Matters of Life and Death, Museum of Fine Arts, Boston Hyman Bloo

Total Page:16

File Type:pdf, Size:1020Kb

Matters of Life and Death, Museum of Fine Arts, Boston Hyman Bloo HYMAN BLOOM Born Brunoviski, Latvia, 1913 Died 2009 SELECTED SOLO EXHIBITIONS 2019 Hyman Bloom: Matters of Life and Death, Museum of Fine Arts, Boston Hyman Bloom American Master, Alexandre Gallery, New York 2013 Alpha Gallery, Boston Massachusetts Hyman Bloom Paintings: 1940 – 2005, White Box, New York 2006 Hyman Bloom: A Spiritual Embrace, The Danforth Museum, Framingham, Massachusetts. Travels to Yeshiva University, New York in 2009. 2002 Color & Ecstasy: The Art of Hyman Bloom, The National Academy of Design, New York 2001 Hyman Bloom: The Lubec Woods, Bates College, Museum of Art. Traveled to Olin Arts Center, Lewiston Maine. 1996 The Spirits of Hyman Bloom: Sixty Years of Painting and Drawing, Fuller Museum, Brockton, Massachusetts 1992 Hyman Bloom: Paintings and Drawings, The Art Gallery, University of New Hampshire, Durham 1990 Hyman Bloom: “Overview” 1940-1990, Terry Dintenfass Gallery, New York 1989 Hyman Bloom Paintings, St. Botolph Club, Boston 1983 Hyman Bloom: Recent Paintings, Terry Dintenfass Gallery, New York 1975 Hyman Bloom: Recent Paintings, Terry Dintenfass Gallery, New York 1972 Hyman Bloom Drawings, Terry Dintenfass Gallery, New York 1971 Hyman Bloom Drawings, Terry Dintenfass Gallery, New York 1968 The Drawings of Hyman Bloom, University of Connecticut of Museum of Art, Storrs. Travels to the San Francisco Museum of Art, San Francisco; the Whitney Museum of American Art, New York; and the Boston University School of Fine and Applied Arts Gallery, Boston. 1965 Hyman Bloom Landscape Drawings 1962-1964, Swetzoff Gallery, Boston 1957 Drawings by Hyman Bloom, Currier Museum of Art, Manchester, NH. Travels to The Museum of Art, Rhode Island School of Design; and the Wadsworth Atheneum, Hartford, CT Hyman Bloom Drawings, Swetzoff Gallery, Boston 1954 Hyman Bloom, Institute of Contemporary Art, Boston. Travels to Albright Art Gallery Buffalo; the M.H. de Young Museum, San Francisco; and the Whitney Museum of American Art, New York. Hyman Bloom, Durlacher Bros, New York 1949 Hyman Bloom, Boris Mirski Gallery. Boston 1948 Hyman Bloom, Durlacher Bros, New York 1946 Paintings by Hyman Bloom, Durlacher Bros, New York 1945 Hyman Bloom: New Paintings, Stuart Art Gallery, Boston SELECTED GROUP EXHIBITIONS 2009 Paint Made Flesh, Philips Collection, Washington, D.C. 2002 Painting in Boston: 1950-2000, DeCordova Museum of Art, Lincoln, Massachussetts 1999 176th Annual Exhibition of the National Academy of Design, New York 1982 Aspects of Realism: 1950-1970, Terry Dintenfass Gallery, New York Realism and Realities: The Other Side of American Painting 1940-1960, Rutgers University Art Gallery, New Brunswick, New Jersey 1980 The Figurative Tradition and the Whitney Museum of Art: Paintings and Sculptures from the Permeant Collection, Whitney Museum of Art, New York 1979 Boston Expressionism: Hyman Bloom, Jack Levine and Karl Zerbe, Institute of Contemporary Art, Boston 1978 Boston Draughtsmen, Boston Athenaeum, Boston 1977 Painters, Boston Athenaeum, Boston 1976 Drawings, Boston Athenaeum, Boston New England Works on Paper, Museum of Fine Arts, Boston 1975 Jewish Experience in American Art, The Jewish Museum, New York A Jewish Perspective, Boston City Hall, Boston 1974 American Academy of Arts and Letters, New York Contemporary Religious Imagery in American Art, John and Mable Ringling Museum of Art, Sarasota, Florida 1969 New England Art from New England Museums, Brockton Museum of Art, Brockton, Massachusetts Images, Institute of Contemporary Art, Boston A Memorial Exhibition: Selections from the Nathaniel Saltonstall Collection, Institute of Contemporary Art, Boston 1968 Modern American Drawings, Museum of Modern Art, New York Boston Painters: 1720 -1967, Boston University School of Fine and Applied Arts, Boston 1967 Collection of Mr. and Mrs. Jerry Goldberg, Watson Gallery, Wheaton College, Norton, Massachusetts American Drawings, 1776-1967, Tragos Gallery, Boston