Weir Farm: Home of an American Impressionist
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Illustrations of Selected Works in the Various National Sections of The
SMITHSONIAN INSTITUTION libraries 390880106856C A«T FALACr CttNTRAL. MVIIION "«VTH rinKT OFFICIAI ILLUSTRATIONS OF SELECTED WORKS IN THE VARIOUS NATIONAL SECTIONS OF THE DEPARTMENT OF ART WITH COMPLETE LIST OF AWARDS BY THE INTERNATIONAL JURY UNIVERSAL EXPOSITION ST. LOUIS, 1904 WITH AN INTRODUCTION BY HALSEY C. IVES, CHIEF OF THE DEPARTMENT DESCRIPTIVE TEXT FOR PAINTINGS BY CHARLES M. KURTZ, Ph.D., ASSISTANT CHIEF DESCRIPTIVE TEXT FOR SCULPTURES BY GEORGE JULIAN ZOLNAY, superintendent of sculpture division Copyr igh r. 1904 BY THE LOUISIANA PURCHASE EXPOSITION COMPANY FOR THE OFFICIAL CATALOGUE COMPANY EXECUTIVE OFFICERS OF THE DEPARTMENT OF ART Department ' B’’ of the Division of Exhibits, FREDERICK J. V. SKIFF, Director of Exhibits. HALSEY C. IVES, Chief. CHARLES M. KURTZ, Assistant Chief. GEORGE JULIAN ZOLNAY, Superintendent of the Division of Sculpture. GEORGE CORLISS, Superintendent of Exhibit Records. FREDERIC ALLEN WHITING, Superintendent of the Division of Applied Arts. WILL H. LOW, Superintendent of the Loan Division. WILLIAM HENRY FOX Secretary. INTRODUCTION BY Halsey C. Ives “All passes; art alone enduring stays to us; I lie bust outlasts the throne^ the coin, Tiberius.” A I an early day after the opening of the Exposition, it became evident that there was a large class of visitors made up of students, teachers and others, who desired a more extensive and intimate knowledge of individual works than could be gained from a cursory view, guided by a conventional catalogue. 11 undreds of letters from persons especially interested in acquiring intimate knowledge of the leading char¬ acteristics of the various schools of expression repre¬ sented have been received; indeed, for two months be¬ fore the opening of the department, every mail carried replies to such letters, giving outlines of study, courses of reading, and advice to intending visitors. -
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. -
American Impressionism Treasures from the Daywood Collection
American Impressionism Treasures from the Daywood Collection American Impressionism: Treasures from the Daywood Collection | 1 Traveling Exhibition Service The Art of Patronage American Paintings from the Daywood Collection merican Impressionism: Treasures from the Daywood dealers of the time, such as Macbeth Gallery in New York. Collection presents forty-one American paintings In 1951, three years after Arthur’s death, Ruth Dayton opened A from the Huntington Museum of Art in West Virginia. the Daywood Art Gallery in Lewisburg, West Virginia, as a The Daywood Collection is named for its original owners, memorial to her late husband and his lifelong pursuit of great Arthur Dayton and Ruth Woods Dayton (whose family works of art. In doing so, she spoke of her desire to “give surnames combine to form the moniker “Daywood”), joy” to visitors by sharing the collection she and Arthur had prominent West Virginia art collectors who in the early built with such diligence and passion over thirty years. In twentieth century amassed over 200 works of art, 80 of them 1966, to ensure that the collection would remain intact and oil paintings. Born into wealthy, socially prominent families on public display even after her own death, Mrs. Dayton and raised with a strong appreciation for the arts, Arthur and deeded the majority of the works in the Daywood Art Gallery Ruth were aficionados of fine paintings who shared a special to the Huntington Museum of Art, West Virginia’s largest admiration for American artists. Their pleasure in collecting art museum. A substantial gift of funds from the Doherty only increased after they married in 1916. -
Phillips Gallery Guide.Indd
