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To Buy the Entire ACC Operation for Approximately $2 Million. the ACC
'I'll£ GRrArt:sr Suows Of\ EARTII to buy the entire ACC operation for approximately succeeding years, $2 million. The ACC accepted the offer, and Ringling, including Sparks, without the slightest inkling that the stock market Sells-Floto, and would crash in just a few weeks, borrowed substantially AI G. Barnes. in order to make the purchase. On 6 September 1929 Hagen beck Ringling acquired the former ACC holdings. Wallace hung Unable to pay off his personal note, Ringling, over on through the the objection of family members, transferred own 1933 and 1934 ership of the ACC, along with the concurrent debt, seasons but had to the Ringling Brothers Circus. In July 1932 Ringling dwindled in size was deposed as manager of Ringling Brothers and from forty-eight Barnum and Bailey. Ballard fared even worse. A dis circus cars to gruntled employee shot and killed him in 1936. Mter thirty-five by 1935. • Ballard's death, his heirs sold all his real estate hold The circus finally ings in West Baden Springs, including the winter closed in 1938. quarters. Eventually the circus buildings were In 1935 Jess destroyed, and the ornate wagons, cages, and Adkins and Zack calliopes they once contained mysteriously-and Terrell, former permanently-disappeared. ACC managers, Former managers of the American Circus The Ringling conglomerate returned three of the bought the Cole Corporation bought the Cole Brothers Circus in former ACC circuses-the John Robinson, Sells Brothers Circus 1935 and staffed it mainly with Peru residents. Floto, and Hagenbeck-Wallace-to Peru the winter and staffed it pri Headquartered in Rochester, it was the only BELow: The Sells·Fioto Circus, after they were purchased. -
Gallery Baroque Art in Italy, 1600-1700
Gallery Baroque Art in Italy, 1600-1700 The imposing space and rich color of this gallery reflect the Baroque taste for grandeur found in the Italian palaces and churches of the day. Dramatic and often monumental, this style attested to the power and prestige of the individual or institution that commissioned the works of art. Spanning the 17th century, the Baroque period was a dynamic age of invention, when many of the foundations of the modern world were laid. Scientists had new instruments at their disposal, and artists discovered new ways to interpret ancient themes. The historical and contemporary players depicted in these painted dramas exhibit a wider range of emotional and spiritual conditions. Artists developed a new regard for the depiction of space and atmosphere, color and light, and the human form. Two major stylistic trends dominated the art of this period. The first stemmed from the revolutionary naturalism of the Roman painter, Caravaggio, who succeeded in fusing intense physical observations with a profound sense of drama, achieved largely through his chiaroscuro, or use of light and shadow. The second trend was inspired by the Bolognese painter, Annibale Carracci, and his school, which aimed to temper the monumental classicism of Raphael with the optical naturalism of Titian. The expressive nature of Carracci and his followers eventually developed into the imaginative and extravagant style known as the High Baroque. The Docent Collections Handbook 2007 Edition Niccolò de Simone Flemish, active 1636-1655 in Naples Saint Sebastian, c. 1636-40 Oil on canvas Bequest of John Ringling, 1936, SN 144 Little documentation exists regarding the career of Niccolò de Simone. -
Digitizing John Ringling's Wisconsin Train Car at the John and Mable
Digitizing John Ringling’s Wisconsin Train Car at the John and Mable Ringling Museum of Art in Sarasota, Florida DAVIDE TANASI, KAITLYN KINGSLAND, MICHAEL DECKER, MICHAEL CELESTIN University of South Florida, FL, USA The John and Mable Ringling Museum in Sarasota, Florida is home to the private train car of John and Mable Ringling, named the Wisconsin after John’s home state. This unique train car served as the house on wheels for the tycoon and circus king during his frequent journeys around the United States. Since John was in charge of book the circus and purchasing new acts and equipment across the country, John and Mable found that most of their time was spent