The Beach Collection, University of Connecticut Museum of Art, Storrs, Connecticut 1965 New England Art in Five Parts—Drawing—Part I, DeCordova Museum, Lincoln, Massachusetts 1964 Collection of Mr. and Mrs. Jerry Goldberg, School of the Museum of Fine Arts, Boston 1962 Selections from the DANA Collection: A Memorial Exhibition for Lester H. Dana, Institute of Contemporary Art, Boston 1961 Collection of Mr. and Mrs. Jerry Goldberg, Crapo Gallery, Swain School of Design, New Bedford, Massachusetts 1960 Francis Bacon – Hyman Bloom, The Art Galleries, University of California at Los Angeles Edith Gregory Halpert Collection, Corcoran Gallery, Washington, D.C. Works from Private Collections, Boston University Art Gallery 1959 Four Boston Masters, Museum of Fine Arts, Boston Moscow Fair: American Paintings and Sculpture 1930 – 1959, Moscow, U.S.S.R. 1956 The Roy and Marie Neuherger Collection: Modern American Painting and Sculpture, Institute of Contemporary Art, Boston Expressionism 1900-1955, Institute of Contemporary Art, Boston 1954 Younger American Painters, Solomon R. Guggenheim Museum, New York 1953 Bienal in Sao Paulo, Museu de Art Moderna, Sao Paulo, Brazil 1952 Exhibition of Contemporary American Painting, University of Illinois, Urbana Expressionism and American Painting, Albright Art Gallery, Buffalo, New York 1951 Amerikanishe Malerei: Werden and Gegenwart, Schloss Charlottenburg, Berlin, Germany Sixtieth Annual Exhibition, The Art Institute of Chicago 1950 Biennial Exhibition of American Painting, Virginia Museum, Richmond 35 American Painters, Yale University Art Gallery, New Haven Contemporary Paintings from the Addison Gallery, Institute of Contemporary Art, Boston 1948 The School of Boston, Downtown Gallery, New York 1948 Exhibition of Contemporary American Painting, Whitney Museum of American Art, New York 1947 The Giving of the Law and the Ten Commandments, Inaugural Exhibition, The Jewish Museum, New York American Painting of Today, Worcester Art Museum, Worcester, Massachusetts Fifty-Eighth Annual American Exhibition: Paintings and Sculpture, Art Institute of Chicago, Chicago Thirty Massachusetts Painters, Institute of Modern Art, Boston 1946 American Painting from the Eighteenth Century to the Present Day, Tate Gallery, London 1945 Contemporary American Painting, Worchester Art Museum, Massachusetts The Critic’s Choice of Contemporary American Painting, Cincinnati Art Museum, Cincinnati American Painting, California Palace of the Legion of Honor, San Francisco 1944 Religious Art Today, Institute of Modern Art, Boston 1942 Americans 1942: 18 Artists from 9 States, Museum of Modern Art, New York 1933 An Experiment in Art Teaching, Fogg Art Museum, Cambridge, Massachusetts AWARDS AND FELLOWSHIPS 1959 Ford Foundation Fellowship 1951 Fogg Museum Fellowship in Painting and Drawing, Harvard University 1953 Academy Award in Art, American Academy of Arts and Letters, New York 1949 Guggenheim Fellowship PUBLIC COLLECTIONS Addison Gallery of American Art, Phillips Academy, Andover, MA Arkansas Museum of Fine Arts, Little Rock Art Institute of Chicago Bowdoin College Museum of Art DeCordova Sculpture Park and Museum, Lincoln, MA Danforth Museum of Art, Framingham, MA Davis Museum, Wellesley College, Wellesley, MA Fogg Art Museum, Harvard University Hirshhorn Museum and Sculpture Garden, Washington, DC Jewish Museum, New York Los Angeles County Museum Minnesota Museum of Art, St. Paul Museum of Art, University of New Hampshire Museum of Fine Arts, Boston Museum of Modern Art, New York Museum of the National Academy of Design, New York Neuberger Museum, Purchase, NY Princeton Museum of Art, Princeton University Rose Art Museum, Brandeis University, Waltham, MA Skirball Museum, Hebrew Union College, Los Angeles, CA Smart Museum of Art, University of Chicago Smith College Art Museum, Northampton, MA Smithsonian American Art Museum Telfair Museum of Art, Savannah, GA Whitney Museum of American Art, New York William Benton Museum of Art, University of Connecticut, Storrs Worcester Art Museum, Worcester, MA Yeshiva University Museum, New York .