919 BROADWAY NASHVILLE, TN 37203 WWW.FRISTCENTER.ORG FRISTFristFristFRIST CENTERCenterCenter CENTER forfor FOR FOR thethe THETHE VisualVisual VISUAL Arts ArtsARTS ARTS The Phillips Collection, America’s first museum of believed that we benefit as viewers by giving modern art, was founded in Washington, D.C. in ourselves over to the direct experience of a work 1921, a decade before the Museum of Modern Art of art. In this way we enter the artist’s world (est. 1929) and the Whitney Museum of American “to see as artists see.” Phillips responded to Art (est. 1930) opened in New York. From its individual artists on their own merits, not to artistic inception, The Phillips Collection has championed movements. In his extensive critical writings the very best American art and artists. Its in-depth Phillips made clear that he was seeking “artists of holdings of American paintings are broad in scope, creative originality and of sincere independence.” yet cannot be characterized as either encyclopedic To See as Artists See: American Art from The or strictly historical. Rather, it is a rich assembly Phillips Collection is divided into ten thematic of independent-minded American artists, most sections, which aim to reveal the breadth of of whom were actively exhibiting when their work America’s modernist vision from approximately entered the museum’s collection. In fact, many 1850 to 1960. The exhibition begins with the great of the more than seventy artists included in this heroes of American art of the late nineteenth exhibition became acquaintances and good friends century whose work set the course for modern art with the museum’s founder, Duncan Phillips in the United States. -
Inside This Issue
the Bullfrom johnny cake hill | etinspring 2020 Inside this issue: High School Apprenticeship Program’s 10th Anniversary | Upcoming Exhibition on Albert Pinkham Ryder Lighting the Way Celebrates the Centennial of the Ratification of the 19th Amendment HelmFROM THE A Tribute to Llewellyn Howland, III Members and Friends: By Lloyd Macdonald You will likely be reading this Bulletin while we are still in the midst of the coronavirus public health emergency and it is my greatest hope that this edition finds you safe and healthy. With that in mind, there Llewelyn Howland, III (“Louie” to all who knew him), a four-term Trustee of the Museum, former Chair of the may be dates published in these pages that may shift as a result of the situation. While I certainly hope that Scholarship and Publications Committee, long-serving member of the Collections Committee and member during this crisis comes to a speedy conclusion, I am more mindful now than ever of the value of togetherness. his tenure on the Executive and Governance Committees, died on June 21, 2019. He was 81. As a Museum, we are a place of gathering on many levels. We collect and steward the objects, literature, and stories of our region’s history. We protect and share some of the most vital data and research in the Louie’s and my service on the Board coin- to Louie himself. He also co-edited the world of marine mammal bioacoustics. We unearth hidden stories of some of the most impactful women cided almost exactly. Early in our tenure, Museum’s 2007 publication of On the to have walked our streets. -
Albert Pinkham Ryder 1 S Two Wagnerian Paintings: the Flying Dutchman and Siegfried and the Rhine Maidens
ABSTRACT Title of Thesis: Albert Pinkham Ryder 1 s Two Wagnerian Paintings: The Flying Dutchman and Siegfried and the Rhine Maidens Sharon Dale Carman, Master of Arts, 1988 Thesis directed by: John Peters-Campbell, Assistant Professor, Art History Albert Pinkham Ryder (1847-1917) has traditionally been regarded as an anomalous figure in the history of art. A small, but growing, body of scholarship has recently been devoted to correcting this view of the artist and to establishing his relationship to the aes- thetic currents of his time. This study explores the influence on his art of Ryder's environment, late nineteenth-century New York. Two of Ryder's paintings, each based on an incident in an opera by Richard Wagner, are examined: Siegfried and the Rhine Maidens, drawn from Gotterdammerung; and The Flying Dutchman, inspired by Der fliegende Hollander. The history of opera in nineteenth- century New York helps to explain how an American painter came to be influenced by such distinctly German operatic themes. German immigration patterns are linked with changes in operatic taste, and the interest of native intellectuals in Wagner's music and ideas is discussed. Wagnerian staging tradition is posited as a source for the compositions of both Siegfried and the Rhine Maidens and The Flying Dutchman. It is demonstrated that the set designed by Josef Hoffmann for the original Bayreuth pro duction of Gotterdammerung, Act III, Scene I, served as the specific compositional basis for Ryder's Siegfried and the Rhine Maidens. ALBERT PINKHAM RYDER'S TWO WAGNERIAN PAINTINGS: THE FLYING DUTCHMAN AND SIEGFRIED AND THE RHINE MAIDENS by Sharon Dale Carman 111 Thesis submitted to the Faculty of the Graduate School of The University of Maryland in partial fulfillment of the requirements for the degree of Master of Arts 1988 C-, ( \ I ~·1 '" I () ,,. -