in this mobile mansion. In order to expand the accessibility of the train car to the public and to assist curators in 3D printing new train car parts for conservation and replacement. The University of South Florida’s Institute for Digital Exploration (USF IDEx) digitized the Wisconsin train car using terrestrial laser scanning (TLS) and digital photogrammetry. The completed digital model was uploaded to the 3D model sharing website, Sketchfab, for dissemination to the public, providing access to the interior of the car which is currently closed to museum visitors. Segmented portion of the 3D models were used to create individual 3D models of furniture, parts of which were 3D printed out in real scale and treated in order to resemble to originals made out of wood or metals. The virtual Wisconsin also served to provide valuable information and assist in understanding this Gilded Age train car to curators, researchers, and the wider community. -
Saint Paul Is a Very Recent Addition to the Catalogue of the Artist’S Work, As Newly Established by Camillo Manzitti
BERNARDO STROZZI (GENOA, 1581/1582 - VENICE, 1644) Oil on canvas, 27 3/16 x 27 5/8 in (69 x 55 cm) France, private collection - Camillo Manzitti, Bernardo Strozzi, Turin, 2013, p. 137, no. 141 ; - Veronique Damian, Quatre nouveaux tableaux génois de Strozzi, Castiglione, Piola et Baciccio. Une sélection de tableaux du XVIIe siècle , Paris, Galerie Canesso, 2013, pp. 26-29. This bust-length figure of Saint Paul is a very recent addition to the catalogue of the artist’s work, as newly established by Camillo Manzitti. The subject is not an unfamiliar 26 rue Laffitte, 75009 Paris Tel : + 33 1 40 22 61 71 e-mail : [email protected] http://www.canesso.art one in Bernardo Strozzi’s oeuvre as he treated it several times in a similar format, though with variations in pose and type of model (Bologna, Molinari Pradelli collection; Genoa, Galleria di Palazzo Rosso).1 Our saint, his hand resting on the sword that was the instrument of his martyrdom, is depicted with bust turned to his left, while his face is decidedly frontal, and his gaze directed upwards so as to animate his features; the potent psychological and physical qualities, especially the handling of the red hair, prompt us to imagine that this could be a portrait. A passage of light behind the saint’s shoulder in the middle ground elegantly detaches the figure from its dark background. The artist’s style is recognizable here in the generous use of pigment, applied with impasto, the red highlights (especially on the fingertips and cheeks), and the sophistication of colour, culminating in the fine harmony of the red-browns and green, unusual in its tonality, that brightens the foreground. -
National Register Off Historic Places Inventory Nomination Form 1
NPS Form 10-900 0MB No. 1024-0018 (342) Exp. 10-31-84 United States Department of the Interior National Park Service For NPS UM only National Register off Historic Places received Inventory Nomination Form date entered See instructions in How to Complete National Register Forms Type all entries complete applicable sections___________________^___________ 1. Name____________________________ Wallace Circus Winter Quarters (1892-1913); American Circus Corporation Winter historic Quarters (1921-29)__________________________________________________ and or common Peru Circus Farm; Valley Farms___________________________________ 2. Location street & number 2 - 5 miles southeast of city center not for publication city, town JL. vicinity of Peru state Indiana code county Miami code 3. Classification Category Ownership Status Present Use __ district __ public X occupied _X _ agriculture __ museum _JL_ building(s) X private unoccupied commercial __ park structure both work in progress educational x private residence site Public Acquisition Accessible entertainment religious object in process yes: restricted government scientific being considered .. yes: unrestricted industrial transportation _J^no military other: 4. Owner off Property name Valley Farms, Inc. c/o Mr. Lyman Bond street & number 13555 114th Street city, town Noblesville vicinity of state Indiana 5. Location off Legal Description courthouse, registry of deeds, etc. Courthouse street & number city, town peru state Indiana 6. Representation in Existing Surveys title None has this property been determined eligible? yes no date federal state county local depository for survey records city, town state 7. Description Condition Check one Check one __ excellent __ deteriorated _ unaltered X original site _Jlgood __ruins JC, altered .moved date __ fair __ unexposed Describe the present and original (if known) physical appearance Summary The principal "Circus Farm" of Peru is that used sequentially by Benjamin Wallace, the American Circus Corporation, and the Ringlings between 1892 and 1938. -
