2019 ANNUAL REPORT Table of Contents
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Berthe Morisot
Calgary Sketch Club April and May 2021 Message from the President “It is important to express oneself ... provided the feelings are real and are taken from your own experience.” ~ Berthe Morisot And now warmer weather invites us outside, into the fields and gardens to experience nature, gain an impression, paint a record of our sensations. Welcome to a summer of painting. Whether you take your photos and paint in the studio or make the time to sit amidst the dynamic landscape, get out and experience the real colours, shapes, and shifting light. Your paintings will be the better for having authentic emotional content. This spring we were able to enjoy a club meeting dedicated to Plein Aire painting, a technical painting method that supported the development of the Impressionism move- ment. While some people may be familiar with the men who worked in impressionism, Monet, Manet, Gaugin, and so on, few dwell on the contribution of women painters to the development and furthering of painting your sensations, impressions, and expe- riences. After viewing work by Berthe Morisot, Mary Cassatt, Eva Gonzales, Marie Bracquemond and Lilly Cabot Perry, we see a sizable contribution to the oevre from the depths of meaning and exciting brushwork of these pioneering artists. The social cultural milleau of 1874 Paris, it was difficult for women to find equal footing or even acceptance as artists. And no matter that the art could stand beside that of any con- temporary man or woman, it was sometimes not enough. However, time has allowed a fuller examination of their work and its place in the impressionist canon. -
Cecilia Beaux: Philadelphia Artist
Cecilia Beaux: PhiladelphiaArtist PUBLISHED SINCE 1877 BY THE HISTORICAL SOCIETY OF PENNSYLVANIA - - 2 b ?n1nq CXXIV a 3 Book Reviews OGDEN, Legacy- A Biography ofMoses and Walter Annenberg, by Nelson D. Lankford 419 HEMPHIL, Bowing to Necessity: A History ofManners in America, 1620-1860, by Franklin T. Lambert 421 ST. GEORGE, Conversing by Signs: Poetics of Implication in ColonialNew England Culture, by Margaretta M. Lovell 422 DALZELL and DALZELL, George Washington'sMount Vernon: At Home in Revolutionary America, and GARRETr, ed., LAuTMAN, photog., George Washington'sMount Vernon, and GREENBERG, BucHMAN, photog., George Washington:Architect, by James D. Kornwolf 425 WARREN, ed., The Papersof George Washington.Presidential Series, Vol. 7. December 1790-March 1791, by Patrick J. Furlong 431 MASTROMARNO, WARREN, eds., The Papers of George Washington. PresidentialSeries. Vol. 8: March-September 1791, by Ralph Ketcham 432 ABBOT and LENGEL, eds., The Papersof George Washington. Retirement Series. Vol. 3: September 1798-April 1799. Vol. 4: April-December 1799, by John Ferling 435 LARSON, Daughters ofLight: Quaker Women Preachingand Prophesyingin the Colonies andAbroad, 1700-1775, by Jean R. Soderlund 437 LAMBERT, Inventing the "GreatAwakening," by Timothy D. Hall 439 FORTUNE, Franklinand His Friends:Portraying the Man of Science in Eighteenth-CenturyAmerica, by Brian J. Sullivan 441 NUxOLL and GALLAGHER, The Papers ofRobert Morris, 1781-1784. VoL 9: January 1-October30,1784, by Todd Estes 443 RIGAL, The American Manufactory: Art, Labor, and the World of Things in the Early Republic, by Colleen Terrell 445 SKEEN, Citizen Soldiers in the War of 1812, by Samuel Watson 446 WEEKLEY, The Kingdoms ofEdward Hicks, and FORD, EdwardHicks: Painterof the PeaceableKingdom, by Carol Eaton Sokis 448 GRIFFIN, ed., Beloved Sisters and Loving Friends:Letters from Rebecca Primus ofRoyal Oak, Maryland, andAddie Brown of HartfordConnecticut,1854-1868 by Frances Smith Foster 452 DYER, Secret Yankees: The Union Circle in ConfederateAtlanta, by Jonathan M. -
