DOCSLIB.ORG

Degas/Cassatt by Susan Pinsky

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Degas/Cassatt by Susan Pinsky Read Ebook {PDF EPUB} Degas/Cassatt by Susan Pinsky Degas was ten years older than Cassatt and already an established figure in the Parisian art world when she exhibited her first painting there, and so there has been an understandable tendency to view their interaction as a kind of one-way street and to emphasize the ways in which Degas influenced her art and facilitated her acceptance into the company of "serious" (i.e., "male") painters.4.3/5(6)Format: PaperbackAuthor: Marc Rosen, Susan Pinsky, Amanda ZehnderImages of Degas/Cassatt by Susan Pinsky bing.com/imagesSee allSee all imagesDegas/Cassatt: Jones, Kimberly A., Davis, Elliot Bostwick ...https://www.amazon.com/Degas-Cassatt-Kimberly-Jones/dp/3791353640May 08, 2014 · Focusing on the critical period from the late 1870s through the mid-1880s, when Degas and Cassatt were most closely allied, this book brings together some seventy works in a variety of media to examine the fascinating artistic dialogue that developed between these two celebrated artists.4.3/5(6)Format: HardcoverAuthor: Kimberly A. Jones, Elliot Bostwick Davis, Erica E. HirshlerDegas/Cassatt | DelMonico Bookshttps://delmonicobooks.com/book/degas-cassattDelMonico Books published Degas/Cassatt By Kimberly A. Jones, Elliot Bostwick Davis, Erica E. Hirshler, Ann Hoenigswald, and Susan Pinsky in 2014. This surprising study examines the extent to which Mary Cassatt influenced the work of her contemporary Edgar Degas. Focusing on the critical period from the late 1870s through the mid-1880s, when Degas and Cassatt were most closely allied, this book brings together some seventy works in a variety of media to examine the fascinating artistic dialogue that developed between these two ... DEGAS CASSATT By Susan Pinsky. Condition: Good. Ended: Jul 12, 2020, 10:23:15 AM PDT. Price: US $79.95. View original item. Sell one like this. Best Selling in Nonfiction. Current slide {CURRENT_SLIDE} of {TOTAL_SLIDES}- Best Selling in Nonfiction ... DEGAS CASSATT By Marc Rosen, Susan Pinsky, Amanda Zehnder, Ann Hoenigswald, Erica Hirshler, Elliot Bostwick Davis *Excellent Condition*. Dec 16, 2013 · Degas/Cassatt is organized thematically over four galleries with a focus on the height of Degas and Cassatt's artistic alliance—the late 1870s through the mid-1880s. Included are oil paintings, pastels, and works on paper (etchings, lithographs, monotypes, and drawings), with several that were once in the artists' personal collections. Oct 19, 2019 · Cassatt knew Degas’s work and admired his pastels. By then, Degas and a group of artists, including Claude Monet, Pierre- Auguste Renoir and Camille Pissarro, had formed the …Missing: Susan PinskyMust include: Susan PinskyKimberly A. Jones: Degas/Cassatt. Prestel Publishing ...https://prestelpublishing.penguinrandomhouse.de/...Edgar Degas’s influence upon Mary Cassatt has long been acknowledged, but her role in shaping his artistic production and in preparing the way for his warm reception in America is fully examined for the first time. These two major figures of the impressionist movement shared a keen observer’s eye, as well as an openness to experimentation. ... Art In A Mirror: The Counterproofs Of Mary Cassatt by Warren Adelson (Foreword), Jay E. Cantor, Pamela A. Ivinski, Mary Cassatt, Marc Rosen, Susan Pinsky. Adelson Galleries, 2004. Mary Cassatt: Painter of Modern Women (World of Art) by Griselda Pollock, Mary Cassatt. Thames & Hudson, 1998. Degas Cassatt [Marc Rosen, Susan Pinsky, Amanda Zehnder, Ann Hoenigswald, Erica Hirshler, Elliot Bostwick Davis] on Amazon.com.au. *FREE* shipping on eligible orders. Degas CassattReviews: 5Format: PaperbackAuthor: Marc Rosen, Susan Pinsky, Amanda ZehnderDegas/Cassatt: Jones, Kimberly A., Bostwick Davis, Elliot ...https://www.amazon.sg/Degas-Cassatt-Kimberly- Jones/dp/3791353640Degas/Cassatt: Jones, Kimberly A., Bostwick Davis, Elliot, Hirshler, Erica E., Hoenigswald, Ann, Pinsky, Susan, Rosen, Mark, T. Zehnder, Amanda: Amazon.sg: BooksReviews: 6Format: HardcoverAuthor: Kimberly A. Jones9780894683886: Degas Cassatt - AbeBooks - Marc Rosen ...https://www.abebooks.com/9780894683886/Degas...AbeBooks.com: Degas Cassatt (9780894683886) by Marc Rosen; Susan Pinsky; Amanda Zehnder; Ann Hoenigswald; Erica Hirshler; Elliot Bostwick Davis and a great selection of similar New, Used and Collectible Books available now at great prices. Degas Cassatt: Marc Rosen, Susan Pinsky, Amanda Zehnder, Ann Hoenigswald, Erica Hirshler, Elliot Bostwick Davis: Amazon.sg: BooksReviews: 6Author: Marc Rosen, Susan Pinsky, Amanda ZehnderDegas/Cassatt Opens at the National Gallery of Art, May ...https://www.dcoutlook.com/2014/04/photographic-self-portrait-by-edgar.htmlDegas/Cassatt Exhibition Reveals New Information About Relationship of Two Renowned Impressionists at National Gallery of Art, May 11 - October 5, 2014 Edgar Degas ' (1834–1917) influence on fellow impressionist Mary Cassatt (1844–1926) is widely known, but her role in shaping his work and introducing him to American audiences is fully ... Forty Years of Artistic Exchange / Amanda T. Zehnder Plates "A Much Finer Curve": Identity and Representation in Degas's Depictions of Cassatt / Kimberly A. Jones The Medium as Muse: Innovations and Intersections in Printmaking / Marc Rosen and Susan Pinsky "All the Vocabularies of Painting": Adaptation and Experimentation, 1878-1879 / Ann ... Degas Cassatt by Marc Rosen (2014-08-02) [Marc Rosen;Susan Pinsky;Amanda Zehnder;Ann Hoenigswald;Erica Hirshler;Elliot Bostwick Davis] on Amazon.com.au. *FREE* shipping on eligible orders. Degas Cassatt by Marc Rosen (2014-08-02)Reviews: 5Author: Marc Rosen;Susan Pinsky;Amanda Zehnder;Ann Hoenigswald;Erica Hirshler;Elliot Bostwick DavisPinsky, Susan [WorldCat Identities]worldcat.org/identities/lccn-nr97022668Most widely held works by Susan Pinsky Mary Cassatt : prints and drawings from the artist's studio by Mary Cassatt ( Book ) 14 editions published in ... Degas/Cassatt by Kimberly A. Jones (2014-05-08): Kimberly A. Jones, Elliot Bostwick Davis, Erica E. Hirshler, Ann Hoenigswald, Susan Pinsky: Amazon.com.mx: LibrosReviews: 5Author: Elliot Bostwick Davis, Erica E. HirshlerMary Cassatt Paintings, Bio, Ideas | TheArtStoryhttps://www.theartstory.org/artist/cassatt-maryMary Stevenson Cassatt was born to a comfortably upper-middle-class family: her father was a successful stockbroker, and her mother belonged to a prosperous banking family. The Cassatts lived in France and Germany from 1851 to 1855, giving the young Mary … Buy Degas/Cassatt by Jones, Kimberly A., Bostwick Davis, Elliot, Hirshler, Erica E., Hoenigswald, Ann, Pinsky, Susan, Rosen, Mark, T. Zehnder, Amanda online on Amazon ...Reviews: 6Format: HardcoverAuthor: Kimberly A. JonesMary Cassatt | Biography & 59 Most Important Artworks ...https://www.freeart.com/gallery/c/cassatt/cassatt.htmlMary Cassatt: A Life by Nancy Mowll Mathews. Yale Univ Pr, 1998. Art In A Mirror: The Counterproofs Of Mary Cassatt by Warren Adelson (Foreword), Jay E. Cantor, Pamela A. Ivinski, Mary Cassatt, Marc Rosen, Susan Pinsky. Adelson Galleries, 2004. Mary Cassatt: Painter of Modern Women (World of Art) by Griselda Pollock, Mary Cassatt. Thames ... Apr 20, 2017 · The American expatriate painter Mary Cassatt and the French artist Edgar Degas formed a long, if tumultuous, artistic relationship and friendship in the late 19 th century that lasted for decades. The two admired each other’s work during the early 1870s, years before they met. In 1877, Degas visited Cassatt in her studio—possibly their ...Missing: Susan PinskyMust include: Susan PinskyThe National Gallery of Art uncovers the true relationship ...https://www.washingtonpost.com/express/wp/2014/05/...May 14, 2014 · Cassatt said in a letter circa 1903 that Degas helped with the painting, but what he specifically did, no one knew. Infrared analysis shows that Cassatt originally painted the scene with a … Degas/Cassatt by Jones, Kimberly A., Davis, Elliot Bostwick, Hirshler, Erica E., Hoenigswald, Ann, Pinsky, Susan. Prestel. Used - Very Good. Very Good condition. Good dust jacket. A copy that may have a few cosmetic defects. May also contain a few markings such as an owner’s name, short gifter’s inscription or light stamp.... Mar 27, 2014 · Degas first met Cassatt (who was born in Pittsburgh