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Florine Stettheimer's Family Portrait II: Cathedrals of the Elite Family
motive / 1 Florine Stettheimer’s Family Portrait II: Cathedrals of the Elite Family Cara Zampino Excerpt 1 Florine Stettheimer’s 1915 painting Family Portrait I marks the beginning of her series of portraits featuring family members and friends. On the whole, the scene portrayed is quite mundane. In the painting, the Stettheimer family, which consisted of Florine, Carrie, Ettie, and their mother, is depicted gathered around a small table. Two of the sisters engage in discussion, another fixes a small bouquet of flowers, and the mother reads a book. The three sisters sport similar dresses, all of which are simple and lack ornate details, and the mother dons a plain black outfit.1 Over a decade after her initial portrayal of her family in Family Portrait I, Florine Stettheimer recreated and updated the image of the Stettheimers through her 1933 painting Family Portrait II, which depicts the same figures gathered in an extremely unusual setting that is a far cry from the quotidian table scene of the first portrait. As a whole, the women are living in a world with various fantastical elements. A bouquet of three flowers that are larger than the ladies themselves surround them; a striking red and yellow carpet borders a body of water; and various New York landmarks, such as the Chrysler Building and Statue of Liberty, float in the sky. Yet, the family unit is also divided—they gaze in separate directions, wear distinct, expensive-looking clothing, and hold objects that appear to be representative of their different personalities, including a painter’s palette, a book, and a cigarette. -
Excerpts of Record in Support of Appellants' Opening Brief, Vol. 3
Case: 13-17430 02/03/2014 ID: 8963820 DktEntry: 15-5 Page: 1 of 181 No. 13-17430 IN THE UNITED STATES COURT OF APPEALS FOR THE NINTH CIRCUIT VIETNAM VETERANS OF AMERICA, ET AL., Plaintiffs-Appellants, vs. CENTRAL INTELLIGENCE AGENCY, ET AL., Defendants-Appellees. On Appeal from the United States District Court, Northern District of California D.C. No. CV-09-0037-CW The Honorable Claudia Wilken, Judge Presiding EXCERPTS OF RECORD IN SUPPORT OF APPELLANTS’ OPENING BRIEF, VOL. 3, PP. 579–757 MORRISON & FOERSTER LLP James P. Bennett Eugene Illovsky Stacey M. Sprenkel Ben Patterson 425 Market Street San Francisco, California 94105 Telephone: (415) 268-7000 Attorneys for Appellants Case: 13-17430 02/03/2014 ID: 8963820 DktEntry: 15-5 Page: 2 of 181 DISTRICT COURT DATE FILED DOCUMENT DESCRIPTION PAGE NO. DOCKET NO. 11/18/2010 Third Amended Complaint for 180 579 Declaratory and Injunctive Relief Under United States Constitution and Federal Statutes and Regulations Docket Report for U.S.D.C. (N.D. 655 Cal.) Case No. 09-cv-0037-CW, Vietnam Veterans of America et al. v. Central Intelligence Agency et al. sf-3377831 Case: 13-17430Case4:09-cv-00037-CW 02/03/2014 Document180 ID: 8963820 Filed11/18/10 DktEntry: 15-5Page1of76 Page: 3 of 181 1 GORDONP. ERSPAMER (CA SBN 83364) [email protected] 2 TIMOTHY W. BLAKELY (CA SBN 242178) [email protected] 3 STACEY M. SPRENKEL (CA SBN 241689) [email protected] 4 DANIEL 1. VECCHIO (CA SBN 253122) [email protected] 5 DIANA LUO (CA SBN 233712) [email protected] 6 MORRISON & FOERSTER LLP 425 Market Street 7 San Francisco, California 94105-2482 Telephone: 415.268.7000 8 Facsimile: 415.268.7522 9 Attorneys for Plaintiffs Vietnam Veterans ofAmerica; Swords to Plowshares: Veterans 10 Rights Organization; Bruce Price; Franklin D. -
Girolamo Muziano, Scipione Pulzone, and the First Generation of Jesuit Art
