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John Sloan's Illustrations for the Novels of Charles Paul De Kock Oct
Drawn to SSATIREATIRE John Sloan’s Illustrations for the Novels of Charles Paul de Kock Oct. 24, 2009 –March 29, 2010 The Susan and Stephen Chandler Wing of the Virginia Steele Scott Galleries of American Art The Huntington Library, Art Collections, and Botanical Gardens ThThee MMisplacedisplaced KKISSISS REMARQUES A remarque is a small sketch made anywhere in the margins of an etching plate and originally served as a way for artists to test the sharpness of their etching needles. By the late 19th century, print dealers promoted “remarque proofs” as more valuable and ex - clusive than impressions without them. Sloan’s remarques, included on etchings found in the most deluxe editions of the de Kock novels, are often clever puns on the illustrations and enhance their meaning. The Misplaced Kiss ,1905, etching, state 2 of 3, 6 x 4 in. (also on the cover). From the novel Cherami , vol. 1. Partial and promised gift of Gary, Brenda, and Harrison Ruttenberg. The dual cause of The Misplaced Kiss —alcohol and ardor—can be found in the remarque of a blindfolded, tipsy cupid next to an overturned champagne bottle and glass. Although illustrating only a moment in the narrative, Sloan infuses the remarque with the essence of the scene. rom 1902 to 1905, American artist John Sloan F(1871–1951) created 53 etchings to illustrate novels by French author Charles Paul de Kock (1793 –1871), whose satires of early 19th-century Parisian society were popular in the United States around the turn of the century. While Sloan is best known for his gritty depictions of life in the streets, taverns, and tenements of New York City, the de Kock commission gave him the op portunity to refine his etching technique and hone his ability to convey anecdotal incidents with wry humor. -
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. -
Report of the Commission on Institutional History and Community
Report of the Commission on Institutional History and Community Washington and Lee University May 2, 2018 1 Table of Contents Introduction …………………………………………………………………………...3 Part I: Methodology: Outreach and Response……………………………………...6 Part II: Reflecting on the Legacy of the Past……………………………………….10 Part III: Physical Campus……………………………………………………………28 Conclusion…………………………………………………………………………….45 Appendix A: Commission Member Biographies………………………………….46 Appendix B: Outreach………………………………………………………………..51 Appendix C: Origins and Development of Washington and Lee………………..63 Appendix D: Recommendations………………………………………………….....95 Appendix E: Portraits on Display on Campus……………………………………107 Appendix F: List of Building Names, Markers and Memorial Sites……………116 2 INTRODUCTION Washington and Lee University President Will Dudley formed the Commission on Institutional History and Community in the aftermath of events that occurred in August 2017 in Charlottesville, Virginia. In February 2017, the Charlottesville City Council had voted to remove a statue of Robert E. Lee from a public park, and Unite the Right members demonstrated against that decision on August 12. Counter- demonstrators marched through Charlottesville in opposition to the beliefs of Unite the Right. One participant was accused of driving a car into a crowd and killing 32-year-old Heather Heyer. The country was horrified. A national discussion on the use of Confederate symbols and monuments was already in progress after Dylann Roof murdered nine black church members at Emanuel African Methodist Episcopal (AME) Church in Charleston, South Carolina, on June 17, 2015. Photos of Roof posing with the Confederate flag were spread across the internet. Discussion of these events, including the origins of Confederate objects and images and their appropriation by groups today, was a backdrop for President Dudley’s appointment of the commission on Aug. -
2013 Issue #5
