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THE AMERICAN ART-1 Corregido
THE AMERICAN ART: AN INTRODUCTION Compiled by Antoni Gelonch-Viladegut For the Gelonch Viladegut Collection Paris-Boston, April 2011 SOMMARY INTRODUCTION 3 18th CENTURY 5 19th CENTURY 6 20th CENTURY 8 AMERICAN REALISM 8 ASHCAN SCHOOL 9 AMERICAN MODERNISM 9 MODERNIST PAINTING 13 THE AMERICAN SOUTHWEST 14 HARLEM RENAISSANCE 14 NEW DEAL ART 14 ABSTRACT EXPRESSIONISM 15 ACTION PAINTING 18 COLOR FIELD 19 POLLOCK AND ABSTRACT INFLUENCES 20 ART CRITICS OF THE POST-WORLD WAR II ERA 21 AFTER ABSTRACT EXPRESSIONISM 23 OTHER MODERN AMERICAN MOVEMENTS 24 THE GELONCH VILADEGUT COLLECTION 2 http://www.gelonchviladegut.com The vitality and the international presence of a big country can also be measured in the field of culture. This is why Statesmen, and more generally the leaders, always have the objective and concern to leave for posterity or to strengthen big cultural institutions. As proof of this we can quote, as examples, the Bibliothèque Nationale de France, the British Museum, the Monastery of Escorial or the many American Presidential Libraries which honor the memory of the various Presidents of the United States. Since the Holy Roman Empire and, notably, in Europe during the Renaissance times cultural sponsorship has been increasingly active for the sake of art or for the sense of splendor. Nowadays, if there is a country where sponsors have a constant and decisive presence in the world of the art, this is certainly the United States. Names given to museum rooms in memory of devoted sponsors, as well as labels next to the paintings noting the donor’s name, are a very visible aspect of cultural sponsorship, especially in America. -
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. -
A Lasting Impression
1 A Lasting Impression An Introduction to Pennsylvania Impressionism James A. Michener Art Museum’s Traveling Trunk James A. Michener Art Museum • 138 South Pine Street • Doylestown, PA 18901 MichenerArtMuseum.org • 215-340-9800 2 A Lasting Impression James A. Michener Art Museum’s Traveling Trunk Table of Contents Lessons Lesson 1: First Impressions pages 3-4 Lesson 2: Improvisational Theater pages 5-6 Lesson 3: Journals and Boxes page 7 Lesson 4: Contemporary Connections pages 8-9 Lesson 5: The Arts and Media pages 10 Lesson 6: Painting Impressions page 11 Lesson 7: Michener Museum Impressions pages 12-13 Lesson 8: Women in the Arts pages 14-15 Lesson 9: Impressionism and the Environment page 16 Lesson 10: Your Last Impression page 17 Appendix 1: Vocabulary pages 18-24 Appendix 2: Standards pages 25-40 Appendix 3: Biographies and Visuals pages 41-102 Appendix 4: Bibliography pages 103-104 James A. Michener Art Museum • 138 South Pine Street • Doylestown, PA 18901 MichenerArtMuseum.org • 215-340-9800 3 A Lasting Impression James A. Michener Art Museum’s Traveling Trunk Lesson 1: First Impressions Social Studies, Studio Art, Language Arts, Art History Connections Objectives: Students will be introduced to the themes and materials in the James A. Michener Art Museum Culture Kit, A Lasting Impression. Students will demonstrate an understanding of the vocabulary presented in the Lasting Impressions Culture Kit Students will become familiar with the distinctive style in Pennsylvania Impressionist paintings, through the works of Lathrop, Redfield, and Sotter Students will use original documentation to learn about the history of Pennsylvania Impressionism Students will understand the importance of Bucks County heritage as it relates to Pennsylvania, American, and French Impressionism Lesson Ideas Explore the Culture Kit Display the contents of the Culture Kit in your classroom or school library. -
American Painting
