Special Exhibition Curatorial Records
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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. -
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. -
2001 Great Plains Prairie
2001 Great Plains Prairie Pronghorns Burrowing Owls Black-tailed Prairie Dog American Buffalo Painted Lady Butterfly 2001 Great Plains Prairie Western Meadowlark Badger Plains Spadefoot Eastern Short-horned Lizard Two-striped Grasshopper 2001 perf. 11¼x11 die cut 11 die cut 8½ vert. American Buffalo American Buffalo American Buffalo die cut 11¼ die cut 10½x11¼ American Buffalo American Buffalo Eagle Eagle United We Stand die cut 11¼ die cut 10½x10¾ die cut 9¾ vert., sq. corner die cut 9¾ vert., rd. corner United We Stand United We Stand United We Stand United We Stand 2001-03 George Washington die cut 11¼x11 die cut 10½x11 die cut 11¼x11¾, “2001” George Washington George Washington George Washington die cut 8½ vert., “2001” perf. 11¼, “2002” die cut 8½ vert., “2002” George Washington George Washington George Washington die cut 11¼x11, “2002” die cut 10½x11, “2002” die cut 11, “2003” George Washington George Washington George Washington Atlas die cut 8½ vert., “2001” die cut 11 vert., “2003” Atlas Atlas 2001 We Give Thanks Diamond in the Square Lone Star Diabetes Roy Wilkins The Nobel Prize Peanuts Honoring Veterans Frida Kahlo Sunshine & Shadow James Madison Double Ninepatch Variation 2001 Venus Flytrap Yellow Trumpet Cobra Lily English Sundew Leonard Bernstein Lucille Ball Pan-American Exposition perf. 12, unwmk., dated “2001” perf. 12, unwmk., dated “2001” perf. 12, unwmk., dated “2001” Fast Lake Navigation Fast Express Automobile 2001 Woody Wagon Enrico Fermi Love Love Love die cut 11½x10¾ Love die cut 11¼ Love Love 2001-09 Eid die cut 11¼, dated “2001” die cut 11, dated “2002” Eid Eid Eid Eid Eid Eid 2001-03 Washington Landmarks U.S. -
Art Era Timeline 3 Early 20Th C – Modern
1 Art Movement Timeline Early 20th C Centuryentury till the start of Modern Art Time Line Art Movement Description Artists & examples Late 19th/ Early 20th Century Design Britain, Late 19th Arts and Crafts The Arts and Crafts Century Movement was a celebration of individual design and craftsmanship, William Morris , a book designer, 18341834----18961896 spearheaded the William Morris movement. He also produced stained glass, textiles and wallpaper and was a painter and writer. © Nadene of http://practicalpages.wordpress.com 04/2010 2 Late 19th Century to Art Nouveau Art Nouveau is an Early 20th Century elegant decorative art style characterized by intricate patterns of curving lines. Its origins somewhat 18601860----19391939 rooted in the British Alphonse Mucha Arts and Crafts Movement of William Morris , 18721872----18981898 Aubrey Beardsley 18621862----19181918 Gustav Klimt Louis Comfort Tiffany . 18481848----19331933 © Nadene of http://practicalpages.wordpress.com 04/2010 3 1880's to 1920's The Golden Age of The Golden Age of European artists: Illustration Illustration was a period of unprecedented excellence in book and magazine 18451845----19151915 illustration. Walter Crane Advances in technology permitted accurate and inexpensive reproduction of art. The public demand for new graphic art grew in this time. Edmund Dulac 18821882----19531953 18721872----18981898 Aubrey Beardsley 18671867----19391939 Arthur Rackham 18861886----19571957 © Nadene of http://practicalpages.wordpress.com 04/2010 4 The Golden Age of Kay Nielsen . Illustration American artists: 18531853----19111911 Howard Pyle 18821882----19451945 N.C. Wyeth 18701870----19661966 Maxfield Parrish 18771877----19721972 Frank Schoonover 18521852----19111911 Edwin Austin Abbey . © Nadene of http://practicalpages.wordpress.com 04/2010 5 1920's to 1930's Art Deco Art Deco is an elegant style of decorative art, design and architecture which began as a Modernist reaction against the Art 18981898----19801980 Nouveau style. -
Highlights from the William J. Glackens Collection in NSU Museum of Art Fort Lauderdale
