Filling the Grey Spaces
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Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Femmes Artistes-Peintres À Travers Les Siècles Tome 2
Christine Huguenin FEMMES ARTISTES PEINTRES À TRAVERS LES SIÈCLES Tome 2 : 19e et 20e siècle 2014 édité par les Bourlapapey, bibliothèque numérique romande www.ebooks-bnr.com Table des matières XIXe SIÈCLE ............................................................................. 3 Kitty LANGE KIELLAND 1843 – 1914 ....................................... 3 Laura Theresa ALMA-TADEMA 1852 – 1909 .......................... 13 Louise Catherine BRESLAU 1856 – 1927 ................................. 20 XXe SIÈCLE............................................................................. 44 Anna Mary ROBERTSON dite Grandma Moses 1860 – 1961 .. 44 Romaine BROOKS 1874 – 1970 ............................................... 54 Sonia DELAUNAY 1885 – 1979 ................................................ 70 Georgia O’KEEFFE 1887 – 1986 .............................................. 88 Table des Illustrations. ......................................................... 109 Ce livre numérique ................................................................. 111 XIXe SIÈCLE Kitty LANGE KIELLAND 1843 – 1914 Le 8 octobre 1843, dans la petite ville portuaire de Stavan- ger en Norvège, naît Christine Lange Kielland. Elle est la fille de Christiane Janna Lange Kielland (1820-1862) et de Jens Zetlitz Kielland (1816-1881), descendant d’une longue lignée de com- merçants de la ville. Ce dernier après avoir été consul de Nor- vège au Portugal, reprendra l’entreprise familiale. Par la suite son père vendra sa société, Jacob Kielland and Son, ce qui lui permettra de vivre de ses rentes, et mettra Kitty à l’abri du be- soin pour le restant de sa vie. Kitty grandit au milieu d’une fratrie de huit enfants, com- posée de cinq garçons et de trois filles. Sa famille, d’un milieu aisé, montre un grand intérêt pour l’art, la musique et la littéra- – 3 – ture. D’ailleurs, l’un de ses frères cadets, Alexander Kielland (1849-1906), deviendra l’un des plus grands auteurs de la litté- rature norvégienne. Kitty entretiendra avec lui des liens très proches. -
Visual Violence in the Land of Enchantment
VISUAL VIOLENCE IN THE LAND OF ENCHANTMENT A DISSERTATION SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Patricia Marroquin Norby IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Brenda Child Adviser, Jennifer Marshall Co-adviser June, 2013 © Patricia Marroquin Norby 2013 i Acknowledgements Simultaneously working full-time while raising a family and completing a doctoral program has been one of the most rewarding and challenging experiences of my life. Such an accomplishment would not have been possible without the generous support of numerous individuals. The following is a list of truly amazing people including colleagues, friends, and family who believed in this project and in me even when I suffered my own doubts. To my committee members Brenda Child, Jennifer Marshall, Patricia Albers, and Jane Blocker I thank you for your guidance and encouragement throughout the completion of this project. I am honored to have you as my professional mentors. To good friends and graduate colleagues at the University of Minnesota Twin Cities including Karissa White, Erik Redix, Scott Shoemaker, Kate Beane, and Rudy Aguilar, I cherish your friendship and the camaraderie we shared. Special thanks goes to Karissa White, Issac Lopit, and Kate Beane for offering a place to stay and providing a sense of warmth and family on so many cold Minnesota winter nights. You helped make the long-distance commute and time away from my own family much more bearable. My family and our home are so precious to me. I thank my husband Nathan Norby and our children Alejandro Marroquin, Derek Norby, and Madeline Marroquin-Norby for all your love. -
TUESDAY, OCTOBER 12, 2004 10:05 Am Consent
ART COMMISSION PUBLIC MEETING TUESDAY, OCTOBER 12, 2004 10:05 a.m. Consent Agenda 21984: Reconstruction of the Charles Gay Clarke Thomas Building, One Wards Island, Manhattan. (Preliminary and Final) (CC 22, CB 11) DDC 21985: Construction of Two Additions to Queens Theater in the Park, Phase II, Flushing Meadows Corona Park, 56-05 Grand Central Parkway, Queens. (Final) (CC 21, CB 4) DDC/DPR 21986: Installation of historic lighting, Coney Island Boardwalk between West 37th Street and Brighton 15th Street, Brooklyn. (Preliminary and Final) (CC 47, CB 13) DPR 21987: Construction of a wild dogs exhibit, Bronx Zoo, 2300 Southern Boulevard, Bronx. (Preliminary and Final) (CC 14, CB 6, 11) DCultA 21988: Conservation of Acrobats by Mary Callery, George W. Wingate High School, 600 Kingston Avenue, Brooklyn. (Preliminary) (CC 40, CB 9) DOE 21989: Conservation of