but spent much of her life in Paris) on an 1877 visit to her Montmartre studio. “He recognized right off the bat that they had a shared ...Missing: Susan PinskyMust include: Susan PinskySusan Pinsky - AbeBookshttps://www.abebooks.com/book-search/author/SUSAN-PINSKYArt in a Mirror: The Counterproofs of Mary Cassatt by Adleson, Warren, Rosen, Marc, Pinsky, Susan and a great selection of related books, art and collectibles available now at AbeBooks.com. Degas/Cassatt: Amazon.ca: Jones, Kimberly A., Davis, Elliot Bostwick, Hirshler, Erica E., Hoenigswald, Ann, Pinsky, Susan: Books It was from the collector’s heirs that Mr. Rosen and his partner, Susan Pinsky (who had succeeded him for a time as head of Sotheby’s print department), finally acquired the Cassatt archive in ... “Cassatt.” 5. Marc Rosen, Susan Pinsky, Warren Adelson, Jay Cantor, Barbara Shapiro. Mary Cassatt: Prints and Drawings from the Artist’s Studio, 8. Princeton: Princeton University Press, 2000. 6. Rosen, 14. 3 . introduced to printmaking in Degas’ studio, Cassatt moved to her own studio to explore the listed techniques in unusual ways ... Degas/Cassatt by Kimberly A. Jones; Elliot Bostwick Davis; Erica E. Hirshler; Ann Hoenigswald; Susan Pinsky; Hirshler Jones; Davis Jones Call Number: N6853.D33
Load more

Recommended publications
  • Oral History Interview with Raymond J. Horowitz, 2004 Oct. 20-Nov. 5
    Oral history interview with Raymond J. Horowitz, 2004 Oct. 20-Nov. 5 Funding for this interview provided by the New Land Foundation. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Raymond Horowitz on October 20, 29, and november 5, 2004. The interview took place at his apartment on Fifth Avenue in New York, NY, and was conducted by Avis Berman for the Archives of American Art, Smithsonian Institution. Funding for this interview provided by the New Land Foundation. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview AVIS BERMAN: Avis Berman, interviewing Raymond J. Horowitz for the Archives of American Art History Program, October 20th, 2004, in his apartment on Fifth Avenue. And would you begin by stating your full name and date of birth? RAYMOND HOROWITZ: Raymond J. Horowitz, and the date of birth is May 7, 1916. MS. BERMAN: My goodness, so you must be drinking monkey glands. From looking at you, I wouldn't have known. Now, would you begin by telling me about your family background, including your mother's maiden name? MR. HOROWITZ: My mother's maiden name- MS. BERMAN: Her name, actually. MR. HOROWITZ: Her name was Sadie Freiman. My father is-was Israel S.
    [Show full text]
  • 2B77958a.Pdf
    sargent, monet... and manet Elaine Kilmurray In December 2006, I went to Paris to look at a cache of over a thousand letters written to Claude Monet by fellow artists (Caillebotte, Mary Cassatt, Cézanne, Manet, Pissarro, Renoir, Rodin, Sisley), writers (Octave Mirbeau, Gustave Geffroy) and his principal dealer (Paul Durand-Ruel) that had remained in the collection of Monet’s descendents and were about to be auctioned. They had passed through generations of the Monet family and many were unreleased and/or unpublished. Those of us working on the John Singer Sargent catalogue raisonné project were particularly interested in seventeen letters from Sargent to Monet. There has always been a sense of the provisional in accounts of the relationship between the two artists, a scarcity of fixed points and an absence of detail. We wanted to see how illuminating these letters were and how helpful they might be in filling lacunae and deepening our understanding. The timing was fortuitous: we were engaged on research for Volume V of the catalogue raisonné, in which we would catalogue Sargent’s most ‘Impressionist’ paintings. At the Artcurial auction house, I spoke to Thierry Bodin, who had done initial transcriptions of all the letters for the sale catalogue to a daunting deadline. The members of the catalogue raisonné team have struggled with Sargent’s writing (especially when in French, Italian or Spanish) for decades, and it was gratifying to hear from M. Bodin that, while Octave Mirbeau’s tight, closely worked hand had given him the most trouble, Sargent’s had come a close second.
