20Th Century Painters
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Modern Movement: Arthur Bowen Davies Figurative Works on Paper from the Randolph College and Mac Cosgrove-Davies Collections
AT MODERN MOVEMENT: Arthur Bowen Davies Figurative Works on Paper from the Randolph College and Mac Cosgrove-Davies Collections and ARTHUR B. DaVIES Paintings from the Randolph College Collection 1 2COVER: Arthur B. Davies, 1862-1928, Nixie, 1893, oil on canvas, 6 x 4 in. Gift of Mrs. Robert W. Macbeth, 1950 MODERN MOVEMENT: Arthur Bowen Davies Figurative Works on Paper from the Randolph College and Mac Cosgrove-Davies Collections January 18–April 14, 2013 Curated by Martha Kjeseth-Johnson and Mac Cosgrove-Davies Arthur B. Davies, ca. 1908. Gertrude Käsebier, photographer. AT 3 Introduction Martha Kjeseth-Johnson, Director Maier Museum of Art at Randolph College Arthur B. Davies (1862-1928) was an artist and primary curator of the groundbreaking Armory Show of 1913, credited with bringing modern art to American audiences. The Maier Museum of Art at Randolph College (formerly Randolph-Macon Woman’s College) is home to sixty-one works by Davies, many of which have never been exhibited. Malcolm Cosgrove-Davies, great-grandson of Arthur B. Davies and owner of over 300 Davies pieces, has contributed a selection of works from his collection which will also be on view to the public for the first time.Modern Movement: Arthur Bowen Davies Figurative Works on Paper from the Randolph College and Mac Cosgrove-Davies Collections focuses on figurative works, many depicting dancers in various poses. We are pleased to present this exhibition on the centennial anniversary year of what was officially billed asThe International Exhibition of Modern Art but commonly referred to as the Armory Show due to its location at New York’s 69th Regiment Armory on Lexington Avenue in Manhattan. -
Finding Aid for the John Sloan Manuscript Collection
John Sloan Manuscript Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum The John Sloan Manuscript Collection is made possible in part through funding of the Henry Luce Foundation, Inc., 1998 Acquisition Information Gift of Helen Farr Sloan, 1978 Extent 238 linear feet Access Restrictions Unrestricted Processed Sarena Deglin and Eileen Myer Sklar, 2002 Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum Related Materials Letters from John Sloan to Will and Selma Shuster, undated and 1921-1947 1 Table of Contents Chronology of John Sloan Scope and Contents Note Organization of the Collection Description of the Collection Chronology of John Sloan 1871 Born in Lock Haven, Pennsylvania on August 2nd to James Dixon and Henrietta Ireland Sloan. 1876 Family moved to Germantown, later to Philadelphia, Pennsylvania. 1884 Attended Philadelphia's Central High School where he was classmates with William Glackens and Albert C. Barnes. 1887 April: Left high school to work at Porter and Coates, dealer in books and fine prints. 1888 Taught himself to etch with The Etcher's Handbook by Philip Gilbert Hamerton. 1890 Began work for A. Edward Newton designing novelties, calendars, etc. Joined night freehand drawing class at the Spring Garden Institute. First painting, Self Portrait. 1891 Left Newton and began work as a free-lance artist doing novelties, advertisements, lettering certificates and diplomas. 1892 Began work in the art department of the Philadelphia Inquirer. -
C H a P T E R 24 the Great Depression and the New Deal
NASH.7654.CP24.p790-825.vpdf 9/23/05 3:26 PM Page 790 CHAPTER 24 The Great Depression and the New Deal The WPA (Works Progress Administration) hired artists from 1935 to 1943 to create murals for public buildings. The assumption was not only that “artists need to eat too,” as Harry Hop- kins announced, but also that art was an important part of culture and should be supported by the federal government. Here Moses Soyer, a Philadelphia artist, depicts WPA artists creating a mural. Do you think it is appropriate for the government to subsidize artists? (Moses Soyer, Artists on WPA, 1935. Smithsonian American Art Museum, Washington DC/Art Resource, New York) American Stories Coming of Age and Riding the Rails During the Depression Flickering in a Seattle movie theater in the depths of the Great Depression, the Holly- wood production Wild Boys of the Road captivated 13-year-old Robert Symmonds.The film, released in 1933, told the story of boys hitching rides on trains and tramping 790 NASH.7654.CP24.p790-825.vpdf 9/23/05 3:26 PM Page 791 CHAPTER OUTLINE around the country. It was supposed to warn teenagers of the dangers of rail riding, The Great Depression but for some it had the opposite effect. Robert, a boy from a middle-class home, al- The Depression Begins ready had a fascination with hobos. He had watched his mother give sand- Hoover and the Great Depression wiches to the transient men who sometimes knocked on the back door. He had taken to hanging around the “Hooverville” shantytown south of Economic Decline the King Street railroad station, where he would sit next to the fires and A Global Depression listen to the rail riders’ stories. -