Education-Aspiration by Gwen Lux, George W. Wingate High School, 600 Kingston Avenue, Brooklyn. (Preliminary) (CC 40, CB 9) DOE 21990: Replacement of Baptist Church Road Bridge, Baptist Church Road over Hunters Brook, adjacent to Croton Reservoir, between Croton Avenue and Hunter Brook Road, Westchester. (Preliminary and Final) DEP 21991: Construction of an electrical control building and odor control system enclosure, Warnerville Pumping Station, Brookville Boulevard and Broadway, Queens. (Preliminary) (CC 31, CB 13) DEP 21992: Reconstruction of Avenue V Pumping Station, 76 Avenue V, Brooklyn. (Preliminary) (CC 47, CB 13) DEP 21980: Installation of four F-pole street lights, West 104th Street between Riverside Drive and West End Avenue, Manhattan. (Preliminary and Final) (CC 9, CB 7) DOT 21993: Installation of new stoop and fenced area, 336 West 23rd Street, Manhattan. -
TWO FORGOTTEN WOMEN of AMERICAN MODERNISM Sculptor Mary Callery / Painter Peter Miller
Page 1 of 3 December 28, 2017 Contact: Dana Martin FOR IMMEDIATE RELEASE TWO FORGOTTEN WOMEN of AMERICAN MODERNISM Sculptor Mary Callery / Painter Peter Miller January 12 – February 23, 2018 Mary Callery (1903‐1977) and Peter Miller (1913‐1996) were both well‐known artists in the mid‐1940s. Callery showed regularly at a number of prestigious galleries in New York in the 1940s and 1950s: Bucholz (1944‐1955), Curt Valentin (1947‐1955), M. Knoedler & Co. in Paris and New York (1945), and Miller had two well‐received one‐person shows at the Julien Levy Gallery (in 1944 and 1945), the premier showplace for Surrealism in America. Yet today, with the exception of specialists in the field of mid‐century American modernism, both artists are absent from historical accounts of the New York art scene in the mid‐1940s. There are several reasons for these omissions, one of which may have been gender. Indeed, to counter the prevalent sexism of their day, both artists adopted male pseudonyms: Callery occasionally went by the name Meric Callery, while Miller was born Henrietta Myers, but showed under the name Peter Miller. Another factor that may have contributed to their neglect was the fact that they were both born into privilege, meaning that they did not feel the constraints of having to produce and sell to survive and, therefore, made little effort to promote themselves or their work. Page 2 of 3 It is unknown if the two artists ever met, but both were born in Pennsylvania (Callery in Pittsburgh; Miller in Hanover, a small town 100 miles west of Philadelphia). -
Rovang, Studio-House for Georgia O'keeffe
ISSN: 2471-6839 Cite this article: Sarah Rovang, “A ‘Studio-House for Georgia O’Keeffe,” Panorama: Journal of the Association of Historians of American Art 6, no. 1 (Spring 2020), https://doi.org/10.24926/ 24716839.9718. A “Studio-House” for Georgia O’Keeffe Sarah Rovang, PhD, Independent Scholar I had seen Georgia O’Keeffe’s “House Files” before. In 2017, when I first became interested in the adobe house owned by O’Keeffe (1887–1986) in Abiquiu, New Mexico, I requested this material, which contains receipts and owner manuals for household items the artist purchased over many years. It is an eclectic collection, revealing that despite O’Keeffe’s reputation as a domestic minimalist, the artist was not averse to kitchen unitaskers, faddish exercise equipment, and linoleum. Having returned to the Georgia O’Keeffe Museum in Santa Fe as a research fellow in August 2019, and now involved in a larger research campaign related to the house, I decided to revisit these files. This time, however, in addition to the standard-size document boxes that I had seen two years ago, the museum archivist brought out two oversize containers. Fig. 1. Maria Chabot, two floor plans for Georgia O’Keeffe’s studio with specs for radiant heating system, 1947. Graphite and colored pencil on graph paper, approximately 18 x 24 in. Verso shows a full plan for the house, including electric, gas, and water utilities. Georgia O’Keeffe Papers (MS.33), House Files, oversize box 2. Georgia O’Keeffe Museum, Michael S. Engl Family Foundation Library and Archive; photograph by the author with permission of the Georgia O’Keeffe Museum Whether these were recent accruals or I had simply missed them the first time was not immediately clear, but I was sure that I had never seen either before. -
Femmes Artistes-Peintres À Travers Les Siècles Tome 2