Childe Hassam (1859-1935)
CHILDE HASSAM (1859-1935) Twilight After Rain, c. 1887-89 Oil on board 8 x 6 inches Signed lower left Inscribed in the artist’s hand Twilight after Rain / (The rue Royal and the Church of the Madeleine Paris) / Childe Hassam / 95 5th Ave New York on paper affixed to the reverse Note: This painting will be included in Kathleen M. Burnside's and Stuart P. Feld's forthcoming catalogue raisonné of the artist's work. PROVENANCE Richard Harding Davis, Mount Kisco, New York Mrs. Cecil Clark Davis, Marion, Massachusetts Miss M. Campbell-Hutchinson, New York (sold: Parke-Bernet Galleries, New York, November 13, 1957, lot 4) Estate of Joseph Katz, Baltimore, Maryland, until 1959 Babcock Galleries, New York Acquired by the prior owner from the above, 1959 Private Collection, CT (Frederick) Childe Hassam (1859-1935) was a pioneer of the American Impressionist movement. His body of work comprises over 2,000 oils, watercolors, pastels and illustrations and after 1912, over 400 etchings and prints. Today, he is perhaps best known for his paintings that capture the excitement of New York City at the turn of century, such as his famous depictions of flag-studded Fifth Avenue during World War I, but his unparalleled skill at portraying the tranquility and beauty of the countryside with his bright, tonal palette and descriptive brushwork are considered to be some of his most sophisticated work. Hassam was born in Dorchester, Massachusetts (now a part of Boston) to a prominent merchant family descended from the settlers of the Massachusetts Bay Colony. He initially trained as an apprentice to a wood engraver, and from the late 1870s to the mid-1880s created drawings for book illustrations—largely children’s stories—as well as illustrations for periodicals such as Century and Harper’s magazines. -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W. -
CHILDE HASSAM: Docent Notes
CHILDE HASSAM: Docent Notes The Childe Hassam oil painting in the Mint‟s holdings –“The Stone Cottage, Old Lyme”- has always been a favorite of our museum visitors, at least in my experience. This short survey and biographical note is followed by a brief timeline and some authoritative quotes from art historians. Hassam (born in Boston in 1859, died at the summer home East Hampton NY 1935), is widely known as America‟s foremost Impressionist. He is often described as “the American Monet”, and his works were collected and admired during his life by major collectors such as Freer, Whitney, Frick, and White -–no struggling, starving, misunderstood artist he! “Stone Cottage, Old Lyme” is obviously painted outdoors (en plein air to use the French term), with a very pleasing impressionist palette – pastel and deep blues, greens, and yellows. Note that he used no blacks or greys. The sun is to the left and behind the cottage, casting a chimney shadow on the roof and shadow on the ground. While there is a wisp of smoke from the chimney, the people seem warmed by the sun. The adult walker is effectively silhouetted against the tree trunks. Hassam used the quick, short brushstrokes of the impressionist –though he decried this term, and never acknowledged being influenced by the French Impressionists--to give the characteristic vibrant, shimmering light effect. Unlike the French, his works always had form and did not disintegrate into simply “vibrations of light”. The strokes seem loose but controlled. Note the different qualities of brushwork: quick vigorous horizontals for the roof, choppy impasto for the foliage, wide diagonals for the sky. -
A Finding Aid to the Milch Gallery Records, 1911-1995, in the Archives of American Art