Emmet, Lydia Field American, 1866 - 1952
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Emmet, Lydia Field American, 1866 - 1952 William Merritt Chase, Lydia Field Emmet, 1892, oil on canvas, Brooklyn Museum, Gift of the Artist, 15.316 BIOGRAPHY Lydia Field Emmet led a remarkably successful artistic career spanning more than 50 years. She is best known as a painter of portraits, particularly of children. Emmet was born in New Rochelle, New York, into a family of female artists. Her mother, Julia Colt Pierson Emmet, her sisters Rosina Emmet Sherwood and Jane Emmet de Glehn, and her cousin Ellen Emmet Rand were all painters. Lydia Emmet’s talent (and enterprise) was apparent early, as she began selling illustrations at the age of 14. In 1884 she accompanied Rosina to Europe, and they studied at the Académie Julian in Paris for six months. During the late 1880s Emmet sold wallpaper designs, made illustrations for Harper’s Weekly, and created stained glass designs for Tiffany Glass Company. From 1889 to 1895 Emmet studied at the Art Students League, where her instructors included William Merritt Chase (American, 1849 - 1916) and Kenyon Cox (American, 1856 - 1919). Chase appointed her an instructor at his Shinnecock Summer School of Art on Long Island, where she taught preparatory classes for several terms. Emmet also posed for one of his most elegant portraits, now in the collection of the Brooklyn Museum. Emmet, Lydia Field 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 In 1893 both Emmet and her sister Rosina painted murals for the Women’s Building at the World’s Fair in Chicago. -
Japanese Elements in the Poetry of Fred Wah and Roy Kiyooka
Susan Fisher Japanese Elements in the Poetry of Fred Wah and Roy Kiyooka For nearly a century, Japanese poetic forms have pro- vided inspiration for poets writing in English. The importance of Japanese poetry for Ezra Pound and its role in the formation of Imagism have been well documented (see, for example, Kawano, Kodama, and Miner). Charles Olson, in his manifesto "Projective Verse" (1950), drew examples from Japanese sources as well as Western ones. Several of the Beat Generation poets, such as Gary Snyder, Allen Ginsberg, and Philip Whalen, studied in Japan and their work reflects a serious interest in Japanese poetry. Writing in 1973, p o e t and translator Kenneth Rexroth declared that "classical Japanese and Chinese poetry are today as influential on American poetry as English or French of any period, and close to determinative for those born since 1940" (157). Rexroth may have been overstating this influence; he, after all, had a role in creating it. Nonetheless, what Gary Snyder calls the "myste- riously plain quality" of East Asian verse has served as a model for the simple diction and directness of much contemporary poetry ("Introduction" 4). Writers belonging to these two generations of Asian-influenced American poets—the Imagists and the Beat poets—had no ethnic connection to Asia. But the demographic changes of the last few decades have produced a third generation whose interest in Asian poetry derives at least in part from their own Asian background. Several Asian Canadian poets have written works that are modelled on Japanese genres or make sustained allusions to Japanese literature. -
An Oral Interpretation Script Illustrating the Influence
