JONATHAN STURGES HOUSE Other Name/Site Number: the Cottage
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Domestication of History in American Art: 1848-1876
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1998 The domestication of history in American art: 1848-1876 Jochen Wierich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Wierich, Jochen, "The domestication of history in American art: 1848-1876" (1998). Dissertations, Theses, and Masters Projects. Paper 1539623945. https://dx.doi.org/doi:10.21220/s2-qc92-2y94 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Catskills Composition by Thomas Cole Natalia Bosko
The International Journal of Social Sciences and Humanities Invention 5(01): 4281-4292 2018 DOI: 10.18535/ijsshi/v5i1.08 ICV 2015: 45.28 ISSN: 2349-2031 © 2018, THEIJSSHI Research Article Catskills Composition by Thomas Cole Natalia Bosko The popularity of landscape painting in the United States grew during the 1830s due to the interest in exploration of native resources. American wilderness became a symbol of this country counterposed to the tamed nature of the Old World. Transcendentalist writings propagating the concept of divine presence in the creation supported the fashion for scenery. Ralph W. Emerson and Henry D. Thoreau popularized meditation in landscape as a method of spiritual purification. “In the woods […] my head bathed by the blithe air, and uplifted into infinite space,” wrote Emerson in his famous essay Nature, “the currents of the Universal Being circulate through me….”1 The Transcendentalists perceived air as an expression of divinity according to the concept rooted in German philosophy and British Romantic poetry. William Wordsworth described this notion as “the living Air” in his Figure 1. Thomas Cole, Sunset, View on the Catskill, 1833. Oil poem “Lines, Composed a Few Miles above Tintern Abbey.”2 on wood panel, 41.9 x 62.2 cm (16 1/2 x 24 1/2 in.). New- These cultural trends influenced the depiction of scenery in the York Historical Society, New York. Gift of The New-York oeuvre of coeval American artists. Early critic Charles Gallery of the Fine Arts. Courtesy of New-York Historical Buchanan wrote that light and air were innate for American Society, New York. -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W. -
Due to Copyright Restrictions, This Image Is Only Available in the Print Version of Christian Reflection
50 Caring for Creation Due to copyright restrictions, this image is only available in the print version of Christian Reflection. Thomas Cole’s The Oxbow depicts humans living in such harmony with nature that their habitation blends into the beautiful surroundings. Thomas Cole (1801-1848), THE OXB O W (O R , VIEW FR O M MO UN T HO LY O KE , NO R T HAMP to N , MASSA - CHUSE tt S , AF T ER A THUNDERS to RM ) (1836). Oil on canvas. 51 ½” x 76”. Gift of Mrs. Russell Sage, 1908. The Metropolitan Museum of Art, New York, NY. Photo: © The Metropolitan Museum of Art / Art Resource, NY. Used by permission. Caring for Creation in Art 51 In Harmony with Nature BY HEIDI J. HORNIK he Oxbow takes its name from the shape of the Connecticut River as it winds back on itself below Mount Holyoke in western Massachusetts.1 TThomas Cole’s painting depicts this wonder of nature, which in its pure size and beauty, literally and figuratively, dwarfs the artist who looks up at us from his canvas (positioned a few yards to the left of the parasol) within the painting. The foreground is wilderness, with trees that have blown over from the wind or from the storm on the left side of the composi- tion that shows a downpour of rain. Looking closely at the valley in the dis- tance, one realizes that the land is cultivated and a human settlement exists. Yet those fields and buildings are so trivial in comparison to the rest of the landscape that they go almost undetected. -
Remember the Ladies: Women of the Hudson River School
