The Martin Cohen Collection: Final Chapter New York | October 6 & 7, 2020
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Joan of Arc" in the Artistic Development of Anna Hyatt Huntington
Syracuse University SURFACE The Courier Libraries Fall 1975 The Significance of the questrianE Monument "Joan of Arc" in the Artistic Development of Anna Hyatt Huntington Myrna Garvey Eden Follow this and additional works at: https://surface.syr.edu/libassoc Part of the American Art and Architecture Commons Recommended Citation Eden, Myrna Garvey. "The Significance of the questrianE Monument 'Joan of Arc' in the Artistic Development of Anna Hyatt Huntington." The Courier 12.4 (1975): 3-12. This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. JOAN OF ARC Bronze, 11.4 times life. 1915. Riverside Drive and 93rd Street, New York, New York. Anna Hyatt Huntington, Sculptor THE COURIER SYRACUSE UNIVERSITY LIBRARY ASSOCIATES VOLUME XII, NUMBER 4 Table of Contents Fall 1975 Page The Significance of the Equestrian Monument "Joan of Arc" in the Artistic Development of Anna Hyatt Huntington. 3 Myrna Garvey Eden The Sculpture of Anna Hyatt Huntington in the Syracuse University Art Collection. 13 Myrna Garvey Eden Clara E. Sipprell: American Photographer, In Memoriam 29 Ruth-Ann Appelhof News of the Library and Library Associates 33 Portrait of Anna Hyatt Huntington from Beatrice G. Proske's Archer M. Huntington, New York, Hispanic Society of America, 1963. Courtesy of Hispanic Society of America. The Significance of the Equestrian Monument "Joan of Arc" In the Artistic Development of Anna Hyatt Huntington by Myrna Garvey Eden The manuscript collection of Anna Hyatt Huntington, sculptor, 1876-1973, left to the George Arents Research Library at Syracuse University by Mrs. -
'A Baby's Unconsciousness' in Sculpture: Modernism, Nationalism
Emily C. Burns ‘A baby’s unconsciousness’ in sculpture: modernism, nationalism, Frederick MacMonnies and George Grey Barnard in fin-de-siècle Paris In 1900 the French critic André Michel declared the US sculpture on view at the Exposition Universelle in Paris as ‘the affirmation of an American school of sculpture’.1 While the sculptors had largely ‘studied here and … remained faithful to our salons’, Michel concluded, ‘the influence of their social and ethnic milieu is already felt in a persuasive way among the best of them’.2 How did Michel come to declare this uniquely American school? What were the terms around which national temperament – what Michel describes as a ‘social and ethnic milieu’ – was seen as manifest in art? Artistic migration to Paris played a central role in the development of sculpture in the United States in the late nineteenth and early twentieth centuries. Hundreds of US sculptors trained in drawing and modelling the human figure at the Ecole des beaux-arts and other Parisian ateliers.3 The circulation of people and objects incited a widening dialogue about artistic practice. During the emergence of modernism, debates arose about the relationships between tradition and innovation.4 Artists were encouraged to adopt conventions from academic practice, and subsequently seek an individuated intervention that built on and extended that art history. Discussions about emulation and invention were buttressed by political debates about cultural nationalism that constructed unique national schools.5 In 1891, for example, a critic bemoaned that US artists were imitative in their ‘thoughtless acceptance of whatever comes from Paris’.6 By this period, US artists were coming under fire for so fully adopting French academic approaches that their art seemed inextricably tied to its foreign model. -
A Finding Aid to the George Grey Barnard Papers, Circa 1860-1969, Bulk 1880-1938, in the Archives of American Art
A Finding Aid to the George Grey Barnard Papers, circa 1860-1969, bulk 1880-1938, in the Archives of American Art Kathleen Brown Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee. August 03, 2009 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/Historical note.............................................................................................. 2 Scope and Contents note................................................................................................ 3 Arrangement note............................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical Material, circa 1888-1955..................................................... 4 Series 2: Correspondence, -
USDI/NPS NRHP Registration Form Atalaya and Brookgreen Gardens Page #1 *********** (Rev