Strozzi St Paul AN
Bernardo Strozzi Genoa, 1581/1582 – Venice, 1644 Saint Paul Oil on canvas, 27 3/16 x 27 5/8 in (69 x 55 cm) Provenance: France, private collection. Literature: -Camillo Manzitti, Bernardo Strozzi, Turin, 2013, p. 136, no. 141; -Véronique Damian, Quatre nouveaux tableaux génois de Strozzi, Castiglione, Piola et Baciccio. Une sélection de tableaux du XVIIe siècle, Paris, Galerie Canesso, 2013, pp. 26-29 ; -Anna Orlando, in Bernardino Strozzi 1582-1644, exh. cat., Genoa, Palazzo Nicolosio Lomellino, 11 October 2019 – 12 January 2020, pp. 124, 126, fig. 45. This bust-length figure of Saint Paul is a very recent addition to the catalogue of the artist’s work, as newly established by Camillo Manzitti. The subject is not an unfamiliar one in Bernardo Strozzi’s oeuvre as he treated it several times in a similar format, though with variations in pose and type of model (Bologna, Molinari Pradelli collection; Genoa, Galleria di Palazzo Rosso).1 Our saint, his hand resting on the sword that was the instrument of his martyrdom, is depicted with bust turned to his left, while his face is decidedly frontal, and his gaze directed upwards so as to animate his features; the potent psychological and physical qualities, especially the handling of the red hair, prompt us to imagine that this could be a portrait. A passage of light behind the saint’s shoulder in the middle ground elegantly detaches the figure from its dark background. The artist’s style is recognizable here in the generous use of pigment, applied with impasto, the red highlights (especially on the fingertips and cheeks), and the sophistication of colour, culminating in the fine harmony of the red-browns and green, unusual in its tonality, that brightens the foreground. -
Winter Dialogue-Final-2
Docent Council Dialogue Winter 2013 Published by the Docent Council Volume XLIIl No 2 From Ethereal to Earthy The Legacy of Caravaggio 1 Inside the Dialogue Reflections on a Snowy Morning.......................Diane Macris, President, Docent Council Page 3 Winter Message..................................................Charlene Shang Miller, Docent and Tour Programs Manager Page 3 A Docent’s Appreciation of Alona Wilson........................................................JoAn Hagan, Docent Page 4 An Idea whose Time had Come................................Sandy Voice Page 5 Presentations:Works of Art from Burst of Light ......Docent Contributors Pages 7-20 The Transformative Genius of Caravaggio...............JoAn Hagan Page10 Flicks: The Dialogue Goes to the Cinema....................................................Sandy Voice Page 10 A Docent’s Guide to the Saints..................................Beth Malley Page 11 From the Sublime to the Ridiculous and Back..........Hope Vath Page 13 The Bookshelf: A Book Review.................................BethMalley Page 15 A Passion for Stickley ...............................................Laura Harris Page 20 From the Collection of Stephen Gray Docent Council Dialogue The Dialogue is created by and for docents and provides a forum for touring ideas and techniques, publishing information that is vital to docent interests such as museum changes, and recording docent activities and events. The newsletter is published in Fall, Winter, and Spring editions. Editorial Staff Sandy Voice Co-Editor -
Exhibition Checklist: a Superb Baroque: Art in Genoa, 1600-1750 Sep 26, 2021–Jan 9, 2022
