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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. -
Richard-Hambleton-Catalog-1.Pdf
REFLECTIONS Now the sine qua non of mega-collectors and elite auction houses around the world, the once subversive “Street Art” that originated in New York City in the 1980s with such artists as Keith Haring and Jean Michel Basquiat has redefined where and how we look at art. Today, in the streets and in contemporary galleries, names such as Banksy, Stik and Shepard Fairey are familiar to hip, younger collectors. With fairs and festivals from New York to the Greek Islands and beyond, “Street Art” has become a global phenomenon. The wave of creativity that began to be noticed thirty-five years ago in New York’s East Village and brought renown to such ‘tags’ as “Samo,” “Crash,” “Daze” and “Lady Pink” was a fertile, drug fueled period of spray and splatter. Julian Schnabel had begun to make headlines for the upstart Mary Boone Gallery as Ronald Reagan became President and scientists raced to contain the spread of a mysterious and deadly new virus (HIV Aids). It was into this environment that Canadian artist Richard Hambleton arrived. Hambleton’s first stop in America was the west coast of the United States. He used funds from a grant to visit cities like Seattle and San Francisco, where he caused an uproar with his controversial “Mass Murder” series. The artist peppered the sidewalks with white chalk outlines of bodies – like those a police coroner sketches around the victim of a crime – the bloodier looking the better. The authorities were not amused. He was told also, that he was ineligible for future grant money by his donors. -
Impressionist Adventures
impressionist adventures THE NORMANDY & PARIS REGION GUIDE 2020 IMPRESSIONIST ADVENTURES, INSPIRING MOMENTS! elcome to Normandy and Paris Region! It is in these regions and nowhere else that you can admire marvellous Impressionist paintings W while also enjoying the instantaneous emotions that inspired their artists. It was here that the art movement that revolutionised the history of art came into being and blossomed. Enamoured of nature and the advances in modern life, the Impressionists set up their easels in forests and gardens along the rivers Seine and Oise, on the Norman coasts, and in the heart of Paris’s districts where modernity was at its height. These settings and landscapes, which for the most part remain unspoilt, still bear the stamp of the greatest Impressionist artists, their precursors and their heirs: Daubigny, Boudin, Monet, Renoir, Degas, Morisot, Pissarro, Caillebotte, Sisley, Van Gogh, Luce and many others. Today these regions invite you on a series of Impressionist journeys on which to experience many joyous moments. Admire the changing sky and light as you gaze out to sea and recharge your batteries in the cool of a garden. Relive the artistic excitement of Paris and Montmartre and the authenticity of the period’s bohemian culture. Enjoy a certain Impressionist joie de vivre in company: a “déjeuner sur l’herbe” with family, or a glass of wine with friends on the banks of the Oise or at an open-air café on the Seine. Be moved by the beauty of the paintings that fill the museums and enter the private lives of the artists, exploring their gardens and homes-cum-studios. -
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. -
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 -
American Prints 1860-1960
American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks Bennington College, Bennington, Vermont Introduction The 124 prints which make up this exhibition have been selected from my collection of published on the occasion over 800 prints. The works exhibited at Bennington have been confined to those made by ot an exhibitionat the American artists between 1860 and 1960. There are European and contemporary prints in my A catalogue suchasthis and the exhibitionwhich collection but its greatest strengths are in the area of American prints. The dates 1860 to Suzanne Lemberg Usdan Gallery accompaniesit.. is ot necessity a collaborativeeffortand 1960, to which I have chosen to confine myself, echo for the most part my collecting Bennington College would nothave been possible without thesupport and interests. They do, however, seem to me to be a logical choice for the exhibition. lt V.'CIS Bennington \'ermonr 05201 cooperation of many people. around 1860 that American painters first became incerested in making original prints and it April 9 to May9 1985 l am especially graceful to cbe Bennington College Art was about a century later, in the early 1960s, that several large printmaking workshops were Division for their encouragementand interestin this established. An enormous rise in the popularity of printmaking as an arcistic medium, which projectfrom thestart. In particular I wouldlike co we are still experiencing today, occurred at that cime. Copyright © 1985 by MatthewMarks thankRochelle Feinstein. GuyGood... in; andSidney The first American print to enter my collection, the Marsden Hartley lirhograph TilJim, who originally suggestedche topicof theexhibi- (Catalogue #36 was purchased nearly ten years ago. -
Frameworks for the Downtown Arts Scene
ACADEMIC REGISTRAR ROOM 261 DIVERSITY OF LONDON 3Ei’ ATE HOUSE v'Al i STREET LONDON WC1E7HU Strategy in Context: The Work and Practice of New York’s Downtown Artists in the Late 1970s and Early 1980s By Sharon Patricia Harper Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of the History of Art at University College London 2003 1 UMI Number: U602573 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U602573 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The rise of neo-conservatism defined the critical context of many appraisals of artistic work produced in downtown New York in the late 1970s and early 1980s. Although initial reviews of the scene were largely enthusiastic, subsequent assessments of artistic work from this period have been largely negative. Artists like Keith Haring, Jean-Michel Basquiat and Kenny Scharf have been assessed primarily in terms of gentrification, commodification, and political commitment relying upon various theoretical assumptions about social processes. The conclusions reached have primarily centred upon the lack of resistance by these artists to post industrial capitalism in its various manifestations. -
