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Recent Acquisitions Exhibit La Salle University Art Museum La Salle University La Salle University Digital Commons Art Museum Exhibition Catalogues La Salle University Art Museum 5-1970 Recent Acquisitions Exhibit La Salle University Art Museum Follow this and additional works at: http://digitalcommons.lasalle.edu/exhibition_catalogues Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation La Salle University Art Museum, "Recent Acquisitions Exhibit" (1970). Art Museum Exhibition Catalogues. 110. http://digitalcommons.lasalle.edu/exhibition_catalogues/110 This Book is brought to you for free and open access by the La Salle University Art Museum at La Salle University Digital Commons. It has been accepted for inclusion in Art Museum Exhibition Catalogues by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. ACQUISITIONS EXHIBIT an exhibition of recent acquisitions to the La Salle College Study Collection of Art ART FOR LA SALLE: THE STUDY COLLECTION This exhibit represents a selection of the major works from the La Salle Collection of art. This collection, still in its initial stage of development, forms the core of a unique and expanding student- community oriented program in art. La Salle has, for some time, enjoyed a fine reputation in the performing arts, particularly through its own dramatic productions, and the varied offerings of the Concert and Lecture series. Less well -publicized perhaps, but sim ilarly extensive, has been the continuing series of art exhibits in the College Union Building. Throughout the last decade, too, efforts have been made to strengthen the place of art in the curriculum of the college. Now the course opportunities available to the student range from the quite basic Elements of Art, designed as an introduction to the visual arts, to more advanced courses in both the study and practice of art utilizing our own facilities, the extensive collections of the Philadelphia Museum of Art, Alverthorpe Gallery, and the museums of Baltimore, New York and Washington. La Sa lle 's fortunate proximity to these institu­ tions will always provide an indispensable part of its art program, as will such resources as an expanding color-slide collection and enlarged library holdings in this field. But it is the college's firm belief -- and our plans for the future of the program are conditioned by this belief -- that none of these secondary resources can take the place of quality original works in providing an atmosphere for the study of arte Thus the highest priority in the program at present is being given to the building of a small but representative collection, because it is seen as the key to better instruction and the development of imaginative programs for our students and for the community. In the last three years, the study collec­ tion has acquired some two-hundred prints and drawings and thirty oil paintings. We hope to triple our holdings in the next three years. In this effort, we are seeking the assistance of private collectors and foundations, as well as that of the many generous patrons who are continuing to help us. We are pleased that in such a relatively short time we have such a collection as this to exhibit. - 3 - Anonymous French, about 1475 Book of Hours Manuscript on vellum, 6 x 4* Manuscript on vellum of 138 pages, consisting of the Calendar in Franch, Little Hours of the Virgin, Seven Penitential Psalms and the Litany of the Saints, The manuscript was written in Northern France and the use is that of Paris but Matins is unusual in that there are nine lessons separated into groups of threes by psalms. There are two full-page miniatures in arched compartments surrounded by decorative borders. The book is complete in itself and contains all the essential features of the personal prayer book of the period. Anonymous American, 19th century Portra i t of a Man Oil on canvas, 27 x 24 This painting came to the collection without provenance. The a rtist is thought to be American. The costume would suggest that it was painted in the opening years of the nineteenth century. * All dimensions are given in inches, height preceding width . - 4 - Jean Bellegambe c 1480-1535 Two Panels from a Polyptych: The V i s i tat ion The Nat iv i tv Oil on wood, after 1500 Jean Bellegambe belongs both to the French and Flemish schools. His style resembles the French Primitives of the School of Amiens, and also the Bruges painters or the Antwerpians. His contempo­ raries named him "The Master of Colors," for his paintings are noted for their hamronious and pellucid coloring. There is no mention of him until 1504. Charles Auguste Emile Duran (Carolus-Duran) French, 1837-1917 Portra i t of an Artist oil on canvas, 40 x 30 A brilliant and fashionable portrait painter, Carolus-Duran