UPDATED: 8/11/2020 10:45:10 AM Exhibition Checklist: A Superb Baroque: Art in Genoa, 1600-1750 Sep 26, 2021–Jan 9, 2022 The exhibition is curated by Jonathan Bober, Andrew W. Mellon Senior Curator of Prints and Drawings National Gallery of Art; Piero Boccardo, superintendent of collections for the City of Genoa; and Franco Boggero, director of historic and artistic heritage at the Soprintendenza Archeologia, Belle Arti e Paesaggio, Genoa. The exhibition is organized by the National Gallery of Art, Washington, and the Scuderie del Quirinale, Rome, with special cooperation from the City and Museums of Genoa. The exhibition is made possible by the Robert Lehman Foundation. Additional funding is provided by The Exhibition Circle of the National Gallery of Art. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Press Release: https://www.nga.gov/press/exh/5051.html Order Press Images: https://www.nga.gov/press/exh/5051/images.html Press Contact: Laurie Tylec, (202) 842-6355 or [email protected] Object ID: 5051-345 Valerio Castello David Offering the Head of Goliath to King Saul, 1640/1645 red chalk on laid paper overall: 28.6 x 25.8 cm (11 1/4 x 10 3/16 in.) National Gallery of Art, Washington, Rosenwald Collection Object ID: 5051-315 Giovanni Benedetto Castiglione The Genius of Castiglione, before 1648 etching plate: 37 x 24.6 cm (14 9/16 x 9 11/16 in.) sheet: 37.3 x 25 cm (14 11/16 x 9 13/16 in.) National Gallery of Art, Washington, Gift of Ruth B. -
The Ringling Archives Howard Tibbals' Allen J. Lester Papers, 1925-1955
Howard Tibbals’ Collection of Allen J. Lester Papers, 1925 -1955 Descriptive Summary Repository The John and Mable Ringling Museum of Art Archives Creator Allen J. Lester, 1901 - 1957 Title Howard Tibbals’ Collection of Allen J. Lester Papers, 1925 - 1955 Language of Material English Extent 32 linear feet Provenance Acquired from the wife of Allen J. Lester by Howard Tibbals. Collection Overview The papers of Allen J. Lester chronicle his career from 1925 – 1956 working in varying capacities in the press department press of several American circuses and to a lesser degree as a promoter in the movie industry. The collection consists of press synopses; press department advice sheets; exchange invitations and requisitions; wage statements; contracts; expense account books; train passes; show script ticket books; press releases; photographs; business and personal correspondence; Christmas cards; birth announcement; news clippings and a courier; business cards; telegrams; notes; artifacts; route books; address books; circus tickets, press passes and employees passes; print plate molds and print blotters; press department forms; address books and addresses; 1939-1955 Ringling Brothers Barnum & Bailey press agent reports; and 1948 Dailey Bros. press agent reports. There are advertising materials and photographs for the movie production, Three Ring Circus starring Dean Martin, Jerry Lewis, Zsa Zsa Gabor and Jo Ann Dru. Stationery from the following The Ringling Archives Howard Tibbals’ Allen J. Lester Papers, 1925-1955 1 circuses and hotels are also held in the collection: AL G Barnes Circus, Cole Bros. Circus, Hagenbeck-Wallace Circus, Miller Bros. 101 Ranch, Ringling Brothers Barnum & Bailey Circus, Hotel Bonneville, Hotel Davenport, Muslim Temple, and the Plains Hotel. -
The Ringling Annual Review 2019-2020
2019–2020 ANNUAL REVIEW FLORIDA STATE UNIVERSITY John E. Thrasher President Dr. Sally E. McRorie Provost EXECUTIVE DIRECTOR Steven High BOARD OF DIRECTORS Jeffrey R. Hotchkiss, Chair Sarah H. Pappas, Vice Chair Edward M. Swan, Jr., Treasurer Judith F. Shank, Secretary Dennis W. Archer Ellen S. Berman H. Michael Bush Warren R. Colbert, Sr. Rebecca Donelson Leon R. Ellin Darrel E. Flanel Margaret Hausberg Robert D. Hunter Thomas F. Icard, Jr. James A. Joseph Michael A. Kalman Nancy Kotler Lisa A. Merritt Tina Shao Napoli Leslie V. Pantin Cynthia L. Peterson Kelly A. Romanoff Margaret A. Rolando Mayra N. Schmidt Debra J. Short Mercedes Soler-Martinez Javi Suarez Howard C. Tibbals Kirk Ke Wang Larry A. Wickless EX-OFFICIO BOARD MEMBERS Joan Uranga, Chair, Volunteer Services Advisory Council Leslie Young, Chair, Docent Advisory Council 5401 Bay Shore Road Sarasota, FL 34243 941.359.5700 ringling.org Accredited by the American Alliance of Museums 2 THANK YOU! I am pleased to present our highlights of the past year to our Members, thank you for your support and encouragement. Despite our COVID-19 closure to the public, from March 17 to May 27, The Ringling accomplished a number of major projects in the 2019–2020 fiscal year. Most notably the Museum achieved its reaccreditation from the American Alliance of Museums (AAM). The year-long process to achieve reaccreditation is rigorous and focused on a self-study that reviews all aspects of our operations. The process and our final site review were both extremely successful and resulted in our reaccreditation through 2030. AAM has requested the use of a number of our core documents as examples of best practice to be shared with other museums and The Ringling was commended for the highly collaborative involvement of staff and board members in the reaccreditation process. -
