A Time for Growth and Change
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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. -
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. -
Caroline Peart, American Artist
The Pennsylvania State University The Graduate School School of Humanities MOMENTS OF LIGHT AND YEARS OF AGONY: CAROLINE PEART, AMERICAN ARTIST 1870-1963 A Dissertation in American Studies by Katharine John Snider ©2018 Katharine John Snider Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2018 The dissertation of Katharine John Snider was reviewed and approved* by the following: Anne A. Verplanck Associate Professor of American Studies and Heritage Studies Dissertation Advisor Chair of Committee Charles Kupfer Associate Professor of American Studies and History John R. Haddad Professor of American Studies and Popular Culture Program Chair Holly Angelique Professor of Community Psychology *Signatures are on file in the Graduate School ii ABSTRACT This dissertation explores the life of American artist Caroline Peart (1870-1963) within the context of female artists at the turn of the twentieth century. Many of these artists’ stories remain untold as so few women achieved notoriety in the field and female artists are a relatively new area of robust academic interest. Caroline began her formal training at The Pennsylvania Academy of the Fine Arts at a pivotal moment in the American art scene. Women were entering art academies at record numbers, and Caroline was among a cadre of women who finally had access to formal education. Her family had the wealth to support her artistic interest and to secure Caroline’s position with other elite Philadelphia-area families. In addition to her training at the Academy, Caroline frequently traveled to Europe to paint and she studied at the Academie Carmen. -
ACCESS Philly by Art-Reach
ACCESS Philly by Art-Reach For $2 per person ACCESS Cardholders can attend 45 cultural sites & theaters HOW IT WORKS « Bring valid ACCESS Card with a photo ID « One (1) ACCESS Card admits the cardholder and up to three (3) people at a rate of $2 per person « EBT funds cannot be used to pay admission « Discount is not valid on special exhibitions, special events, or with any other offers ACCESS Philly is brought to you by www.art-reach.org/ACCESS Sponsored in part by ACCESS Admission Show your card at these museums, gardens and historic sites for $2 admission Academy of Natural Morris Arboretum Sciences Museum of the American African American Museum Revolution in Philadelphia Mutter Museum American Swedish Historical National Constitution Center Museum National Liberty Museum Betsy Ross House National Museum of Brandywine River Museum American Jewish History Chanticleer Garden Pennsylvania Academy of Christ Church & Burial the Fine Arts Ground Penn Museum Eastern State Penitentiary Philadelphia Museum of Art Franklin Institute Science Philadelphia’s Magic Museum Gardens Franklin Square Mini Golf Physick House Franklin Square Carousel Please Touch Museum Grumblethorpe Powel House Independence Seaport Shofuso House and Garden Museum Tyler Arboretum Insectarium & Butterfly Pavilion Waynesborough James A. Michener Art Wharton Esherick Museum Museum Woodmere Art Museum Longwood Gardens ACCESS Live Contact the box office for performance dates, times and to purchase $2 tickets 1812 Productions FringeArts Philadelphia Theatre 11th Hour Theatre -
Annual Report 2020 775 Members As of 31 December 2020
THE FRIENDS OF THE WILLIAM JEANES MEMORIAL LIBRARY Annual Report 2020 775 members as of 31 December 2020 PROGRAMMING (Adult/Teen/Children, General) $8,500 • Virtual programs and supplies • Children’s Programs & Supplies • Teen Programs & Supplies • Adult Programs & Supplies • Craft supplies • Trivia Night Prizes and Summer Reading Prizes • MLK Day and Star Wars Day supplies • BookPage Publication MUSEUM PASSES $2,750 For many years the Friends have been pleased to provide the Library with museum passes to approximately 30 different museums and cultural institutions throughout the region. Due to the pandemic, most of these institutions stopped accepting or selling museum passes. Recognizing the importance of these passes to the public and of helping these local institutions, the Friends continued to supply funds to purchase passes for the Library as they became available. The museums and cultural institutions that the Friends supported in 2019 and supported when possible in 2020: Woodmere Art Museum Independence Seaport Museum African American Museum in Mütter Museum of the College of Physicians of Philadelphia Philadelphia Elmwood Park Zoo National Constitution Center Chanticleer Garden Moravian Pottery and Tile Works