Recommended publications
  • 2008 Annual Report of the National Endowment for the Humanities
    200808 ANNUAL REPORT NATIONAL ENDOWMENT FOR THE HUMANITIES CHAIRMAN’S LETTER The President The White House Washington, D.C. 20500 Dear Mr. President: It is my privilege to present to you the 2008 annual report of the National Endowment for the Humanities. At the White House in February, I joined President Bush and Mrs. Bush to launch the largest and most ambitious nationwide initiative in NEH’s history: Picturing America, the newest element of our We the People program. Through Picturing America, NEH is distributing forty reproductions of American art masterpieces to schools and public libraries nationwide—where they will help stu- dents of all ages connect with the people, places, events, and ideas that have shaped our country. The selected works of art represent a broad range of American history and artistic achieve- ment, including Emanuel Leutze’s painting of Washington Crossing the Delaware; Mary Cassatt’s The Boating Party; the Chrysler Building in New York City; Norman Rockwell’s iconic Freedom of Speech; and James Karales’s stunning photo of the Selma-to-Montgomery March for Voting Rights in 1965. Accompanying the reproductions are a teacher’s guide and a dynamic website with ideas for using the images in the study of American history, literature, civics, and other subjects. During the first round of applications for Picturing America awards in the spring of 2008, nearly one-fifth of all the schools and public libraries in America applied for the program. In the fall, the first Picturing America sets arrived at more than 26,000 institutions nationwide, and we opened a second application window for Picturing America awards that will be distributed in 2009.
    [Show full text]
  • Bulletin from the Editor Bill Taylor
    Volume 19 Number 4: Summer 2018 St. BotolphBulletin From the Editor Bill Taylor “Summer afternoon—summer afternoon; to me those have always been the two most beautiful words in the English language,” opined quasi-Botolphian Henry James. But the passing of summer and the arrival of fall poses a conundrum: if Bill Taylor summer afternoons are so long, why, in New England, is the summer season so short? The answer might lie in some mathematical confluence of the tilt of the earth’s axis, its diurnal rotation on that axis and its elliptical orbit around the sun. Or, more likely, it’s just in our minds. At least this year, the Red Sox have stretched summer into October. Quartet Fin de Siècle - Katharina Radlberger, Summer is comparatively quiet at the Club. Some of us travel. Karen McComoney, Jennifer Morsches Some escape to the Cape—or to the other Cape. Some write, paint, sculpt, compose or practice as they cannot during the school year. Some of us less ambitious Botolphians read on the beach what we should have read in the library. And some of us stay-at-homes continue to trek to the Club for enlightenment, food and air-conditioning. Your editor dallied most of the summer at the other Cape but managed a few excursions back Summer afternoon—summer afternoon; to me to the Club. Highlights were those have always been the two most beautiful n Sebastien Cournot’s recital of turn-of-the century piano words in the English language music linked somewhat obliquely to the impressionist painters beloved by Botolphians; n Joshua Rubenstein’s masterful description of Vladimir Putin’s political and economic role from the perspective of Russian history traced from the Czars, through the Soviet Union, through glasnost under Gorbachev and back again to despotism.
