Mirrors & Masks: Reflections and Constructions of the Self
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Review Essay: Grappling with “Big Painting”: Akela Reason‟S Thomas Eakins and the Uses of History
Review Essay: Grappling with “Big Painting”: Akela Reason‟s Thomas Eakins and the Uses of History Adrienne Baxter Bell Marymount Manhattan College Thomas Eakins made news in the summer of 2010 when The New York Times ran an article on the restoration of his most famous painting, The Gross Clinic (1875), a work that formed the centerpiece of an exhibition aptly named “An Eakins Masterpiece Restored: Seeing „The Gross Clinic‟ Anew,” at the Philadelphia Museum of Art.1 The exhibition reminded viewers of the complexity and sheer gutsiness of Eakins‟s vision. On an oversized canvas, Eakins constructed a complex scene in an operating theater—the dramatic implications of that location fully intact—at Jefferson Medical College in Philadelphia. We witness the demanding work of the five-member surgical team of Dr. Samuel Gross, all of whom are deeply engaged in the process of removing dead tissue from the thigh bone of an etherized young man on an operating table. Rising above the hunched figures of his assistants, Dr. Gross pauses momentarily to describe an aspect of his work while his students dutifully observe him from their seats in the surrounding bleachers. Spotlights on Gross‟s bloodied, scalpel-wielding right hand and his unnaturally large head, crowned by a halo of wiry grey hair, clarify his mastery of both the vita activa and vita contemplativa. Gross‟s foil is the woman in black at the left, probably the patient‟s sclerotic mother, who recoils in horror from the operation and flings her left arm, with its talon-like fingers, over her violated gaze. -
October 2017
The Monthly Newsletter of the Philadelphia Sketch Club Gallery hours: Wednesday, Friday, Saturday, Sunday: 1 PM to 5 PM October 2017 Michelle Lockamy This Month’s Portfolio Reminder: It’s never too late. You can always renew your membership The Sketch Club’s 157th Anniversary Gala 2 You may pay online at http://sketchclub.org/annual- Support the Sketch Club 5 dues-payment/ Membership 8 or mail your check to: Sketch Club Activities 9 The Philadelphia Sketch Club Member Activities 11 235 S. Camac St. 2017 Main Gallery Schedule 12 2017 Stewart Gallery Schedule 15 Philadelphia, PA 19107 Sketch Club Open Workshop Schedule 16 For questions please contact the Gallery Manager at Art Natters: Members News 17 213335-545-9298 or email: Calls for Work and Notices 23 [email protected] Member Classifieds 25 Late Breaking News – See items that were submitted Call for Volunteers 26 after the publication date. Go to: Send your member news, announcements and corrections to [email protected] [email protected]. The deadline for ALL submissions The PSC general email is: info@sketchclub is 1-week before the end of the month. The Philadelphia Sketch Club - 235 South Camac Street - Philadelphia PA 19107 - 215-545-9298 A nonprofit organization under Chapter 501(c)(3) of the Internal Revenue Code. Page 1 The Monthly Newsletter of the Philadelphia Sketch Club Gallery hours: Wednesday, Friday, Saturday, Sunday: 1 PM to 5 PM October 2017 The Sketch Club’s 157th Anniversary Gala The Philadelphia Sketch Club’s 157th Anniversary Gala Please join us for our 157th Anniversary Gala on Saturday, October 21st. -
Barbara Graf Born 1963 in Winterthur
Barbara Graf www.barbara-graf.at born 1963 in Winterthur-Switzerland, lives and works in Vienna-Austria 1984/85 Propaedeutic at ZHdK – University of the Arts Zurich-Switzerland. 1985-90 Studies at the University of Applied Arts Vienna-Austria, Master class for Experimental Visual Art – painting and graphics, Prof. Maria Lassnig. Degree: Magister artium. Barbara Graf works on the artistic investigation of the human anatomy, the body and its visual culture since 30 years – an example is the invention of the flexible sculptures "Anatomical garments" (ongoing since 1989): a position between sculpture, clothing as second skin, reflections about medical visualisations and socioculturell defined visual images of the body. Executions of the works are mainly in the media: drawing, textiles, photography and film. Teaching and Art-Research-Projects - 2003-2010 Guest Lecturer at the Academy of Art and Design, Fashion Design, Basel-CH. - Since 2004 Lecturer at the University of Applied Arts Vienna: Textiles - Free, Applied and Experimental Artistic Design. - 2004-2009 Artist in the project "CORPOrealities": Embodying Knowledge, Objects and Images in the Biomedical Context, project manager: Dr. Christina Lammer (supported by Vienna Science and Technology Fund WWTF ). - 2009-2013 Artist in the project "Surgical Wrappings", project manager: Dr. Christina Lammer (supported by Vienna Science and Technology Fund WWTF ). - 2015-2018 Artist in the project "Performing Surgery", project manager: Dr. Christina Lammer (supported by The Austrian Science Fund – -