The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1. -
Judaism and Its Effects on Moses Soyer's Paintings and Drawings
Cleveland State University EngagedScholarship@CSU ETD Archive 2017 A Cultural Approach: Judaism and Its Effects on Moses Soyer’s Paintings and Drawings Rachel Arzuaga Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/etdarchive Part of the History Commons, and the History of Art, Architecture, and Archaeology Commons How does access to this work benefit ou?y Let us know! Recommended Citation Arzuaga, Rachel, "A Cultural Approach: Judaism and Its Effects on Moses Soyer’s Paintings and Drawings" (2017). ETD Archive. 965. https://engagedscholarship.csuohio.edu/etdarchive/965 This Thesis is brought to you for free and open access by EngagedScholarship@CSU. It has been accepted for inclusion in ETD Archive by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. A CULTURAL APPROACH: JUDAISM AND ITS EFFECTS ON MOSES SOYER’S PAINTINGS AND DRAWINGS RACHEL ARZUAGA Bachelor of Arts in Art History Cleveland State University December 2013 Submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN HISTORY at the CLEVELAND STATE UNIVERSITY August 2017 We hereby approve this thesis for Rachel Arzuaga Candidate for the Master of Arts in History degree for the Department of History and the Department of Art and the CLEVELAND STATE UNIVERSITY College of Graduate Studies _________________________________________________________________ Thesis Chairperson, Dr. Samantha Baskind _____________________________________________ -
Guide to Oral History Collections in Missouri
Guide to Oral History Collections in Missouri. Compiled and Edited by David E. Richards Special Collections & Archives Department Duane G. Meyer Library Missouri State University Springfield, Missouri Last updated: September 16, 2012 This guide was made possible through a grant from the Richard S. Brownlee Fund from the State Historical Society of Missouri and support from Missouri State University. Introduction Missouri has a wealth of oral history recordings that document the rich and diverse population of the state. Beginning around 1976, libraries, archives, individual researchers, and local historical societies initiated oral history projects and began recording interviews on audio cassettes. The efforts continued into the 1980s. By 2000, digital recorders began replacing audio cassettes and collections continued to grow where staff, time, and funding permitted. As with other states, oral history projects were easily started, but transcription and indexing efforts generally lagged behind. Hundreds of recordings existed for dozens of discreet projects, but access to the recordings was lacking or insufficient. Larger institutions had the means to transcribe, index, and catalog their oral history materials, but smaller operations sometimes had limited access to their holdings. Access was mixed, and still is. This guide attempts to aggregate nearly all oral history holdings within the state and provide at least basic, minimal access to holdings from the largest academic repository to the smallest county historical society. The effort to provide a guide to the oral history collections of Missouri started in 2002 with a Brownlee Fund Grant from the State Historical Society of Missouri. That initial grant provided the seed money to create and send out a mail-in survey. -
The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
Cubism in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop most important revolution in the history of ment of what came to be called Cubism art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance. -
Violet Oakley: Pennsylvania’S Premiere Muralist
1 VIOLET OAKLEY: PENNSYLVANIA’S PREMIERE MURALIST Susan Hamburger Paper and slide presentation Pennsylvania Historical Association October 14, 1995 [SLIDE 1] Violet Oakley--a versatile portraitist, illustrator, stained glass artisan, and muralist--earned a reputation as the first American woman artist to succeed in the predominantly-male architectural field of mural decoration. Her strong commitment to her religion and world peace influenced her art as well as her life. [SLIDE 2] Oakley was born in Bergen Heights, New Jersey, to the artistic family of Arthur Edmund Oakley and Cornelia Swain Oakley. Both of her grandfathers, George Oakley and William Swain, belonged to the National Academy of Design and two of her aunts studied painting in Munich with Frank Duveneck. She believed that her compulsion to draw was “hereditary and chronic.” She once commented that she must have been “a monk in some earlier state of existence....The abbesses and sisters were too busy nursing the sick and doing fine needleworks. I never heard of them illuminating manuscripts. I am quite sure I was a monk.” 1 The youngest of three children, Violet followed her sisters Cornelia and Hester in learning the acceptable feminine skills of poetry writing, piano playing, 2 and sketching. While Hester attended Vassar College, Violet’s asthma prevented her from obtaining a college education which her parents thought too rigorous for her physical condition. She never let the asthma impede her artistic education or career. In 1892, at the age of eighteen, Oakley commuted to New York City to study at the Art Students’ League with Irving R. -