Highlights from The William J. Glackens Collection in NSU Museum of Art Fort Lauderdale By: Elizabeth Thompson Colleary Introduction to the Collection Every time a group of paintings by William Glackens is shown one gets from them much of the sensuous joy that the artist must evidently have had when he painted them. His are no perfunctory productions of a manufacturer of paintings. They are fragments of his life, of the pleasures he has felt at being in the sun in certain delightful places and above all of the pleasure derived from just painting’ 1 Written by an art critic reviewing an exhibition of paintings in 1931 by William J. Glackens (1870–1938), this statement aptly describes the experience that awaits visitors to the Glackens Wing at the Museum of Art | Fort Lauderdale. As the largest repository of resplendent works by the artist, recently described as a “master of delight” and praised in his lifetime for “his genius for transforming his inner joyousness to canvas,” 2 the collection includes painting spanning the years 1891 to 1938, thus from the defining phases of Glackens’s career—from his early days as an artist-reporter and illustrator, through his recognition as an urban realist aligned with the famed painter and teacher Robert Henri, to his brilliant flowering when he came into his own, inspired by the vivid colors of the French Impressionists and his American modernist contemporaries. Among the holdings are examples of his finest works as an illustrator, among them The Night after San Juan (1898), which depicts the aftermath of a battle in the Spanish-American War, Far from the Fresh Air Farm (1911), and Christmas Shoppers, Madison Square (1912), the latter two bustling New York City street scenes replete with lively vignettes and abundant period detail. -
University of Birmingham Chamber Pots and Gibson Girls
University of Birmingham Chamber Pots and Gibson Girls: Fagg, John DOI: 10.1086/684919 License: None: All rights reserved Document Version Early version, also known as pre-print Citation for published version (Harvard): Fagg, J 2015, 'Chamber Pots and Gibson Girls: Clutter and matter in John Sloan’s Graphic Art', American Art, vol. 29, no. 3, pp. 28-57. https://doi.org/10.1086/684919 Link to publication on Research at Birmingham portal General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive. -
The Cornish Colony Highlights from the Collection the Cornish Colony Highlights from the Collection
THE CORNISH COLONY Highlights from the Collection THE CORNISH COLONY Highlights from the Collection The Cornish Colony, located in the area of Cornish, New The Cornish Colony did not arise all of apiece. No one sat down at Hampshire, is many things. It is the name of a group of artists, a table and drew up plans for it. The Colony was organic in nature, writers, garden designers, politicians, musicians and performers the individual members just happened to share a certain mind- who gathered along the Connecticut River in the southwest set about American culture and life. The lifestyle that developed corner of New Hampshire to live and work near the great from about 1883 until somewhere between the two World Wars, American sculptor Augustus Saint-Gaudens. The Colony is also changed as the membership in the group changed, but retained a place – it is the houses and landscapes designed in a specific an overriding aura of cohesiveness that only broke down when the Italianate style by architect Charles Platt and others. It is also an country’s wrenching experience of the Great Depression and the ideal: the Cornish Colony developed as a kind of classical utopia, two World Wars altered American life for ever. at least of the mind, which sought to preserve the tradition of the —Henry Duffy, PhD, Curator Academic dream in the New World. THE COLLECTION Little is known about the art collection formed by Augustus Time has not been kind to the collection at Aspet. Studio fires Saint-Gaudens during his lifetime. From inventory lists and in 1904 and 1944 destroyed the contents of the Paris and New correspondence we know that he had a painting by his wife’s York houses in storage. -
