Paintings by John W. Alexander ; Sculpture by Chester Beach
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Hamilton Easter Fiel
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Milch Galleries
THE MILCH GALLERIES YORK THE MILCH GALLERIES IMPORTANT WORKS IN PAINTINGS AND SCULPTURE BY LEADING AMERICAN ARTISTS 108 WEST 57TH STREET NEW YORK CITY Edition limited to One Thousand copies This copy is No 1 his Booklet is the second of a series we have published which deal only with a selected few of the many prominent American artists whose work is always on view in our Galleries. MILCH BUILDING I08 WEST 57TH STREET FOREWORD This little booklet, similar in character to the one we pub lished last year, deals with another group of painters and sculp tors, the excellence of whose work has placed them m the front rank of contemporary American art. They represent differen tendencies, every one of them accentuating some particular point of view and trying to find a personal expression for personal emotions. Emile Zola's definition of art as "nature seen through a temperament" may not be a complete and final answer to the age-old question "What is art?»-still it is one of the best definitions so far advanced. After all, the enchantment of art is, to a large extent, synonymous with the magnetism and charm of personality, and those who adorn their homes with paintings, etchings and sculptures of quality do more than beautify heir dwelling places. They surround themselves with manifestation of creative minds, with clarified and visualized emotions that tend to lift human life to a higher plane. _ Development of love for the beautiful enriches the resources of happiness of the individual. And the welfare of nations is built on no stronger foundation than on the happiness of its individual members. -
Art-Related Archival Materials in the Chicago Area
ART-RELATED ARCHIVAL MATERIALS IN THE CHICAGO AREA Betty Blum Archives of American Art American Art-Portrait Gallery Building Smithsonian Institution 8th and G Streets, N.W. Washington, D.C. 20560 1991 TRUSTEES Chairman Emeritus Richard A. Manoogian Mrs. Otto L. Spaeth Mrs. Meyer P. Potamkin Mrs. Richard Roob President Mrs. John N. Rosekrans, Jr. Richard J. Schwartz Alan E. Schwartz A. Alfred Taubman Vice-Presidents John Wilmerding Mrs. Keith S. Wellin R. Frederick Woolworth Mrs. Robert F. Shapiro Max N. Berry HONORARY TRUSTEES Dr. Irving R. Burton Treasurer Howard W. Lipman Mrs. Abbott K. Schlain Russell Lynes Mrs. William L. Richards Secretary to the Board Mrs. Dana M. Raymond FOUNDING TRUSTEES Lawrence A. Fleischman honorary Officers Edgar P. Richardson (deceased) Mrs. Francis de Marneffe Mrs. Edsel B. Ford (deceased) Miss Julienne M. Michel EX-OFFICIO TRUSTEES Members Robert McCormick Adams Tom L. Freudenheim Charles Blitzer Marc J. Pachter Eli Broad Gerald E. Buck ARCHIVES STAFF Ms. Gabriella de Ferrari Gilbert S. Edelson Richard J. Wattenmaker, Director Mrs. Ahmet M. Ertegun Susan Hamilton, Deputy Director Mrs. Arthur A. Feder James B. Byers, Assistant Director for Miles Q. Fiterman Archival Programs Mrs. Daniel Fraad Elizabeth S. Kirwin, Southeast Regional Mrs. Eugenio Garza Laguera Collector Hugh Halff, Jr. Arthur J. Breton, Curator of Manuscripts John K. Howat Judith E. Throm, Reference Archivist Dr. Helen Jessup Robert F. Brown, New England Regional Mrs. Dwight M. Kendall Center Gilbert H. Kinney Judith A. Gustafson, Midwest -
Pablo Picasso (Spanish, 1881 - 1973)
Pablo Picasso (Spanish, 1881 - 1973) Pablo Picasso is considered to be the greatest artist of the 20th century, the Grand Master primo assoluto of Modernism, and a singular force whose work and discoveries in the realm of the visual have informed and influenced nearly every artist of the 20th century. It has often been said that an artist of Picasso’s genius only comes along every 500 years, and that he is the only artist of our time who stands up to comparison with da Vinci, Michelangelo, and Raphael – the grand triumvirate of the Italian Renaissance. Given Picasso’s forays into Symbolism, Primitivism, neo-Classicism, Surrealism, sculpture, collage, found-object art, printmaking, and post-WWII contemporary art, art history generally regards his pioneering of Cubism to have been his landmark achievement in visual phenomenology. With Cubism, we have, for the first time, pictorial art on a two-dimensional surface (paper or canvas) which obtains to the fourth dimension – namely the passage of Time emanating from a pictorial art. If Picasso is the ‘big man on campus’ of 20th century Modernism, it’s because his analysis of subjects like figures and portraits could be ‘shattered’ cubistically and re-arranged into ‘facets’ that visually revolved around themselves, giving the viewer the experience of seeing a painting in the round – all 360º – as if a flat work of art were a sculpture, around which one walks to see its every side. Inherent in sculpture, it was miraculous at the time that Picasso could create this same in-the-round effect in painting and drawing, a revolution in visual arts and optics. -
