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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. -
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 () ,,. -
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. -
A Critical Evaluation of the Pioneer American Romantic Painter Albert Pinkham Ryder
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2003 Alone with everybody| A critical evaluation of the pioneer American Romantic painter Albert Pinkham Ryder William Bliss The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Bliss, William, "Alone with everybody| A critical evaluation of the pioneer American Romantic painter Albert Pinkham Ryder" (2003). Graduate Student Theses, Dissertations, & Professional Papers. 1502. https://scholarworks.umt.edu/etd/1502 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen aud Mike MANSFIELD I IBRARY The University of Montana Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. **Please check "Yes" or "No" and provide signature ** Yes, I grant permission __ No, I do not grant permission _ Author's Signature: ^ Date : Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. 8/98 ALONE WITH EVERYBODY: A CRITICAL EVALUATION OF THE PIONEER AMERICAN ROMANTIC FAINTER ALBERT PINKHAM RYDER By William Bliss B.A., University of the Pacific Presented in partial fulfillment of the requirements for the degree of Master of Arts UNIVERSITY OF MONTANA 2003 Approved by: Chairman, M.A. -
Weir Farm: Home of an American Impressionist
National Park Service Teaching with Historic Places U.S. Department of the Interior Weir Farm: Home of an American Impressionist Weir Farm: Home of an American Impressionist (Weir Farm National Historic Site) (Weir Farm National Historic Site) Sunny north light streams into the small wooden studio built high on New England’s rocky landscape. Paintbrushes, canvases, and sketchbooks still clutter the artist’s work space. The acrid smell of oil paint pervades the atmosphere and brings to mind a time when an artist National Park Service Teaching with Historic Places U.S. Department of the Interior Weir Farm: Home of an American Impressionist found creative energy at this rural escape from city life. Outside, the rolling green landscape is intersected by picturesque stone walls. The sweeping hillside is further punctuated by blossoming fruit trees and mature oaks and sugar maples. It is not hard to imagine a distinguished gentleman in a three-piece tweed suit standing before an easel, a paintbrush in one hand and a palette in the other. This is clearly the home of an artist. This is Weir Farm. Weir Farm, in Branchville, Connecticut, exemplifies the "quiet marriage of art and tended landscape that so clearly defined the American Impressionist movement."¹ The painter Julian Alden Weir (1852-1919) acquired the farm in 1882 and summered at this country retreat for nearly forty years. During a period when railroads were expanding, populations were increasing, and America’s agrarian system was being replaced by industry, Weir was one of a group of artists who found comfort and inspiration in the quiet everyday settings of New England, and, in many ways, defined our vision of the American landscape. -
Weir Farm Historic Painting Sites Trail £ SJ £> ***
Weir Farm Historic Painting Sites Trail £ SJ £> *** Return to Nod Hill Road and cross it to get onto the pond trail, which is designated by yellow trail markers. Follow the trail for a short distance and look for marker #6 on your right. In November of 1890, Weir wrote to his then sister-in- 6 ' law, Ella Baker, "I have been painting outdoors in a little house I have made with windows, and find it a great success." He was speaking of the "palace car," an ingenious portable studio on runners that could be pulled by oxen from place to place. In this way, Weir could roam his property comfortably and paint in inclement weather. The composition is typical of Weir's style after 1890. He has chosen to tighten up the scale of the landscape; the spatial relationships seem smaller and more intimate in the painting than in reality. The intensified lights and darks reflect Weir's interest in the play of light and shadow, and the artist's skillful draftsmanship is apparent under the many tiny brush strokes and layers of pigment. THE PALACE CAR (n.d.) Oil on canvas, 20" x 24" Museum of Art, Brigham Young University Proceed south to the marker for #7 and #8. A In response to mixed reviews generated by Weir's > first, more individualistic Impressionistic works, the artist softened his technique in "The Truants," completed in 1895. It proved a great success: Exhibited at the Boston Arts Club show the following year, the work won a $2,500 prize, which Weir later spent on building his pond. -
A Teacher's Guide to the Exhibition
A Teacher’s Guide to the Exhibition Preparing for Your Visit To See as Artists See: American Art from The Phillips Collection teaching packet was designed to help teachers prepare students for their gallery visits and classroom follow-up. This packet contains a teacher’s guide and fifteen color art reproductions. Teacher’s Guide: This teacher’s guide begins with an introduction to To See as Artists See. The subsequent sections include information about key artworks and artists that may be featured on docent- guided tours of the exhibition. Designed for adaptation, the discussions and activities encourage students to look closely and creatively respond to the featured artworks. These icons throughout the guide will prompt students to look closely at a work of art and… find inventions or innovations illustrated in the work. examine the artist’s process, materials, or techniques. try an activity in response to the work. learn more through online research. Color Art Reproductions: Each section is accompanied by color reproductions of the following images: Milton Avery Arthur G. Dove Rockwell Kent Black Sea, 1959 Sand Barge, 1930 Burial of a Young Man, ca. 1908–11 Edward Bruce Helen Frankenthaler Jacob Lawrence Power, ca. 1933 Canyon, 1965 The Migration Series, Panel no. 3 and Panel no. 23, Alexander Calder Adolph Gottlieb 1940–41 Red Polygons, ca. 1949–50 The Seer, 1950 Ernest Lawson Arthur Bowen Davies Winslow Homer Spring Night, Harlem River, 1913 Along the Erie Canal, 1890 To the Rescue, 1886 John Sloan Stuart Davis Edward Hopper Clown Making Up, 1910 Egg Beater No. 4, 1928 Sunday, 1926 Six O’ Clock, Winter, 1912 Cover Image: Edward Bruce (1879–1943). -