    [Show full text]
  • Download Lot Listing
    IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, May 10, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART 1-118 Elsie Adler European 1-66 The Eileen & Herbert C. Bernard Collection American 67-118 Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. POST-WAR & CONTEMPORARY ART 119-235 A Connecticut Collector Post-War 119-199 Claudia Cosla, New York Contemporary 200-235 Ronnie Cutrone EUROPEAN ART Mildred and Jack Feinblatt Glossary I Dr. Paul Hershenson Conditions of Sale II Myrtle Barnes Jones Terms of Guarantee IV Mary Kettaneh Information on Sales & Use Tax V The Collection of Willa Kim and William Pène du Bois Buying at Doyle VI Carol Mercer Selling at Doyle VIII A New Jersey Estate Auction Schedule IX A New York and Connecticut Estate Company Directory X A New York Estate Absentee Bid Form XII Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private
    [Show full text]
  • Contemporary American Painting and Sculpture
    AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J.
    [Show full text]
  • Gifts from David P. Becker Is Supported by the Stevens
    CoUectin' GIFTS FROM for DAVID P. BECKER College CoUectin GIFTS FROM for a DAVID P. BECKER Coll Essay by Marjorie B. Cohn Catalogue by David P. Becker BowDOiN College Museum of A Brunswick, Maine 1995 This catalogue accompanies an exhibition of the same name at the Bowdoin College Museum of Art from April 20 through [une 4. 1995. Cover Cat. no. 20. Hcndrik Goltzius, The Four Disgncers, I 588, after Cornells Cornclisz. van Haarlem Frontispieci; Cat. no. 5. Albrecht Diircr. 5/. Michael Fighting the Dragon, ca. 1497, from tlu- Apocalypse Design hv Michael Mahan Graphics, Baih. M.unc Photographs by Dennis Griggs. Tannery Hill Studios, Topsham. Maine Printing hv IViinior Luiiogr.iplu-i>, Lewiston. Maine ISBN: 0-916606-28-7 Library of Congress Catalog Card Number: 95-75252 Copyright © 1995 b\- the President and Trustees of Bowdoin College All rights reserved NOTES All works arc executed on white or off-white colored paper, unless specified otherwise. Measurements are height before width. For woodcuts and lithographs, measurements arc of the image area; for etchings and engravings, the plate; and for drawings, the sheet—unless specified otherwise. Works are listed chronologically in the order of the execution of the print, Oeuvre catalogues for an artist's prints are cited in the headings directly under the medium and measurements; the heading "References" contains notices of the specific impressions in this collection. BCMA is Bowdoin College Museum of Art. Bowdoin's accession numbers (in parentheses at the end of the provenance) indicate the year of the gift. t indicates works that are illustrated m this catalogue.
    [Show full text]
  • A Finding Aid to the Lee Nordness Business Records and Papers, Circa 1931-1992 (Bulk 1954-1984), in the Archives of American Art
    A Finding Aid to the Lee Nordness business records and papers, circa 1931-1992 (bulk 1954-1984), in the Archives of American Art Sarah Haug Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund 2012 November 6 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 Arrangement..................................................................................................................... 4 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Nordness Gallery, Inc. and Lee Nordness Galleries Art Advisory Section, Inc., circa 1938-1992 (bulk 1958-1982)................................................................... 6 Series 2: Lee Nordness
    [Show full text]
  • July 1, 2012–June 30, 2013 FY13: a LOOK BACK
    Georgia Museum of Art Annual Report July 1, 2012–June 30, 2013 FY13: A LOOK BACK One of the brightest spots of FY13 was the On October 22, the museum celebrated inaugural UGA Spotlight on the Arts, a nine-day its official reaccreditation by the American festival held November 3–11, highlighting visual, Alliance of Museums (formerly the American performing, and literary arts all over campus, Association of Museums). Although the in which the museum participated eagerly. The museum is usually closed on Mondays, it was vision of vice-provost Libby Morris, the festival open to the public for the day. AAM director was planned by the UGA Arts Council, of which Ford Bell attended the event and spoke about museum director William U. Eiland is a member, the museum, followed by an ice cream social. and its subsidiary public relations arm (at Less than 5 percent of American museums are which Michael Lachowski and Hillary Brown accredited, and the process is not a simple one. represented the museum). The festival attracted Reaccreditation is a lengthy process, involving great attendance, especially from students, and a self-study that the museum worked on for demonstrated the administration’s commitment several years and a site visit lasting several days, to making the arts an essential part of the during which AAM representatives toured the university experience. Later in the fiscal year, the facility from top to bottom, met with university Arts Council began working on a strategic plan, upper administration, and interviewed staff with brainstorming meetings held by both the members, volunteers, students, and patrons of executive and PR committees in the museum’s the museum.