Rebecca Horn Introduction of Works
REBECCA HORN INTRODUCTION OF WORKS • Parrot Circle, 2011, brass, parrot feathers, motor t = 28 cm, Ø 67 cm | d = 11 in, Ø 26 1/3 in Since the early 1970s, Rebecca Horn (born 1944 in Michelstadt, Germany) has developed an autonomous, internationally renowned position beyond all conceptual, minimalist trends. Her work ranges from sculptural en- vironments, installations and drawings to video and performance and manifests abundance, theatricality, sensuality, poetry, feminism and body art. While she mainly explored the relationship between body and space in her early performances, that she explored the relationship between body and space, the human body was replaced by kinetic sculptures in her later work. The element of physical danger is a lasting topic that pervades the artist’s entire oeuvre. Thus, her Peacock Machine—the artist’s contribu- tion to documenta 7 in 1982—has been called a martial work of art. The monumental wheel expands slowly, but instead of feathers, its metal keels are adorned with weapon-like arrowheads. Having studied in Hamburg and London, Rebecca Horn herself taught at the University of the Arts in Berlin for almost two decades beginning in 1989. In 1972 she was the youngest artist to be invited by curator Harald Szeemann to present her work in documenta 5. Her work was later also included in documenta 6 (1977), 7 (1982) and 9 (1992) as well as in the Venice Biennale (1980; 1986; 1997), the Sydney Biennale (1982; 1988) and as part of Skulptur Projekte Münster (1997). Throughout her career she has received numerous awards, including Kunstpreis der Böttcherstraße (1979), Arnold-Bode-Preis (1986), Carnegie Prize (1988), Kaiserring der Stadt Goslar (1992), ZKM Karlsruhe Medienkunstpreis (1992), Praemium Imperiale Tokyo (2010), Pour le Mérite for Sciences and the Arts (2016) and, most recently, the Wilhelm Lehmbruck Prize (2017). -
Eduardo Chillida
Press Release Eduardo Chillida Hauser & Wirth New York, 69th Street 30 April – 27 July 2018 Private view: Monday 30 April, 6 – 8 pm The bird is one of the signs of space, each one of Chillida’s sculptures represents, much like the bird, a sign of space; each one of them says a different thing: the iron says wind, the wood says song, the alabaster says light yet they all say the same thing: space. A rumor of limits, a coarse song; the wind, an ancient name of the spirit, blows and spins tirelessly in the house of space. – Octavio Paz New York… Hauser & Wirth is pleased to present its inaugural exhibition of works by Eduardo Chillida (1924 – 2002), Spain’s foremost sculptor of the twentieth century. Widely recognized for monumental iron and steel public sculptures displayed across the globe, Chillida is also celebrated for a wholly distinctive use of materials such as stone, chamotte clay, and paper to engage concerns both earthly and metaphysical. On view from 30 April through 27 July 2018, this exhibition showcases the artist’s varied and innovative practice through a focused presentation of rarely displayed works, including small-scale sculptures, collages, drawings, and artist books that shed new light on Chillida’s enduring fascination with space and organic form. Originally a student of architecture in Madrid, Chillida created art guided by its principles; his early interest in the field had a lasting impact on his development as an artist, shaping his understanding of spatial relationships and sparking what would become a deep-rooted interest in making space visible through a consideration of the forms surrounding it. -
Download This Issue
