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Illustrations of Selected Works in the Various National Sections of The
SMITHSONIAN INSTITUTION libraries 390880106856C A«T FALACr CttNTRAL. MVIIION "«VTH rinKT OFFICIAI ILLUSTRATIONS OF SELECTED WORKS IN THE VARIOUS NATIONAL SECTIONS OF THE DEPARTMENT OF ART WITH COMPLETE LIST OF AWARDS BY THE INTERNATIONAL JURY UNIVERSAL EXPOSITION ST. LOUIS, 1904 WITH AN INTRODUCTION BY HALSEY C. IVES, CHIEF OF THE DEPARTMENT DESCRIPTIVE TEXT FOR PAINTINGS BY CHARLES M. KURTZ, Ph.D., ASSISTANT CHIEF DESCRIPTIVE TEXT FOR SCULPTURES BY GEORGE JULIAN ZOLNAY, superintendent of sculpture division Copyr igh r. 1904 BY THE LOUISIANA PURCHASE EXPOSITION COMPANY FOR THE OFFICIAL CATALOGUE COMPANY EXECUTIVE OFFICERS OF THE DEPARTMENT OF ART Department ' B’’ of the Division of Exhibits, FREDERICK J. V. SKIFF, Director of Exhibits. HALSEY C. IVES, Chief. CHARLES M. KURTZ, Assistant Chief. GEORGE JULIAN ZOLNAY, Superintendent of the Division of Sculpture. GEORGE CORLISS, Superintendent of Exhibit Records. FREDERIC ALLEN WHITING, Superintendent of the Division of Applied Arts. WILL H. LOW, Superintendent of the Loan Division. WILLIAM HENRY FOX Secretary. INTRODUCTION BY Halsey C. Ives “All passes; art alone enduring stays to us; I lie bust outlasts the throne^ the coin, Tiberius.” A I an early day after the opening of the Exposition, it became evident that there was a large class of visitors made up of students, teachers and others, who desired a more extensive and intimate knowledge of individual works than could be gained from a cursory view, guided by a conventional catalogue. 11 undreds of letters from persons especially interested in acquiring intimate knowledge of the leading char¬ acteristics of the various schools of expression repre¬ sented have been received; indeed, for two months be¬ fore the opening of the department, every mail carried replies to such letters, giving outlines of study, courses of reading, and advice to intending visitors. -
A Finding Aid to the Henry Mosler Papers, 1856-1929, in the Archives of American Art
A Finding Aid to the Henry Mosler Papers, 1856-1929, in the Archives of American Art Stephanie Ashley Funding for the processing and digitization of this collection was provided by the Joseph F. McCrindle Foundation and the Terra Foundation for American Art. May 02, 2012 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 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Materials, 1863-1892, 1921................................................. 5 Series 2: Letters, 1861-circa 1920........................................................................... 6 Series 3: -
Copyright 2014 Adam M. Thomas
Copyright 2014 Adam M. Thomas THE SPECTRAL IMAGINATION: AMERICAN ART BETWEEN SCIENCE AND SUPERSTITION IN THE LATE NINETEENTH CENTURY BY ADAM M. THOMAS DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Associate Professor Jennifer A. Greenhill, Chair Associate Professor Terri Weissman Associate Professor David O’Brien Associate Professor Cara A. Finnegan ABSTRACT This dissertation explores how tensions between science and superstition were embedded in and constitutive of the visual arts in late nineteenth-century America. By focusing on the work of artists Henry Alexander (1860–94), William Merritt Chase (1849–1916), Edwin Romanzo Elmer (1850–1923), and Irving Ramsay Wiles (1861–1948), this project examines the interplay of these ostensibly opposing worldviews in painting. It traces how the interdependence of these terms—which were very much in flux during the era— provided a creative paradigm for negotiating the professionalization of science, the emergent discipline of psychology, new theories of perception and memory, as well as scientific and spiritual efforts to unlock material, psychic, and supernatural worlds broadly. This dissertation reassesses distinctions between so-called realistic and visionary idioms in American art and offers a revised conception of the intersections between art and science in this period. ii ACKNOWLEDGEMENTS Many people have contributed to my work on this dissertation. I am exceptionally grateful to my advisor Jennifer Greenhill for her enthusiasm about this topic since its inception and for her incisive comments at every stage of the process. -
Detlef Sammann