a century of American Painting Century of Painting FC IFC IBC_fnl.crw2.indd 1-3 11/5/15 9:38 AM a century of American Painting Century of Painting PGS fnl.crw3.indd 1-2 11/5/15 9:51 AM a century of American Painting December 5, 2014 to January 31, 2015 100 Chetwynd Drive, Bryn Mawr, Pennsylvania 19010 Century of Painting PGS fnl.crw3.indd 3-4 11/5/15 9:51 AM Foreword We tend to look at art through the lens of our own time. We make judgments about its quality and relevance based on current sentiments and tastes. This is a natural inclination, but unless we take the time to consider where and when the artists were working and what the conditions were like at that time, we miss much of the story that lies behind every great work of art. If we fail to consider that Eastman Johnson’s The Vacant Chair (cat. 4) was painted in 1865, we might conclude that it is simply a nicely painted interior of an old kitchen. When we stop to remember that the Civil War had just ended when Johnson put brush to canvas and that the empty chair might symbolize a missing soldier who will never return home, the painting’s powerful statement is fully realized. When we look at the paintings of great women Impressionists, such as Jane Peterson (cat. 18), it deepens our appreciation of their work when we stop to think of their struggle to be taken seriously at a time when women were con- sidered to be, at best, hobbyists. -
Pennsylvania Folklife Vol. 34, No. 1 Hans Trumpy
Ursinus College Digital Commons @ Ursinus College Pennsylvania Folklife Magazine Pennsylvania Folklife Society Collection Fall 1984 Pennsylvania Folklife Vol. 34, No. 1 Hans Trumpy William T. Parsons Ursinus College Marion Lois Huffines Robert P. Stevenson Jane Adams Clarke Follow this and additional works at: https://digitalcommons.ursinus.edu/pafolklifemag Part of the American Art and Architecture Commons, American Material Culture Commons, Christian Denominations and Sects Commons, Cultural History Commons, Ethnic Studies Commons, Fiber, Textile, and Weaving Arts Commons, Folklore Commons, Genealogy Commons, German Language and Literature Commons, Historic Preservation and Conservation Commons, History of Religion Commons, Linguistics Commons, and the Social and Cultural Anthropology Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Trumpy, Hans; Parsons, William T.; Huffines, Marion Lois; Stevenson, Robert P.; and Clarke, Jane Adams, "Pennsylvania Folklife Vol. 34, No. 1" (1984). Pennsylvania Folklife Magazine. 106. https://digitalcommons.ursinus.edu/pafolklifemag/106 This Book is brought to you for free and open access by the Pennsylvania Folklife Society Collection at Digital Commons @ Ursinus College. It has been accepted for inclusion in Pennsylvania Folklife Magazine by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. 6:ontrilJutt1r~ JANE ADAMS CLARKE co-authored "The Search for our German Ancestors" which appeared in the Spring, 1982 issue of Pennsylvania Folklife. That article concerned research on her paternal family line; this article traces some of her maternal ancestry. In the course of her research, she found that both sides of her family had moved to Philadelphia from the Goshen hoppen region of Pennsylvania; indeed, her parents married in 1924 little knowing that their ancestors were neighbors some 124 years earlier. -
American Art & Pennsylvania Impressionists (1592) Lot
American Art & Pennsylvania Impressionists (1592) December 3, 2017 EDT Lot 122 Estimate: $30000 - $50000 (plus Buyer's Premium) EDWARD WILLIS REDFIELD (AMERICAN 1869-1965) "COAST OF FRANCE" Signed 'E.W. Redfield' bottom left; also inscribed with title and artist on upper stretcher verso, oil on canvas 38 1/4 x 50 3/8 in. (97.2 x 128cm) Provenance: The Artist. The Estate of the Artist. To the Artist's daughter, Louise R. Stephens. To the Artist's granddaughter, Charlotte McKeown. Private Collection, New Jersey. EXHIBITED: "One Hundred and Fourth Annual Exhibition," Pennsylvania Academy of the Fine Arts, Philadelphia, January 31-March 14, 1909, no. 9. "Exhibition of Paintings by Edward W. Redfield," The Pennsylvania Academy of the Fine Arts, Philadelphia, April 17-May 16, 1909, no. 9. "Exhibition of Oil Paintings by Edward W. Redfield," Buffalo Fine Art Academy, Albright Art Gallery, Buffalo, New York, October 10-November 8, 1909; and The City Art Museum of St. Louis, Saint Louis, Missouri, November 14, 1909, no. 6 (traveling exhibition). "An Exhibition of Paintings by Edward W. Redfield," The Corcoran Gallery of Art, Washington D.C., January 3-23, 1910, no. 2. "Exhibition of Paintings by Edward W. Redfield and a Collection of Works by European Masters," The Memorial Art Gallery, Rochester, New York, May 9-June 7, 1914, no. 27. "An Exhibition of Paintings by Edward W. Redfield," The Corcoran Gallery, Washington D.C., March 14-April 9, 1916, no. 12. "Edward Redfield, A Retrospective of His Work," Newman Galleries, Philadelphia, October 23-November 30, 1968. "A Retrospective Exhibition of the Work of the Great American Impressionist, Edward Willis Redfield of Pennsylvania," William Penn Memorial Museum, Harrisburg, Pennsylvania, March 31-May 13, 1973, no 48. -