A Finding Aid to the Milch Gallery Records, 1911-1995, in the Archives of American Art Catherine Stover 1991 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Historical Note.................................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 4 Appendix: List of Milch Gallery Exhibitions and Checklists............................................. 4 Names and Subjects .................................................................................................... 24 Container Listing ........................................................................................................... 28 Series 1: Alphabetical Files, 1911-1962................................................................ 28 Series 2: Sales Records and Inventories, 1911-1969, undated............................. 41 Series 3:: Financial Records, 1914-1980, undated............................................... -
Art Teacher's Book of Lists
JOSSEY-BASS TEACHER Jossey-Bass Teacher provides educators with practical knowledge and tools to create a positive and lifelong impact on student learning. We offer classroom-tested and research-based teaching resources for a variety of grade levels and subject areas. Whether you are an aspiring, new, or veteran teacher, we want to help you make every teaching day your best. From ready-to-use classroom activities to the latest teaching framework, our value-packed books provide insightful, practical, and comprehensive materials on the topics that matter most to K–12 teachers. We hope to become your trusted source for the best ideas from the most experienced and respected experts in the field. TITLES IN THE JOSSEY-BASS EDUCATION BOOK OF LISTS SERIES THE SCHOOL COUNSELOR’S BOOK OF LISTS, SECOND EDITION Dorothy J. Blum and Tamara E. Davis • ISBN 978-0-4704-5065-9 THE READING TEACHER’S BOOK OF LISTS, FIFTH EDITION Edward B. Fry and Jacqueline E. Kress • ISBN 978-0-7879-8257-7 THE ESL/ELL TEACHER’S BOOK OF LISTS, SECOND EDITION Jacqueline E. Kress • ISBN 978-0-4702-2267-6 THE MATH TEACHER’S BOOK OF LISTS, SECOND EDITION Judith A. Muschla and Gary Robert Muschla • ISBN 978-0-7879-7398-8 THE ADHD BOOK OF LISTS Sandra Rief • ISBN 978-0-7879-6591-4 THE ART TEACHER’S BOOK OF LISTS, FIRST EDITION Helen D. Hume • ISBN 978-0-7879-7424-4 THE CHILDREN’S LITERATURE LOVER’S BOOK OF LISTS Joanna Sullivan • ISBN 978-0-7879-6595-2 THE SOCIAL STUDIES TEACHER’S BOOK OF LISTS, SECOND EDITION Ronald L. -
Chapter 5 a Shared Vision: the Rise of the Cape Ann Art Colonies, 1890-1920
PORTRAIT of a PLACE CHAPTER 5 A Shared Vision CHAPTER 5 A Shared Vision The Rise of the Cape Ann Art Colonies, 1890–1920 Artists at work on Lighthouse Beach, Sept. 21, 1896. Left to right: Poland (model), Potthast, Bicknell, Jones, Buhler. Photo by George B. Wood. Artists Turned to Europe By 1900, art colonies attracting both European and art colonies brought the idea back home and recreated American artists had established themselves in several the atmosphere of conviviality and communal experi- places in America. This period was known as the Pro- ence here. Gloucester’s scenic neighborhoods inspired a gressive Era. It was a time when social activism and po- number of loosely affiliated groups of artists who shared litical reform spread across the United States to combat common aesthetic visions to live and work together. the rise in government corruption and abuses of power. The era of the teaching artist also began at this time, America was no longer rejoicing in an expanding and drawing professional students and tourists to the area and exuberant American identity. adding to the attraction of the colonies. Many artists turned to Europe for artistic ideas. Most American artists went overseas temporarily to work, but The art colonies and their artists benefited from some stayed on as expatriates, including James McNeill changing views of art and an expanding market. In the Whistler (1834–1903), Mary Cassatt (1844–1926) and last quarter of the nineteenth century, painting, sculp- John Singer Sargent (1856–1925). Those who went for ture and classical music were highly valued as tools for limited periods brought the new French style, Impres- education and the assimilation of urban immigrants.