Remember the Ladies d women of the hudson river school Charlotte Buell Coman (1833–1924) frontispiece: Forest Brook, 1895 Oil on canvas, 24 x 20 in. Private Collection Remember the Ladies d women of the hudson river school May 2–October 31, 2010 essays by Nancy Siegel and Jennifer Krieger 218 Spring Street, Catskill, NY 12414 518.943.7465 • www.thomascole.org Edith Wilkinson Cook (active 1851–1875) FIG.1: Autumn Landscape with Figures, 1871 1 5 Oil on canvas, 7 /4 x 5 /8 in. Mark Lasalle Fine Art director’s statement d N MAY 2010 THE THOMAS COLE NATIONAL HISTORic SITE opened the first known exhibition to focus Isolely on the women artists associated with the Hudson River School, the nineteenth-century land- scape painting movement. Considering all the attention that has been given to this art movement in recent decades, it is certainly time that the names of these women become better known. The fact that there were women artists who were inspired by the landscape during the same years as Thomas Cole, Asher Durand, and Frederic Church is a story that needs to be told, and we are so pleased to bring their fascinating lives and work to the public. Their landscape paintings, and the stories behind them, speak to these women’s perseverance, triumph, heartbreak, and even their sense of humor about it all. One young woman was forbidden to create art, and her drawings were burned by her stepmother. Another was conducting her art career while raising her children as a single mother. Yet another climbed “all the principal peaks of the Catskills, Adirondacks, and White Mountains, as well as those of the Alps, Tyrol, and Black Forest, often tramping twenty-five miles a day, and sketching as well, often in the midst of a blinding snow- storm,” according to an 1889 article.1 And all this in the sort of clothing we today would not consider practical. -
Three Centuries of American Painting
THREE CENTURIES OF AMERICAN PAINTING THE METROPOLITAN MUSEUM OF ART APRIL 9 OCTOBER 17 THE METROPOLITAN MUSEUM Cr ART AR C nI . For additional information about many of the paintings and pieces of sculpture in the exhibition, see the following; Available at The Metropolitan Museum Art and Book Shops. 1. Albert T. Gardner and Stuart P. Feld, American Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Volume One (covering paintings by artists born by 1815) (Metropolitan Museum, 1965). Cloth, $7.50. Paper, $2.95. Volumes Two and Three are in preparation. 2. Henry Geldzahler, American Paintina in the Twentieth Century (Metropolitan Muse 1965). Cloth, $7.50. Paper, $2.95. 3. Albert T. Gardner, American Sculpture (Metropolitan Museum, 1965). Cloth, $7.50. Paper, $2.95. 4. The Metropolitan Museum of Art, BULLETIN, April 1965. $.50 5. The Metropolitan Museum of Art, Guide to the Collections, American Paintings, 1962, $.35 6. Edward Joseph Gallagher III Memorial Collection, The Metropolitan Museum of Art, $.50 American paintings of the 17th, 18th, 19th, and early 20th centuries are on exhibition in the Harry Payne Bingham Special Exhibition Galleries in the south wing (Wing K), second floor. American paintings of the 20th century are on exhibition in the Morgan Wing Galleries in the north wing (Wing F), second floor. ABBEY, Edwin Austin (1852-1911) K-9 AUDUBON, John James (1785-1851) K-5 King Lear's Daughters Ivory-billed Woodpeckers Dated 1898 Rogers Fund, 1941 Gift of George A. Hearn, 1913 13.140 41.18 ALBERS, Josef (1888- ) AUDUBON, John Woodhouse (1812-1862) and K-6 Homage to the Square: Precinct AUDUBON, Victor Giffordd809-1860) Datedl846 Dated 1951 Hudson's Bay Lemming George A. -
Luman Reed's Picture Gallery
Two West 77 th Street, New York, NY 10024 ● 212-873-3400 ● www.nyhistory.org FOR IMMEDIATE RELEASE March 3, 2004 CONTACT: TRAVIS STEWART (212) 873-3400, EXT. 263 Luman Reed’s Picture Gallery and Art Collecting in Nineteenth-Century New York A Long-Term Exhibition Opening March 16, 2004 The New-York Historical Society is pleased to announce that, after a two-year hiatus, its Luman Reed Gallery will once again be home to one of the Society’s chief treasures of 19 th century American art, the Luman Reed Collection. The collection includes Thomas Cole’s The Course of Empire (and numerous other works by the founder of the Hudson River School), seminal paintings by Asher Brown Durand, William Sidney Mount, and George Whiting Flagg, and many more. Luman Reed was one of the pioneers of 19 th -century American art collecting. The posthumous donation of his collection in 1858, together with the holdings of The New-York Gallery of the Fine Arts (founded by Reed), transformed the Historical Society into New York City’s premiere art museum in an era before the establishment of such museum giants as the Metropolitan Museum of Art. Reed’s collection therefore occupies an important place in the development of American art; in the history of taste, collecting, and patronage; in the history of New York; and in the annals of the New-York Historical Society. The Luman Reed Gallery was created in 1990 to showcase Reed’s collection in a period environment inspired by the gallery in the collector’s own neo-classical townhouse. -