USDI/NPS NRHP Registration Form Atalaya and Brookgreen Gardens Page #1 *********** (Rev. 8-86) United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES REGISTRATION FORM NATIONAL HISTORIC LANDMARK NOMINATION FORM 1. Name of Property historic name: Atalaya and Brookgreen Gardens other name/site number: 2. Location street & number: U.S. Highway 17 not for publication: N/A city/town: Murrells Inlet vicinity: X state: SC county: Georgetown code: 043 zip code: 29576 3. Classification Ownership of Property: private Category of Property: district Number of Resources within Property: Contributing Noncontributing _10_ buildings _1_ sites _5_ structures _0_ objects 16 Total Number of contributing resources previously listed in the National Register: 9 Name of related multiple property listing: N/A USDI/NPS NRHP Registration Form Atalaya and Brookgreen Gardens Page #2 4. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1986, as amended, I hereby certify that this ___ nomination ___ req'uest for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ___ meets ___ does not meet the National Register Criteria. __ See continuation sheet. Signature of certifying official Date State or Federal agency and bureau In my opinion, the property ___ meets ___ does not meet the National Register criteria. __ See continuation sheet. Signature of commenting or other official Date State or Federal agency and bureau 5. National Park Service Certification I, hereby certify that this property is: entered in the National Register __ See continuation sheet. -
Brooklyn All Souls
George G. Barnard, Noted Sculptor Was Working on Rainbow Arch, Peace Memorial When Stricken April 7 George Grey Barnard, noted sculptor, died yesterday of heart disease in the Harkness Pavilion of the Columbia-Presbyterian Center at the age of 74. He had been ailing there since April 7. The Metropolitan Museum of Art yesterday announced that on May 14, it would open the new Cloisters In Fort Tryon Park, a museum of medieval art and architecture with the nucleus pieces collected by Mr. Barnard and sold by him to John D. Rockefeller Jr. for $650,000 in 1925. His death left uncompleted the most ambitious work of his career—the Rainbow Arch, a 100-foot peace memorial standing in plaster model stage in a Third Avenue Railway powerhouse at 216th St. and the Harlem River. Mr. Barnard had planned to sell his private art collection to procure funds to complete the memorial In marble. Well Known in Brooklyn Although Mr. Barnard lived and worked in Manhattan, he was well known in Brooklyn. He was a close friend of the Rev. Cornelius Greenway, pastor of All Souls Universalist Church, to which he presented notable examples of his art. On Nov. 11, 1930, Mr. Barnard gave All Souls Church the sculptor's model of one of his most famous bronzes, "Brotherly Love." Appearing in person to present the model, the sculptor preached on "Sermons in Stone." A five-foot bas-relief, "The Descent From the Cross," was presented to All Souls Church by Mr. Barnard on Dec. 20, 1931. He said at the time that the gift was a token of his friendship for Mr. -
This Was My Presentation for the 2012 Initiatives in Art and Culture Arts
This was my presentation for the 2012 Initiatives in Art and Culture Arts and Crafts conference, “ ‘The Workshop of the World;’ The Arts and Crafts Movement in Philadelphia,” September 20- 23, 2012. At the last minute speakers were forced to convert our presentations into Microsoft’s “PowerPoint” and, as anyone who has gotten used to the luxury and flexibility of Mac’s “Keynote” presentation program will know, Keynote is to PowerPoint what Stokowski conducting Tchaikovsky is to your cat playing “Chopsticks” on the piano. The computers and projector at the Pennsylvania Academy of Fine Arts transformed all the presentations—mostly by dulling all the colors down to a palette of dead red, swamp green and diarrhea yellow, which was most apparent in Julie Sloan’s talk about stained-glass windows, but it also made any text on the screen very difficult to read. Some of my layered pictures are worth a thousand words, which meant that even under the best of circumstances most viewers could not have had the time to read all I wrote over the complex images. The projected text is not essential to my primary premise, so I used it like footnotes or asides because there were too many interesting research byways to be included in my overview of the Arts and Crafts movement as it happened in Philadelphia. Quickly passing over so much information annoyed many in the audience, so I’m uploading all the images as they appeared during my spoken text. The layout won’t flow as nicely as I would like, but every detail is reproduced. -