journal of jesuit studies 6 (2019) 196-212 brill.com/jjs Girolamo Muziano, Scipione Pulzone, and the First Generation of Jesuit Art John Marciari The Morgan Library & Museum, New York [email protected] Abstract While Bernini and other artists of his generation would be responsible for much of the decoration at the Chiesa del Gesù and other Jesuit churches, there was more than half a century of art commissioned by the Jesuits before Bernini came to the attention of the order. Many of the early works painted in the 1580s and 90s are no longer in the church, and some do not even survive; even a major monument like Girolamo Muzia- no’s Circumcision, the original high altarpiece, is neglected in scholarship on Jesuit art. This paper turns to the early altarpieces painted for the Gesù by Muziano and Scipione Pulzone, to discuss the pictorial and intellectual concerns that seem to have guided the painters, and also to some extent to speculate on why their works are no longer at the Gesù, and why these artists are so unfamiliar today. Keywords Jesuit art – Il Gesù – Girolamo Muziano – Scipione Pulzone – Federico Zuccaro – Counter-Reformation – Gianlorenzo Bernini Visitors to the Chiesa del Gesù in Rome, or to the recent exhibition of Jesuit art at Fairfield University,1 might naturally be led to conclude that Gianlorenzo 1 Linda Wolk-Simon, ed., The Holy Name: Art of the Gesù; Bernini and His Age, Exh. cat., Fair- field University Art Museum, Early Modern Catholicism and the Visual Arts 17 (Philadelphia: Saint Joseph’s University Press, 2018). -
Cézanne Portraits
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Introduction: The Reading of the Model JOHN ELDERFIELD La lecture du modèle, et sa réalization, est quelquefois très lent à venir pour l’artiste. Cézanne to Charles Camoin, 9 December 19041 Paul Cézanne was born in Aix-en-Provence on 19 January 1839, and died there aged sixty-seven on 23 October 1906. He made almost 1,000 paintings, of which around 160 are portraits.2 This publication accompanies the only exhibition exclusively devoted to these works since 1910, when Ambroise Vollard, who had been the artist’s dealer, showed twenty-four ‘Figures de Cézanne’. The present, much larger selection was chosen with the aims of providing a guide to the range and development of Cézanne’s portraits, the methods of their making, and the choice of their sitters. Also, more broadly, it is intended to raise the question of what the practice of portraiture meant for Cézanne when he was painting – or, as he said, reading and ‘realising’ – the model. Old Rules When Cézanne began painting portraits in the early 1860s, portraiture in France had long been acknowledged as a genre second in importance only to paintings of historical and mythological subjects. It was growing in popularity, and it would continue to do so during the period of Cézanne’s career: in the late 1880s, a National Portrait Gallery would be proposed for Paris, as well as a special gallery for portraits in the Louvre.3 It was during the 1860s and 1870s, however, that many ambitious painters found themselves enquiring what a portrait should aim to do. -
Winckelmann, Greek Masterpieces, and Architectural Sculpture
Winckelmann, Greek masterpieces, and architectural sculpture. Prolegomena to a history of classical archaeology in museums Book or Report Section Accepted Version Smith, A. C. (2017) Winckelmann, Greek masterpieces, and architectural sculpture. Prolegomena to a history of classical archaeology in museums. In: Lichtenberger, A. and Raja, R. (eds.) The Diversity of Classical Archaeology. Studies in Classical Archaeology, 1. Brepols. ISBN 9782503574936 Available at http://centaur.reading.ac.uk/70169/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.brepols.net/Pages/ShowProduct.aspx?prod_id=IS-9782503574936-1 Publisher: Brepols All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Winckelmann, Greek Masterpieces, and Architectural Sculpture Prolegomena to a History of Classical Archaeology in Museums∗ Amy C. Smith ‘Much that we might imagine as ideal was natural for them [the ancient Greeks].’1 ♣ Just as Johann Joachim Winckelmann mourned the loss of antiquity, so have subsequent generations mourned his passing at the age of fifty, in 1768, as he was planning his first journey to Greece. His deification through — not least — the placement of his profile head, as if carved out of a gemstone, on the title page of the first volume of his Geschichte der Kunst des Alterthums (‘History of Ancient Art’) in 1776 (the second edition, published posthumously) made him the poster boy for the study of classical art history and its related branches, Altertumswissenschaft or classical studies, history of art, and classical 2 archaeology. -
