The Frederic Remington Collection
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MoI&rIJJ~f) ~<CrIJJl11P1ltDJI& By Rick Stewart THE C.M. RUSS E LL MUSEUM MAGAZINE Thebest part of trying to raise S1.1 million to purchase C.M. Russell's painting The Exalted Ruler is the personal contact and the stories related to MUSEUM BOARD OF DIRECTORS Barbara Moe. President the donations. Every day, people come to the Museum to donate an inch and Daniel Ewen, Vice President often share their reasons with us. Jayne McManus, Secretary In November 1936 James B. Rankin, who was Charles C. Aberna th y, Treasurer For instance, one individual who had her left knee replaced, together C. W illi am Briggs preparing a biography and catalogue of the work of Shei la Buchanan with her orthopedic surgeon, donated the two inches covering the left knee of Elliott Dybdal Charles M. Russell, wrote the famous American The Exalted Ruler; an ophthalmologist bought an eye of the elk; and the river Barbara Henry Gregg Holt sculptor John Gutzon Borglum for an assessment of was selected because of a special childhood experience. Every part of the Polly Kolstad the Montana artist's work. Borglum replied that there Robert E. Lee painting holds a story. Gifts have been given in memory of a relative or ET Meredith were three artists "deserving of great place" in their Eric Myhre friend, to honor a grandchild, for Father's Day, and to honor a 50th wedding Robert H. Oakland portrayal of the American West: his brother Solon H. anniversary. Some have given because they have said the painting must not Carl Rostad Borglum, Frederic Remington, and Charles M. -
PDF of Points West, Spring 2013
BUFFALO BILL HISTORICAL CENTER n CODY, WYOMING n SPRING 20132013 n Finding the real Frederic Remington n Camp Monaco Prize To the point ©2013 Buffalo Bill Historical Center (BBHC). Written permission recently read a Buffalo Bill is required to copy, reprint, or distribute Points West materials in any medium or format. All photographs in Points West are Historical Center newsletter BBHC photos unless otherwise noted. Questions about image from January 1979. It rights and reproduction should be directed to Rights and Reproductions, [email protected]. Bibliographies, works I cited, and footnotes, etc. are purposely omitted to conserve reported that, as of January space. However, such information is available by contacting the 26, the Center would have a editor. Address correspondence to Editor, Points West, BBHC, 720 new name. “The Historical Sheridan Avenue, Cody, Wyoming 82414, or [email protected]. Center now includes four Managing Editor: major museums, and there is Ms. Marguerite House every indication of continued Assistant Editor: Ms. Nancy McClure growth,” Mrs. Henry H.R. Designer: “Peg” Coe, Chairman of the Ms. Tiffany Swain Olson By Bruce Eldredge Executive Director Board of Trustees at the time, Contributing Staff Photographers: explained. “A new operational Dr. Charles R. Preston, Ms. Emily Buckles name for the institution could more adequately describe Historic Photographs/Rights and Reproductions: Mr. Sean Campbell the immense segment of our western heritage which it Credits and Permissions: encompasses.” Ms. Ann Marie Donoghue Advisory Team: That particular name change effort more than thirty Marguerite House, Public Relations & Managing Editor years ago lost steam, but we know how Peg felt. -
Violet Oakley: Pennsylvania’S Premiere Muralist
1 VIOLET OAKLEY: PENNSYLVANIA’S PREMIERE MURALIST Susan Hamburger Paper and slide presentation Pennsylvania Historical Association October 14, 1995 [SLIDE 1] Violet Oakley--a versatile portraitist, illustrator, stained glass artisan, and muralist--earned a reputation as the first American woman artist to succeed in the predominantly-male architectural field of mural decoration. Her strong commitment to her religion and world peace influenced her art as well as her life. [SLIDE 2] Oakley was born in Bergen Heights, New Jersey, to the artistic family of Arthur Edmund Oakley and Cornelia Swain Oakley. Both of her grandfathers, George Oakley and William Swain, belonged to the National Academy of Design and two of her aunts studied painting in Munich with Frank Duveneck. She believed that her compulsion to draw was “hereditary and chronic.” She once commented that she must have