Your Treasures are in Specialists in high quality ancient, medieval, and early Good Hands with us modern coins and medals. First established as a numismatic trading Auctions in Switzerland, company in 1971, today we have achieved a yearly price list, appraisals, solid reputation among the leading coin and medal auction houses of Europe. More than purchases and sales by 10,000 clients worldwide place their trust private treaty. zürich, switzerland Baltic States, City of Riga. Auction 135 in us. Our company’s fi rst auction was held Under Sweden. Charles X. Gustav, 1654-1660. 5 ducats “1645” (1654). in 1985, and we can look back on a positive Estimate: € 15,000. Price realized: € 70,000. track record of over 180 auctions since that time. Four times a year, the Künker auction gallery becomes a major rendezvous for numismatic afi cionados. This is where several thousand bidders regularly participate in our auctions. • We buy your gold assets at a fair, daily market price • International customer care Auction III • Yearly over 20,000 objects in Ancient Greek, Roman, our auctions Byzantine & Early European coins and medals of the • Large selection of gold coins highest quality. • Top quality color printed catalogues May 10th 2011 Russian Empire. Auction 135 Alexander I., 1801-1825. Gold medal of 48 ducats, 1814, by tsarina in the morning M. Feodorovna for Alexander I. in Zürich Estimate: € 30,000. Price realized: € 220,000. Auction IV The BCD Collection Profi t from our experience of more than 180 successful auctions – of Thessaly. scaled consign your coins and medals! down May 10th 2011 Tel.: +49 541 96 20 20 in the afternoon Roman Empire. -
1947 Drops out of Architecture School to Study Drawing at the Círculo De Bellas Artes in Madrid. Works in José Martínez Repul
1947 Drops out of architecture school to study drawing at the Círculo de Bellas Artes in Madrid. Works in José Martínez Repullés's sculpture studio, where he creates his first sculpture. 1948 Moves to Paris, where he forges a friendship with artist Pablo Palazuelo. 1949 Participates in the Salon de Mai in Paris. 1950 Takes part in the exhibition Les mains éblouiesat Galerie Maeght in Paris. Marries Pilar Belzunce. 1951 Returns to the Spanish province of Guipúzcoa, settling in Hernani. Creates his first work in bronze. 1954 Has his first solo exhibition in Spain, at Galería Clan in Madrid. Creates four doors for the Basílica Nuestra Señora de Aránzazu in Oñate, Spain. 1955 The Kunsthalle Bern presents an exhibition of his work. 1956 Exhibits at Galerie Maeght in Paris. 1958 Receives the International Grand Prize for Sculpture at the XXIX Biennale di Venezia. Chillida's work is featured in Sculpture and Drawings from Seven Sculptors at the Solomon R. Guggenheim Museum in New York. Receives the Graham Foundation Award and exhibits at the Graham Foundation in Chicago. 1959 Participates in Documenta 2 in Kassel, Germany. Creates his first etchings, first works in wood, and first works in steel. 1960 Receives the Kandinsky Prize, awarded by the “ArtChronika” Cultural Fund. Forges a friendship with sculptor Alberto Giacometti. 1961 Exhibits at Galerie Maeght in Paris. 1964 Receives the Carnegie Prize, awarded by the Carnegie Museum of Art in Pittsburgh. 1965 Exhibits at Tunnard Gallery in London and the Kestnergesellschaft Hannover. 1966 The Museum of Fine Arts in Houston organizes a retrospective exhibition of Chillida's work. -
ABSTRACT Title of Document: VISUALIZING AMERICAN
ABSTRACT Title of Document: VISUALIZING AMERICAN HISTORY AND IDENTITY IN THE ELLEN PHILLIPS SAMUEL MEMORIAL Abby Rebecca Eron, Master of Arts, 2014 Directed By: Professor Renée Ater, Department of Art History and Archaeology In her will, Philadelphia philanthropist Ellen Phillips Samuel designated $500,000 to the Fairmount Park Art Association “for the erection of statuary on the banks of the Schuylkill River … emblematic of the history of America from the time of the earliest settlers to the present.” The initial phase of the resulting sculpture project – the Central Terrace of the Samuel Memorial – should be considered one of the fullest realizations of New Deal sculpture. It in many ways corresponds (conceptually, thematically, and stylistically) with the simultaneously developing art programs of the federal government. Analyzing the Memorial project highlights some of the tensions underlying New Deal public art, such as the difficulties of visualizing American identity and history, as well as the complexities involved in the process of commissioning artwork intended to fulfill certain programmatic purposes while also allowing for a level of individual artists’ creative expression. VISUALIZING AMERICAN HISTORY AND IDENTITY IN THE ELLEN PHILLIPS SAMUEL MEMORIAL By Abby Rebecca Eron Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2014 Advisory Committee: Professor Renée Ater, Chair Professor Meredith J. Gill Professor Steven A. Mansbach © Copyright by Abby Rebecca Eron 2014 The thesis or dissertation document that follows has had referenced material removed in respect for the owner's copyright. -