Spring Volume 9 Number 1
Spring 1972 Volume 9 Number 1 Ramsey County History Published by the RAMSEY COUNTY HISTORICAL SOCIETY Editor: Virginia Brainard Kunz Contents Spring Old Federal Courts Building — Beautiful, Unique — Its Style 1972 of A rchitecture Faces Extinction Volume 9 By Eileen Michels................................. A Teacher Looks Back at PTA, 4-H — Number 1 And How a Frog in a Desk Drawer Became a Lesson in Biology By Alice Olson....................................... Forgotten Pioneers . XII....................... North St. Paul’s ‘Manufactories’ Come-back After 1893 Bust’ By Edward J. Lettermann..................... RAMSEY COUNTY HISTORY is published semi ON THE COVER: The Old Federal Courts Building, annually and copyrighted, 1972, by the Ramsey County viewed from across Rice Park about 1905. With the Historical Society, 2097 Larpenteur Avenue West, St. park itself, and the Minneapolis Public Library directly Paul, Minnesota. Membership in the Society carries across from it, the Old Federal Courts Building lends with it a subscription to Ramsey County History. Single a sense of community to the area. issues sell for $1.50. Correspondence concerning con tributions should be addressed to the editor. The Society assumes no responsibility for statements made by con tributors. Manuscripts and other editorial material are welcomed but no payment can be made for contribu ACKNOWLEDGEMENTS: The editor is indebted to tions. All articles and other editorial material submitted Eugene Becker and Dorothy Gimmestad of the Minne will be carefully read and published, if accepted, as sota Historical Society’s audio-visual staff for their help space permits. with the pictures used in this issue. 2 Old Federal Courts Building-- Beautiful, Unique-- OfArchitecture Faces Extinction By Eileen Michels UILT at a cost of nearly $2,500,000 B between 1892 and 1901, the United States Post Office, Court House and Customs House, known colloquially now as the Old Federal Courts Building, was the pride of downtown St. -
Courthouse Sculptor Lee Lawrie Paul D
Stanford Newel, Proposal Rock, and Newell Park Widows Newell Park Celebrates Its Centennial Winter 2009 Volume 43, Number 4 Page 11 Courthouse Sculptor Lee Lawrie Paul D. Nelson —Page 3 Two of Lee Lawrie’s architectural sculptures, Liberty (top) and The People, on the façade of the St. Paul City Hall and Ramsey County Courthouse, Fourth Street entrance. Photo courtesy of Paul D. Nelson. RAMSEY COUNTY HISTORY RAMSEY COUNTY Executive Director Priscilla Farnham Founding Editor (1964–2006) Virginia Brainard Kunz Editor Hıstory John M. Lindley Volume 43, Number 4 Winter 2009 RAMSEY COUNTY HISTORICAL SOCIETY the mission statement of the ramsey county historical society BOARD OF DIRECTORS adopted by the board of directors on December 20, 2007: J. Scott Hutton The Ramsey County Historical Society inspires current and future generations Past President Thomas H. Boyd to learn from and value their history by engaging in a diverse program President of presenting, publishing and preserving. Paul A. Verret First Vice President Joan Higinbotham Second Vice President C O N T E N T S Julie Brady Secretary 3 Courthouse Sculptor Carolyn J. Brusseau Lee Lawrie Treasurer Norlin Boyum, Anne Cowie, Nancy Paul D. Nelson Randall Dana, Cheryl Dickson, Charlton Dietz, Joanne A. Englund, William Frels, 11 Stanford Newel, Proposal Rock, and Newell Park Widows Howard Guthmann, John Holman, Elizabeth Kiernat, Judith Frost Lewis, Rev. Kevin M. Newell Park Celebrates Its Centennial McDonough, Laurie M. Murphy, Richard H. Nichol son, Marla Ordway, Marvin J. Pertzik, Krista Finstad Hanson Jay Pfaender, Ralph Thrane, Richard Wilhoit. Directors Emeriti 20 Growing Up in St. Paul W. -
NEW AMSTERDAM THEATER, 214 West 42Nd Street, Borough of Manhattan