been “a monk in some earlier state of existence....The abbesses and sisters were too busy nursing the sick and doing fine needleworks. I never heard of them illuminating manuscripts. I am quite sure I was a monk.” 1 The youngest of three children, Violet followed her sisters Cornelia and Hester in learning the acceptable feminine skills of poetry writing, piano playing, 2 and sketching. While Hester attended Vassar College, Violet’s asthma prevented her from obtaining a college education which her parents thought too rigorous for her physical condition. She never let the asthma impede her artistic education or career. In 1892, at the age of eighteen, Oakley commuted to New York City to study at the Art Students’ League with Irving R. -
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. -
Howard Pyle: Imagining an American School of Art. by JILL P. MAY and ROBERT E. MAY. (Champaign: University of Illinois Press, 20
2012 BOOK REVIEWS 317 Howard Pyle: Imagining an American School of Art. By JILL P. M AY and ROBERT E. MAY. (Champaign: University of Illinois Press, 2011. 288 pp. Illustrations, notes, index. $45.) Once upon a time, the latest book illustrated by Howard Pyle (1853–1910) was on every American child’s wish list. In the meantime, youngsters could enjoy his vivid portrayals of history and legend in the pages of St. Nicholas, Everybody’s, Collier’s, Century, Scribner’s, and Harper’s magazines. Though not a household name today, Pyle was the preeminent illustrator of the Gilded Age, and his visual interpretations of the American Revolution, Robin Hood and his Merry Men, the Knights of the Round Table, and a motley crew of pirates were indelibly printed on the imaginations of several generations. Now a new book published in conjunction with the centenary of Howard Pyle’s death has redis- covered this forgotten icon of the popular culture. The subject is custom-made for authors Jill P. May, professor of literacy and language, and Robert E. May, professor of history (both at Purdue University), who bring to this work their expertise in fields beyond the history of art. This is not a coffee-table book but the first extensively documented biography of Howard Pyle. The authors combed through numerous archives and museum collections and wove their findings into a fluent narrative that documents Pyle’s personal life and his career as an illus- trator, author, and teacher. The frequent use of quotations from letters re-creates the intimate conversations between Pyle and his wide circle of colleagues and students, revealing the artist’s exuberant personality and manic energy. -
Dick Polich in Art History
ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship. -
Mythmakers: the Art of Winslow Homer and Frederic Remington
ISSN: 2471-6839 Cite this article: Mark Thistlethwaite, review of Mythmakers: The Art of Winslow Homer and Frederic Remington, Amon Carter Museum of American Art, Panorama: Journal of the Association of Historians of American Art 7, no. 1 (Spring 2021), doi.org/10.24926/24716839.11889. Mythmakers: The Art of Winslow Homer and Frederic Remington Curated by: Margaret C. Adler, Diana Jocelyn Greenwold, Jennifer R. Henneman, and Thomas Brent Smith Exhibition schedule: Denver Art Museum, June 26–September 7, 2020; Portland Museum of Art, September 25–November 29, 2020; Amon Carter Museum of American Art, December 22, 2020–February 28, 2021 Exhibition catalogue: Margaret C. Adler, Claire M. Barry, Adam Gopnik, Diana Jocelyn Greenwold, Jennifer R. Henneman, Janelle Montgomery, Thomas Brent Smith, and Peter G. M. Van de Moortel, Homer | Remington, exh. cat. Fort Worth: Amon Carter Museum of American Art; Denver: Denver Art Museum; Portland, ME: Portland Museum of Art, in association with Yale University Press, 2020. 224 pp.; 179 color illus.; Cloth: $50.00 (ISBN: 9780300246100) Reviewed by: Mark Thistlethwaite, Kay and Velma Kimbell Chair of Art History Emeritus, Texas Christian University Surprisingly, given the popular appeal of the art it presents, Mythmakers: The Art of Winslow Homer and Frederic Remington offers the first major museum exhibition to explore the similarities and differences in work by these “American Titans” (as an early working exhibition title styled them).1 Were it not for the pandemic, the exhibition, consisting of more than sixty artworks in a variety of media, would have undoubtedly attracted large, enthusiastic crowds to each of its three venues. -