Modern Group Portraits in New York Exile Community and Belonging in the Work of Arthur Kaufmann and Hermann Landshoff
Modern Group Portraits in New York Exile Community and Belonging in the Work of Arthur Kaufmann and Hermann Landshoff Burcu Dogramaci In the period 1933–1945 the group portrait was an important genre of art in exile, which has so far received little attention in research.1 Individual works, such as Max Beckmann’s group portrait Les Artistes mit Gemüse, painted in 1943 in exile in Amsterdam,2 were indeed in the focus. Until now, however, there has been no systematic investigation of group portraits in artistic exile during the Nazi era. The following observations are intended as a starting point for further investigations, and concentrate on the exile in New York and the work of the emigrated painter Arthur Kaufmann and photographer Hermann Landshoff in the late 1930s and 1940s, who devoted themselves to the genre of group portraits. 3 New York was a destination that attracted a much larger number of emigrant artists, writers, and intellectuals than other places of exile, such as Istanbul or Shanghai. A total of 70,000 German-speaking emigrants who fled from National Socialism found (temporary) refuge in New York City, including—among many others—the painters Arthur Kaufmann and Lyonel Feininger, and the photographers Hermann Landshoff, Lotte Jacobi, Ellen Auerbach, and Lisette Model.4 Such an accumulation of emigrated artists and photographers in one place may explain the increasing desire to visualize group formats and communal compositions. In the genre of the group picture there are attempts to compensate for the displacement from the place of origin.5 This mode of self-portrayal as a group can be 1/15 found in the photographic New York group portraits where the exiled surrealists had their pictures taken together or with their American colleagues. -
A Finding Aid to the Carlen Galleries, Inc., Records, 1775-1997, Bulk 1940-1986, in the Archives of American Art
A Finding Aid to the Carlen Galleries, Inc., Records, 1775-1997, bulk 1940-1986, in the Archives of American Art Catherine S. Gaines 2002 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................................................................................................. 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Gift (1986), 1906-1986............................................................................. 5 Series 2: Loan (1988), 1937-1986......................................................................... 11 Series 3: Gift (2002), 1835-1992............................................................................ 13 Series 4: Loan (2002), -
ASSOCIATION for JEWISH STUDIES 38TH ANNUAL CONFERENCE Manchester Grand Hyatt, San Diego, California December 17–19, 2006
ASSOCIATION FOR JEWISH STUDIES 38TH ANNUAL CONFERENCE Manchester Grand Hyatt, San Diego, California December 17–19, 2006 Saturday, December 16, 2006, 8:00 PM Annie A WORKS IN PROGRESS GROUP IN MODERN JEWISH STUDIES Co-chairs: Todd S. Hasak-Lowy (University of Florida) Adam B. Shear (University of Pittsburgh) Sunday, December 17, 2006 GENERAL BREAKFAST 8:30 AM – 9:30 AM Manchester C (Note: By pre-paid reservation only.) REGISTRATION 8:30 AM – 6:00 PM Manchester Foyer AJS ANNUAL BUSINESS MEETING 8:30 AM – 9:00 AM Manchester A AJS BOARD OF 10:30 AM Maggie DIRECTORS MEETING BOOK EXHIBIT (List of Exhibitors p. 65) 1:00 PM – 6:30 PM Exhibit Hall Session 1, Sunday, December 17, 2006 9:30 AM – 11:00 AM 1.1 Manchester A PEDAGOGY AND POLITICS: TEACHING ISRAEL AT NORTH AMERICAN UNIVERSITIES TODAY Chair: Rivka B. Kern-Ulmer (Bucknell University) Discussants: Donna R. Divine (Smith College) Jonathan Goldstein (University of West Georgia) Shirah Hecht (JESNA) Th eodore Sasson (Brandeis University/Middlebury College) David B. Starr (Hebrew College) 1.2 Betsy A/B SOCIAL SCIENCE AND TEACHING ABOUT AMERICAN JEWRY Chair: Paul Burstein (University of Washington) Discussants: Claude Fischer (University of California, Berkeley) Shaul Kelner (Vanderbilt University) Shelly Tenenbaum (Clark University) 1.3 Edward A/B WHAT DOES JEWISH PHILOSOPHY CONTRIBUTE? THE CASES OF LEVINAS AND STRAUSS Chair: Sarah Hammerschlag (Williams College) Discussants: Martin Kavka (Florida State University) Kenneth R. Seeskin (Northwestern University) Eugene Sheppard (Brandeis University) Respondent: Leora F. Batnitzky (Princeton University) 21 SUNDAY, DECEMBER 17, 2006 9:30 AM – 11:00 AM 1.4 Ford A/B ASSESSING THE CHARACTERISTICS OF SYNAGOGUE TRANSFORMATION Chair: Jack Wertheimer (Jewish Th eological Seminary) Stories from Shul Ari Y. -
Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia americká architektúra - pozri chicagská škola, prériová škola, organická architektúra, Queen Anne style v Spojených štátoch, Usonia americká ilustrácia - pozri zlatý vek americkej ilustrácie americká retuš - retuš americká americká ruleta/americké zrnidlo - oceľové ozubené koliesko na zahnutej ose, užívané na zazrnenie plochy kovového štočku; plocha spracovaná do čiarok, pravidelných aj nepravidelných zŕn nedosahuje kvality plochy spracovanej kolískou americká scéna - american scene americké architektky - pozri americkí architekti http://en.wikipedia.org/wiki/Category:American_women_architects americké sklo - secesné výrobky z krištáľového skla od Luisa Comforta Tiffaniho, ktoré silno ovplyvnili európsku sklársku produkciu; vyznačujú sa jemnou farebnou škálou a novými tvarmi americké litografky - pozri americkí litografi http://en.wikipedia.org/wiki/Category:American_women_printmakers A Anne Appleby Dotty Atti Alicia Austin B Peggy Bacon Belle Baranceanu Santa Barraza Jennifer Bartlett Virginia Berresford Camille Billops Isabel Bishop Lee Bontec Kate Borcherding Hilary Brace C Allie máj "AM" Carpenter Mary Cassatt Vija Celminš Irene Chan Amelia R. Coats Susan Crile D Janet Doubí Erickson Dale DeArmond Margaret Dobson E Ronnie Elliott Maria Epes F Frances Foy Juliette mája Fraser Edith Frohock G Wanda Gag Esther Gentle Heslo AMERICKÁ - AMES Strana 1 z 152 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Charlotte Gilbertson Anne Goldthwaite Blanche Grambs H Ellen Day -
American Art & Pennsylvania Impressionists (1605) Lot 19
American Art & Pennsylvania Impressionists (1605) June 3, 2018 EDT Lot 19 Estimate: $15000 - $25000 (plus Buyer's Premium) THOMAS EAKINS (AMERICAN 1844–1916) "WOMAN IN SHADE" (ARCADIAN STUDY); WITH A STUDY OF A HORSE VERSO Oil on panel 9 15/16 x 7 15/16 in. (25.2 x 20.2cm) Executed circa 1883. Provenance: The Artist. The Artist's wife, Susan Macdowell Eakins, Philadelphia, Pennsylvania, 1916. Babcock Galleries, New York, New York, 1938. Collection of Mr. and Mrs. Albert Hackett, New York, New York 1943. Private Collection, Los Angeles, California, 1961. Private Collection, New York, New York. EXHIBITED: "Exhibition of Sketches, Studies and Intimate Paintings by Thomas Eakins, 1844-1916," Babcock Galleries, New York, New York, October 31-November 25, 1939, no. 1 or 2. LITERATURE: Lloyd Goodrich, Thomas Eakins: His Life and Work, Whitney Museum of American Art, New York, 1933, p. 186, no. 181 (illustrated as "Head of a Girl"). NOTE: In the early 1880s, Thomas Eakins found solace by trading the confines of modern Philadelphia for the quietude of the Pennsylvania countryside. There, he enjoyed an American pastoral idyll, which he tried to immortalize by photographing himself and his friends, most often nude, in various poses inspired by classical models. Some of the photographs were used as studies for subsequent paintings, including "The Swimming Hole" (Amon Carter Museum of American Art, Austin, Texas) and "Arcadia" (Metropolitan Museum of Art, New York, New York), which are all a reflection of Eakins' strong commitment to the nude; and yearning for simpler, more natural times. Eakins' fascination with the classical nude is not wholly surprising, as he was trained in the most rigorous Art Academies of the United States and France, where antiquity was the core of instruction and the filter through which modern life was evaluated. -
W Ashington, Dc
Foto: Modernity in Central Europe, 1918–1945 Related events around town WASHINGTON, DC WASHINGTON, Together with the exhibition Foto: Modernity in Central Europe, 1918–1945 at the National Gallery of Art, Washington, DC, area embassies, museums, and cultural institutions will feature films, concerts, lectures, and exhibitions of the Modernist Period. Photo courtesy of Ondřej Havelka & His Melody Makers’ Archive. Foto: Modernity in Central Europe, 1918–1945 June 10–September 3, 2007 This exhibition is the first survey—including more than 150 photographs, books, and illustrated magazines—ever done on the story of photography’s extraordinary success and popularity in Austria, Czechoslovakia, Germany, Hungary, and Poland during a time of tremendous social and political upheaval. A diverse program of related lectures, films, and concerts includes six interrelated film series that present many works from Central Europe never before seen in the United States. The exhibition is sponsored by the Central Bank of Hungary. National Gallery of Art www.nga.gov/foto On the National Mall at 4th Street and Constitution Avenue, NW (202) 737–4215 Washington, DC 20565 Free admission Related events around town Lectures Exhibitions December 15, 2006–October 8, 2007 June 12, 6–8pm Give Me Your Children: Voices from the Foto and Modernity: An Overview Lodz Ghetto German Historical Institute U.S. Holocaust Memorial Museum June 26, 6–8 pm March 17–July 29 Here Comes the New Photographer! Modernism: Designing a New World The 1929 Film und Foto Exhibition 1914–1939 -
Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915
Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915 Kimberly E. Hereford A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: Susan Casteras, Chair Paul Berger Stuart Lingo Program Authorized to Offer Degree: Art History ©Copyright 2015 Kimberly E. Hereford ii University of Washington Abstract Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915 Kimberly E. Hereford Chair of the Supervisory Committee: Professor Susan Casteras Art History This dissertation examines representations in art of the Victorian woman in “altered states.” Though characterized in Victorian art in a number of ways, women are most commonly stereotyped as physically listless and mentally vacuous. The images examined show the Victorian female in a languid and at times reclining or supine pose in these representations. In addition, her demeanor implies both emotional and physical depletion, and there is both a pronounced abandonment of the physical and a collapsing effect, as if all mental faculties are withdrawing inward. Each chapter is dedicated to examining one of these distinct but interrelated types of femininity that flourished throughout British and American art from c. 1850 to c. 1910. The chapters for this dissertation are organized sequentially to demonstrate a selected progression of various states of consciousness, from the most obvious (the sleeping woman) to iii the more nuanced (the female Aesthete and the female medium). In each chapter, there is the visual perception of the Victorian woman as having access to otherworldly conditions of one form or another. -
Julius Rauzin Correspondence
Julius Rauzin correspondence MS.031 Finding Aid prepared by Hoang Tran The Pennsylvania Academy of the Fine Arts 118-128 North Broad Street Philadelphia, PA 19102 [email protected] 215-972-2066 Updated by Hoang Tran, January 2016 Julius Rauzin correspondence (MS.031) Summary Information Repository The Pennsylvania Academy of the Fine Arts, Dorothy and Kenneth Woodcock Archives Creator Julius Rauzin (1906-1995) Title Julius Rauzin correspondence Date [bulk] Date [inclusive] 1935-1951, undated Extent 1 document box Location note Language Language of Materials note English Abstract Collection includes 38 letters to Rauzin from Susan Macdowell Eakins and about 200 letters from Mrs. Kenton, who wrote extensively from her many trips. The collection also contains one letter from Susan Macdowell Eakins to Walter Pach, presumably given to Rauzin by Pach. There is a handwritten summary of the content of each letter, provided by a researcher. Preferred Citation note [identification of item], Title of Collection, Collection ID#, The Pennsylvania Academy of the Fine Arts, Dorothy and Kenneth Woodcock Archives, Philadelphia, PA. Page 1 Julius Rauzin correspondence (MS.031) Historical note Julius Rauzin met Susan Macdowell Eakins and her sister Elizabeth Macdowell Kenton about 1935 through Walter Pach. He corresponded with the two women regularly for many years and was one of several young admirers of the work of Thomas Eakins with whom Mrs. Eakins corresponded. Scope and Contents note There are 38 letters to Rauzin from Susan Macdowell Eakins and about 200 letters from Mrs. Kenton, who wrote extensively from her many trips. The collection also contains one letter from Susan Macdowell Eakins to Walter Pach, presumably given to Rauzin by Pach. -
Female Photographers' Self-Portraits in Berlin 1929-1933
SELF-EXPRESSION AND PROFESSION: FEMALE PHOTOGRAPHERS’ SELF-PORTRAITS IN BERLIN 1929-1933 By Sophie Rycroft A thesis submitted to The University of Birmingham as part of the requirements for the Degree of Master of Philosophy in History of Art. Department of History of Art School of Languages, Cultures, Art History and Music College of Arts and Law The University of Birmingham September 2013 Student ID Number: 0944443 History of Art MPhil (B) Word Count: 19,998 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis is the first in-depth study of female photographers’ images of themselves, with their cameras, working in Weimar Berlin. A focus on three self-portraits by women at the heart of the so-called ‘New Photography’, will allow insight into the importance of the self- portrait genre for female photographers, who sought to establish themselves in this rapidly developing field. The photographers Lotte Jacobi (1896-1990), Eva Besnyö (1910-2003) and Marianne Breslauer (1909-2001) have diverse photographic oeuvres yet each produced an occupational self-portrait whilst in Berlin between 1929 and 1933.