Landmarks Preservation Commission October 23, 1979, Designation List 129 LP-1026 NEW AMSTERDAM THEATER, 214 West 42nd Street, Borough of Manhattan. Built 1902-03; architects Herts & Tallant. Landmark Site: Borough of Manhattan Tax Map Block 1013, Lot 39. On January 9, 1979, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the New Amsterdam Theater and the proposed designation of the related Landmark Site (Item No. 4). The hearing was continued to March 13, 1979 (Item No. 3). Both hearings had been duly advertised in accordance with the provisions of law. A total of 16 witnesses spoke in favor of designation at the two hearings. There were two speakers in opposition to designation. Several letters and statements supporting designation have been received. DESCRIPTION AND ANALYSIS The New Amsterdam Theater, built in 1902-03 for the theatrical producers Klaw & Erlanger, was for many years one of the most pres tigious Time Square theaters and horne of the famous Ziegfeld Follies. Designed by the noted theater architects, Herts & Tallant, the New Amsterdam Theater achieved distinction both for its functions and for its artistic program. More than just a theater, the structure was planned, at the request of Klaw & Erlanger, to incorporate two performing spaces with an office tower to house their varied theatrical interests. Even more importantly, however, the New Amsterdam is a rare example of Art Nouveau architecture in New York City, and, as such, is a major artistic statement by Herts & Tallant. Working in conjunction with sculptors, painters, and other craftsmen, they used the Art Nouveau style to carry out a dual theme--the representation of the spirit of drama and the theater and the representation of New Amsterdam in its historical sense as the city of New York. -
Paul César HELLEU (Vannes 1859 - Paris 1927)
Paul César HELLEU (Vannes 1859 - Paris 1927) A Young Woman Seated at a Table Watercolour, heightened with gouache. Signed Helleu at the lower left. Inscribed [??] / M. Renard 190 Bd Pereire in pencil on the verso. 369 x 480 mm. (14 1/2 x 18 7/8 in.) The pencil inscription on the verso of the present sheet may refer to Marie Renard, a professional model who posed several times for Helleu, as well as for Edouard Manet and Berthe Morisot. Helleu met Marie Renard in 1879, and she seems to have posed often for the artist in the early part of his career, throughout the 1880s. A painted portrait of Marie Renard by Helleu, dated 1884 and depicting her writing at a desk, is in a private collection, while another painting of her, dated 1886, is in the Musée des Beaux-Arts in Rouen. Stylistically comparable to the present sheet is a watercolour study - drawn in 1886 and depicting his wife Alice, during their honeymoon, seated at a desk and seen from behind - in the collection of the Musée Bonnat-Helleu in Bayonne. Literature: To be included in the forthcoming Helleu catalogue raisonné, under the number AQ-6362. Artist description: Admitted into the École des Beaux-Arts in 1876, at the age of sixteen, Paul-César Helleu studied there with Jean-Léon Gerome, whom he accompanied to London in 1885. He developed a strong attachment to England, and was to return to London frequently throughout his career. In Paris, his circle of intimate friends included his fellow artists Giovanni Boldini, Alfred Stevens, James Whistler, Edgar Degas, Claude Monet and, in particular, John Singer Sargent, with whom he briefly shared a studio and who bought a pastel from Helleu. -
Fine Arts Museums of San Francisco Executive Committee Tuesday
Fine Arts Museums of San Francisco Executive Committee Tuesday, December 9, 2014 I. Calling of the Meeting to Order – Diane B. Wilsey, President A meeting of the Executive Committee of the Board of Trustees of the Fine Arts Museums of San Francisco was held on Tuesday, December 9, 2014 in the Board Room of the Legion of Honor, Lincoln Park, San Francisco. A quorum was present. The meeting was called to order at 3:42 p.m. by Diane B. Wilsey, President. II. Calling of the Roll Present: Diane B. Wilsey, President Carol N. Bonnie David H. S. Chung Belva Davis, Vice President Lauren Hall Kathryn Lasater Holland Lynch Sarah Ogilvie Carl Pascarella Louise H. Renne David Spencer Jeana Toney Lisa Zanze Excused: Cynthia Fry Gunn Trevor D. Traina Other Trustee in Attendance: George Hecksher, Vice President for Collections III. Report of the President A. Consideration and Possible Action to Approve the Minutes of