379 AN ORAL INTERPRETATION SCRIPT ILLUSTRATING THE INFLUENCE ON CONTEMPORARY AMERICAN POETRY OF THE THREE BLACK MOUNTAIN POETS: CHARLES OLSON, ROBERT CREELEY, ROBERT DUNCAN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE By H. Vance James, B.A. Denton, Texas August, 1981 J r James, H. Vance, An Oral Interpretation Script Illustrating the Influence on Contemporary American Poetry of the Three Black Mountain Poets: Charles Olson, Robert Creeley, Robert Duncan. Master of Science (Speech Communication and Drama), August, 1981, 87 pp., bibliography, 23 titles. This oral interpretation thesis analyzes the impact that three poets from Black Mountain College had on contemporary American poetry. The study concentrates on the lives, works, poetic theories of Charles Olson, Robert Creeley, and Robert Duncan and culminates in a lecture recital compiled from historical data relating to Black Mountain College and to the three prominent poets. @ 1981 HAREL VANCE JAMES All Rights Reserved TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . iv Chapter I. INTRODUCTION . 1 History of Black Mountain College Purpose of the Study Procedure II. BIOGRAPHICAL INFORMATION . 12 Introduction Charles Olson Robert Creeley Robert Duncan III. ANALYSIS . 31 IV. LECTURE RECITAL . 45 The Black Mountain Poets: Charles Olson, Robert Creeley, Robert Duncan "These Days" (Olson) "The Conspiracy" (Creeley) "Come, Let Me Free Myself" (Duncan) "Thank You For Love" (Creeley) "The Door" (Creeley) "Letter 22" (Olson) "The Dance" (Duncan) "The Awakening" (Creeley) "Maximus, To Himself" (Olson) "Words" (Creeley) "Oh No" (Creeley) "The Kingfishers" (Olson) "These Days" (Olson) APPENDIX . -
Poetics at New College of California
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Gleeson Library Faculty and Staff Research and Scholarship Gleeson Library | Geschke Center 2-2020 Assembling evidence of the alternative: Roots and routes: Poetics at New College of California Patrick James Dunagan University of San Francisco, [email protected] Follow this and additional works at: https://repository.usfca.edu/librarian Part of the Poetry Commons Recommended Citation Dunagan, Patrick James, "Assembling evidence of the alternative: Roots and routes: Poetics at New College of California" (2020). Gleeson Library Faculty and Staff Research and Scholarship. 30. https://repository.usfca.edu/librarian/30 This Presentation is brought to you for free and open access by the Gleeson Library | Geschke Center at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Gleeson Library Faculty and Staff Research and Scholarship by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. ASSEMBLING EVIDENCE OF THE ALTERNATIVE: Roots And Routes POETICS AT NEW COLLEGE OF CALIFORNIA Anthology editor Patrick James Dunagan presenting material co-written with fellow anthology editors Marina Lazzara and Nicholas James Whittington. abstract The Poetics program at New College of California (ca. 1980-2000s) was a distinctly alien presence among graduate-level academic programs in North America. Focused solely upon the study of poetry, it offered a truly alternative approach to that found in more traditional academic settings. Throughout the program's history few of its faculty possessed much beyond an M.A. -
The Berkeley Poetry Conference