    [Show full text]
  • Die Tendenz Zum Farbobjekt Und Kellys Paradigmatische Bedeutung Im Künstlerischen Entwicklungsprozess Der Malerei Zu Einem Neuen Bildverständnis
    DIE TENDENZ ZUM FARBOB- JEKT ÜBER VERÄNDERUNGEN DER FARBKONZEPTE UND DES BILDVERSTÄNDNISSES IN DER ZEITGENÖSSISCHEN MALEREI UNTER BESONDERER BERÜCKSICHTIGUNG DES WERKES VON ELLSWORTH KELLY VORGELEGT VON: NINA EBBIGHAUSEN, SYBELSTRASSE 24, 10629 BERLIN EINGEREICHT IM MÄRZ 2004 INAUGURAL-DISSERTATION ZUR ERLANGUNG DES GRADES EINES DOKTORS DER PHILOSOPHIE DER FAKULTÄT BILDENDE KUNST AN DER UNIVERSITÄT DER KÜNSTE BERLIN ERSTER BERICHTERSTATTER: PROF. DR. ANDREAS HAUS ZWEITER BERICHTERSTATTER: PROF. DR. KARLHEINZ NOWALD INHALTSVERZEICHNIS 1. EINLEITUNG: ERKENNTNISINTERESSE UND THESEN DER ARBEIT Das Diktum vom “Ende der Malerei“: Debatten, Forschungsdefizite, Fragen 4 – Wege der Erweiterung und Grenzauslotung in der zeitgenössischen Malerei und die Bedeutung Ellsworth Kellys: Fragestellungen und Thesen der Arbeit 9 4 - 17 2. FARBE, RAUM, LICHT: ZUR ENTWICKLUNG NEUER KÜNSTLERISCHER AUS- DRUCKS- UND WAHRNEHMUNGSFORMEN IN DER NACHFOLGE DER KLASSI- SCHEN TAFELBILDMALEREI 2.1 Aspekte der Veränderung des Farbverständnisses Farbe und ihre Relativität in der Wahrnehmung 18 – Die Entdeckung der Eigenwertigkeit der Farbe 22 – Farbe gleich Form: Zuspitzungen 28 2.2 Die Nutzung neuer Materialien und Techniken Das Material im Bild 31 – Zur Entwicklung und zur Verwendung neuer Malmaterialien und Techniken 33 2.3 Die Einbeziehung des Umraumes, neuer Beleuchtungsformen und neuer Medien: Rück- wirkung auf das Bildverständnis Zum Wandel des Verhältnisses von Bild und Raum 38 – Über den Einfluss neuer Be- leuchtungsformen und über die Verknüpfung verschiedener
    [Show full text]
  • 1 Article 21 ADVISORY COMMITTEE's
    Article 21 ADVISORY COMMITTEE’S RECOMMENDATION SUMMARY: Article 21 is a resolution would recognize the work of John Wilson, an artist who lived in Brookline for more than half a century. In addition to calling attention to John Wilson’s life and work, the resolution supports the installation in Town Hall of his sculpture of the head of Martin Luther King, Jr. The Advisory Committee unanimously agreed that acquiring and exhibiting the bust of Martin Luther King, Jr. would be a wonderful way to honor John Wilson and thus recommends FAVORABLE ACTION. BACKGROUND: John Wilson was born in Roxbury in 1922 and lived in Brookline from 1964 until his death in 2015. His wife and daughter still live here. He was chosen to create the bust of Martin Luther King, Jr. that stands in the rotunda of the United States Capitol. As the petitioners explain, John Wilson is a nationally celebrated artist, and his work is exhibited in many major museums. (Some of his prints have been on exhibit recently at the Museum of Fine Arts). In addition to the bust of Dr. King at the Capitol, Mr. Wilson had other major commissions for sculptures–one, the seven- foot-high Eternal Presence at the National Center for Afro- American Artists in Roxbury, and an eight-foot sculpture of the head of Dr. King in the Marin Luther King, Jr. Park in Buffalo. This past spring, after learning that a 30-inch bronze maquette (artist’s preliminary model or study) for the 8-foot Martin Luther King, Jr. head was available at a local gallery, a group of Brookline residents representing diverse backgrounds came together and decided to raise the funds to purchase it and offer it as a gift to the Town.