Yeats at Petitpas' 1910/C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 John Sloan American, 1871 - 1951 Yeats at Petitpas' 1910/c. 1914 oil on canvas overall: 66.2 × 81.28 cm (26 1/16 × 32 in.) framed: 80.96 × 96.36 × 6.51 cm (31 7/8 × 37 15/16 × 2 9/16 in.) Inscription: lower right: John Sloan Corcoran Collection (Museum Purchase, Gallery Fund) 2014.136.54 ENTRY In August 1910 the realist painter John Sloan began this group portrait of regulars at Petitpas’, a French restaurant and boardinghouse in the Chelsea district of Manhattan. The work joined other Ashcan school artists’ depictions of casual dining experiences in urban eateries that focused on portraiture and narrative, such as At Mouquin’s by William Glackens (American, 1870 - 1938) [fig. 1]. [1] The Ashcan school, informally led by Robert Henri (American, 1865 - 1929), generally focused on the everyday life of the working classes rather than idealized views of the city. George Luks (American, 1866 - 1933) and George Bellows (American, 1882 - 1925) completed a watercolor and a print, respectively, featuring Petitpas’ as well [fig. 2], but Sloan’s large image in oil is the most ambitious of the three. [2] The scene takes place in the enclosed backyard of the restaurant, where the dining room was located in the hot summer months. The party gathers around a table placed under an awning decorated with a French flag. [3] At the head sits John Butler Yeats, smoking and sketching. Yeats, the Irish portrait painter and father of the poet William Butler Yeats, lived at Petitpas’ from 1909 until his death in 1922. -
Jack Roth (1927-2004) for Immediate Release: June 28, 2012
237 East Palace Avenue Santa Fe, NM 87501 800 879-8898 505 989-9888 505 989-9889 Fax [email protected] Jack Roth (1927-2004) For immediate release: June 28, 2012 Peyton Wright Gallery is pleased to announce “Jack Roth: Color Equations” The exhibition commences with an opening reception on Friday, August 3rd, 2012 from 5:00 to 8:00 p.m., and continues through September 12th, 2012. Although he was fully two decades younger than some of the elder statesmen of the Abstract Expressionist movement, Jack Roth exhibited alongside Jackson Pollock, Willem de Kooning, Franz Kline, Philip Guston, William Baziotes and others while still in his twenties. Roth was a true polymath, pursuing interests in chemistry, literature, music, mathematics and Zen Buddhism in addition to painting. Despite the rarified company he kept and his many accomplishments, Jack Roth’s contributions to 20th century modernist painting have been largely overlooked until fairly recently. Rachel Roth, his wife of fifty years, remembered him this way: “Jack was the hardest working person I’ve ever known. I’ve never said this before, but I think he was a genius, and I don’t say that lightly!” to Big Sur where he began to explore his interests in painting and sculpture and played chess with his friend Henry Miller. Roth moved to San Francisco in 1949 and enrolled in the California School of Fine Arts where he studied under Mark Rothko, Clyfford Still, and Richard Diebenkorn. He re- enrolled at Penn State in 1951 and earned his Bachelor’s in chemistry, an achievement later followed by a Master of Fine Arts from the State University of Iowa in 1952, and a PhD in La Gaîté oil on canvas 1958 72” x 60” mathematics from Duke University in 1962. -
Doyle Auction House, “Richard Hambleton”
by Angelo Madrigale NEW YORK, NY -- His early years in New York brought about his To call artist Richard Hambleton famed Shadowman series, which became his best- mercurial would be a grand known work. Akin to the Image Mass Murder series, Hambleton’s Shadowmen were life-sized understatement. inky black abstract figures, placed strategically throughout downtown New York. Photographer Having passed away at age 65 just this past October, Hank O’ Neal deftly described them as “silhouettes Hambleton leaves behind a legacy of important of a nuclear blast,” the figures were imposing and work that would come to set the foundation for often frightening, lurking in alleyways, and even what we now call Street Art, though his personal confusing cabbies on the Bowery, mistakenly life was sadly marred with addiction and disease. thinking their splattered outstretched arms might Hailing from Vancouver, Hambleton made a stop be hailing a ride. Many coming out of CBGBs and in San Francisco before finally settling into the other late-night haunts found themselves victims of Lower East Side in 1979. What he brought with him the jump-scares Richard’s foreboding Shadowmen to New York was the beginning of a monumental caused. Hambleton’s need to create these figures body of work that was confrontational, challenging, en masse shared a compulsion with the growing and for many, overwhelmingly fascinating, with a graffiti scene coming out of the Bronx and other practice that encompassed illegal public art as well boroughs, which led to friendships with pioneering as a more traditional studio output. graffiti artists such as Chris “Daze” Ellis, who rented a studio space from Richard from 1983- Richard Hambleton’s early public work included 1988. -
Richard Hambleton Preface
A selection of my most recent writing for Munich’s Museum of Urban and Contemporary Art: Preface of our Richard Hambleton retrospective. Richard Hambleton is a foundational urban artist in more than one sense. The mysterious ferocity of this pioneering vandal’s interventions has set the tone for street art’s brazen approach since. His preference for anonymity in the appropriation of public space consciously marginalised his own identity as an artist; much of his elusive life was spent, quite literally, in the shadows. Both his themes and methods move along outer boundaries and reflect a figure well-acquainted with urban abyss. The liminal imagery of Hambleton’s mischievous street art conjures the very real darkness underlying mass spectacle; it generated feedback with a paranoia that, to this day, echoes across the public landscape. The warmth and enthusiasm with which collectors overseas contributed to our curation has enabled us to retrace the artist’s creative phases through a life that drifted between rockstardom and the void. Our retrospective encompasses the full range of Hambleton’s oeuvre, from 1983 to his death in 2017. His earliest public interventions, pretend crime scenes, spun into a performance that teased the limits of law, with Hambleton hanging up wanted posters that blurred into a murderous detective chasing himself. The victim outlines soon morphed from pavements onto city walls in his I Only Have Eyes for You series, ghost-like paste works that French street artist JR credits as an inspiration for his own renowned projects. The paper on which Hambleton printed his life-size likeness faded, leaving behind a pale trace – a white shadow.