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THE ARTIST's EYES a Resource for Students and Educators ACKNOWLEDGEMENTS
THE ARTIST'S EYES A Resource for Students and Educators ACKNOWLEDGEMENTS It is with great pleasure that the Bowers Museum presents this Resource Guide for Students and Educators with our goal to provide worldwide virtual access to the themes and artifacts that are found in the museum’s eight permanent exhibitions. There are a number of people deserving of special thanks who contributed to this extraordinary project. First, and most importantly, I would like to thank Victoria Gerard, Bowers’ Vice President of Programs and Collections, for her amazing leadership; and, the entire education and collections team, particularly Laura Belani, Mark Bustamante, Sasha Deming, Carmen Hernandez and Diane Navarro, for their important collaboration. Thank you to Pamela M. Pease, Ph.D., the Content Editor and Designer, for her vision in creating this guide. I am also grateful to the Bowers Museum Board of Governors and Staff for their continued hard work and support of our mission to enrich lives through the world’s finest arts and cultures. Please enjoy this interesting and enriching compendium with our compliments. Peter C. Keller, Ph.D. President Bowers Museum Cover Art Confirmation Class (San Juan Capistrano Mission), c. 1897 Fannie Eliza Duvall (1861-1934) Oil on canvas; 20 x 30 in. Bowers Museum 8214 Gift of Miss Vesta A. Olmstead and Miss Frances Campbell CALIFORNIA MODULE ONE: INTRO / FOCUS QUESTIONS 5 MODULE FOUR: GENRE PAINTING 29 Impressionism: Rebels and Realists 5 Cityscapes 30 Focus Questions 7 Featured Artist: Fannie Eliza Duvall 33 Timeline: -
Henrietta Shore in Point Lobos and Carmel
HENRIETTA SHORE IN POINT LOBOS AND CARMEL: SPIRIT OF PLACE, ESSENCE OF BEING by MINA TOCHEVA STOEVA (Under the Direction of Janice Simon) ABSTRACT Shore’s visual vocabulary developed from Impressionism towards more stylized, abstracted forms in her 1920s work, and after 1930 culminated in the textured, detailed and almost tactile drawings produced in Carmel, California. This thesis focuses on the impact that Carmel had on her personal and artistic life. A detailed analysis of Shore’s images of the Monterey Peninsula establishes the connection between her extended visual narrative of the locale and the tradition of written ecocentric narratives. I will consider the Theosophical and transcendental ideas that Shore expressed in her work and relate them to Lawrence Buell’s theory of ecocentric narrative. By unveiling the subtleties of such a narrative and the process of its creation, the present analysis will further our understanding of Shore’s deeply emotional and spiritual attachment to the Monterey Peninsula. More than merely depicting a peculiar landscape, Shore’s late drawings reveal her preoccupation with current literary and philosophical trends, while simultaneously creating an intimate reflection of the artist’s self. INDEX WORDS: Henrietta Shore (1880-1962), Carmel, Point Lobos, landscape, transcendentalism, Ralph Waldo Emerson, place, ecocentric narrative, Theosophy, self-portrait, American modernism, Johann Wolfgang Goethe HENRIETTA SHORE IN POINT LOBOS AND CARMEL: SPIRIT OF PLACE, ESSENCE OF BEING by MINA TOCHEVA STOEVA BA, -
Isles of Tranquility J Paintings of Bermuda by Clark Greenwood Voorhees
Isles of Tranquility J Paintings of Bermuda by Clark Greenwood Voorhees 1871-1933 i fig. 2. Looking Toward the Dockyard from Somerset, Oil on canvas, 28 x 36 inches, Estate stamp verso Isles of Tranquility J Paintings of Bermuda by Clark Greenwood Voorhees 1871-1933 December 8, 2012—January 18, 2013 introduction by jennifer c. krieger essay by caroline l. gillaspie Manhattan Showroom, 74 East 79th Street, Suite 9B, New York, NY 10075 (by appointment) P.O. Box 140, Irvington, NY 10533 (mailing address) 212.731.0550 * [email protected] * www.hawthornefineart.com 1 fig. 3. Church Bay, Oil on canvas, 28 x 36 /8 inches, Signed lower center Introduction J jennifer c. krieger HROUGH HIS ART, Clark Greenwood Voorhees fully celebrated