THE BERKELEY POETRY CONFERENCE ENTRY FROM WIKIPEDIA: http://en.wikipedia.org/wiki/Berkeley_Poetry_Conference Leaders of what had at this time had been termed a revolution in poetry presented their views and the poems in seminars, lectures, individual readings, and group readings at California Hall on the Berkeley Campus of the University of California during July 12-24, 1965. The conference was organized through the University of California Extension Programs. The advisory committee consisted of Thomas Parkinson, Professor of English at U.C. Berkeley, Donald M. Allen, West Coast Editor of Grove Press, Robert Duncan, Poet, and Richard Baker, Program Coordinator. The roster of scheduled poets consisted of: Robin Blaser, Robert Creeley, Richard Durerden, Robert Duncan, Allen Ginsberg, Leroi Jones (Amiri Baraka), Joanne Kyger, Ron Lowewinson, Charles Olson, Gary Snyder, Jack Spicer, George Stanley, Lew Welch, and John Wieners. Leroi Jones (Amiri Baraka) did not participate; Ed Dorn was pressed into service. Seminars: Gary Snyder, July 12-16; Robert Duncan, July 12-16; LeRoi Jones (scheduled), July 19-23; Charles Olson, July 19-23. Readings (8-9:30 pm) New Poets, July 12; Gary Snyder, July 13; John Wieners, July14; Jack Spicer, July 15; Robert Duncan, July 16; Robin Blaser, George Stanley and Richard Duerden, July 17 New Poets, July 19; Robert Creeley, July 20; Allen Ginsberg, July 21; LeRoi Jones, July 22; Charles Olson, July 23; Ron Loewinsohn, Joanne Kyger and Lew Welch, July 24 Lectures: July 13, Robert Duncan, “Psyche-Myth and the Moment of Truth” July 14, Jack Spicer, “Poetry and Politics” July 16, Gary Snyder, “Poetry and the Primitive” July 20, Charles Olson, “Causal Mythology” July 21, Ed Dorn, “The Poet, the People, the Spirit” July 22, Allen Ginsberg, “What's Happening on Earth” July 23, Robert Creeley, “Sense of Measure” Readings: Gary Snyder, July 13, introduced by Thomas Parkinson. -
Papers of Surrealism, Issue 8, Spring 2010 1
© Lizzie Thynne, 2010 Indirect Action: Politics and the Subversion of Identity in Claude Cahun and Marcel Moore’s Resistance to the Occupation of Jersey Lizzie Thynne Abstract This article explores how Claude Cahun and Marcel Moore translated the strategies of their artistic practice and pre-war involvement with the Surrealists and revolutionary politics into an ingenious counter-propaganda campaign against the German Occupation. Unlike some of their contemporaries such as Tristan Tzara and Louis Aragon who embraced Communist orthodoxy, the women refused to relinquish the radical relativism of their approach to gender, meaning and identity in resisting totalitarianism. Their campaign built on Cahun’s theorization of the concept of ‘indirect action’ in her 1934 essay, Place your Bets (Les paris sont ouvert), which defended surrealism in opposition to both the instrumentalization of art and myths of transcendence. An examination of Cahun’s post-war letters and the extant leaflets the women distributed in Jersey reveal how they appropriated and inverted Nazi discourse to promote defeatism through carnivalesque montage, black humour and the ludic voice of their adopted persona, the ‘Soldier without a Name.’ It is far from my intention to reproach those who left France at the time of the Occupation. But one must point out that Surrealism was entirely absent from the preoccupations of those who remained because it was no help whatsoever on an emotional or practical level in their struggles against the Nazis.1 Former dadaist and surrealist and close collaborator of André Breton, Tristan Tzara thus dismisses the idea that surrealism had any value in opposing Nazi domination. -
Miles Mcenery Gallery 525 West 22Nd Street, New York, NY 10011 | 511