Dreamworlds and the Art of Illustration
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1983 Dreamworlds and the Art of Illustration Donna Crotchett Eastern Illinois University This research is a product of the graduate program in Art at Eastern Illinois University. Find out more about the program. Recommended Citation Crotchett, Donna, "Dreamworlds and the Art of Illustration" (1983). Masters Theses. 2843. https://thekeep.eiu.edu/theses/2843 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. Tl I l·:SIS R F:PRODUCTlON CERTIFICATE TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is rece1vtng a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtalned from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. Date Author I respectfully request Booth Library of Eastern Illinois University not allowmy thesisbe reproduced because oJ �Sct\�I r-€4.SC"""\...� -
American Art in the 20Th Century “I’M Not Much but I’M All I Think About” 2010 “Game Denied” 2011 “Nevermore”
American Art in the 20th Century “I’m not much but I’m all I think about” 2010 “Game Denied” 2011 “Nevermore” 2015 “Ravens Discussing Geometry” 2015 “Raven’s Moon” 2017 “Cincinnati Carnivals” 2020 American Art in the 20th Century Session 1 BEFORE 1900 Late 1800’S American artists who influenced early 1900’s art Winslow Homer James McNeil Whistler John Singer Sargent Frank Duveneck William Merrit Chase Winslow Homer (1836-1910) c.1895 Frank Duveneck (1849-1919) Private Winslow Homer (1836-1910) “Breezing Up (A Fair Wind)” 1873 National Gallery of Art, DC Winslow Homer (1836-1910) “Snap the Whip” 1874 Butler Inst. Of Art, Youngstown, OH James McNeill Whistler (1834-1903) “Self Portrait” 1872 Detroit Institute of the Arts James McNeill Whistler (1834-1903) “Arrangement in Grey and Black” Whistler’s Mother 1872 Musée d’Orsay, Paris, FR James McNeill Whistler (1834_1903) “Symphony in White. No. 1” 1862 National Gallery of Art Washington, DC James McNeill Whistler (1834-1903) “Nocturne in Black and Gold, The Falling Rocket” 1872 Detroit Institute of the Arts James McNeill Whistler (1834-1903) "art for art's sake" “Turkish Page” 1876 William Merritt Chase Cincinnati Art Museum William Merritt Chase (1849-1916) “Self Portrait” 1883 “Turkish Page” 1876 Frank Duveneck Pennsylvania Academy of Fine Art “Frank Duveneck Painting “Turkish Page” William Merritt Chase 1876 William Merritt Chase “Keying Up” 1885 Pennsylvania Academy of Fine Art William Merritt Chase “Idle Hours – Shinnecock Hills” 1885 Amon Carter Museum, Ft Worth, TX William Merritt Chase “Bayberry Bushes - Homestead” 1883 Parrish Art Museum – Water Mill, NY John Singer Sargent (1856-1906) Self Portrait Met. -
ADDRESS: 1523 CHESTNUT ST Name of Resource: Love Building Proposed Action: Designation Property Owner: 1523 Chestnut Associates
ADDRESS: 1523 CHESTNUT ST Name of Resource: Love Building Proposed Action: Designation Property Owner: 1523 Chestnut Associates Nominator: Center City Residents’ Association Staff Contact: Meredith Keller, [email protected] OVERVIEW: This nomination proposes to designate the Love Building at 1523 Chestnut Street and list it on the Philadelphia Register of Historic Places. The nomination contends that the property satisfies Criteria for Designation A and J. Under Criteria A and J, the nomination contends that the property is significant for its association with the Red Rose Girls, an enclave of notable female artists important in LGBTQ history that included Jessie Willcox Smith, Elizabeth Shippen Green, Violet Oakley, and others. The nomination contends that the women maintained studios in the building during their formative years as artists and became significant contributors to the golden age of American illustration at a time when Philadelphia served as a national center for that industry. STAFF RECOMMENDATION: The staff recommends that the nomination demonstrates that the property at 1523 Chestnut Street satisfies Criteria for Designation A and J. 1. ADDRESS OF HISTORIC RESOURCE (must comply with an Office of Property Assessment address) Street address: 1523 Chestnut Street Postal code: 19102 2. NAME OF HISTORIC RESOURCE Historic Name: The Love Building Current Name: Unknown 3. TYPE OF HISTORIC RESOURCE Building Structure Site Object 4. PROPERTY INFORMATION Condition: excellent good fair poor ruins Occupancy: occupied vacant under construction unknown Current use: Commercial 5. BOUNDARY DESCRIPTION Please attach a narrative description and site/plot plan of the resource’s boundaries. 6. DESCRIPTION Please attach a narrative description and photographs of the resource’s physical appearance, site, setting, and surroundings. -