    [Show full text]
  • Eugénie Prendergast: Market Maker by Warren Adelson
    Eugénie Prendergast: Market Maker By Warren Adelson About twenty years ago, Eugénie Prendergast telephoned me at my office at Coe Kerr Gallery and invited me to visit her at her home in Westport, Connecticut. I had never met her and was not sure why she was calling. I really knew her only by reputation: people said she was difficult. I drove north on Merritt Parkway, followed her directions to a nondescript side street, and entered the circular driveway of a small frame house. Mrs. Prendergast greeted me at the door; her manner was imposing. She looked me in the eye, extended her hand and invited me into the L-shaped living room. The sensation I recall is shock. It was like walking into a dream. Every inch of wall space was covered with paintings by Maurice Prendergast, the brother-in-law she had never met, yet devoted her life to. It was a profusion of art: oil paintings, watercolors, drawings, monotypes, and even a mosaic panel on an easel. In the adjacent dining room were large tempera paintings by her late husband, Charles. She suggested I walk up the narrow staircase that split the entry, and I saw more walls covered with Maurice’s work, all periods, sizes and media. I silently walked through those upstairs rooms, knowing it was a privilege. When I rejoined my hostess, she invited me to have tea and cookies and talk. We spoke for quite a while, although, in truth, I mostly listened. Mrs. P. seemed to have total recall. She recounted dinner parties forty and fifty years ago, and spoke about who was there and what pictures were on the walls.
    [Show full text]
  • The Jack Warner Foundation May 14 – June 4, 2016 a Special Exhibition and Sale
    Q UESTROYAL F INE A RT, LLC Paintings from The Jack Warner Foundation May 14 – June 4, 2016 A Special Exhibition and Sale Paintings from The Jack Warner Foundation Louis M. Salerno, Owner Brent L. Salerno, Co-Owner Chloe Heins, Director Nina Sangimino, Senior Researcher Shannon Cassell, Senior Administrator Ally Chapel, Administrator Jenny Lyubomudrova, Research Associate Kelly Reilly, Coordinator Rita J. Walker, Controller Alison Kowalski, Contributor Q UESTROYAL F INE A RT, LLC 903 Park Avenue (at 79th Street), Third Floor, New York, NY 10075 :(212) 744-3586 :(212) 585-3828 : Monday–Friday 10–6, Saturday 10–5 and by appointment : gallery@questroyalfineart.com www.questroyalfineart.com INTRODUCTION Jack with Thomas Cole paintings from the Warner collection on display at the Westervelt Warner Museum of American Art, 2009 Over the course of the past sixty years, Jack Warner has amassed president of Gulf States Paper Corporation in 1938. An astute Jack and Susan at the opening of important examples of American art for his company, foundation, businesswoman, she was a strong influence on Jack throughout An American Odyssey: The Warner and personal collection that represent the quality and spectrum her life. As a collector of European art and furniture, Mildred in- Collection of American Art at the New Britain Museum of American of our country’s creative output. The Warner collection is widely stilled a passion for art and collecting in Jack. Her upstanding Art, 2011 considered to be one of the greatest private collections of American character helped form his community values and his commit- art. Jack has made efforts to spread his pride of America and share ment to public service.1 the masterpieces he has acquired by funding several museums, a historic house, educational programs, The Jack Warner Foundation, After the war, Jack returned to Tuscaloosa to join the family busi- and a gallery in The Metropolitan Museum of Art.