609 DETLEF SAMMANN (1857-1938) was born on February 28th in Westerhever-Eiderstedt, Schleswig-Holstein, Germany, and at the age of fifteen began a four-year apprenticeship with a local painter of interior decoration. Thereafter he traveled for three years in the Dresden area and worked under the court artist Lankau, a renowned muralist. In August of 1881 Sammann arrived in New York City aboard the S.S. Australia and worked for a year as a decorator before returning home.1 He had earned enough money to pay for a course of instruction under Wilhelm Georges Ritter at the Dresden School of Industrial Art.2 Two of his portraits, which were stylistically influenced by Rembrandt, were hung in the municipal museum in Vienna.3 On February 9, 1884 he married Anna Maria Bianka Schmidt, an Austrian native and a resident of Dresden. He returned to New York City with his wife and opened a studio where he created for the leading interior decorators elaborate designs with flowers. Their daughter, Katherine (Katie) Bertha Sammann, was born on September 10, 1884. He became a naturalized citizen of the United States on July 19, 1889 in Jersey City, New Jersey.4 His first American passport was granted October 4, 1889. At that time Sammann visited Dresden and studied tapestry painting in Paris. He returned to New York City in 1891 when he was elected a “manager” of the local Verein für Kunst und Wissenschaft, an organization of immigrant Germans who encouraged art and social reform.5 Later he became a co-founder of New York’s Albrecht Dürer Verein, a society that promoted industrial arts.6 He was also elected a member of the local Society of Art and Science. -
Religious Liberty (1876) and the Nineteenth‐Century Jewish American Experience 1 Samantha Baskind
A Companion to Nineteenth‐Century Art WILEY BLACKWELL COMPANIONS TO ART HISTORY These invigorating reference volumes chart the influence of key ideas, discourses, and theories on art, and the way that it is taught, thought of, and talked about throughout the English‐speaking world. Each volume brings together a team of respected international scholars to debate the state of research within traditional subfields of art history as well as in more innovative, thematic configurations. Representing the best of the scholarship governing the field and pointing toward future trends and across disciplines, the Blackwell Companions to Art History series provides a magisterial, state‐of‐the‐art synthesis of art history. 1 A Companion to Contemporary Art since 1945, edited by Amelia Jones 2 A Companion to Medieval Art, edited by Conrad Rudolph 3 A Companion to Asian Art and Architecture, edited by Rebecca M. Brown and Deborah S. Hutton 4 A Companion to Renaissance and Baroque Art, edited by Babette Bohn and James M. Saslow 5 A Companion to British Art: 1600 to the Present, edited by Dana Arnold and David Peters Corbett 6 A Companion to Modern African Art, edited by Gitti Salami and Monica Blackmun Visonà 7 A Companion to Chinese Art, edited by Martin J. Powers and Katherine R. Tsiang 8 A Companion to American Art, edited by John Davis, Jennifer A. Greenhill, and Jason D. LaFountain 9 A Companion to Digital Art, edited by Christiane Paul 10 A Companion to Dada and Surrealism, edited by David Hopkins 11 A Companion to Public Art, edited by Cher Krause Knight and Harriet F. -
Second Sale Starter
Henry Hollander, Bookseller 843 Twenty-Fourth Avenue San Francisco, CA 94121 2007 Year-End Sale Contact us at 415-831-3228 or [email protected] This is our second year-end sale. We are getting a late start, so the sale will run until January 31st. All of the title below are offered at a 50% discount off of our regular prices which appear below (ie. Price below $10.00, sale price $5.00). Quanities are limited, so some items will sell out. We are beginning with a stock of at least three copies of each item. Sale price DOES NOT extend to any items not listed below. At this time I have not been able to fully proof this catalog for typographic errors. Neither item numbers nor page numbers are up yet either. I should have a better version of this catalog available by the 24th. Orders can be placed through the website. The website (http://www.hollanderbooks.com) will not calculate a discount, but one will be taken on all sale items when the final invoice is run. However, it may be easier for you to send me a list of your order in an email to the address above. Thanks for your interest. We look forward to hearing from you. Jewish Art "Scheinfeld." Tel Aviv, Sabra, 1977. First Edition. Oblong quarto, orange cloth, 68 pp., b/w and color illustrations throughout. Hardbound. Very Good. Introduction by Ethel Broido in Hebrew and English. Foreword by Baruch Oren. An artist's catalog. Yeshayahu Scheinfeld is an Israeli naive artist who worked in various mediums including weaving.His usual subject matter is the scenery of the land of Israel (29433) $10.00 Abrahami, Elie. -
52 American Jewish Year Book