Barnard, George Grey
Title: The George Grey Barnard Papers Creator: Barnard, George Grey (1863-1938) Inclusive Dates: 1889-1967 Bulk Dates : 1907-1938 Extent: 16 Boxes, 8 linear feet Collection Number: 28 Processed by : Catherine O’Sullivan Location: Cloisters Library and Archives, Fort Tryon Park, New York, NY Abstract: Material in this collection reflects George Grey Barnard’s career as a sculptor and collector of medieval art. Correspondence, clippings, published articles comprise its bulk. Other material includes photographs, sketches, card files, notebooks, a daily expense log, small clay models, miscellaneous artifacts, postcards, flyers, pamphlets, and business records relating largely to the Cloisters and L’Abbaye collections. A smaller portion of the collection relates to Barnard’s personal life, his estate and his family. Highlights of the collection include letters from Alexander Graham Bell, Theodore Roosevelt, Eleanor Roosevelt, Edsel Ford and John D. Rockefeller, Jr. Languages: English and French. Related Collections: Other significant George Grey Barnard papers are housed at the Philadelphia Museum of Art, the Bellefonte Historical Society in Bellefonte, Pennsylvania, the Pennsylvania State Archives in Harrisburg, and the Kankakee County Historical Society, Illinois. Provenance: Unknown; material in this collection appears to have been amassed and donated over time by a number of sources, namely Barnard’s wife, Edna Monroe Barnard, his son, Monroe Grey Barnard, and various members of the Cloisters staff. 1 Terms of Access and Use: The Barnard Papers is open and available for research according to The Cloisters Library and Archives regulations. Biographical Sketch: George Grey Barnard was born May 24, 1863 in Bellefonte, Pennsylvania to Presbyterian minister Joseph H. -
Sculpture and the Museum Edited by Christopher R
Sculpture and the Museum Edited by Christopher R. Marshall, University of Melbourne, Australia Subject/Object: New Studies in Sculpture November 2011 234 x 156 mm 286 pages Hardback 978-1-4094-0910-6 £55.00 Includes 63 b&w illustrations Sculpture and the Museum is the first in-depth examination of the varying roles and meanings assigned to sculpture in museums and galleries during the modern period, from neo-classical to contemporary art practice. It considers a rich array of curatorial strategies and settings in order to examine the many reasons why sculpture has enjoyed a position of such considerable importance - and complexity - within the institutional framework of the museum and how changes to the museum have altered, in turn, the ways that we perceive the sculpture within it. In particular, the contributors consider the complex issue of how best to display sculpture across different periods and according to varying curatorial philosophies. Sculptors discussed include Canova, Rodin, Henry Moore, Flaxman and contemporary artists such as Rebecca Horn, Rachel Whiteread, Mark Dion and Olafur Eliasson, with a variety of museums in America, Canada and Europe presented as case studies. Underlying all of these discussions is a concern to chart the critical importance of the acquisition, placement and display of sculpture in museums and to explore the importance of sculptures as a forum for the expression of programmatic statements of power, prestige and the museum's own sense of itself in relation to its audiences and its broader institutional aspirations. Contents Subject/Object: new studies in sculpture, Lisa Le Feuvre; Sculpture and the museum, from starry skies to tropical haze, Christopher R. -
American Art
American Art The Art Institute of Chicago American Art New Edition The Art Institute of Chicago, 2008 Produced by the Department of Museum Education, Division of Teacher Programs Robert W. Eskridge, Woman’s Board Endowed Executive Director of Museum Education Writers Department of American Art Judith A. Barter, Sarah E. Kelly, Ellen E. Roberts, Brandon K. Ruud Department of Museum Education Elijah Burgher, Karin Jacobson, Glennda Jensen, Shannon Liedel, Grace Murray, David Stark Contributing Writers Lara Taylor, Tanya Brown-Merriman, Maria Marable-Bunch, Nenette Luarca, Maura Rogan Addendum Reviewer James Rondeau, Department of Contemporary Art Editors David Stark, Lara Taylor Illustrations Elijah Burgher Graphic Designer Z...ART & Graphics Publication of American Art was made possible by the Terra Foundation for American Art and the Woman’s Board of the Art Institute of Chicago. Table of Contents How To Use This Manual ......................................................................... ii Introduction: America’s History and Its Art From Its Beginnings to the Cold War ............... 1 Eighteenth Century 1. Copley, Mrs. Daniel Hubbard (Mary Greene) ............................................................ 17 2. Townsend, Bureau Table ............................................................................... 19 Nineteenth Century 3. Rush, General Andrew Jackson ......................................................................... 22 4. Cole, Distant View of Niagara Falls .................................................................... -