    [Show full text]
  • For Immediate Release April 27, 2012
    For Immediate Release April 27, 2012 Contact: Sara Fox [email protected] tel +1 212 636 2680 FREEDOM: The Art of Stephen Scott Young A Selection of Works by an American Watercolor Master CHRISTIE’S PRIVATE SALES AND ADELSON GALLERIES JOIN FORCES IN A UNIQUE SELLING EXHIBITION Freedom STEPHEN SCOTT YOUNG (b. 1957) Exhibition: May 14 – June 11, 2012, Christie‟s Private Sales Galleries, 20th Floor, 1230 Avenue of the Americas New York – Christie’s Private Sales and Adelson Galleries are pleased to present a special exhibition and sale of 40 works on paper by the American artist Stephen Scott Young (b. 1957) at Christie’s. The show will open May 14, coinciding with the publication of a new book, Once Upon an Island: Stephen Scott Young in the Bahamas, by Dr. William H. Gerdts, professor emeritus of art history at City University of New York, and author of more than 25 books on American art. The exhibition spans more than 20 years of Young’s career and a range of subjects and sizes, with 28 works on paper in watercolor and dry brush, as well as six drawings and six watercolor studies. Mr. Young and Dr. Gerdts will attend the opening reception on Monday, May 14, and will sign copies of the new book. The exhibition is open to the public through June 11 at Christie’s Private Sales Galleries on the 20th floor at 1230 Avenue of the Americas. Eric Widing, Deputy Chairman, at Christie’s, said, “We are very pleased to host this major retrospective exhibition and sale for Stephen Scott Young.
    [Show full text]
  • Performing Identities in the Art of John Singer Sargent Leigh Culver
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 1999 Performing Identities in the art of John Singer Sargent Leigh Culver Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the American Art and Architecture Commons Recommended Citation Culver, Leigh, "Performing Identities in the art of John Singer Sargent" (1999). Publicly Accessible Penn Dissertations. 3084. https://repository.upenn.edu/edissertations/3084 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3084 For more information, please contact [email protected]. Performing Identities in the art of John Singer Sargent Abstract In the elegant society portraits by John Singer Sargent, body language created social identities. The fallen dress strap and obvious makeup in Madame X, for example, declared her a “professional beauty”; the costume of Charles Stewart proclaimed him a British lord. Critics often conflated appearance and character in Sargent's images, yet Sargent used theatre and masquerade in numerous works to problematize essentialist links between appearance and character that were fundamental to turn-of-the-century class, gender, and racial stereotypes. This dissertation concentrates on the art Sargent produced after Madame X, as he recovered from the scandal it provoked in 1884 and as he established his patron base in England and America. Many of Sargent's later works can be seen as a response to the issues raised by Madame X concerning the relationship between appearance and character. An analysis of theatrical elements in Sargent's paintings elucidates the function of these images in variously maintaining and challenging notions of social identity. Chapter One discusses the critical reception of Sargent's art in the context of a turn-of-the-century culture engaged in classification and performance activities.
    [Show full text]
  • Annual Report 2002
    2002 ANNUAL REPORT NATIONAL GALLERY OF ART WASHINGTON, D C. BOARD OF TRUSTEES Robert F. Erburu AUDIT COMMITTEE TRUSTEES' COUNCIL Sally Engelhard Pingree (as of 30 September 2002) Chairman (as of 30 September 2002) Diana C. Prince Robert F. Erburu Mitchell P. Rales Chairman Victoria P. Sant, Chair Catherine B. Reynolds Paul H. O'Neill La Salle D. Leffall Jr., Vice Chair Sharon Percy Rockefeller Robert H. Smith The Secretary of the Treasury Leon D. Black President Robert M. Rosenthal Robert H. Smith W. Russell G. Byers Jr. Roger W. Sant Julian Ganz, Jr. Calvin Cafritz B. Francis Saul II David 0. Maxwell William T. Coleman Jr. Thomas A. Saunders III Victoria P. Sant Edwin L. Cox Julian Ganz, Jr. Albert H. Small — James T. Dyke James S. Smith FINANCE COMMITTEE Mark D. Ein Ruth Carter Stevenson Edward E. Elson Roselyne C. Swig Robert H. Smith Doris Fisher Chairman Frederick A. Terry Jr. David 0. Maxwell Aaron I. Fleischman Paul H. O'Neill Joseph G. Tompkins Juliet C. Folger The Secretary of the Treasury John C. Whitehead John C. Fontaine Robert F. Erburu John Wilmerding Marina K. French Julian Ganz, Jr. Dian Woodner Morton Funger David 0. Maxwell Nina Zolt 1 Victoria P. Sant Lenore Greenberg Victoria P. Sant Rose Ellen Meyerhoff Greene EXECUTIVE OFFICERS ART AND EDUCATION Frederic C. Hamilton (as of 30 September 2002) COMMITTEE Richard C. Hedreen Teresa F. Heinz Robert H. Smith William H. Rehnquist i: Raymond J. Horowitz President The Chief Justice Robert H. Smith of the United States Chairman Robert J. Hurst Earl A.