Everett Shinn Papers
Everett Shinn Papers A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Gifts of Edith DeShazo, 1971; Janet Shinn Flemming, 1977-1978; and Jan Thacher, 1996 Extent 18 linear feet Abstract This collection contains both original materials from Everett Shinn, including correspondence, clippings, financial and legal documents, photographs, sketches, and manuscripts, as well as the research materials of Edith DeShazo for her book, Everett Shinn 1876 – 1953: A Figure in His Time (1974). Processed Rachael DiEleuterio, 2015 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 Everett Shinn Papers, Helen Farr Sloan Library & Archives, Delaware Art Museum Table of Contents Chronology of Everett Shinn Scope and Contents Note Organization of the Papers Description of the Papers Chronology of Everett Shinn 1876 Shinn is born in Woodstown, New Jersey, of Isaiah Shinn and Josephine Ransley Shinn. 1876-78 Woodstown years. 1888-90 Studies engineering and industrial design at the Spring Garden Institute, Philadelphia 1890-93 Works for Thackeray Gas Fixture Works, Philadelphia. 1893-97 Studies at the Pennsylvania Academy of the Fine Arts. Also works for the Philadelphia Press as staff artist. Meets George Luks, William Glackens, John Sloan and Robert Henri. 1895 Luks and Glackens join the staff of the Philadelphia Press. Sloan joins later in the year. 1898 Shinn marries Florence Scovel, illustrator and member of Philadelphia’s prestigious Biddle family. 1899 Meets Clyde Fitch, Elsie de Wolf, Stanford White, David Belasco. -
Home on the Range an Educator’S Guide
C. Russell, Cowpunching Sometimes Spells Trouble (detail) 1889 Home on the Range An Educator’s Guide Mary Burke, Sid Richardson Museum, with Diane McClure, Art Specialist Design by Laura Fenley, Sid Richardson Museum Intern © 2004 Sid Richardson Museum, Third Edition © 2009 Home09_10_2010.indd 1 9/10/2010 1:53:18 PM Home on the Range Page numbers for each section are listed below. Online version – click on the content title below to link directly to the first page of each section. For an overview of the artworks included in this booklet, see Select a Lesson – Image List, page 30. Contents Introduction to Home on the Range 4 Sid W. Richardson 6 The Museum 10 Fredric S. Remington 12 Charles M. Russell 14 Timeline (Artists, Texas, U.S. History) 16 Select a Lesson – Image List 30 Lesson Plans 32 Student Activities 52 Teacher Resources 62 2 Home on the Range Sid Richardson Museum Home09_10_2010.indd 2 9/10/2010 1:53:18 PM Sid W. Richardson Sid W. About the Educator’s Guide This Educator’s Guide is a resource for viewing and dialogue containing questions to direct classroom The Museum interpreting works of art from the Sid Richardson Museum discussion and engage students in their exploration in the classroom environment. The images included in the of the artworks, background information about Guide have been selected to serve as a point of departure the artists and the works of art, vocabulary, and for an exploration of the theme of the cowboy way of life. suggestions for extension activities • Student Activities – activities that can be used to The background materials (timelines, biographies, complement classroom discussion about these (or bibliography and resources) are appropriate for educators other) artworks The Artists of all levels. -
Iconic Works from the T. Boone Pickens Collection Christie’S New York | October 28, 2020
PRESS RELEASE | N E W Y O R K F O R I M MEDIATE RELEASE: 1 0 SEPTEMBER 2020 THE LEGEND OF THE WEST: ICONIC WORKS FROM THE T. BOONE PICKENS COLLECTION CHRISTIE’S NEW YORK | OCTOBER 28, 2020 “All history is a resource from which to draw wisdom. The history of the West is particularly rich in wisdom because of the strength of the individuals who lived it. They have given us an unsurpassed legacy of human values founded on such basics as morality, truth, duty, honor and country. I have collected Western art with a hope that it will help preserve these values for successful living and perpetuate them for future generations.” – T. Boone Pickens New York – Christie’s is honored to announce The Legend of the West: Iconic Works from the T. Boone Pickens Collection, a landmark