Guide, Memorabilia Collection (MEM)
A Guide to the Memorabilia Collection 1787-2006 1500.0 Items MEM Prepared by DiAnna Hemsath, revised by Grant Kleiser 2006, revised 2007, 2016 The University Archives and Records Center 3401 Market Street, Suite 210 Philadelphia, PA 19104-3358 215.898.7024 Fax: 215.573.2036 www.archives.upenn.edu Mark Frazier Lloyd, Director Memorabilia Collection MEM TABLE OF CONTENTS PROVENANCE...............................................................................................................................1 ARRANGEMENT...........................................................................................................................1 HISTORICAL NOTE......................................................................................................................2 SCOPE AND CONTENT NOTE................................................................................................... 3 CONTROLLED ACCESS HEADINGS.........................................................................................3 INVENTORY.................................................................................................................................. 4 ACADEMIC REGALIA........................................................................................................... 4 ART........................................................................................................................................... 5 AWARDS................................................................................................................................. -
A Finding Aid to the Frederick William Macmonnies Papers, 1874-1997, in the Archives of American Art
A Finding Aid to the Frederick William MacMonnies Papers, 1874-1997, in the Archives of American Art Jean Fitzgerald February 22, 2011 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................................................................................................. 3 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1886-1921............................................................. 5 Series 2: Diary, 1884-1885...................................................................................... 6 Series 3: Correspondence, 1880-1971.................................................................... 7 Series 4: Personal Business Records, -
Learning from Frank Furness: Louis Sullivan in 1873
Old Dominion University ODU Digital Commons Art Faculty Publications Art 12-2013 Review: Learning from Frank Furness: Louis Sullivan in 1873; Furness in Space: The Architect and Design Dialogues on the Late Nineteenth- Century Country House; Frank Furness: Making a Modern Library--From Gentleman's Library to Machine for Learning; Frank Furness: Working on Railroads; Building a Masterpiece: Frank Furness' Factory for Art; Face and Form: The Art and Caricature of Frank Furness Robert Wojitowicz Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/art_pubs Part of the American Art and Architecture Commons Repository Citation Wojitowicz, Robert, "Review: Learning from Frank Furness: Louis Sullivan in 1873; Furness in Space: The Architect and Design Dialogues on the Late Nineteenth-Century Country House; Frank Furness: Making a Modern Library--From Gentleman's Library to Machine for Learning; Frank Furness: Working on Railroads; Building a Masterpiece: Frank Furness' Factory for Art; Face and Form: The Art and Caricature of Frank Furness" (2013). Art Faculty Publications. 3. https://digitalcommons.odu.edu/art_pubs/3 Original Publication Citation Wojtowicz, R. (2013). Review: Learning from Frank Furness: Louis Sullivan in 1873; Furness in Space: The Architect and Design Dialogues on the Late Nineteenth-Century Country House; Frank Furness: Making a Modern Library--From Gentleman's Library to Machine for Learning; Frank Furness: Working on Railroads; Building a Masterpiece: Frank Furness' Factory for Art; Face and Form: The Art and Caricature of Frank Furness. Journal of the Society of Architectural Historians, 72(4), 606-609. doi:10.1525/ jsah.2013.72.4.606 admirably composed.