Lesson 8: Women in the Arts pages 14-15 Lesson 9: Impressionism and the Environment page 16 Lesson 10: Your Last Impression page 17 Appendix 1: Vocabulary pages 18-24 Appendix 2: Standards pages 25-40 Appendix 3: Biographies and Visuals pages 41-102 Appendix 4: Bibliography pages 103-104 James A. Michener Art Museum • 138 South Pine Street • Doylestown, PA 18901 MichenerArtMuseum.org • 215-340-9800 3 A Lasting Impression James A. Michener Art Museum’s Traveling Trunk Lesson 1: First Impressions Social Studies, Studio Art, Language Arts, Art History Connections Objectives: Students will be introduced to the themes and materials in the James A. Michener Art Museum Culture Kit, A Lasting Impression. Students will demonstrate an understanding of the vocabulary presented in the Lasting Impressions Culture Kit Students will become familiar with the distinctive style in Pennsylvania Impressionist paintings, through the works of Lathrop, Redfield, and Sotter Students will use original documentation to learn about the history of Pennsylvania Impressionism Students will understand the importance of Bucks County heritage as it relates to Pennsylvania, American, and French Impressionism Lesson Ideas Explore the Culture Kit Display the contents of the Culture Kit in your classroom or school library.
    [Show full text]
  • Milford Mine National Register Historic District, Crow Wing County, Minnesota
    MILFORD MINE NATIONAL REGISTER HISTORIC DISTRICT, CROW WING COUNTY, MINNESOTA CULTURAL LANDSCAPE REPORT Site History, Existing Conditions, Analysis and Evaluation Prepared by Two Pines Resource Group, LLC and 10,000 Lakes Archaeology, Inc. March 2015 PUBLIC VERSION MILFORD MINE NATIONAL REGISTER HISTORIC DISTRICT, CROW WING COUNTY, MINNESOTA CULTURAL LANDSCAPE REPORT Site History, Existing Conditions, Analysis and Evaluation Prepared for Crow Wing County Land Services 322 Laurel Street, Suite 12 Brainerd, MN 56401 Prepared by Michelle M. Terrell, Ph.D., RPA Two Pines Resource Group, LLC 17711 260th Street Shafer, MN 55074 Amanda Gronhovd, M.S., RPA 10,000 Lakes Archaeology, Inc. 220 9th Avenue South South St. Paul, MN 55075 THIS PROJECT WAS FUNDED IN PART BY THE ARTS AND CULTURAL HERITAGE FUND March 2015 PUBLIC VERSION MILFORD MINE NATIONAL REGISTER HISTORIC DISTRICT CULTURAL LANDSCAPE REPORT This publication was made possible in part by the people of Minnesota through a grant funded by an appropriation to the Minnesota Historical Society from the Minnesota Arts and Cultural Heritage Fund. Any views, findings, opinions, conclusions or recommendations expressed in this publication are those of the authors and do not necessarily represent those of the State of Minnesota, the Minnesota Historical Society, or the Minnesota Historic Resources Advisory Committee. MILFORD MINE NATIONAL REGISTER HISTORIC DISTRICT CULTURAL LANDSCAPE REPORT MILFORD MINE NATIONAL REGISTER HISTORIC DISTRICT CULTURAL LANDSCAPE REPORT They came mostly to fulfill dreams of a better life and were willing to work hard and long to achieve that – if not for themselves, at least for their children… ~ ~ ~ Among the miners there developed a closeness and camaraderie that transcended the differences in language, ethnic background, and religion.
    [Show full text]
  • USING the WOODMERE ART MUSEUM AS a CASE STUDY a Thesis Submitted To
    THE ORIGIN, PRESENT, AND FUTURE OF REGIONAL ART MUSEUMS — USING THE WOODMERE ART MUSEUM AS A CASE STUDY A Thesis Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS by Hua Zhang May 2021 Thesis Approvals: Linda Earle, Thesis Advisor, Art History Department James Merle Thomas, Second Reader, Art History Department ABSTRACT This paper uses the Woodmere Art Museum in Philadelphia as a case study to examine the origins and institutional evolution of American regional art museums, identify some of the challenges they currently face, and the important civic and cultural roles they play in their communities. The chapter “Origins” provides a basic overview of Woodmere’s founding and history and considers how, within an American context, such museums eventually evolved from private galleries to publicly engaged nonprofit organizations over the course of the twentieth century as their missions, stakeholders, and audiences evolved. Like other regional art museums that demonstrate the same model, Woodmere’s regional identity and its focus on local art deepen the ties between itself and the community it serves and creates cultural resonances that make regional art museums an irreplaceable part of the American museum industry. However, small regional art museums face important challenges as their finances are more vulnerable, and they must deal with some of the same social, institutional, and ethical issues faced by larger public- facing institutions with a smaller pool of resources. The chapter “Present Challenges” looks at the need to develop sustainable management and financial structures and inclusive strategies to understand and build on audience relationships as a way to survive and grow.
    [Show full text]
  • Van Gogh Museum Journal 2002
    Van Gogh Museum Journal 2002 bron Van Gogh Museum Journal 2002. Van Gogh Museum, Amsterdam 2002 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012200201_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword In 2003 the Van Gogh Museum will have been in existence for 30 years. Our museum is thus still a relative newcomer on the international scene. Nonetheless, in this fairly short period, the Van Gogh Museum has established itself as one of the liveliest institutions of its kind, with a growing reputation for its collections, exhibitions and research programmes. The past year has been marked by particular success: the Van Gogh and Gauguin exhibition attracted record numbers of visitors to its Amsterdam venue. And in this Journal we publish our latest acquisitions, including Manet's The jetty at Boulogne-sur-mer, the first important work by this artist to enter any Dutch public collection. By a happy coincidence, our 30th anniversary coincides with the 150th of the birth of Vincent van Gogh. As we approach this milestone it seemed to us a good moment to reflect on the current state of Van Gogh studies. For this issue of the Journal we asked a number of experts to look back on the most significant developments in Van Gogh research since the last major anniversary in 1990, the centenary of the artist's death. Our authors were asked to filter a mass of published material in differing areas, from exhibition publications to writings about fakes and forgeries. To complement this, we also invited a number of specialists to write a short piece on one picture from our collection, an exercise that is intended to evoke the variety and resourcefulness of current writing on Van Gogh.
    [Show full text]