the rich natural beauty of T Bermuda, as well as the graceful way it was inhabited by its citizens. Each painting in this exhi- bition instantly becomes a portal into the sub-tropic archipelago Voorhees encountered in the early twentieth century with an eye attuned to both science and beauty. Voorhees depicted the isles in a variety of moods and in an abundance of views. Some images allude to the presence of man (figural or architectural) and others are simple meditations on the interaction between the land and sea and the physical wonders they have produced over thousands of years. In each work, Voorhees delivers forth a felt sensation of the area, whether it is the soft whisper of a noc- turne with air perfumed by bougainvillea and enshrouded by dark cedars, or the calls of sea birds echo- ing over an extension of lush rocky cliffs and pink sand beach saturated by the brightest of sunlight. -
THE AMERICAN ART-1 Corregido
THE AMERICAN ART: AN INTRODUCTION Compiled by Antoni Gelonch-Viladegut For the Gelonch Viladegut Collection Paris-Boston, April 2011 SOMMARY INTRODUCTION 3 18th CENTURY 5 19th CENTURY 6 20th CENTURY 8 AMERICAN REALISM 8 ASHCAN SCHOOL 9 AMERICAN MODERNISM 9 MODERNIST PAINTING 13 THE AMERICAN SOUTHWEST 14 HARLEM RENAISSANCE 14 NEW DEAL ART 14 ABSTRACT EXPRESSIONISM 15 ACTION PAINTING 18 COLOR FIELD 19 POLLOCK AND ABSTRACT INFLUENCES 20 ART CRITICS OF THE POST-WORLD WAR II ERA 21 AFTER ABSTRACT EXPRESSIONISM 23 OTHER MODERN AMERICAN MOVEMENTS 24 THE GELONCH VILADEGUT COLLECTION 2 http://www.gelonchviladegut.com The vitality and the international presence of a big country can also be measured in the field of culture. This is why Statesmen, and more generally the leaders, always have the objective and concern to leave for posterity or to strengthen big cultural institutions. As proof of this we can quote, as examples, the Bibliothèque Nationale de France, the British Museum, the Monastery of Escorial or the many American Presidential Libraries which honor the memory of the various Presidents of the United States. Since the Holy Roman Empire and, notably, in Europe during the Renaissance times cultural sponsorship has been increasingly active for the sake of art or for the sense of splendor. Nowadays, if there is a country where sponsors have a constant and decisive presence in the world of the art, this is certainly the United States. Names given to museum rooms in memory of devoted sponsors, as well as labels next to the paintings noting the donor’s name, are a very visible aspect of cultural sponsorship, especially in America. -
Monet and American Impressionism
Harn Museum of Art Educator Resource Monet & Impressionism About the Artist Claude Monet was born in Paris on November 14, 1840. He enjoyed drawing lessons in school and began making and selling caricatures at age seventeen. In 1858, he met landscape artist Eugène Boudin (1824-1898) who introduced him to plein-air (outdoor) painting. During the 1860s, only a few of Monet’s paintings were accepted for exhibition in the prestigious annual exhibitions known as the Salons. This rejection led him to join with other Claude Monet, 1899 artists to form an independent group, later known as the Impressionists. Photo by Nadar During the 1860s and 1870s, Monet developed his technique of using broken, rhythmic brushstrokes of pure color to represent atmosphere, light and visual effects while depicting his immediate surroundings in Paris and nearby villages. During the next decade, his fortune began to improve as a result of a growing base of support from art dealers and collectors, both in Europe and the United States. By the mid-1880s, his paintings began to receive critical “Everyone discusses my acclaim. art and pretends to understand, as if it were By 1890, Monet was financially secure enough to purchase a house in Giverny, a rural town in Normandy. During these later years, Monet began painting the same subject over and over necessary to understand, again at different times of the day or year. These series paintings became some of his most when it is simply famous works and include views of the Siene River, the Thames River in London, Rouen necessary to love.” Cathedral, oat fields, haystacks and water lilies. -