Creative Cartography: from the Arabian Desert to the Garden of Allah
chapter 6 Creative Cartography: From the Arabian Desert to the Garden of Allah Holly Edwards Rendering a particular place and its inhabitants meant to uncover a deeper process that I term will always be a reductionist process.1 Words can “creative cartography”—i.e., mapping, picturing, never fully capture the experience of being there and narrativizing the world around and through in person, subject to light and wind, heat and self/other, here/there, and now/then.3 That “self” sound, conversation and even conflict. The somat- might be a single person, a community, or a na- ic reality, affective impact, and social engagement tion; the setting that results will depend on how are hard to convey across social, political, and cul- the participants wield artifacts, information, and tural time and space; personal perspective, after images over time and space. For those partici- all, is unique and things get lost in translation. This pants, of course, it is the world, realistically ren- is especially true for a much-storied region like the dered, engaged, and crafted around valued things “Orient.” And what about images—might they and performed ideas. Two key players in the story work better than words? Surely, un manipulated that follows are a French painter and an American photographs capture places and people legibly. Al- lithographer, both of whom depicted a vaguely de- ternatively, a skilled painter can observe and de- fined region from diverse perspectives and with pict the real world with compelling verisimilitude. access to different source materials. One termed it One might simply call such image-making “art,” the Arabian Desert, while the other called it the but, like any good cover story, a great picture works Garden of Allah. -
Welcome to the Full Conference Schedule Wednesday A.M. Committee on Diversity Practices Meeting Committee on Intellectua
108th CAA Annual Conference Welcome to the Full Conference Schedule Wednesday A.M. WORKSHOP ◼ EVENT △ MEETING ⊛ IDEA EXCHANGE 8:00 AM –10:00 AM WEDNESDAY The Student Center, Columbia College Chicago, 754 South Wabash Avenue – 4th Floor – Room 430 △ Committee on Diversity Practices Meeting 8:00 AM –10:00 AM WEDNESDAY The Student Center, Columbia College Chicago, 754 South Wabash Avenue – 3rd Floor – Room 357 △ Committee on Intellectual Property Meeting 8:00 AM –10:00 AM WEDNESDAY The Student Center, Columbia College Chicago, 754 South Wabash Avenue – 3rd Floor – Room 329 △ Museum Committee Meeting 8:00 AM –10:00 AM WEDNESDAY The Student Center, Columbia College Chicago, 754 South Wabash Avenue – 3rd Floor – Room 314 △ Services to Artists Committee Meeting Current as of: 01/28/20 https://collegeart.org/ 1 of 77 108th CAA Annual Conference 8:00 AM –10:00 AM WEDNESDAY Craft will set us free. Artisan labor as decolonial internationalism in the Bienal de La Habana., Paloma The Student Center, Columbia College Chicago, 754 Checa-Gismero South Wabash Avenue – 3rd Floor – Room 358 △ Services to Historians of Visual Arts Committee Decolonizing the Arts and Crafts movement, Imogen Hart, Meeting University of California, Berkeley [Whose Modernism? – can fashion unpick colonial legacies?], 8:00 AM –10:00 AM WEDNESDAY Leopold CJ Kowolik, York University / Sheridan College The Student Center, Columbia College Chicago, 754 South Wabash Avenue – 4th Floor – Room 429 8:30 AM –10:00 AM WEDNESDAY △ Students and Emerging Professionals Hilton Chicago – Lobby Level – Continental C Committee Meeting Expanding Dialogues of Diaspora: Examining Manifestations of Middle Eastern Art, Architecture 8:30 AM –10:00 AM WEDNESDAY and Patronage in the Americas Hilton Chicago – Lower Level – Salon C-5 Chair: Caroline Olivia Wolf, University of Tennessee at "My Kind of Town": Chicago, Civics, and the Built Chattanooga Environment Discussant: Fernando Luis Martinez Nespral, University of Chairs: Lindsay E. -
Paintings-Specialty-Group-Postprints
THE PAINTINGS SPECIALTY GROUP ANNUAL VOLUME THREE Papers presented at the Eighteenth Annual Meeting of the American Institute for Conservation in Richmond, Virginia Compiled by Christine Daulton 1990 The Paintings Specialty Group Annual is published by the Paintings Specialty Group (PSG) of the American Institute for Conservation of Historic and Artistic Works. Responsibility for the methods and/or materials described herein rests solely with the contributors and these should not be considered official statements of the Paintings Specialty Group or the American Institute of Conservation. The Paintings Specialty Group is an approved division of the American Institute for Conservation of historic and Artistic Works (AIC) but does not necessarily represent AIC policies or opinions. The Paintings Specialty Group Annual is distributed to members of the Paintings Specialty Group. Additional copies may be purchased from the American Institute for Conservation of Historic and Artistic Works, 1400 16th Street N.W., Suite 340, Washington, D.C. 20036. The Paintings Specialty Group Annual has been printed offset on 60# Gladfelder's Supple, a recycled/acid-free paper made by the Gladfelder Paper Company and adhesive bound by the Mennonite Publishing House Herald Press, Scottdale, Pennsylvania. TABLE OF CONTENTS Condition, Change, and Complexity: New Interpretations 1 of Albert Pinkham Ryder's Paintings by Ingrid C. Alexander, Jacqueline S. Olin, Roland H. Cunningham, and Yu-Tarng Cheng STUDIO TIPS II - 1990: A Session of Brief Contributions 9 for the Paintings Specialty Group by James Bernstein, Steven Prins, Martine Barras, Margaret Contompasis, James Hamm, and Jill Norton Sterrett The Treatment of a Water-Damaged Painting 22 by William P.