Download Lot Listing
IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, May 10, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART 1-118 Elsie Adler European 1-66 The Eileen & Herbert C. Bernard Collection American 67-118 Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. POST-WAR & CONTEMPORARY ART 119-235 A Connecticut Collector Post-War 119-199 Claudia Cosla, New York Contemporary 200-235 Ronnie Cutrone EUROPEAN ART Mildred and Jack Feinblatt Glossary I Dr. Paul Hershenson Conditions of Sale II Myrtle Barnes Jones Terms of Guarantee IV Mary Kettaneh Information on Sales & Use Tax V The Collection of Willa Kim and William Pène du Bois Buying at Doyle VI Carol Mercer Selling at Doyle VIII A New Jersey Estate Auction Schedule IX A New York and Connecticut Estate Company Directory X A New York Estate Absentee Bid Form XII Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private -
To See Anew: Experiencing American Art in the 21St Century
Initiatives in Art and Culture To See Anew: Experiencing American Art in the 21st Century 21ST ANNUAL AMERICAN ART CONFERENCE FRIDAY – SATURDAY, MAY 20 – 21, 2016 1851, after an original of 1851, The Greek Slave, The Greek Stuart Davis, Swing Landscape, 1938, oil on canvas, 86¾ x 172⅞ in. Indiana University Art Museum, Bloomington, Indiana. © Estate of Stuart Davis/Licensed Hiram Powers, Powers, Hiram Art University x 18¼ in. Yale 1844, marble, 65¼ x 21 Dann Fund. 1962.43, Olive Louise Gallery, by VAGA, New York, NY. Jonathan Boos. Jonathan Boos. 36 x 29 in. Private collection; photo: courtesy, canvas, Guy Pène du Bois, Country Wedding, Henry Peters Gray, The Wages of War, 1848, oil on 1929, oil on canvas, 48¼ x 76¼ in. The Metropolitan Museum of Art, gift of Several Ladies and Gentlemen, 1873. 73.5. THE GRADUATE CENTER, THE CITY UNIVERSITY OF NEW YORK To See Anew: Experiencing American Art in the 21st Century 21ST ANNUAL AMERICAN ART CONFERENCE Heilbrun, 1922). Chanler. Robert Winthrop Ivan Narodny, (from: 1921 Chanler, Robert Winthrop New York: William New York: Avian Arabesque, Avian Arabesque, The Art of In this conference, Initiatives in Art and Culture considers iconic works by recognized masters, seeking to understand both why they were celebrated in their own time and why they retain their power today. At the same time, we explore the works of artists who did not retain the renown they enjoyed during their lifetimes and who fell into obscurity. But obscurity is not necessarily forever, and as cycles of taste have changed, these once-forgotten artists and their largely unknown works have re-surfaced to startle us today. -
Glackens, William Illustration Collection
William Glackens Illustration Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Gift of Ira Glackens, 1989 Extent 2 linear feet Abstract The collection contains tear sheets and proofs of illustrations by the artist from a variety of magazines, including Century Magazine, McClure’s Magazine, and The Saturday Evening Post. Access Restrictions Unrestricted Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation William Glackens Illustration Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum 1 Chronology of William Glackens 1870 – Born March 13 in Philadelphia to Samuel Glackens and Elizabeth Finn Glackens. William was the youngest of three children. His brother Louis became a well-known cartoonist and illustrator. 1889 – Graduated from Central High School in Philadelphia, where he met John Sloan and Albert C. Barnes. 1891-1894 – Worked as newspaper artist on the Philadelphia newspapers the Record, the Press, and the Public Ledger. Moving between papers he renewed acquaintance with John Sloan and met Everett Shinn, George Luks, James Preston, and Frederic Gruger. Attended evening classes at the Pennsylvania Academy of the Fine Arts, where he met Robert Henri. Was part of the short-lived Charcoal Club. In 1894, shared a studio with Robert Henri. 1895 – First published book illustrations appeared in Through the Great Campaign with Hastings and his Spellbinders by George Nox McCain. 1895-1896 – Traveled to Paris, and with Robert Henri and James Wilson Morrice made sketching trips outside the city.