Christine Huguenin FEMMES ARTISTES PEINTRES À TRAVERS LES SIÈCLES Tome 2 : 19e et 20e siècle 2014 édité par les Bourlapapey, bibliothèque numérique romande www.ebooks-bnr.com Table des matières XIXe SIÈCLE ..................................................... 3 Kitty LANGE KIELLAND 1843 – 1914......... 3 Laura Theresa ALMA-TADEMA 1852 – 1909 ............................................................... 17 Louise Catherine BRESLAU 1856 – 1927 .. 26 XXe SIÈCLE .................................................... 62 Anna Mary ROBERTSON dite Grandma Moses 1860 – 1961 ...................................... 62 Romaine BROOKS 1874 – 1970 .................. 77 Sonia DELAUNAY 1885 – 1979 ................ 102 Georgia O’KEEFFE 1887 – 1986 ............... 129 Table des Illustrations. .................................. 162 Ce livre numérique ........................................ 165 XIXe SIÈCLE Kitty LANGE KIELLAND 1843 – 1914 Le 8 octobre 1843, dans la petite ville portuaire de Stavanger en Norvège, naît Christine Lange Kielland. Elle est la fille de Christiane Janna Lange Kielland (1820-1862) et de Jens Zetlitz Kielland (1816-1881), descendant d’une longue lignée de commerçants de la ville. Ce dernier après avoir été consul de Norvège au Portugal, reprendra l’entreprise familiale. Par la suite son – 3 – père vendra sa société, Jacob Kielland and Son, ce qui lui permettra de vivre de ses rentes, et mettra Kitty à l’abri du besoin pour le restant de sa vie. Kitty grandit au milieu d’une fratrie de huit en- fants, composée de cinq garçons et de trois filles. Sa famille, d’un milieu aisé, montre un grand in- térêt pour l’art, la musique et la littérature. D’ailleurs, l’un de ses frères cadets, Alexander Kielland (1849-1906), deviendra l’un des plus grands auteurs de la littérature norvégienne. Kitty entretiendra avec lui des liens très proches. Kitty n’a que dix-neuf ans, en 1862, quand sa mère décède prématurément. -
Georgia O'keefe.Qxd
Georgia O’Keeffe and advice, gossip, and the logistics of constructing and running a home. This book was Chabot’s lifelong dream, and it has New Mexico been realized, perhaps more objectively than she envisioned, A Sense of Place by Barbara Buhler Lynes and by Ann Paden, an editor origi- BARBARA BUHLER LYNES, LESLEY POLING-KEMPES & nally brought to the project by Chabot. The letters range from FREDERICK W. TURNER chatty and affectionate to brusquely businesslike over the arc Princeton University/Georgia O’Keeffe Museum, of the friendship. It is easy to infer that Chabot initially idol- $39.95 cloth, ISBN 0-691-11659-8 ized O’Keeffe and that the artist thrived on her attention and Maria Chabot—Georgia O’Keeffe capable help. As new friends came into O’Keeffe’s life and as Correspondence, 1941-1949 Chabot led the reconstruction of the ruined adobe house in Edited by BARBARA BUHLER LYNES & ANN PADEN Abiquiu that would become the painter’s permanent home in University of New Mexico, $45.00 cloth, ISBN 0-8263-2993-4 1949, tensions mounted and the friendship cooled. It is inter- esting to read subtle and not-so-subtle attempts at manipula- eorgia O’Keeffe continues to fascinate nearly 20 years tion by both correspondents and to realize that these are the Gafter her death in 1986. She was one of the most well- negotiations of any evolving relationship. If neither party known American artists of the mid-20th century and became seems completely noble by the last letters exchanged in 1949, a feminist icon, despite her own protestations, and her work they do seem entirely human: fallible and vulnerable but became a decorating cliché, despite the inventiveness and risk capable of great warmth. -
Georgia O'keeffe and the Calla Lily in American Enslow Publishers, 2002
SAN DIEGO PUBLIC LIBRARY PATHFINDER Georgia O’Keeffe and the Women of the Stieglitz Circle This bibliography from the Central Library supplements the San Diego Museum of Art exhibition Georgia O’Keeffe and the Women of the Stieglitz Circle on display from May 24 through September 28, 2008. Locate more library materials related to Georgia O’Keeffe with the SDPL catalog at http://www.sandiegolibrary.org. HER LIFE O'Keeffe and Stieglitz : an American romance / Becoming O'Keeffe : the early years / Sarah Benita Eisler. New York : Doubleday, 1991. Whitaker Peters. New York : Abbeville Press, 2001. 759.13/EISLER B/O'KEEFFE A woman on paper : Georgia O'Keeffe / by Anita Full bloom : the art and life of Georgia O'Keeffe / Pollitzer. New York : Simon & Schuster, 1988. Hunter Drohojowska-Philp. New York : W.W. B/O'KEEFFE Norton, 2004. B/O'KEEFFE ART WORKS Georgia O'Keeffe : desert painter / Emily Rose Art and the crisis of marriage : Edward Hopper Kucharczyk. San Diego, CA : Blackbirch and Georgia O'Keeffe / Vivien Green Fryd. Press/Thomson Gale, 2002. Chicago : University of Chicago Press, 2003. B/O'KEEFFE 759.13/FRYD Georgia O'Keeffe : a life / Roxana Robinson. Georgia O'Keeffe : art and letters / Jack Cowart, Hanover : University Press of New England, 1999. Juan Hamilton. Washington : National Gallery of B/O'KEEFFE Art, 1987. 759.13/O'KEEFFE Georgia O'Keeffe : the life of an artist / Ray Spangenburg, Kit Moser. Berkeley Heights, NJ : Georgia O'Keeffe and the calla lily in American Enslow Publishers, 2002. art, 1860-1940 / Barbara Buhler Lynes ; New B/O'KEEFFE Haven : Yale University Press ; Santa Fe, 2002. -