Other Artist Bios
CSFINEARTSCENTER.ORG Contact: Warren Epstein, Media Relations and Community Outreach Manager 719.477.4316; [email protected] Other Artist Bios Jozef Bakos (1891–1977) The Polish artist founded Los Cinco Pintores (the five painters) , Santa Fe's first Modernist art group, and was dedicated to works that depicted specifically American subjects, such as the New Mexico landscape, local adobe architecture and Native American dances. He studied art with John E. Thompson at the Albright Art Institute in Buffalo, New York, and taught at the University of Colorado in Boulder. In 1920, during a break from teaching, Bakos visited Walter Mruk, a childhood friend and artist who was living in Santa Fe. During his stay he exhibited some paintings together with Mruk at the Museum of Fine Arts in Santa Fe. Gustave Baumann (1881–1971) Baumann was one of the leading figures of the color-woodcut revival in America. Born in Magdeburg, Germany, Baumann moved to the U.S. at the age of 10 and by 17, attended night classes at the Art Institute of Chicago. After spending time in Brown County, Ind., as a member of the Brown County Art Colony, Baumann headed to the Southwest in 1918. He found Taos to be too crowded and social but eventually ended up settling in Santa Fe, where he became known as a master of woodcuts, while also producing oils and sculpture. Tom Benrimo (1887 – 1958) A self-taught artist, Benrimo was born in San Francisco and lived there until the San Francisco earthquake and fire of 1906 destroyed his home. Relocating to New York with his family, he worked as a scenic designer for theatrical shows and created illustrations for various advertising companies. -
A Finding Aid to the Milch Gallery Records, 1911-1995, in the Archives of American Art
A Finding Aid to the Milch Gallery Records, 1911-1995, in the Archives of American Art Catherine Stover 1991 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Historical Note.................................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 4 Appendix: List of Milch Gallery Exhibitions and Checklists............................................. 4 Names and Subjects .................................................................................................... 24 Container Listing ........................................................................................................... 28 Series 1: Alphabetical Files, 1911-1962................................................................ 28 Series 2: Sales Records and Inventories, 1911-1969, undated............................. 41 Series 3:: Financial Records, 1914-1980, undated............................................... -
Colby Alumnus Vol. 52, No. 1: Fall 1962
Colby College Digital Commons @ Colby Colby Alumnus Colby College Archives 1963 Colby Alumnus Vol. 52, No. 1: Fall 1962 Colby College Follow this and additional works at: https://digitalcommons.colby.edu/alumnus Part of the Higher Education Commons Recommended Citation Colby College, "Colby Alumnus Vol. 52, No. 1: Fall 1962" (1963). Colby Alumnus. 218. https://digitalcommons.colby.edu/alumnus/218 This Other is brought to you for free and open access by the Colby College Archives at Digital Commons @ Colby. It has been accepted for inclusion in Colby Alumnus by an authorized administrator of Digital Commons @ Colby. The Colby Alumnus Fall 1962 Do ELSo F. HooPE Selection Committee fo r the Sesquicentennial urator of Exhibition, Corcoran Gallery D m . H JNGTO Exhibition of Art in Maine Department of Art, mith College JERE BBOIT JAMES THO 1AS FLEX ER J\IR. AND 1RS. ELL ·RTO M. JETTE A. M. ADLER '"'ILLIAM GERDT DR. Lo rs C. Jo ES Hirschl and Adler Curator, ewark .Museum Director HORATIO ALDEN LLOYD GOODRICH 'ew York tale Historical Association Director JORN I. H. BAUR Whitney Museum of American Art Associate Director Whitney Museum of American Art PROFE oR rnEL GREE fARRI ER Art Department, Wesleyan College • PROFESSOR PHILIP BEAM College Historian, Colby College Department of Art, Bowdoin College WE DELL HADLO K R1 II RD B. K. M NATHAN FRANCIS BILODEAU Director Farnsworth Library and Art Museum MILDRED BURRAGE ROBERT B. HALE Bostori A thenaeum WILLIAM CAMPBELL urator of American Art GERTRUD MELLON Curator, National Gallery of Art Metropolitan Museum of Art Iuseum of Modern Art PROFESSOR AMES CARPE TER IR .