was an influential proponent of nine­ teenth-century realism. The salient qualities of his technique are founded on the study of Spanish realists of the past, especially Velazquez, and of Courbet and Manet of his own time. This technique required a disciplined eye, which was necessary to approximate in oils the divergent values seen in nature. He did this with an economy of means and a spontaneity of execution. This approach to painting was the basis of the bravura techniques of his celebrated protege John Singer Sargent. - 5 - Jean Baptiste Camille Corot French, 1796-1875 Baptism of Christ Study, oil on canvas, 22 x 17 Painted 1844-45 Corot is best known for his late landscapes and most admired for his early ones painted in Italy. Recently his portraits and figure studies painted in his later years also have become quite popular. Albrecht Durer German, 1471-1528 from the Life of the V irg in : "Presentation of the Virgin in the Temple" Woodcut, 1503-1504 (B.81), 12 x 8 "Christ Among the Doctors" Woodcut, 1503-1504 (B.91), 13x9 "Assumption and Coronation of the V irgin" Woodcut, 1510 (B.94), 13x9 A German a rtist whose travels and interests brought him in contact with the Italian Renaissance, Durer is credited with spreading that influence to the North. He was able to synthesize the new style with the Late Gothic forms of his heritage without becoming eclipsed by either. For many, his most outstanding contribution was his development of the graphic techniques of engraving and woodcut. It was through the dissemination of his prints that his influence became practically worldwide. Thomas Eakins American, 1844-1916 Mrs . Sear i ght oil on canvas, 22 x 18 Our generation gives Thomas Eakins the critical acclaim that eluded him in his own lifetime. His vies of art was a highly personal one for his period. Eakin's style is distinguished by his interest in life- study and realistic portrayal, both of landscape and portrait. He did not do those things which would have made his art popular, such as flattering those who sat for him, and he suffered popular neglect in consequence. Hendri k Goltzu is Dutch, 1558-1617 Annunciation engraving, 19 x 14 Although he was also a painter in oil, Goltzuis is best known for his skill as an engraver. He was a Mannerist in the style of Michelangelo and delighted in the display of models with exaggerated musculature posed in involved compositions. J.B. Antoine Guillemet French, 1843-1918 Br i ttany oil on canvas, 25 x 22 Guillemet is strongly influenced by the Barbizon School which aimed at exact and unprettified renderings of peasant life or scenery, painted on the spot. This gave a freshness and vitality to the paintings of those artists which was in strong contrast to the painters of the French Academy. - 7 - James Hanes American, 1924- Belfield oil on canvas, 18 x 24 Mr. Hanes, La Salle's artist-in-residence, received instruction at the Pennsylvania Academy of the Fine Arts, Philadelphia Museum School, Barnes Foundation and the University of Pennsylvania. He developed his style, an individual synthesis of the romantic and rea listic traditions, while traveling extensively in Europe on his own and as the result of awards such as the Cresson Traveling Scholarship, Prix de Rome for 1951, 1952 and 1953 and others. Jean-Auguste Ingres French, 1780-1867 Virgil Reading the Aeneid Before Augustus, Livia and Octavia oil on paper on panel, 24 x 20 Painted in 1865 over the engraving of Pradier and enlarged on all four sides. Ingres was the dominant figure of the French Neo- Classical School of the 19th century. For him, line was everything; thus he was drawn to Raphael, the early Florentine artists and any other linear artist. He was in opposition to the Romantic School of his contemporary Delacroix which was influenced by Rubens and stressed the importance of color. - 8 - Eustache Le Sueur French, 1617-1655 Flagellation of Christ drawing, sanguine, 11x8 Le Sueur, a Parisian, was primarily a history painter. He shows the strong influences of his teacher, Simon Vouet. The majority of his works contain a simplicity and chasteness, and a deep, but unexaggerated expression. He helped found the French Academy in 1648. Philipp Jakob Loutherbourg, the younger German, 1740-1812 Landscape With Cattle oil on canvas, 23 x 29 Born in Strasbourg, Loutherbourg studied with his father, a painter of miniatures. At age fifteen, he went to study in Paris with Francesco Casanova, a painter of battle scenes. During this period, he assimilated the influence of Poussin and Claude Lorraine. As one of the proponents of the figure- pi us -1 andscape convention, Loutherbourg foreshadowed the Barbizon School of the early nineteenth century. He was also known as a scenographer and a graphic artist.
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