auction of American Western Art to be held on October 28 in New York. Famous for his larger-than-life personality, T. Boone Pickens was a legendary energy entrepreneur, a pioneer in shareholder’s rights and one of America’s best-known executives, as well as a philanthropist and civic leader. Pickens was also a visionary art collector who built a momentous collection over the course of his career. Spanning over a century, the collection features works by many of the most established artists in American Art history, including Frederic Remington, Thomas Moran and N.C. Wyeth, together with the most prominent contemporary painters in the genre, such as Howard Terpning and G. Harvey. Comprised of approximately 75 lots, the auction is expected to exceed $15 million, a portion of which will benefit charity. -
Elliott, Elizabeth Shippen Green Files
Elizabeth Shippen Green Elliott Files A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Material collected by the Library; some material donated by Mr. and Mrs. Benjamin Eisenstat Extent 3 linear feet Abstract The Elizabeth Shippen Green Elliott Files contain book and magazine illustrations, Christmas cards, correspondence, and audio recordings. Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation Elizabeth Shippen Green Elliott Files, Helen Farr Sloan Library & Archives, Delaware Art Museum Related Materials Elizabeth Shippen Green Elliott Photographs; Students of Howard Pyle Files; Huger Elliott Papers 1 Biography of Elizabeth Shippen Green Elliott Elizabeth Shippen Green Elliott is known through her work for Harper's Magazine. In 1901 she began an exclusive contract that lasted for the next twenty-three years, to October 1924. She was born Elizabeth Shippen Green, to Jasper Green and Elizabeth Shippen Boucle Green on September 1, 1871. She began serious art study at the Pennsylvania Academy of the Fine Arts night classes. She spent one year in antique class, drawing from plaster casts, and two years in life class, studying live models; her teachers included Thomas Anshutz, Thomas Eakins, and Robert Vonnoh. Upon graduation from the Academy, Elizabeth began illustrating articles for several of the Philadelphia newspapers. She worked for the Philadelphia Times and The Public Ledger. Within a year after commencing this work she was doing advertising illustration for Strawbridge and Clothier. From 1895 to 1901 she illustrated articles, stories, and children's pages in many of the leading magazines of the day. -
WESTERN ART GALLERY the Brinton Museum Is Located on the Historic Quarter Circle a Ranch in the Foothills of the Bighorn Mountains
WESTERN ART GALLERY The Brinton Museum is located on the historic Quarter Circle A Ranch in the foothills of the Bighorn Mountains. Bradford Brinton purchased the ranch headquarters in 1923 from the Scotsman William Moncreiffe and used the Ranch House at the Quarter Circle A as a vacation home, spending several months each year in Big Horn. An avid collector of fine art, American Indian artifacts, firearms, and books, Bradford Brinton filled his home with fine and beautiful items. He was personal friends with many artists, such as Ed Borein, Hans Kleiber and Bill Gol- lings, whose art decorated the house. He also collected works by Frederic Re- mington, Charles M. Russell and Winold Reiss. Several of these important works of art are now on exhibit in The Brinton’s Forrest E. Mars, Jr. Building in the Ted and Katie Meredith Western Gallery of Art. Bradford and his sister, Helen Brinton, left an enduring legacy of the golden era of an early 20th Century gentleman’s working ranch. The Wild West had been tamed, the vast rangelands fenced, and motorized vehicles were replacing horses. Americans were clinging to the images of hardy cowboys, noble Indians, and untamed land filled with birds and wild beasts. Bradford and Helen Brinton have helped preserve the feel- ing of the West at that time for all of us to enjoy today. Above: Bradford Brinton and friends riding the Buffalo Bill stage coach, The Brinton Museum Archives Right: Bradford Brinton on his Palomino horse, Pal; the Quarter Circle A Ranch Post; and thoroughbreds on the Brinton Barn grounds, 2015 John Mix Stanley was an artist-explorer known for his landscapes, American In- dian portraits and scenes of tribal life in the American West.