Landmarks Preservation Commission October 30, 2007, Designation List No
Landmarks Preservation Commission October 30, 2007, Designation List No. 397 LP-2246 MANHATTAN HOUSE, 200 East 66th Street, Manhattan (aka 200-260 East 66th Street, 201-257 East 65th Street, 1241-1259 Second Avenue, 1111-1129 Third Avenue), Manhattan. Built 1947-51, Mayer & Whittlesey and Skidmore, Owings & Merrill, associated architects. Landmark Site: Borough of Manhattan, Tax Map Block 1420, Lot 1. On April 10, 2007, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of 200 East 66th Street and the proposed designation of the related Landmark Site (Item No. 12). The hearing had been duly advertised in accordance with provisions of law. Thirteen people spoke in favor of designation, including City Council member Daniel Garodnick, State Senator Liz Krueger, and representatives of State Assembly member Jonathan L. Bing, Docomomo US / New York Tri-State, the Historic Districts Council, Friends of the Upper East Side, Landmarks Conservancy, Modern Architecture Working Group, Municipal Art Society, as well as tenants in the building. The Commission has also received numerous letters in support of designation. Summary Manhattan House, an Upper East Side apartment and retail complex, was constructed between 1947 and 1951. Commissioned by the New York Life Insurance Company, it occupies an entire block, bounded by East 65th Street and East 66th Street, Second Avenue and Third Avenue. Designed by Mayer & Whittlesey and Skidmore, Owings & Merrill, associated architects, this modern-style apartment house has as many as 21 floors and is notable for its impressive size, plan, massing and color. Considered by many writers to be the first white brick apartment building, it was also notable for being one of the first multiple dwellings in New York City to attempt “an indoor-outdoor synthesis” through the integration of large windows and deep projecting balconies, as well as landscaped driveways and a block-long rear garden enclosed by a low granite wall. -
WEST CHELSEA HISTORIC DISTRICT Designation Report
WEST CHELSEA HISTORIC DISTRICT Designation Report New York City Landmarks Preservation Commission July 15, 2008 Cover: Terminal Warehouse Company Central Stores (601 West 27th Street) (foreground), Starrett-Lehigh Building (601 West 26th Street) (background), by Christopher D. Brazee (2008). West Chelsea Historic District Designation Report Essay researched and written by Christopher D. Brazee & Jennifer L. Most Building Profiles & Architects’ Appendix by Christopher D. Brazee & Jennifer L. Most Edited by Mary Beth Betts, Director of Research Photographs by Christopher D. Brazee Map by Jennifer L. Most Commissioners Robert B. Tierney, Chair Pablo Vengoechea, Vice-Chair Stephen F. Byrns Christopher Moore Diana Chapin Margery Perlmutter Joan Gerner Elizabeth Ryan Roberta Brandes Gratz Roberta Washington Kate Daly, Executive Director Mark Silberman, Counsel Sarah Carroll, Director of Preservation TABLE OF CONTENTS WEST CHELSEA HISTORIC DISTRICT MAP........................................................................... 1 TESTIMONY AT THE PUBLIC HEARING ................................................................................ 2 WEST CHELSEA HISTORIC DISTRICT BOUNDARIES ......................................................... 2 SUMMARY.................................................................................................................................... 4 THE HISTORICAL AND ARCHITECTURAL DEVELOPMENT OF THE WEST CHELSEA HISTORIC DISTRICT .................................................................................................................. -
New-York Historical Society Museum Receives Two Major Gifts, Charting America's Art Landscape from the 19Thto the 21St Centuri