Center Bridge Burning
Burning of Center Bridge, 1923 Edward W. Redfield (1869-1965 oil on canvas H. 50.25 x W 56.25 inches James A. Michener Art Museum, acquired with funds secured by State Senator Joe Conti, and gifts from Joseph and Anne Gardocki, and the Laurent Redfield Family Biography The Pennsylvania school born in the Academy at Philadelphia or in the person of Edward W. Redfield is a very concise expression of the simplicity of our language and of the prosaic nature of our sight. It is democratic painting—broad, without subtlety, vigorous in language if not absolutely in heart, blatantly obvious or honest in feeling. It is an unbiased, which means, inartistic, record of nature. —Guy Pene du Bois Among the New Hope impressionists, Edward Willis Redfield was the most decorated, winning more awards than any other American artist except John Singer Sargent. Primarily a landscape painter, Redfield was acclaimed as the most “American” artist of the New Hope school because of his vigor and individualism. Redfield favored the technique of painting en plein air, that is, outdoors amid nature. Tying his canvas to a tree, Redfield worked in even the most brutal weather. Painting rapidly, in thick, broad brushstrokes, and without attempting preliminary sketches, Redfield typically completed his paintings in one sitting. Although Redfield is best known for his snow scenes, he painted several spring and summer landscapes, often set in Maine, where he spent his summers. He also painted cityscapes, including, most notably, Between Daylight and Darkness (1909), an almost surreal, tonalist painting of the New York skyline in twilight. -
American Impressionism Treasures from the Daywood Collection
American Impressionism Treasures from the Daywood Collection American Impressionism: Treasures from the Daywood Collection | 1 Traveling Exhibition Service The Art of Patronage American Paintings from the Daywood Collection merican Impressionism: Treasures from the Daywood dealers of the time, such as Macbeth Gallery in New York. Collection presents forty-one American paintings In 1951, three years after Arthur’s death, Ruth Dayton opened A from the Huntington Museum of Art in West Virginia. the Daywood Art Gallery in Lewisburg, West Virginia, as a The Daywood Collection is named for its original owners, memorial to her late husband and his lifelong pursuit of great Arthur Dayton and Ruth Woods Dayton (whose family works of art. In doing so, she spoke of her desire to “give surnames combine to form the moniker “Daywood”), joy” to visitors by sharing the collection she and Arthur had prominent West Virginia art collectors who in the early built with such diligence and passion over thirty years. In twentieth century amassed over 200 works of art, 80 of them 1966, to ensure that the collection would remain intact and oil paintings. Born into wealthy, socially prominent families on public display even after her own death, Mrs. Dayton and raised with a strong appreciation for the arts, Arthur and deeded the majority of the works in the Daywood Art Gallery Ruth were aficionados of fine paintings who shared a special to the Huntington Museum of Art, West Virginia’s largest admiration for American artists. Their pleasure in collecting art museum. A substantial gift of funds from the Doherty only increased after they married in 1916. -
American Art New York | November 19, 2019
