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The Death of Impressionism The Magazine of the Michener Art Museum MichenerArtMuseum.org Fall 2016 | THE DEATH OF IMPRESSIONISM DISRUPTION & INNOVATION IN ART Q-Fall2016.indd 1 8/18/16 3:58 PM EXHIBITIONS/ PROGRAMS Death of Impressionism? DIREctor’SSPOTLIGHT Disruption & Innovation in Art 3-6 Our summer was an extraordinary one, with filled- FALL 2016 FALL Shifting the Limits: Robert Engman’s Structural Sculpture 7 to-capacity summer art camps, music programs, and exhibitions that touched local and international Jonathan Hertzel: When Sparks Fly 8 communities with their rich imagery and powerful Highlights from the New Hope statements. Solebury School District Art We celebrated the expansion of the Panama Canal Collection 8 with Oh Panama! Jonas Lie Paints the Panama Canal, Unguarded, Untold, Iconic: explored local color with New Hope artist Lloyd Afghanistan through the Ney, featured artists new to the Michener in Tête-à- Lens of Steve McCurry 9 Tête: Conversations in Photography, and explored Lloyd Ney: Local Color 10 | the exotic and poignant world of Afghanistan with 2 Tête-a-Tête: Conversations in Unguarded, Untold, Iconic: Afghanistan through the Photography 10 Lens of Steve McCurry. Afghanistan Ambassador Oh Panama!: Jonas Lie Paints the Panama Canal 10 Hamdullah Mohib was due to attend our opening reception for Steve McCurry in July but standstill highway traffic made it impossible. He was able to call in via speaker Coming Soon 11-12 phone, however, to share his congratulations and perspectives, observing that Collections 13 McCurry’s photographs capture both the beauty and realities of Afghanistan, and Public Programs 14-15 expressing appreciation for the friendship between his country and the United States. M USIC AT THE MICHENER We look forward to our late fall exhibitions which explore sculpture, photography, Jazz Nights 16 and the powerful impact of our Pennsylvania Impressionist painters on successive Sunday Afternoon Music 17 generations of artists. You will also experience a revitalized Byers Gallery, its first Friday Night Band Jam 17 renovation in over 20 years. ADVANCM E ENT The Google Cultural Institute team returned to the Michener in June to capture more works of art from our permanent collection in high resolution gigapixel technology Corporate Business Partners 18-19 and were successful in documenting one of our signature works, A Wooded Photography Patrons Circle 19 Watershed by Daniel Garber. We are proud to say this is the largest painting captured Fashion Fête 20-21 by Google’s Art Camera to date. Annual Fund 21 News & Notes 22-25 Several of our projects have been honored with important grants through the PNC Arts Alive program and the National Endowment for the Arts. The 2017 year will bring Education 26 the PNC Arts Alive Presents Broadway Cabarets series and build great anticipation Art Classes 27-30 for the NEA-supported exhibition Magical & Real: Henriette Wyeth and Peter Hurd, Family Arts Programs 31 A Retrospective in early 2018. The NEA also supported our Art for All program, Calendar 32 which brings the world of art to our citizens living with dementia/Alzheimer’s and to Get to Know Us 33 their caregivers. Membership 34-35 I hope that you have experienced our new website which has been streamlined for There is a 25% cancellation fee easy access to the information you need to create a terrific visit to the Michener. We for programs and no refunds once welcome you to take a look around the site and let us know what you think! the program begins. We mourn the loss of our dear friend Robert Russell who, with partner Bill Mandel, On the Cover: Illia Barger, The Dead Impressionists: Fern Coppedge, Daniel created an important vehicle for the acquisition of works of art for the permanent Garber, and M. Elizabeth Price, 2012-16, Oil on Gesso collection. They were powerful advocates of the Michener and many other Board, each: 36 x 18 inches. Courtesy of Illia Barger. organizations in our community, and their spirit and dedication will be missed. I look forward to welcoming you to our Museum! Lisa Tremper Hanover, Director & CEO Annual Support provided by the Bucks County Commissioners and the Commonwealth of Pennsylvania Council on the Arts Q | Fall 2016 ROGRAMS P / November 12, 2016 – February 26, 2017 Paton | Smith | Della Penna- Fernberger Galleries XHIBITIONS Co-curated by Kirsten M. Jensen, E Ph.D., Gerry & Marguerite Lenfest Chief Curator; Kelsey Halliday | Johnson, Curatorial Fellow in 3 Photography & New Media; and Louise Feder, Assistant Curator French Impressionism formally arrived in America in 1886 with a New York exhibition co-organized by the French dealer Paul Durand-Ruel and the American Art Association. American artists returning from studying abroad had already begun to exhibit the influence of Impressionism in their own work, and American collectors such as Henry and Louisine Havemeyer in New York and Bertha