the October 16, 2014 Meeting of the Board of Trustees There being no discussion among Trustees or comments from the public, the minutes of the October 16, 2014 meeting of the Board of Trustees, having been delivered in advance to all Trustees, were unanimously approved. Executive Committee Fine Arts Museums of San Francisco Board of Trustees December 9, 2014 B. Consideration and Possible Action to Approve the Report of the Acquisitions Committee President Wilsey called on George Hecksher, Vice President for Collections and Chair of the Acquisitions Committee to report on recent activities of the Acquisitions Committee. Mr. Hecksher noted that an opportunity arose between committee meetings to purchase a work of art, and the committee voted unanimously via e-mail ballot to approve the purchase. -
Preliminary Inventory to the David Coffin Papers, 1918-2003
Preliminary Inventory to the David Coffin Papers, 1918-2003 Collection includes: 11 boxes of notebooks; 3 boxes of offprints; 3 boxes of catalog cards; 7 boxes of negatives; 3 boxes of slides; 11 boxes of unprocessed materials, papers and photographs. The collection has not been processed and is only partially rehoused. Biographical note: David Coffin (1918-2003) was an American historian of Renaissance gardens and landscape architecture. Coffin taught at Princeton University from 1949-1988, serving as chair of the art and archaeology department from 1964-1970. In addition, Coffin was the first chairman of the Garden Advisory Committee for Dumbarton Oaks, which led to the establishment of a scholarly program for garden and landscape studies in 1971. Coffin also organized the first garden symposium at Dumbarton Oaks in 1971, which focused on his métier, Italian gardens. Scope and Content: The collection consists of Coffin's personal papers and materials relating to his teaching career at Princeton University and his scholarly research interests in Renaissance architecture and garden history. Materials include notebooks, index cards, correspondence, typescripts, course syllabi, class and lecture notes, and offprints. Of particular note are Coffin's notebooks, which contain extensive research notes on English, French, and Italian gardens. There is also a significant amount of visual material, including photographs, slides, microfilm, and negatives. Inventory of Notebook Boxes: Box #1: Notebooks #1 – 13 + one unidentified Notebook #1 (brown): -
Two Architects, One Island by Sargent C
Two Architects, One Island By Sargent C. Gardiner Since the late nineteenth century, architects and designers of national prominence have been designing houses, landscapes, and other structures on Mount Desert Island, attracted by the strikingly beautiful landscape, the character of which heavily influenced the work they produced. Two of the most notable of these architects were William Ralph Emerson (1833–1917) and Bruce Price (1845– 1903), who designed a range of forward-looking residential projects that responded to the specific topography and natural context of Mount Desert Island. Although very different, both architects produced designs in what is now known as the “Shingle Style,” bringing a synthesis of nineteenth-century American domestic architectural styles to Mount Desert Island that, up to that point, had seen a predominantly local, vernacular building tradition in the form of Greek Revival structures. While Emerson was a regionally focused architect working primarily in New England, the houses he designed on Mount Desert Island represented the introduction of a contemporary style into the region. By contrast, Price was a nationally renowned architect with a more cosmopolitan career executing designs from his New York Studio in a range of locations, types, and styles. Price’s designs on Mount Desert bracket Emerson’s work, built before and after the 1880s, the decade when Emerson designed his most important houses in Bar Harbor. When viewed together, Emerson’s and Price’s designs on Mount Desert Island exemplify the development of a Shingle Style that incorporates earlier regional architectural forms and adapts to the specific geographic conditions of Mount Desert Island.