American Art New York | November 19, 2019 AMERICAN ART | 39 2 | BONHAMS AMERICAN ART | 3 American Art at Bonhams New York Jennifer Jacobsen Director Aaron Anderson Los Angeles Scot Levitt Vice President Kathy Wong Specialist San Francisco Aaron Bastian Director American Art New York | Tuesday November 19, 2019 at 4pm BONHAMS BIDS INQUIRIES ILLUSTRATIONS 580 Madison Avenue +1 (212) 644 9001 Jennifer Jacobsen Front Cover: Lot 15 New York, New York 10022 +1 (212) 644 9009 fax Director Inside Front Cover: Lots 47 and 48 bonhams.com [email protected] +1 (917) 206 1699 Inside Back Cover: Lot 91 [email protected] Back Cover: Lot 14 PREVIEW To bid via the internet please visit Friday, November 15, 10am - 5pm www.bonhams.com/25246 Aaron Anderson Saturday, November 16, 10am - 5pm +1 (917) 206 1616 Sunday, November 17, 12pm - 5pm Please note that bids should be [email protected] Monday, November 18, 10am - 5pm summited no later than 24hrs prior to the sale. New Bidders must REGISTRATION also provide proof of identity when IMPORTANT NOTICE SALE NUMBER: 25246 submitting bids. Failure to do this Please note that all customers, Lots 1 - 101 may result in your bid not being irrespective of any previous processed. activity with Bonhams, are CATALOG: $35 required to complete the Bidder LIVE ONLINE BIDDING IS Registration Form in advance of AUCTIONEER AVAILABLE FOR THIS SALE the sale. The form can be found Rupert Banner - 1325532-DCA Please email bids.us@bonhams. at the back of every catalogue com with “Live bidding” in the and on our website at www. -
Narrative Section of a Successful Application
Narrative Section of a Successful Application The attached document contains the grant narrative of a previously funded grant application. It is not intended to serve as a model, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects its unique project and aspirations. Prospective applicants should consult the NEH Division of Preservation and Access application guidelines at http://www.neh.gov/grants/preservation/sustaining-cultural-heritage-collections for instructions. Applicants are also strongly encouraged to consult with the NEH Division of Preservation and Access staff well before a grant deadline. Note: The attachment only contains the grant narrative, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Planning for a Sustainable Preservation Environment Institution: Monhegan Historical and Cultural Museum Association Project Director: Jennifer Pye Grant Program: Sustaining Cultural Heritage Collections 1100 Pennsylvania Ave., N.W., Rm. 411, Washington, D.C. 20506 P 202.606.8570 F 202.606.8639 E [email protected] www.neh.gov Description of the project and its significance The Monhegan Historical and Cultural Museum is an institution dedicated to the preservation of the historical and artistic legacy of Monhegan Island, Maine. Located ten miles out to sea, Monhegan has long been a magnet for adventurous and creative individuals. Archaeological studies have shown a presence on the island dating back over 4000 years to the first known Native American seafarers who pursued large swordfish present in the warm ocean currents nearby. -
Exhibition Brochure
A Fantasy in Blue and Gold, 1964, oil and acrylic on canvas, 27" x 36", The Stillman-Lack Foundation Coney Island (Three Horses) , c. 1936, oil on canvas, 24" x 30", The Stillman-Lack Foundation Ary Stillman PLAY OF LIGHT The Journey of an American Modernist Ary Stillman (1891—1967) was a Russian-born American artist who, in spite of gaining significant recognition in his day, is largely absent from the historical annals of modern art. Yet the works he produced have continued to intrigue art historians as well as offering contemporary audiences new perspectives on the prevailing movements, influences and milieus of twentieth century art. Following his own independent and wayward course, evolving from representational art to the post war, painterly style of abstraction inspired by cubism and surrealism, Stillman took cues from his surroundings — Paris in the 20’s, New York in the 30’s, 40’s and 50’s and Mexico in the 60’s. While he absorbed the stylistic experiments and innovations of these decades, he distilled them through his singular vision to produce a remarkably distinct and mature body of work. In tracing the evolution of Stillman’s art, one finds evidence of his early academic training in Russia, the lingering spell of Impressionism in Europe in the early part of the twentieth century, and the mid-century impact of Abstract Expressionism in America. Further, one discovers yet another story as well — the story of a young Jewish boy in Russia seeking to realize his dream of becoming an artist against all prevailing odds. His legacy is not only the distinctive body of work that he created, but also the undaunted resolve that characterized his life as an artist. -