BO BARTLETT (b. 1955, Columbus, GA) received his Certificate of Fine Arts in 1981 from the Pennsylvania Academy of the Fine Arts and received a certificate in filmmaking from New York University in 1986. In January 2018, Columbus State University unveiled the Bo Bartlett Center, which features a permanent collection of Bartlett’s work. He has had numerous solo exhibitions internationally. Recent solo exhibitions include Miles McEnery Gallery, New York, NY; “Forty Years of Drawing”, The Florence Academy of Art, Jersey City, NJ; “Paintings and Works on Paper”, Weber Fine Art, Greenwich, CT; Miles McEnery Gallery, New York, NY; “Retrospective”, The Bo Bartlett Center, Columbus, GA; “Paintings from the Outpost”, Dowling Walsh Gallery, Rockland, ME; “Bo Bartlett: American Artist,” The Mennello Museum of American Art and the Orlando Museum of Art, Orlando, FL; Ameringer | McEnery | Yohe, New York, NY; Morris Museum of Art, Augusta, GA; University of Mississippi Museum, Oxford, MS; “Love and Other Sacraments,” Dowling Walsh Gallery, Rockland, ME; “Paintings of Home,” Ilges Gallery, Columbus State University, Columbus, GA; “A Survey of Paintings,” W.C. Bradley Co. Museum, Columbus, GA; “Sketchbooks, Journals and Studies,” Columbus Bank & Trust, Columbus, GA; Dowling Walsh Gallery, Rockland, ME and“Paintings of Home,” P.P.O.W. Gallery, New York, NY. Recent group exhibitions include “A Telling Instinct: John James Audubon and Contemporary Art,” Asheville Art Museum, Asheville, NC; “Bo Bartlett and Betsy Eby,” Ithan Substation No. 1, Villanova, PA; “Truth & Vision: 21st Century Realism,” Delaware Art Museum, Wilmington, DE; “Rockwell and Realism in an Abstract World,” Norman Rockwell Museum, Stockbridge, MA; “The Things We Carry: Contemporary Art in the South,” Gibbes Museum of Art, Charleston, SC; Nocturnes: Romancing the Night,” National Arts Club, New York, NY; “The Philadelphia Story,” Asheville Art Museum, Asheville, NC and “Best of the Northwest: Selected Paintings from the Permanent Collection,” Tacoma Art Museum, Tacoma, WA. -
Beyond a Woman's Place
BEYOND A WOMAN ’S PLACE : Pioneers in American Art VOSE GALLERIES Old Houses, Cape Ann, Massachusetts Jane Peterson Lilies and Roses Cover: Jane Peterson (1876-1965), (det.), oil on canvas, 18 x 24 inches, signed lower right: (p.15) Back cover: Laura Coombs Hills (1859-1952), , pastel on paper, 28 x 23 inches (p.7) © 2012 Copyright Vose Galleries, LLC. All rights reserved. Designed and written by Elizabeth Vose Frey and Courtney S. Kopplin. Additional research by Carey L. Vose and Stephanie M. Madden. Photography by Christopher R. Greene. Printing by Capital Offset Co., Concord, NH. BEYOND A WOMAN ’S PLACE : Pioneers in American Art March 17- April 28, 2012 OSE Fine American Art for Six Generations V 1841 EST G ALLERIES LLC Beyond a Woman’s Place: Pioneers in American Art Vose Galleries has long appreciated the talent of women artists, Another venerable institution, the Boston Art Club, founded in presenting nearly 100 one-woman shows since 1913, and featuring three 1855, allowed women to exhibit in group shows, but didn’t accept women ElalrigzeabgreotuhpVsohsoewsFroefy women artists in 1917, 1919 and 1989, in celebra - as members until the 1930s. 3 The St. Botolph Club of Boston, an art club tion of the 100th anniversary of the National Association of Women founded in 1880 that became a rival to the Boston Art Club, also permit - Artists. Nearly half of the women in Beyond a Woman’s Place: Pioneers in ted women to exhibit at the club in both group and solo shows, but did American Art participated in group and solo shows at the gallery during not allow women members until 1988. -