    [Show full text]
  • Getaway at the MFA! Mfa.Org/Lectures Course 1
    PAID Boston, MA U.S. POSTAGE Non-Profit Org. Permit No. 58010 lecturesand courses T i c k e T s on s a l e a p r i l 1 7 M u s e u M of f i ne Arts, Boston Avenue of the Arts 465 Huntington Avenue Boston, Massachusetts 02115 s u M M e r 2 0 1 4 Plan your summer getaway at the MFA! mfa.org/lectures course 1. Jul 15 Morgan 3. Jul 29 Amidon t he Boston PuBlic GArden: Jefferson’s Monticello: the AtyPicAl lAndscAPe A GArden of science And Art Great Tue, Jul 15–29, 10:30 am–Noon How many of us know the true story behind this Our third US president was also a founding father Remis Auditorium Boston icon? From its origins as a private botanical of quintessential American landscape practices. Jane Amidon, associate dean, garden built on filled marshland, to the public Examine the enduring legacy and fruitful lessons of Graduate Programs and Research; horticultural and educational gem of the mid-Victorian Thomas Jefferson’s civic horticulture through the American professor and director, Urban Landscape era, see how the Public Garden has become a site gardens of his estate in Virginia at Monticello, Program, Northeastern University for celebration and forgotten controversy. home to two centuries of innovation in botanical, Jeffrey Curtis, director, Gardens and agrarian, and aesthetic techniques. Grounds, Newport Mansions 2. Jul 22 Curtis Gardens Keith Morgan, director, Architectural G Ardens of the newPort MAnsions Studies; professor, American and Hear the inside story of the miraculous gardens of European Architecture, Boston University Take a break from the summer heat to hear the fascinating Newport, Rhode Island’s mansions.
    [Show full text]
  • The Lure of the Exotic: an Examination of John Singer Sargent's Orientalist Mode
    The Lure of the Exotic: An Examination of John Singer Sargent's Orientalist Mode The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation TumSuden, Jennifer. 2016. The Lure of the Exotic: An Examination of John Singer Sargent's Orientalist Mode. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797270 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Lure of the Exotic: An Examination of John Singer Sargent’s Orientalist Mode Jennifer TumSuden A Thesis in the Field of History of Art and Architecture for the Degree of Master of Liberal Arts in Extension Studies Harvard University March 2016 © 2016 Jennifer TumSuden Abstract This paper investigates John Singer Sargent’s Orientalist paintings, branding them as a new mode of the pictorial genre. From a peripatetic upbringing emerged an artist with a penchant for the exotic. A painter-traveller above all else, Sargent sought to record his visible delight with the world. Not content to replicate the successes of men before him, Sargent set out on an artistic course to discover his own aesthetic and announce it to the world. His first Orientalist painting exhibited at the Salon, Fumée d’Ambre Gris (1880), was notable for its tonal virtuosity. In preparation for a grand mural scheme for the new Boston Public Library, Sargent embarked on a thorough investigation of the Near East.
    [Show full text]
  • Jacob Collins: New Works
    PRESS RELEASE | N E W Y O R K FOR IMMEDIATE RELEASE | 19 NOVEMBER 2012 JACOB COLLINS: NEW WORKS AN EXHIBITION OF RECENT PAINTINGS IN NEW YORK FROM NOVEMBER 24 –DECEMBER 19 Clockwise from top left: Banjo, Storm Breaking, Studio in Sharon, Yellow House at Thompson’s Point in Sunshine, all works 2012 New York - Christie’s Private Sales and Adelson Galleries are pleased to announce a public selling exhibition of recent works by the celebrated American realist painter Jacob Collins (b.1964), Jacob Collins: New Works, in New York, from November 24 – December 19, 2012. Held at Christie’s Private Sales Gallery, located at 1230 Avenue of the Americas, the exhibition will unveil a selection of 40 recent works comprised of landscapes, still lifes and figural compositions. New Works marks the third in a series of remarkable American realist collections presented this year, in partnership with Christie’s Private Sales and Adelson Galleries, following Stephen Scott Young, and Andrew Wyeth in China. Warren Adelson, Adelson Galleries, commented “Aside from Jacob’s obvious technical skill as a painter and draftsman, his paintings have a rich and elusive psychological character. Throughout his broad range of subject matter there is a taut sense of movement. His landscapes and seascapes roll with a palpable resonance; his figures seem on the verge of active expression, and his still lifes glow with light. We are thrilled to present this exceptional artist to the vast audience that Christie’s allows.” In an essay surrounding the collection of New Works, Dr. William H. Gerdts, professor emeritus of Art History at City University of New York, and author of more than 25 book on American Art said “a discussion of Jacob Collins’ latest paintings should not be concerned with a classification of Realism, but rather, what is immediately obvious to all, his astounding technical skill and his ability to impart to the viewer a meticulously nuanced visual experience.