Flint Institute of Arts fiamagazineNOV–DEC 2013 Website www.flintarts.org Mailing Address 1120 E. Kearsley St. contents Flint, MI 48503 Telephone 810.234.1695 from the director 2 Fax 810.234.1692 Office Hours Mon–Fri, 9a–5p exhibitions 3–4 Gallery Hours Mon–Wed & Fri, 12p–5p Thu, 12p–9p video gallery 5 Sat, 10a–5p Sun, 1p–5p art on loan 6 Closed on major holidays Theater Hours Fri & Sat, 7:30p featured acquisition 7 Sun, 2p acquisitions 8 Museum Shop 810.234.1695 Mon–Wed, Fri & Sat, 10a–5p Thu, 10a–9p films 9–10 Sun, 1p–5p calendar 11 The Palette 810.249.0593 Mon–Wed & Fri, 9a–5p Thu, 9a–9p news & programs 12–17 Sat, 10a–5p Sun, 1p–5p art school 18–19 The Museum Shop and education 20–23 The Palette are open late for select special events. membership 24–27 Founders Art Sales 810.237.7321 & Rental Gallery Tue–Sat, 10a–5p contributions 28–30 Sun, 1p–5p or by appointment art sales & rental gallery 31 Admission to FIA members .............FREE founders travel 32 Temporary Adults .........................$7.00 Exhibitions 12 & under .................FREE museum shop 33 Students w/ ID ...........$5.00 Senior citizens 62+ ....$5.00 cover image From the exhibition Beatrice Wood: Mama of Dada Beatrice Wood American, 1893–1998 I Eat Only Soy Bean Products pencil, color pencil on paper, 1933 12.0625 x 9 inches Gift of Francis M. Naumann Fine Art, LLC, 2011.370 FROM THE DIRECTOR 2 I never tire of walking through the sacred or profane, that further FIA’s permanent collection galleries enhances the action in each scene. -
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. -
A Stellar Century of Cultivating Culture
COVERFEATURE THE PAAMPROVINCETOWN ART ASSOCIATION AND MUSEUM 2014 A Stellar Century of Cultivating Culture By Christopher Busa Certainly it is impossible to capture in a few pages a century of creative activity, with all the long hours in the studio, caught between doubt and decision, that hundreds of artists of the area have devoted to making art, but we can isolate some crucial directions, key figures, and salient issues that motivate artists to make art. We can also show why Provincetown has been sought out by so many of the nation’s notable artists, performers, and writers as a gathering place for creative activity. At the center of this activity, the Provincetown Art Associ- ation, before it became an accredited museum, orga- nized the solitary efforts of artists in their studios to share their work with an appreciative pub- lic, offering the dynamic back-and-forth that pushes achievement into social validation. Without this audience, artists suffer from lack of recognition. Perhaps personal stories are the best way to describe PAAM’s immense contribution, since people have always been the true life source of this iconic institution. 40 PROVINCETOWNARTS 2014 ABOVE: (LEFT) PAAM IN 2014 PHOTO BY JAMES ZIMMERMAN, (righT) PAA IN 1950 PHOTO BY GEORGE YATER OPPOSITE PAGE: (LEFT) LUCY L’ENGLE (1889–1978) AND AGNES WEINRICH (1873–1946), 1933 MODERN EXHIBITION CATALOGUE COVER (PAA), 8.5 BY 5.5 INCHES PAAM ARCHIVES (righT) CHARLES W. HAwtHORNE (1872–1930), THE ARTIST’S PALEttE GIFT OF ANTOINETTE SCUDDER The Armory Show, introducing Modernism to America, ignited an angry dialogue between conservatives and Modernists. -
Henry Varnum Poor: Commemorating 125 Years
Henry Varnum Poor: Commemorating 125 Years by Ron Michael, Curator, Birger Sandzén Memorial Gallery Extended Essay - August 2012 Seeking Beauty Henry Varnum Poor is an important name not only for those interested in the history of Kansas or American art, but for Angular detail of Self Portrait, circa those who celebrate bountiful lives. Determined to follow his own 1917, lithograph, size unknown. path, he was committed to a life based on unadorned pursuits and a constant search for beauty. He once wrote to friend and fellow artist Birger Sandzén, “I want to make beautiful things so as to make our living as beautiful as possible.”1 Developing and using his multi-faceted talents, he also lived a life of great variety. At various times in his life he combined one or more professions as an artist, craftsman, builder, writer, teacher, organizer, administrator, evaluator and more. He was the perennial “jack-of-all-trades,” or perhaps more appropriately, a “renaissance man.” Just within the arts he explored a vast array of differing media – oils, watercolors, ceramics, pastels, drawings, frescos, etchings, lithography, woodworking, textiles, and illustration. He seemed to turn everything he touched into art. Perhaps nowhere is this better evident than the house he designed and constructed near New City, New York. Dubbed Crow House it was conceived as a place of comfort for his family – away from, but still accessible to, the bustling metropolis of New York and other Eastern cities. As he continued to write in his letter to Birger Sandzén, “The joy and satisfaction in making the house has been tremendous, and the future work of carving and painting our huge beams and stones will be great. -
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. -
Newsletter 2009