52 AMERICAN JEWISH YEAR BOOK BIOGRAPHICAL SKETCHES OF JEWS PROMINENT IN THE PROFESSIONS, ETC., IN THE UNITED STATES The Biographical Sketches which follow are a second in- stalment of the series begun in the AMERICAN JEWISH YEAE BOOK for 5664. The Sketches there published were of Rabbis and Cantors officially connected with congregations in the United States. On pp. 214-225, will be found additions to the list of last year, designed to keep it up to date. It is intended to complete the series of Biographical Sketches in the AMERICAN JEWISH YEAR BOOK for 5666, in which an attempt will be made to present the biographical data of the men and women who are doing the communal work for the Jews of the United States. The present instalment does not deal with so unified a set of personages as the first dealt with and as the third is de- signed to deal with. It aims to bring together the names and biographical data of the Jews in the United States who have won a place in the professions, in the arts, the sciences, in journalism, in business, in public life. Only one class of pro- fessional men and women have been excluded from the present instalment, namely, those who have trained themselves to preside over Jewish charitable institutions; the superin- tendents and directors of the charities, the superintendents of orphan asylums and kindred institutions, the probation officers, the social settlement workers, etc. Their vocation is so closely allied to the activities that will constitute the ground for inclusion in the next instalment of sketchea BIOGRAPHICAL SKETCHES 53 that it seemed proper to associate them with the communal workers whose leaders and guides they are. -
Biographical Dictionary of Kansas Artists (Active Before 1945)
Biographical Dictionary of Kansas Artists (active before 1945) Compiled by Susan V. Craig, Art & Architecture Librarian Univ. of Kansas August 2006 1 This book began with a 1981 reference question about John Noble, a name I did not recognize despite having studied art history and worked as an art librarian for more than 10 years. Learning that John Noble was a Kansas artist, I went looking for the best available book on Kansas art only to learn the resources were few. As a new faculty member at the Univ. of Kansas, I needed to establish a research project so I decided to prepare a dictionary of Kansas artists thus fulfilling both the research requirement and educating myself about the history of the visual arts in my native state; I just didn't intend the project to take 25 years or realize that I would have more than 1750 entries in the dictionary. I began by defining the scope of the work: • "Kansas artist" was loosely defined as artists who were both born in the state as well as artists who were born elsewhere but were artistically active in Kansas. Under this latter definition, I included artists who produced significant artworks such as the murals installed in Kansas post offices. Occasionally, artists who lived or worked primarily in Kansas City, MO may be included. I did not deliberately include all Kansas City artists but neither did I exclude them if the name came from a Kansas source such as the Kansas State Gazetteer. • Another choice I made was to look for artists who were artistically active before 1945. -
The AIC Painting Specialty Group POSTPRINTS
The AIC Painting Specialty Group POSTPRINTS VOLUME TWENTY-FOUR 2011 The American Institute for Conservation of Historic and Artistic Works The Paintings Specialty Group of the American Institute for Conservation of Historic and Artistic Works 2010-2011 Officers Chair Laura Rivers Program Chair Patricia Favero Secretary/Treasurer Dawn Rogala Nominating Committee Montserrat Le Mense, Chair Nicholas Dorman, and Joanna Dunn Listserv Moderator Chris Stavroudis Publications Chair Barbara Buckley Web Editor Christina Milton O’Connel The AIC Painting Specialty Group POSTPRINTS VOLUME TWENTY-FOUR 2011 Papers Presented at the 39th Annual Meeting of the American Institute for Conservation and Historic Works Philadelphia, Pennsylvania, May 31–June 3, 2011 Compiled by Barbara Buckley Layout by Meg Newburger Copyright © 2014 by the Paintings Specialty Group of the American Institute for Conservation of Historic and Artistic Works, 1156 15th St., NW, Suite 320, Washington DC 20005. All rights reserved. No part of this publication may be reproduced or used in any form or by any means with- out written permission of the American Institute for Conservation of Historic and Artistic Works. Publication of this serial began in 1988. Except for Volume 3 (1990) all issues until Volume 16 are unnumbered. Beginning with Volume 22, the title year will be the meeting year and not the pub- lication year. The papers presented in this publication entitled AIC Paintings Specialty Group Postprints, Volume Twenty-four, 2011 have not been edited and have not undergone a formal process of peer review. The publication is intended primarily for the members of the Paintings Specialty Group of the Ameri- can Institute for Conservation of Historic and Artistic Works. -
RESOURCE CATALOG IINDIANANDIANA AARTISTSRTISTS Adams, John Ottis 1851–1927