Judith Goffman Cutler and Laurence S. Cutler Usher In
IJudithIllustriousllustrious Goffman Cutler and Laurence S. Cutler usher in a new Achievements “Golden Age” of American illustration. By Margie Goldsmith ou know how Imelda Marcos collects shoes?” asks Y Laurence S. Cutler, in ref- erence to his wife, Judith Goffman Cutler. “That’s how Judy collects American illustration.” Judy, known as the doyenne of the American illustra- tion market, and Laurence, a former professor of architecture and urban design at Harvard, MIT and the Rhode Island School of Design, are the driving forces behind the National Museum of American Illustration in Newport, Rhode Island. The first museum of its kind dedicated to American illustra- tion art, NMAI also has another distinction: It is the Cutlers’ home. The Cutlers’ blue-chip collection, which focuses on the Golden Age of American Illustration (1870–1965), represents the greatest assemblage of Maxfield Parrish works in the world: 68 illustrations. The museum also houses the largest collection of works by J.C. Leyendecker, James Montgomery Flagg and Charles Dana Gibson. The astounding inventory: roughly 2,000 paintings, 80,000 works on paper and limited-edition prints by 80 illustrators, among which is the second- largest collection of Norman Rockwell pieces after the Norman Rockwell, “Miss Liberty,” 1943, oil on canvas, 41 3/4” x 31 1/4”. FACING: Treillage Loggia, featuring murals by Tiffany Studios’ James Wall Finn (above). Maxfield Parrish, “A Florentine Fête” (middle), 1916, oil on canvas, 126” x 207”. Treillage Loggia with the American Imagist Collection. 60 ART & ANTIQUES ss Achievements Rockwell Museum. The couple also has amassed key pieces of illustration memo- rabilia, such as Parrish’s various pens and Rockwell’s first paint box with his name stenciled on the front from which he derived his unique signature. -
John Sloan Manuscript Collection Helen Farr Sloan Library & Archives
John Sloan Manuscript Collection Helen Farr Sloan Library & Archives, Delaware Art Museum John Sloan Diary, 1906 Jan. 1 Played golf today with Henri1 and Davis.2 We welcome the New Year at James B. Moore's3 "Secret Lair beyond the Moat" 450 W. 23rd. A very small party. James B., Henri, Barney Moore4 (no relative of Jim's) with Miss O'Connor,5 John Sloan, Mrs. J. Sloan. Pleasant evening and early morning. I'm going to try to do a bit less smoking this year. Mr. and Mrs. E. W. Davis,6 old "Wyatt" of the old 806 days,7 to dinner, with their boy 1 Robert Henri (1865-1929) was a major influence in American art in the last decade of the 19th century and the first of the 20th both as a painter and a teacher. He and Sloan met in December 1892. While Sloan never studied formally with Henri, he acknowldged him as his "father in art." Although their paths diverged after the period covered by the diaries, he and Sloan were very close in 1906. Henri's wife, Linda, had died the month before the dairies began and Henri, very lonely, visited the Sloans often. Henri's name was originally Robert Henry Cozad, but the family abandoned the use of "Cozad." His father and mother adopted the surname "Lee" and Henri's brother John became "Frank L. Southrn." [Bennard Perlman. Robert Henri. His Life and Art. New York: Dover Publications, Inc. 1991, pp. 5-6] 2 Edward Wyatt Davis, a friend of Sloan's from the early 1890s and assistant art editor of the Philadelphia Press for which Sloan had worked, had moved to New York and become art editor of the humor magazine Judge.