    [Show full text]
  • For Immediate Release Frederic Edwin Church
    FOR IMMEDIATE RELEASE NEWS FREDERIC EDWIN CHURCH: ROMANTIC LANDSCAPES AND SEASCAPES, A STUNNING TRAVELING LOAN EXHIBITION OF RARELY EXHIBITED WORKS, TO BE ON VIEW AT ADELSON GALLERIES IN NEW YORK IN WINTER 2008 New York, NY (Winter 2007) – A selection of majestic works by America’s finest 19th –century landscape painter, Frederic Edwin Church (1826-1900), will be on view in Frederic Edwin Church: Romantic Landscapes and Seascapes, a loan exhibition that will open at Adelson Galleries in New York City on January 18, 2008, and remain on view there through March 1 after a successful showing in Houston at Meredith Long & Company in the fall. The show was organized by Adelson Galleries in conjunction with Michael Altman Fine Art & Advisory Services, LLC. Frederic Edwin Church: Romantic Landscapes and Seascapes will feature approximately 35 paintings and offer viewers a sampling of Church’s creative production from the beginning of his career to its end. A veritable illustrated travelogue showing scenes from New York and New England to Central and South America (he was the first notable artist to visit the continent), from the Holy Land to Greece, landscape lovers will be able to travel back in time with the artist and see the places he enjoyed so much. The majority of the works to be shown are on loan from private collectors whose works are rarely on public display, as well as from museums, including The Metropolitan Museum of Art in New York; The Museum of Fine Arts, Houston; The Philadelphia Museum of Art; The Brooklyn Museum; and the Cooper-Hewitt, National Design Museum; Smithsonian Institution; among others.
    [Show full text]
  • Annual Report 1999
    NATIONAL GALLERY OF ART 1999 Annual Report 1999 ANNUAL REPORT NATIONAL GALLERY OF ART 1999 Annual Report Copyright © 2000 Board of Trustees, Cover: View of the fountain in the new National Details illustrated at section openings: Gallery of Art Sculpture Garden, with the western National Gallery of Art, Washington. p. 5: El Greco, Saint Martin and the Beggar, facade of the West Building in the background. 1597/1599, oil on canvas, Widener Collection, All rights reserved. Photograph by Robert Shelley 1942.9.25 Photograph on page 65: copyright © Title page: Sanford Robinson Gifford, Siout, Egypt, p. 7: Albrecht Diirer, Small Horse, 1505, engraving, 1874, oil on canvas, 53.3 x 101.6 cm, New Century Rosenwald Collection, 1943.3.3558 2000 Estate of Andre Kertesz Fund, Gift of Joan and David Maxwell, 1999.7.1 p. 9: Moritz von Schwind, Saint George and the Image of House I by Roy Lichtenstein Dragon, 1825/1830, pen and brown ink on wove Photographic credits: Works in the collection of the paper, Ailsa Mellon Bruce Fund, 1998.22.2 (page 80): copyright © 2000 Estate of National Gallery of Art have been photographed by Roy Lichtenstein the department of imaging and visual services. p. 13: Augustus Saint-Gaudens, Memorial to Robert Image of Cheval Rouge by Alexander Other photographs are by Dennis Brack / Black Shaw and the Massachusetts Fifty-fourth Regiment, Star (pp. 12, 18, 34, 40, 68, 86, 94), Sally Freitag 1900, patinated plaster, on long-term loan from the Calder (page 80): copyright © 2000 (p. 70), and Robert Shelley (cover and pp.
    [Show full text]