and Potter Palmer in Chicago had already begun John Folinsbee (1892-1972), Coal Yard, 1922. oil on canvas, 24 x 30 in. Private collection. Photograph by John Taylor. to purchase Impressionist paintings. The initial reception to Impressionism in America was mixed, but by 1890 it was the dominant mode of painting. In 1908, a group of artists known as The Eight—most of whom were originally from Philadelphia—challenged the prevailing style with their gritty approach to depicting life on the street, and in 1913, at the International Exhibition of Modern Art (The Armory Show) in New York, many of those artists joined others of their generation in declaring Impressionism “dead” in the face of a new form of modernism from Europe as exhibited in the work of Picasso, Gauguin, and Matisse. Such is the nature of art—what was once avant-garde soon becomes the old guard. By the 50th anniversary of The Armory Show in 1963, painting itself was declared dead in the face of the new wave of Minimalism and Pop of the 1960s. Today, fifty years after John Folinsbee (1892-1972), Trenton Platform, 1929, oil on canvas, 32 x 40 in. John F. Folinsbee Art Trust. (Continued...) Photograph by John Taylor. Q | Fall 2016 MichenerArtMuseum.org ROGRAMS /P (Continued...) that declaration, Impressionism remains very much alive—in painting as well as in photography, printmaking, and new media. Bucks County and the surrounding Delaware Valley region have long been XHIBITIONS E associated with Impressionism, primarily through the work of the artists connected | 4 by the art colony in New Hope, many of whom disseminated the style as teachers at the Pennsylvania Academy of the Fine Arts (PAFA). Impressionism came late to the region and grew to its peak in about 1915, but quickly lost its broad critical appeal as other trends in American and European art rose in popularity on the national scene. Many of the artists who dismissed Impressionism as old-fashioned were students at PAFA and organized their own modernist exhibition there in 1921. Others began to come to the region in the 1930s, as urban areas such as New York City became too expensive. During the Depression, the influx of new artists embracing modernist tendencies caused a rift in the artistic community which, in many respects, persists to this day. Like artists in New York and other arts centers, these new artists declared Impressionism and its practitioners dead. And yet, nearly 100 years later, lines still form outside museums for Impressionist exhibitions, and, particularly in the Philadelphia region, the Pennsylvania Impressionists still hold sway. The Death of Impressionism? Disruption & Innovation in Art explores the significance Chris Jordan (b. 1963), Cans Seurat, 2007, photograph, 60 x 92 inches. The of Impressionism in the Delaware Valley region through West Collection. juxtapositions of Impressionist paintings with more George Seurat’s Sunday on La Grande Jatte (1884) is a one of the most famous modernist works, or through examinations of transitional examples of pointillism—a method of painting in which small dots of moments in specific artists’ careers—moments that color applied in patterns form an image. Up close, the dots are all you see; Cans Seurat transformed their practices as well as that of others around step back, a picture emerges. Chris Jordan’s adds a modern and environmental twist to Seurat with 106,000 soda cans (representing the them. At its core, the exhibition is a close review of the amount consumed in the U.S. every thirty seconds). rift between the old guard and the new in the late 1920s and early 1930s, and the broader ramifications of discord The Death of Impressionism? Disruption & Innovation in Art is generously that have filtered through art production during the past supported by Visit Bucks County, SEI Private Wealth Management, eight decades. More broadly, The Death of Impressionism? and Worth & Company, Inc. Additional support is provided by Disruption & Innovation in Art provides visitors and scholars Bonnie J. O’Boyle. alike with a focused lens through which to view the stylistic transformations, changing patterns of taste, and cultural shifts as they pertain to the past century in American art. Q | Fall 2016 ROGRAMS P Art History Lecture Series / Select Tuesdays, November 15, 22, 29, December 6, 13, 1-2 pm Series fee: $75 member / $90 non-member / $50 student with valid ID, includes Museum admission. Advance registration required. XHIBITIONS A limited number of individual lecture tickets will be available: E $20 member/ $25 non-member/$15 student with valid ID, | includes Museum admission. 5 “Introduction of Impressionism to the U.S.” Tuesday, November 15, 1-2 pm By Kirsten M. Jensen, Ph.D., Gerry & Marguerite Lenfest Chief Curator, Michener Art Museum Peter Paone (b. 1936), Ingres’ Mistress #5, 2014-16, Impressionism came to America through a variety of means, mixed media, 36 x 24 in.
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