Rosenbach Museum and Library Morris Arboretum of the University of Pennsylvania Philadelphia Insectarium and Penn Museum (U of Penn Museum of Archaeology Butterfly Pavilion and Anthropology) Grounds for Sculpture Academy of Natural Sciences of Drexel University Tyler Arboretum Museum of the American Revolution Historic Hope Lodge John James Audubon Center at Mill Grove Eastern State Penitentiary National Museum of American Jewish History Battleship New Jersey Boyertown Museum of Historic Vehicles Philadelphia’s Magic Garden Bucks County Children’s Museum National Liberty Museum Reading Public Museum Glencairn Museum Simeone Foundation Automotive Museum Pearl 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. -
Art at Vassar, Spring 2005
FRIENDS OF THE FRANCES LEHMAN LOEB ART CENTER ART SPRING 2005 AT VAS SAR Of the many pleasures of teaching at Vassar, by far the greatest is Time and the chance to work with lively, intelligent and creative students. With them one shares one’s interests along with the storehouse of Related Events Transformation information and ideas that all college professors collect and love to bring forth in class discussions. In my department, we begin Thursday, March 17, 6:00p.m., at Colony Club in New York. instruction with Art 105, move on to lecture courses in our own Friends of FLLAC honor Susan Kuretsky, class of 1963, the Sarah In Seventeenth- fields, and finally to small, specialized seminars for juniors and Gibson Blanding Professor of Art at Vassar College. seniors. Here we may venture into unfamiliar territory, exploring Ms. Kuretsky to speak on “The Making of an Exhibition, Century Dutch together the attractions (and often enough the frustrations) of Time and Transformation in Seventeenth-Century Dutch Art.” scholarly research. In many respects, the upcoming exhibition Time and Transformation in Seventeenth-Century Dutch Art Art has been hatched in the classroom, inspired by reflections arising Opening Reception and Lecture from recent seminars on landscape, on the depiction of ruins in Friday April 8, 5:30 April 8 – June 19, 2005 Dutch art, and on relationships between art and science in the Age Lecture “Finding Time: on the virtues of fallen things” by curator of Observation. Throughout this process, the Frances Lehman Susan Kuretsky, class of 1963, Professor of Art on the Sarah G. -
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. -
July 1, 2012–June 30, 2013 FY13: a LOOK BACK
Georgia Museum of Art Annual Report July 1, 2012–June 30, 2013 FY13: A LOOK BACK One of the brightest spots of FY13 was the On October 22, the museum celebrated inaugural UGA Spotlight on the Arts, a nine-day its official reaccreditation by the American festival held November 3–11, highlighting visual, Alliance of Museums (formerly the American performing, and literary arts all over campus, Association of Museums). Although the in which the museum participated eagerly. The museum is usually closed on Mondays, it was vision of vice-provost Libby Morris, the festival open to the public for the day. AAM director was planned by the UGA Arts Council, of which Ford Bell attended the event and spoke about museum director William U. Eiland is a member, the museum, followed by an ice cream social. and its subsidiary public relations arm (at Less than 5 percent of American museums are which Michael Lachowski and Hillary Brown accredited, and the process is not a simple one. represented the museum). The festival attracted Reaccreditation is a lengthy process, involving great attendance, especially from students, and a self-study that the museum worked on for demonstrated the administration’s commitment several years and a site visit lasting several days, to making the arts an essential part of the during which AAM representatives toured the university experience. Later in the fiscal year, the facility from top to bottom, met with university Arts Council began working on a strategic plan, upper administration, and interviewed staff with brainstorming meetings held by both the members, volunteers, students, and patrons of executive and PR committees in the museum’s the museum. -
Annual Report 2009