Spring 2016.Indd
The Print Club of New York Inc Spring 2016 November 7th. We are also putting together a commemo- President’s Greeting – rative book with all 25 prints and a history of the Club. More details will be sent around starting this summer. Be Spring 2016 sure to return your completed membership renewal forms Kimberly Henrikson so as not to miss out! Best wishes to everyone for a lovely summer. I look for- ward to seeing you in the fall. Greetings PCNY Members, The 2015/2016 membership year has come to a close. For those of you who attended the Annual Meeting and Recent Print Club Events Artists’ Showcase, thank you for coming out. I hope everyone enjoyed the presentations given by the invited artists this year and found some new artworks to add to Curator’s Tour of Printing Women: your collections. Three Centuries of Female I’d like to express my thanks to the Club members and our Board of Directors, and especially to outgoing Board Printmakers, 1570 – 1900, New York members Charles Blanksteen, Muriel Moss and Corinne Shane and outgoing Treasurer Joan Blanksteen. Their Public Library, Saturday, years of service to the Club are deeply appreciated. So February 20, 2016 many of you have spoken with me at events and meetings about your involvement with the Print Club; it’s been a Gillian Greenhill Hannum real pleasure. I understand many of you have a long his- tory of Club membership, and it’s reassuring to find so nce again, Print Club members had the good for- many who have been members since the very beginning. -
ORAL HISTORY of JACQUES CALMAN BROWNSON Interviewed
ORAL HISTORY OF JACQUES CALMAN BROWNSON Interviewed by Betty J. Blum Compiled under the auspices of the Chicago Architects Oral History Project The Ernest R. Graham Study Center for Architectural Drawings Department of Architecture The Art Institute of Chicago Copyright © 1996 The Art Institute of Chicago This manuscript is hereby made available for research purposes only. All literary rights in the manuscript, including the right to publication, are reserved to the Ryerson and Burnham Libraries of The Art Institute of Chicago. No part of the manuscript may be quoted for publication without the written permission of The Art Institute of Chicago. ii TABLE OF CONTENTS Preface iv Outline of Topics vi Oral History 1 Selected References 266 Appendix: Resume 268 Index of Names and Buildings 270 iii PREFACE "It has been said that a lot of people at IIT were under the influence of Mies—I cannot imagine a better influence… Mies's buildings in steel and glass are only the beginning, not the end of the road. The possibilities are endless—he has opened up a horizon for us." It is well known that Jack Brownson is an architect-builder with a deep and abiding interest in how things go together. His training began early when, as a young boy, he helped his grandfather build barns, sheds and outhouses to survive the Depression, a time he remembers as one of the best of his life. After building several small houses to earn tuition money to study architecture at the Illinois Institute of Technology with Mies van der Rohe, some years later, Jacques built his own home for his master's thesis, an award-winning steel and glass structure in Geneva that drew media attention to his talent. -
Herbert Matter Papers
http://oac.cdlib.org/findaid/ark:/13030/kt4p3021rd No online items Guide to the Herbert Matter Papers Jeffrey C. Head, et al. Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Email: [email protected] URL: http://library.stanford.edu/spc/ © 2005 The Board of Trustees of Stanford University. All rights reserved. Guide to the Herbert Matter M1446 1 Papers Guide to the Herbert Matter Papers Collection number: M1446 Department of Special Collections and University Archives Stanford University Libraries Stanford, California Processed by: Jeffrey C. Head, et al. Date Completed: December, 2005 Encoded by: Bill O'Hanlon © 2005 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: Herbert Matter papers Dates: ca. 1937-1984 Collection number: M1446 Creator: Matter, Herbert, 1907-1984 Collection Size: ca. 310 linear feet Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Abstract: Original artwork, photographs, letters, manuscripts, process materials, memorabilia, negatives, transparencies, film, printed material, and working equipment. Physical location: Special Collections Green Library Stanford University Languages: Languages represented in the collection: English Access Collection is open for research; materials must be requested at least 24 hours in advance of intended use. Publication Rights Property rights reside with the repository. Literary rights reside with the creators of the documents