AArtrtrtSmaSSmart:mart:t: Indiana RESOURCE CATALOG IINDIANANDIANA AARTISTSRTISTS Adams, John Ottis 1851–1927 JOHN OTTIS ADAMS was born in Amity, in Johnson County. After two years at Wabash College in Crawfordsville, he left to become an artist. He studied at the Kensington Art School in London in 1872 and at the Royal Academy of Bavaria in Munich from 1880 to 1887. Then Adams formed an alliance with other Indiana Impressionist artists, called the Hoosier Group. Adams set up portrait studios in Seymour, then in Martinsville, and eventually in Muncie, where he and William Forsyth began a partnership in 1888. Adams also painted with T. C. Steele at Metamora, and was strongly infl uenced by William Merritt Chase’s paintings exhibited at the Indiana State Fair circa 1896. In 1898 Adams married Winifred Brady of Muncie, also an artist; their home in Brookville was built in the shelter of a Wash Day, Bavaria, 1885 great forest, prompting Adams and Steele 18 1/2" x 23 5/8" Indianapolis Museum of Art to call it “the Hermitage.” Adams was Keywords: paintings, narrative, oil on canvas an instructor at Indianapolis’s Herron Subjects: outdoors, trees, people, women, houses, Hoosier Group Art Institute from 1904 to 1909. The Adamses spent part of each summer in Adams painted this while in Munich; the setting looks European. Notice the thatched roofs Leland, Michigan, painting woodlands and and the woman’s clothing. This genre painting is full of the details of daily life. sunsets, and in later life painted in Florida each winter. For Discussion ● Ask students how this scene from Munich in 1885 might compare with wash day in Indiana at that same time. -
Cincinnati Artists and the Lure of Germany in the Nineteenth Century
Queen City Heritage Bust of Marquis de Lafayette by Frederick Eckstein, 1825. Cincinnati Art Museum, The Edwin and Virginia Irwin Memorial. (Figure 1) Winter 1999 Cincinnati Artists and the Lure of Germany Cincinnati Artists and the Lure of Germany in the Nineteenth Century John Wilson 1788; the German Johan Heckewelder wrote the first account of Cincinnati and the surrounding area in 1792. By 1840, 30 percent of the city's population At the civic and emotional center of the was German-speaking, prompting city officials to city of Cincinnati stands a graceful, monumental publish ordinances in both German and English, and bronze allegorical figure of water. Water showers prompting the usual social discrimination. Germans from the palms of her hands at the end of her out- settled into various neighborhoods, the most celebrat- stretched arms. Residents know the figure well; the ed of which was "Over-the-Rhine," so-named because plaza on which it sits, Fountain Square, has drawn the immigrants jocularly referred to the Miami-Erie Cincinnatians for over a century to celebrate sporting Canal that ran east-west north of downtown before and military victories, and continues to draw contro- curving south to the Ohio River as "The Rhine." To versy as disparate groups of all political persuasions get to the neighborhood from downtown, one had to exercise their right of freedom of speech under the go "over" the Rhine. First Amendment to the Constitution. During the While German artists were among the city's Oktoberfest-an homage not only to earliest -
Catalogue of Paintings
pi lliliiill, COLLEGE OF ARCHITECTURE LIBRARY Cornell University Library N 610.A65 1920 Catalogue of paintings / 3 1924 020 595 173 Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924020595173 THE METROPOLITAN MUSEUM OF ART CATALOGUE OF PAINTINGS MCMXX CATALOGUE OF PAINTINGS VIRGIN ENTHRONED WITH SAINTS BY RAPHAEL THE METROPOLITAM MUSEUM OF ART CATALOGUE OF PAINTINGS BY BRYSON BURROUGHS CURATOR , DEPARTMENT OF PAINTINGS FIFTH EDITION NEW YORK M C M X X hr 33^t| FIRST EDITION, COPYRIGHT, FEBRUARY, I9I4 SECOND EDITION, COPYRIGHT, FEBRUARY, I916 THIRD EDITION, COPYRIGHT, JUNE, I917 FOURTH EDITION, COPYRIGHT, MARCH, I919 FIFTH EDITION, COPYRIGHT, JUNE, I92O BY THE METROPOLITAN MUSEUM OF ART PREFACE alphabetical arrangement by the names of artists, or by AN schools where the artists are unknown, is followed in this . book. In the attempt to solve the problem of number- ^ ing a rapidly growing collection of paintings, the experi- ment has been made here of adapting the C. A. Cutter system, long in use in libraries. To use the catalogue it is not necessary to be familiar with the system of numbering, but for those who may be interested an explanation follows. It consists of a combination of letters and numbers, composed of the initial letter of the author's name followed by numbers that represent the succeeding letters of the same, so that additional entries can be inserted without disturbing the sequence of the letters or the numerals.