Bi-Annual 2009 - 2011 REPORT R MUSEUM OF ART UNIVERSITY OF FLORIDA CELEBRATING 20 YEARS Director’s Message With the celebration of the 20th anniversary of the Harn Museum of Art in 2010 we had many occasions to reflect on the remarkable growth of the institution in this relatively short period 1 Director’s Message 16 Financials of time. The building expanded in 2005 with the addition of the 18,000 square foot Mary Ann Harn Cofrin Pavilion and has grown once again with the March 2012 opening of the David A. 2 2009 - 2010 Highlighted Acquisitions 18 Support Cofrin Asian Art Wing. The staff has grown from 25 in 1990 to more than 50, of whom 35 are full time. In 2010, the total number of visitors to the museum reached more than one million. 4 2010 - 2011 Highlighted Acquisitions 30 2009 - 2010 Acquisitions Programs for university audiences and the wider community have expanded dramatically, including an internship program, which is a national model and the ever-popular Museum 6 Exhibitions and Corresponding Programs 48 2010 - 2011 Acquisitions Nights program that brings thousands of students and other visitors to the museum each year. Contents 12 Additional Programs 75 People at the Harn Of particular note, the size of the collections doubled from around 3,000 when the museum opened in 1990 to over 7,300 objects by 2010. The years covered by this report saw a burst 14 UF Partnerships of activity in donations and purchases of works of art in all of the museum’s core collecting areas—African, Asian, modern and contemporary art and photography. -
A L E X a N D R a T Y
A L E X A N D R A T Y N G 117 Woodside Avenue, Narberth PA 19072 (610) 664-0651 [email protected] www.alexandratyng.com ____________________________________________________________________________ BIOGRAPHY Alexandra Tyng is a contemporary realist painter known for her narrative, symbolic figurative works, her expansive aerial landscapes, and her portraits. She is currently working in Philadelphia, PA. BORN 1954, Rome, Italy EDUCATION: Harvard University, Cambridge, MA, B.A. Fine Arts 1975 University of Pennsylvania, Philadelphia, PA, M.S. Education 1977 SOLO EXHIBITIONS: 2019 Transitional Space, Dowling Walsh Gallery, Rockland, ME 2017 Brief Window, Dowling Walsh Gallery, Rockland, ME 2015 Ways and Intersections, Gross McCleaf Gallery, Philadelphia, PA 2013 The Unseen Aspect, Dowling Walsh Gallery, Rockland, ME 2012 Alexandra Tyng: Maine, Fischbach Gallery, New York, NY 2011 Right Here: New Maine Island Paintings, Dowling Walsh Gallery, Rockland, ME 2009 Above and Beyond, Fischbach Gallery, New York, NY 2005 Wide Angles and Peripheral Visions, Fischbach Gallery, New York, NY Alexandra Tyng ’71, Select Gallery, Philadelphia, PA 2003 On the House, Fischbach Gallery, New York, NY 2001 Maine Times, Fischbach Gallery, New York, NY 1999 Paintings of Maine, Fischbach Gallery, New York, NY 1997 Alexandra Tyng, Fischbach Gallery, NY, City Arts League, Philadelphia, PA 1994 Lakes and Camps, University City Arts League, Philadelphia, PA GROUP EXHIBITIONS: 2020 Allied Artists of America 107th Exhibition, National Arts Club, New York, NY, Len G. Everett Memorial Award The Maine Event, Gallery 222, Malvern, PA Holiday Salon, Dowling Walsh Gallery, Rockland, ME 2019 Maine, the Painted State, Greenhut Gallery, Portland, ME Painting the Figure II, Wausau Museum of Contemporary Art, WI 2018 Trust the Process, curated by Randall Graham, Gallery 222, Malvern PA 2017 Women Painting Women: In Earnest, curated by Alia El-Bermani, Customs House Museum, Clarkesville, TN; Texas A&M J. -
Pène Du Bois, Guy American, 1884 - 1958
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Pène du Bois, Guy American, 1884 - 1958 Paul Juley, Guy Pène du Bois Standing in Front of "The Battery", 1936, photograph, Peter A. Juley & Son Collection, Smithsonian American Art Museum BIOGRAPHY Guy Pène du Bois was a noted art critic as well as a painter of pointed, sometimes witty, scenes of modern social interactions. Pène du Bois was born in Brooklyn, New York, on January 4, 1884. His father, Henri Pène du Bois, a journalist and writer of Louisiana Creole heritage, passed down his admiration of French language and culture to his son. Pène du Bois attended the New York School of Art from 1899 to 1905, where he studied first with William Merritt Chase (American, 1849 - 1916) and later Robert Henri (American, 1865 - 1929). Pène du Bois’s fellow pupils included George Bellows (American, 1882 - 1925), Rockwell Kent (American, 1882 - 1971), and Edward Hopper (American, 1882 - 1967). Hopper and Pène du Bois remained close friends throughout their careers. In 1905 he went to Paris with his father and briefly studied at the Academie Colarossi and took lessons from Théophile Alexandre Steinlen (Swiss, 1859 - 1923). He first exhibited at the Paris Salon in 1905. Pène Du Bois’s work reflects a close observation of modern Parisian life in subjects such as men and women interacting in public spaces like cafés. He drew inspiration from contemporary French artists like Edgar Degas (French, 1834 - 1917) and Henri de Toulouse-Lautrec (French, 1864 - 1901). Du Bois and his father were forced to return to New York in 1906 after the elder Pène du Bois fell ill, but he died before they arrived.