Historians of Nineteenth-Century Art Newsletter
SPRING 2012 Volume 19, No. 1 Historians of Nineteenth-Century Art Newsletter LES GRANDES VERTICALES: RENOIR AT THE FRICK COLLECTION By Caterina Y. Pierre This spring, visitors to the Frick Collection have the opportu- nity to view a small but splendid exhibition entitled “Renoir, Impressionism, and Full-Length Painting,” organized by Colin B. Bailey, the Frick’s Deputy Director and the Peter Jay Sharp Chief Curator. The exhibition, which runs through May 13, 2012, is accompanied by a sumptuous catalogue authored by Bailey and co-published by the Frick and Yale University Press (ISBN 978-0-300-18108-1, US $60.00). The exhibition takes an in-depth look at nine of Renoir’s large- scale, mostly vertical, canvases created over the nine-year pe- riod between 1874 and 1883. The catalogue includes a tenth painting, Jeanne Samary, a full-length portrait that was un- available for the exhibition. The inspiration for the exhibition seems to have stemmed from a recent reevaluation of the Frick’s own vertical for- mat canvas by Renoir, La Promenade (1875-76), acquired by Henry Clay Frick for $35,000 in 1914 from Knoedler and Company. Recent infrared reflectography studies completed at the Metropolitan Museum of Art have revealed two addi- tional figures at the top left of La Promenade, suggesting that the principle large female figure in the center of the painting, usually referred to as the “mother” figure, might now be seen as an older sister to the two foreground children. Similar re- search, particularly of the technological kind, was offered for many of the paintings on view through the catalogue and a small media room outside of the exhibition. -
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 -
Annual , Water Color
ANNUAL , ANNUAL MEMBE~SHIP WATER COLOR JN AND THE PENNSYLVANIA ACADEMY "MINIATURE · OF THE FINE ARTS EXH.IBITIONS Annual members are such persons as contribute $10 annually for the maintenance of the Academy. ,;t i;t LIFE MEMBERSHIP CATALOGUE f{ - _,........ Life members are those who contribute the sum -~·- of $100. Annual and life members are admitted to all the public exhibitions and lectures at the Academy, have a right to use its library, subject to the regula tions of the institution, and receive an admission ticket. They have all the privileges of stock holders except the right to vote. Checks may be sent to George H. McFadden, Treasurer, at the Academy. FORM OF BEQU~T I giale, Jeoise anJ bequeath to "The Pennsgl oania Academy of the Fine Arts"·············-····· Dollars In trust lo invest and keep lrtPesieJ anJ appiJ, the income only to the maintenance of the The Pennsylvania Academy said Academ_y. of the Fine Arts 1914 MOST OF THE WORK IN THIS EXHI BITION IS FOR SALE AT STUDIO PRICES. INFORMATION IN REGARD TO SALES MAY BE HAD FROM THE SALES-MAN AGER OR FROM ANY ATTENDANT IN THE GALLERIES OR AT THE OFFICE. DUPLICATE PRINTS OF ETCHINGS CAN, IN MOST CASES, BE SUPPLIED. THE PENNSYL V ANJA ACADEMY OF THE FINE ARTS FOUNDED 1805 • THE PHILADELPHIA WATER COLOR CLUB The Schools of The Pennsylvania Academy THE PENNSYLVANIA SOCIETY o.f the Fine Arts train students in painting, OF MINIATURE PAINTERS sculpture and illustrating. The success achieved by the Schools is testified to by the number of artists of great reputation CATALOGUE OF THE TWELFTH who recelved their training in them. -
John Sloan Manuscript Collection Helen Farr Sloan Library & Archives