The John and Mable Ringling Museum of Art in Sarasota, Florida
Cypriot Art at The Ringling: A New Gallery Most ancient art at The The John and Mable Ringling Museum of Art in Sarasota, Florida, The Ringling’s holdings of Ringling once was held by plans to install its first permanent gallery of ancient art in Gallery 12 in ancient art include stone The Metropolitan Museum 2020 as part of a museum-wide gallery reinstallation project. Gallery and terracotta sculpture, of Art. The Metropolitan’s ceramics, glass, bronzes, first director, Luigi Palma 12 highlights the museum’s large collection of ancient Cypriot art. jewelry, and gems from the di Cesnola unearthed Early Bronze Age to the many of the pieces on Roman period (ca. 2,500 Cyprus between 1865 and BCE to 400 CE). At 3,500 1876. Some of the objects Gallery 12 connects viewers with history (ancient and modern), aesthetics pieces today, these form the were on display in New (detail and abstraction), and art and experience (sanctuaries and tombs) museum’s largest collection. York into the early 1900s. through thematic and contextualized displays, including digital content. About 2,300 of the objects The centerpiece is a crowd of sculptures said to be from Golgoi, Cyprus. are from Cyprus. Limestone sculpture from the Cesnola collection on display at The Metropolitan Museum of Art, 1907 (Ringling SN28.1755 in second case Colossal male statue head SN28.1755 said to be from Golgoi, from left facing to the right) (courtesy The Metropolitan Museum of Art) Cyprus, on display in the Astor Library at The Ringling, 2000s (courtesy The John and Mable Ringling Museum of Art) John Ringling of the The first Ringling Brothers Circus permanent purchased nearly 3,300 gallery of ancient works of ancient art art at The from The Metropolitan’s Ringling is part collections during four of a reinstallation days of auction in 1928 at project, led by the Anderson Gallery in the museum’s New York. -
Ringling Bros. and Barnum & Bailey Circus, 1924
Ringling Bros. and Barnum & Bailey Circus, 1924 “Be cautious and bold … there’s a sucker born every minute.” —P.T. Barnum Dear Delegates, Hello and welcome to WUMUNS 2018! My name is Miranda Reed Twiss and I am thrilled to be your committee director for the Ringling Brothers and Barnum & Bailey majoring in Psychology and Islamic Studies with a minor in Arabic. As a former circus performer who almost went pro (I went to circus camp for a few summers in middle school), I’m extremely excited to kick off our very first circus committee! The committee begins in September of 1924. You are all members of the Ringling Bros. and Barnum & Bailey Combined Shows circus troupe, and you as a committee have full control over the circus. As both performers and administrators of the troupe, you are taxed with working together to make your traveling circus troupe as successful as possible. Your collective goal is to keep your circus running and successful and to increase profits both as a whole and individually. From traveling choices to split loyalties, from questionable motives to financial managing, the challenges you face stand to be a real three-ring circus. If you navigate the politics and inner workings of circus life well, you will find yourselves rich and powerful. If you fall into disarray, you could lose your jobs and your futures. Every delegate in the committee has equal voting power but varying access to individual resources, including money, outside connections, and specific abilities within the circus. Note that this is the circus, a business built around big personalities; ability to portray a character both in interests and in personality will be a key component to success in this committee.