Sophia Smith Collection from 1971 to 1992
MORTIMER RARE BOOK ROOM SMITH COLLEGE Oriele Horch Farb Feshbach Papers ca. 1931-2016 35 Linear Feet (66 boxes) MS 388 Processed by Daria D’Arienzo 2016 Contact information Mortimer Rare Book Room Smith College Northampton, Massachusetts 01063 413-585-2906; fax: 413-585-2904 [email protected] https://www.smith.edu/libraries/libs/rarebook 2 Oriole Horch Farb Feshbach Papers, ca. 1931-2016 35 linear ft. (66 boxes) TABLE OF CONTENTS Page Boxes Biographical note 3 Copyright and Access 4 Provenance 5 Other collections 6 Scope and Content 7 Series I: Personal: Education, Family and Travel 13-16 1-4 Series II: Yearly Files 17-34 5-10 Series III: Professional 35-38 11-13 Series IV: Teaching and Teaching Tools 39-40 14 Series V: Correspondence 41-42 15-16 Series VI: Poets 43-46 17-18 Series VII: Artists 47-48 19-20 Series VIII: Scrapbooks 49-53 21-24 Series IX: Bibliography/Printed Material 54-60 25-29 Series X: Process and Research 61-62 30-31 Series XI: Artwork 63-66 32-35 Series XII: Projects 67 36 Series XIII: A Vanitas Self-Portrait Book 68-73 37-41 Mortimer Rare Book Room Smith College Northampton, Massachusetts 3 Series XIV: Illuminations 74-77 42-44 Series XV: Parallels: Artists/Poets 78-79 45-46 Series XVI: Luminations 80-82 47-49 Series XVII: Slides: Artwork 83 50-51 Series XVIII: Photographs: Artwork 84-96 52-54 Series XIX: Photographs: Models 97-104 55-58 Series XX: Photographs: Exhibitions 105-107 59-61 Series XXI: Media 108 62 Series XXII: A Dozen Humpty Dumpty Egg Tales 109-110 63-64 Series XXIII: Oversize Flat Boxes 111 65-66 Subject Headings and Added Entries 112 Mortimer Rare Book Room Smith College Northampton, Massachusetts 4 Oriole Horch Farb Feshbach Papers BIOGRAPHICAL NOTE OHFF 1939, she graduated with honors from Hillhouse High School. -
P R O S P E C T
PROSPECTUS CHRIS ABANI EDWARD ABBEY ABIGAIL ADAMS HENRY ADAMS JOHN ADAMS LÉONIE ADAMS JANE ADDAMS RENATA ADLER JAMES AGEE CONRAD AIKEN DANIEL ALARCÓN EDWARD ALBEE LOUISA MAY ALCOTT SHERMAN ALEXIE HORATIO ALGER JR. NELSON ALGREN ISABEL ALLENDE DOROTHY ALLISON JULIA ALVAREZ A.R. AMMONS RUDOLFO ANAYA SHERWOOD ANDERSON MAYA ANGELOU JOHN ASHBERY ISAAC ASIMOV JOHN JAMES AUDUBON JOSEPH AUSLANDER PAUL AUSTER MARY AUSTIN JAMES BALDWIN TONI CADE BAMBARA AMIRI BARAKA ANDREA BARRETT JOHN BARTH DONALD BARTHELME WILLIAM BARTRAM KATHARINE LEE BATES L. FRANK BAUM ANN BEATTIE HARRIET BEECHER STOWE SAUL BELLOW AMBROSE BIERCE ELIZABETH BISHOP HAROLD BLOOM JUDY BLUME LOUISE BOGAN JANE BOWLES PAUL BOWLES T. C. BOYLE RAY BRADBURY WILLIAM BRADFORD ANNE BRADSTREET NORMAN BRIDWELL JOSEPH BRODSKY LOUIS BROMFIELD GERALDINE BROOKS GWENDOLYN BROOKS CHARLES BROCKDEN BROWN DEE BROWN MARGARET WISE BROWN STERLING A. BROWN WILLIAM CULLEN BRYANT PEARL S. BUCK EDGAR RICE BURROUGHS WILLIAM S. BURROUGHS OCTAVIA BUTLER ROBERT OLEN BUTLER TRUMAN CAPOTE ERIC CARLE RACHEL CARSON RAYMOND CARVER JOHN CASEY ANA CASTILLO WILLA CATHER MICHAEL CHABON RAYMOND CHANDLER JOHN CHEEVER MARY CHESNUT CHARLES W. CHESNUTT KATE CHOPIN SANDRA CISNEROS BEVERLY CLEARY BILLY COLLINS INA COOLBRITH JAMES FENIMORE COOPER HART CRANE STEPHEN CRANE ROBERT CREELEY VÍCTOR HERNÁNDEZ CRUZ COUNTEE CULLEN E.E. CUMMINGS MICHAEL CUNNINGHAM RICHARD HENRY DANA JR. EDWIDGE DANTICAT REBECCA HARDING DAVIS HAROLD L. DAVIS SAMUEL R. DELANY DON DELILLO TOMIE DEPAOLA PETE DEXTER JUNOT DÍAZ PHILIP K. DICK JAMES DICKEY EMILY DICKINSON JOAN DIDION ANNIE DILLARD W.S. DI PIERO E.L. DOCTOROW IVAN DOIG H.D. (HILDA DOOLITTLE) JOHN DOS PASSOS FREDERICK DOUGLASSOur THEODORE Mission DREISER ALLEN DRURY W.E.B.