John Sloan Manuscript Collection Helen Farr Sloan Library & Archives, Delaware Art Museum John Sloan Diary, 1906 Jan. 1 Played golf today with Henri1 and Davis.2 We welcome the New Year at James B. Moore's3 "Secret Lair beyond the Moat" 450 W. 23rd. A very small party. James B., Henri, Barney Moore4 (no relative of Jim's) with Miss O'Connor,5 John Sloan, Mrs. J. Sloan. Pleasant evening and early morning. I'm going to try to do a bit less smoking this year. Mr. and Mrs. E. W. Davis,6 old "Wyatt" of the old 806 days,7 to dinner, with their boy 1 Robert Henri (1865-1929) was a major influence in American art in the last decade of the 19th century and the first of the 20th both as a painter and a teacher. He and Sloan met in December 1892. While Sloan never studied formally with Henri, he acknowldged him as his "father in art." Although their paths diverged after the period covered by the diaries, he and Sloan were very close in 1906. Henri's wife, Linda, had died the month before the dairies began and Henri, very lonely, visited the Sloans often. Henri's name was originally Robert Henry Cozad, but the family abandoned the use of "Cozad." His father and mother adopted the surname "Lee" and Henri's brother John became "Frank L. Southrn." [Bennard Perlman. Robert Henri. His Life and Art. New York: Dover Publications, Inc. 1991, pp. 5-6] 2 Edward Wyatt Davis, a friend of Sloan's from the early 1890s and assistant art editor of the Philadelphia Press for which Sloan had worked, had moved to New York and become art editor of the humor magazine Judge. -
George Gallo: Painting Big—Realism and Revolution
12 George Gallo: Painting Big—Realism and Revolution by Molly Siple eorge Gallo is the writer/director of the three-time award winning movie, Local Color, the first film to portray modern-day artists dedicated to painting realistically. Gallo, G a landscape artist himself, also painted all the canvases that appear in the movie, some 300 in total. Few creative souls have the range of talents that Gallo enjoys and fewer still would have the determination and savvy to conjure up a project that incorporates them all, but this is exactly what Gallo accomplished with this award-winning movie. Originally from was known for New York, Gallo his use of colour moved to Los and Gallo began a Angeles in 1982 lifelong fascination with $800 in his with the dynamics of pocket and a script how we see hue. he had written that About this time, after five years of as an art student persistence was making the rounds produced as the of Manhattan movie, Wise Guys. galleries, Gallo Next came Midnight happened upon an Run, a classic buddy/ exhibit of the works cops and robbers of the Pennsylvania picture, with Robert Impressionists, De Niro and the artists of the Charles Grodin in first half of the the starring roles. twentieth century However, Gallo who were painting began his creative George Gallo, creating his painting, McClure Pass, en plein air in McClure Pass, Colorado. in and around life as a painter Pennsylvania’s Bucks and, alongside Country, particularly his successes in around the town of Hollywood, painting remains his passion to this day. -
Catalogue of the ... Annual Exhibition
Established 1846 M. Knoedler & Co. Publishers and Dealers in WORKS OF ART PAINTINGS ENGRAVINGS ETCHINGS, ETC 556 Fifth Avenue New Yorfc Paris London J7 Place Vendome J5 Old Bond Street The One Hundred and Fifteenth Annual Exhibition of the Academy will be open to the public from Sunday, February 8, to Sunday, March 28, 1920, inclusive. ' Sundays, from i to 5 P. M. Week-days, from 9 A. M. to 5 P. M. MAN Y OF THE WORKS IN THIS EXHIBI- TION ARE FOR SALE AT STUDIO PRICES. INFORMATION IN REGARD THERETO MAY BE HAD FROM THE SALES- MAN OR FROM ANY ATTENDANT IN THE GALLERIES OR AT THE OFFICE THERE AREIN THE EXHIBITION 360 PAINTINGS AND 158 EXHIBITS OF SCULP- TURE. 333 ARTISTS ARE REPRESENTED The Schools of The Pennsylvania Academy of the Fine Arts train students in painting, sculpture and Ulustration. The success achieved by the schools is testified to by the number of artists of great reputation who received their training in them. The present instructors are; Hugh H. Breckenridge, Charles Grafly, Henry McCarter, Joseph T. Pearson, Jr., Daniel Garber, Philip L. Hale, Robert Vonnoh, Arthur B. Carles, John F. Harbeson and Charles de Geer, Detailed information in regard to the Schools will gladly be furnished to any one interested in the subject. The second term of the present school year begins February 2, 1920, but students may enter at any time. Summer School at Chester Springs, Chester County, Pennsylvania. THE PENNSYLVANIA academy of the fine arts FOUNDED 1805 CATALOGUE OF THE ll^TH ANNUAL EX- HIBITION, FEBRUARY 8 TO MARCH 28, 1920 SECOND EDITION PHILADtLPHlA 1920 MANAGEMENT OF THE PENNSYLVANIA ACADEMY OF THE FINE ARTS PRESIDENT, JOHN FREDERICK LEWIS.