Columbia University Department of Art History and Archaeology Miriam and Ira D. Wallach Fine Arts Center Fall 2013
COLUMBIA UNIVERSITY DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY MIRIAM AND IRA D. WALLACH FINE ARTS CENTER FALL 2013 826schermerhorn 1 from the chair's office new faculty Dear Alumni and Friends, We are delighted to welcome five new members to the Columbia/Barnard art history faculty: Avinoam Shalem, Riggio Professor of the History of the Arts of Islam; Diane Bodart, Assistant Professor of Southern Renaissance and Baroque Art; Frédérique Baumgartner, It has been an exciting and busy year in and around Schermerhorn Hall, one marked by many Lecturer and Director of MA in Art History; Kent Minturn, Lecturer and Director of MA in Modern Art: Critical and Curatorial different types of academic events, activities, and accomplishments of our students and faculty Studies (MODA); and Megan O’Neil as a Term Assistant Professor in the Barnard Art History Department. in the Department of Art History and Archaeology. We feature some of the most noteworthy of these events in the current edition of 826 Schermerhorn, which was produced on a slightly different avinoam shalem, riggio professor of the diane bodart, assistant professor, is a fall of the cosmopolitan ideal and the rise of schedule this year to coincide with the Chair’s Annual Appeal and a brief report on some of our history of the arts of islam, studied at the specialist in the art of the Italian Renaissance nationalism. Dr. Baumgartner was an assistant past and future fundraising activities. universities of Tel Aviv, and Baroque. She was curator at the Musée national d’art moderne– Munich (lmu), and educated at Università Centre Pompidou in Paris and remains inter- Since becoming Chair of the Department in 2012, I have had the pleasure of meeting many of you in Edinburgh, where he degli Studi di Roma ested in video and performance art. -
A Lasting Impression
1 A Lasting Impression An Introduction to Pennsylvania Impressionism James A. Michener Art Museum’s Traveling Trunk James A. Michener Art Museum • 138 South Pine Street • Doylestown, PA 18901 MichenerArtMuseum.org • 215-340-9800 2 A Lasting Impression James A. Michener Art Museum’s Traveling Trunk Table of Contents Lessons Lesson 1: First Impressions pages 3-4 Lesson 2: Improvisational Theater pages 5-6 Lesson 3: Journals and Boxes page 7 Lesson 4: Contemporary Connections pages 8-9 Lesson 5: The Arts and Media pages 10 Lesson 6: Painting Impressions page 11 Lesson 7: Michener Museum Impressions pages 12-13 Lesson 8: Women in the Arts pages 14-15 Lesson 9: Impressionism and the Environment page 16 Lesson 10: Your Last Impression page 17 Appendix 1: Vocabulary pages 18-24 Appendix 2: Standards pages 25-40 Appendix 3: Biographies and Visuals pages 41-102 Appendix 4: Bibliography pages 103-104 James A. Michener Art Museum • 138 South Pine Street • Doylestown, PA 18901 MichenerArtMuseum.org • 215-340-9800 3 A Lasting Impression James A. Michener Art Museum’s Traveling Trunk Lesson 1: First Impressions Social Studies, Studio Art, Language Arts, Art History Connections Objectives: Students will be introduced to the themes and materials in the James A. Michener Art Museum Culture Kit, A Lasting Impression. Students will demonstrate an understanding of the vocabulary presented in the Lasting Impressions Culture Kit Students will become familiar with the distinctive style in Pennsylvania Impressionist paintings, through the works of Lathrop, Redfield, and Sotter Students will use original documentation to learn about the history of Pennsylvania Impressionism Students will understand the importance of Bucks County heritage as it relates to Pennsylvania, American, and French Impressionism Lesson Ideas Explore the Culture Kit Display the contents of the Culture Kit in your classroom or school library.