NEWSLETTER 2009 NEWSLETTER CONTENTS 2 Letter from the Chair and President, Board of Trustees Skowhegan, an intensive 3 Letter from the Chair, Board of Governors nine-week summer 4 Trustee Spotlight: Ann Gund residency program for 7 Governor Spotlight: David Reed 11 Alumni Remember Skowhegan emerging visual artists, 14 Letters from the Executive Directors seeks each year to bring 16 Campus Connection 18 2009 Awards Dinner together a gifted and 20 2010 Faculty diverse group of individuals 26 Skowhegan Council & Alliance 28 Alumni News to create the most stimulating and rigorous environment possible for a concentrated period of artistic creation, interaction, and growth. FROM THE CHAIR & PRESIDENT OF THE BOARD OF TRUSTEES FROM THE CHAIR OF THE BOARD OF GOVERNORS ANN L. GUND Chair / GREGORY K. PALM President BYRON KIM (’86) We write to you following another wonderful Trustees’/ featuring a talk by the artist and in June for a visit leadership. We will miss her, but know she will bring Many years ago, the founders of the Skowhegan great food for thought as we think about the shape a Governors’ Weekend on Skowhegan’s Maine campus, to Skowhegan Trustee George Ahl’s eclectic and her wisdom and experience to bear in the New York School of Painting & Sculpture formed two distinct new media lab should take. where we always welcome the opportunity to see beautiful collection which includes several Skowhegan Arts Program of Ohio Wesleyan University, where governing bodies that have worked strongly together to As with our participants, we are committed to diversity the School’s program in action and to meet the artists. -
September 2007 Caa News
NEWSLETTER OF THE COLLEGE ART ASSOCIATION VOLUME 32 NUMBER 5 SEPTEMBER 2007 CAA NEWS Cultural Heritage in Iraq SEPTEMBER 2007 CAA NEWS 2 CONTENTS FEATURES 3 Donny George Is Dallas–Fort Worth Convocation Speaker FEATURES 4 Cultural Heritage in Iraq: A Conversation with Donny George 7 Exhibitions in Dallas and Fort Worth: Kimbell Art Museum 8 Assessment in Art History 13 Art-History Survey and Art- Appreciation Courses 13 Lucy Oakley Appointed caa.reviews Editor-in-Chief 17 The Bookshelf NEW IN THE NEWS 18 Closing of CAA Department Christopher Howard 19 National Career-Development Workshops for Artists FROM THE CAA NEWS EDITOR 19 MFA and PhD Fellowships Christopher Howard is editor of CAA News. 21 Mentors Needed for Career Fair 22 Participating in Mentoring Sessions With this issue, CAA begins the not-so-long road to the next 22 Projectionists and Room Monitors Needed Annual Conference, held February 20–23, 2008, in Dallas and 24 Exhibit Your Work at the Dallas–Fort Fort Worth, Texas. The annual Conference Registration and Worth Conference Information booklet, to be mailed to you later this month, 24 Annual Conference Update contains full registration details, information on special tours, workshops, and events at area museums, Career Fair instruc- CURRENTS tions, and much more. This publication, as well as additional 26 Publications updates, will be posted to http://conference.collegeart.org/ 27 Advocacy Update 2008 in early October. Be sure to bookmark that webpage! 27 Capwiz E-Advocacy This and forthcoming issues of CAA News will also con- tain crucial conference information. On the next page, we 28 CAA News announce Donny George as our Convocation speaker. -
Michio Namatame “Light 6”
VGALLERY&STUDIOOL. 4 NO. 2 DECEMBER 2001/JANUARY 2002 New York Michio Namatame “Light 6” Cast Iron Gallery 159 Mercer St. from December 5 - 22, 2001 “Dealer’s Choice” Acrylic 40" x 30" on Canvas Choice” “Dealer’s “In The Beginning,” 2001 10" x 14," Acrylic on museum “In The Beginning,” 2001 10" board mounted on birch wood. 1 of 7 in grid formation Sheila Hecht Betty-Ann Hogan Recent Paintings “In The Beginning” November 27 - December 15, 2001 Reception: Saturday December 1, 4-6 PM Jan. 8 - 27, 2002 • Reception: Sun. Jan. 13, 3 - 6 PM Noho Gallery PLEIADES 530 West 25th St. (4th Fl) NYC 10001 530 West 25th, Street, 4th floor New York, NY 10001 GALLERY Tues - Sat 11 - 6 • Sun. by appointment (212) 367-7063 Tues - Sat 11am - 6pm 646 - 230 - 0056 MARIE-LOUISE McHUGH José Gomez “Rising,” oil on canvas, 59" x 59" Patricia Orbegoso “Dressed in Clarity,” oil on canvas, 20" x 25" “Nude on Red Wall” Oil on Canvas 60" x 36" Oil on Canvas “Nude on Red Wall” Paintings and Works on Paper From their recent exhibition at November 28 - December 22, 2001 Gelabert Studios 255 West 86th St, NYC 10024, Tel 212 874-7188 Artists contacts: 568 Broadway at Prince St., # 607 [email protected] [email protected] NY, NY 10012 (212) 226-8711 Fax (212) 343-7303 www.geocities.com/pjorbegoso www.geocities.com/josegomezh www.phoenix-gallery.com Hrs: Tues - Sat 11 - 5:30 pm GALLERY&STUDIO DECEMBER 2001/JANUARY 2002 “Femininity & Strength” Mixed Media 9" x 24" DANIÈLE M. -
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.