NEW-YORK HISTORICAL SOCIETY MUSEUM RECEIVES TWO MAJOR GIFTS, CHARTING AMERICA’S ART LANDSCAPE FROM THE 19TH TO THE 21ST CENTURIES NEW YORK, NY (August 7, 2015) – The New-York Historical Society is pleased to announce two major donations to its Museum collection. Fifteen Hudson River School paintings—collected over the course of two decades by the late Arthur and Eileen Newman and including such artists as Thomas Cole, Frederic Edwin Church, and Martin Johnson Heade—will join New-York Historical’s extraordinary collection of 19th-century American paintings. The Museum has also been gifted a stellar contemporary work by longtime New-York Historical Society Trustee Sid Lapidus and his wife Ruth: Fanned Book by Ed Ruscha (2013). Dr. Linda S. Ferber, the New-York Historical Society’s Senior Art Historian and Museum Director Emerita remarked, “My first visit to see these wonderful Hudson River School paintings at the Newmans’ apartment brought the thrilling realization that the ‘fit’ of their collection and New-York Historical Society’s holdings was truly uncanny. The core of N-YHS’ Hudson River School collection came from the landmark holdings of two great 19th-century New York collectors: Luman Reed and Robert L. Stuart. The 21st-century gift of the Newman Family Collection, formed in recent decades with such dedication and thoughtfulness, brings our historic collections to a new breadth and strength, offering fresh opportunities to foster scholarship and to mount exhibitions that will share the enduring legacy of the Hudson River School’s vision of America with visitors. ” “Our parents were long drawn to the natural beauty of Hudson River School landscapes captured by the great American painters of the 19th century,” remarked David Newman on behalf of his family. -
Some Pages from the Book
AF Whats Mine is Yours.indb 2 16/3/21 18:49 What’s Mine Is Yours Private Collectors and Public Patronage in the United States Essays in Honor of Inge Reist edited by Esmée Quodbach AF Whats Mine is Yours.indb 3 16/3/21 18:49 first published by This publication was organized by the Center for the History of Collecting at The Frick Collection and Center for the History of Collecting Frick Art Reference Library, New York, the Centro Frick Art Reference Library, The Frick Collection de Estudios Europa Hispánica (CEEH), Madrid, and 1 East 70th Street the Center for Spain in America (CSA), New York. New York, NY 10021 José Luis Colomer, Director, CEEH and CSA Centro de Estudios Europa Hispánica Samantha Deutch, Assistant Director, Center for Felipe IV, 12 the History of Collecting 28014 Madrid Esmée Quodbach, Editor of the Volume Margaret R. Laster, Manuscript Editor Center for Spain in America Isabel Morán García, Production Editor and Coordinator New York Laura Díaz Tajadura, Color Proofing Supervisor John Morris, Copyeditor © 2021 The Frick Collection, Centro de Estudios Europa Hispánica, and Center for Spain in America PeiPe. Diseño y Gestión, Design and Typesetting Major support for this publication was provided by Lucam, Prepress the Centro de Estudios Europa Hispánica (CEEH) Brizzolis, Printing and the Center for Spain in America (CSA). Library of Congress Control Number: 2021903885 ISBN: 978-84-15245-99-5 Front cover image: Charles Willson Peale DL: M-5680-2021 (1741–1827), The Artist in His Museum, 1822. Oil on canvas, 263.5 × 202.9 cm. -
INDIVIDUAL INTERVIEW the Reminiscences of Norval
INDIVIDUAL INTERVIEW The Reminiscences of Norval White © 2006 New York Preservation Archive Project PREFACE The following oral history is the result of a recorded interview with Norval White conducted by an unknown Interviewer on April 20, 2006. This interview is part of the New York Preservation Archive’s Project’s collection of individual oral history interviews. The reader is asked to bear in mind that s/he is reading a verbatim transcript of the spoken word, rather than written prose. The views expressed in this oral history interview do not necessarily reflect the views of the New York Preservation Archive Project. Architect and writer Norval White was a leader of the Action Group for Better Architecture in New York [AGBANY], which organized protests and lobbying on behalf of Pennsylvania Station when it was facing destruction in 1962 and 1963. In this 2006 interview, White recounts his role as chairman of AGBANY and the roles of many of the prominent individuals involved in AGBANY’s activities. White also addresses his activism in the New York chapter of the American Institute of Architects [AIA] vis-à-vis the controversy over Penn Station and other threats to historic buildings. He then discusses the public hearings leading up to Penn Station’s demolition and the possibility of a conflict of interest between James Felt, the then-chair of the New York City Planning Commission, and his brother Irving Felt, the developer of Madison Square Garden. Near the end of the interview, White discusses his work with Elliott Willensky as co-author of the AIA Guide to New York City and comments on works of modern architecture that have, in his view, fit appropriately into the context of historic neighborhoods in the city.