    [Show full text]
  • The Federal Art Project in Provincetown, Massachusetts: the Impact of a Relief Program on an Established Art Colony
    University of New Hampshire University of New Hampshire Scholars' Repository Master's Theses and Capstones Student Scholarship Spring 2009 The Federal Art Project in Provincetown, Massachusetts: The impact of a relief program on an established art colony Whitney E. Smith University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/thesis Recommended Citation Smith, Whitney E., "The Federal Art Project in Provincetown, Massachusetts: The impact of a relief program on an established art colony" (2009). Master's Theses and Capstones. 113. https://scholars.unh.edu/thesis/113 This Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Master's Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. THE FEDERAL ART PROJECT IN PROVINCETOWN, MASSACHUSETTS THE IMPACT OF A RELIEF PROGRAM ON AN ESTABLISHED ART COLONY BY WHITNEY E. SMITH BA, University of New Hampshire, 2007 THESIS Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Masters of Liberal Studies in History May 6, 2009 UMI Number: 1466954 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted.
    [Show full text]
  • TRADITIONS & D E P a R T U R
    P ART II REALISM NOW : TRADITIONS & D e p a r t u r e s M ENTORS AND P ROTÉGÉS M ENTORS AND P ROTÉGÉS W ILL B ARNE T • Vincent Desiderio, George Wingate B ESSIE B ORI S • Mary Sipp-Green H ARVEY B REVERMA N • Thomas Insalaco C HARLES C ECI L • Matthew Collin s C HUCK C LOS E • Nancy Lawto n J ACOB C OLLIN S • John Morr a K EN D AVIE S • Michael Theis e W ILLIAM R. D AVIS , D ONALD D EMERS , J OSEPH M C G UR L PHILIP H ALE , C HARLES H AWTHORN E • Polly Thayer Star r M ORTON K AIS H • Luise Kais h B EN K AMIHIR A • Edgar Jerin s EVERETT R AYMOND K INSTLE R • Michael Shane Nea l M ICHAEL L EWI S • Charles Yode r J AMES L INEHA N • June Gre y M ARTIN LUBNE R • Stanley Goldstei n J ANET M C K ENZI E • Byron Geige l J OHN M OOR E • Iona Frombolut i C AROL M OTHNER , M ICHAEL B ERGT , D ANIEL M ORPER E LLIOT O FFNE R • Mark Zunin o R ANDALL S EXTO N • Adam Forfan g M ILLARD S HEET S • Timothy J. Clar k D ON S TONE , N.A . • Thea N. Nelso n N EIL W ELLIVE R • Melville McLean REALISM NOW : TRADITIONS & De p a rtu r es M ENTORS AND P ROTÉGÉS Part II May 17 – July 17, 2004 vose NEW AMERICAN REALISM contemporary Part II R EALISM N OW : T RADITIONS AND D EPARTURES M ENTORS AND P ROTÉGÉS May 17 to July 17, 2004 Compiled by Nancy Allyn Jarzombek with an essay by John D.
    [Show full text]
  • Oral History Interview with Raphael Soyer, 1981 May 13-June 1
    Oral history interview with Raphael Soyer, 1981 May 13-June 1 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Funding for this interview was provided by the Wyeth Endowment for American Art. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Raphael Soyer on May 13, 1981. The interview was conducted by Milton Brown for the Archives of American Art, Smithsonian Institution. Interview Tape 1, side A MILTON BROWN: This is an interview with Raphael Soyer with Milton Brown interviewing. Raphael, we’ve known each other for a very long time, and over the years you have written a great deal about your life, and I know you’ve given many interviews. I’m doing this especially because the Archives wants a kind of update. It likes to have important American artists interviewed at intervals, so that as time goes by we keep talking to America’s famous artists over the years. I don’t know that we’ll dig anything new out of your past, but let’s begin at the beginning. See if we can skim over the early years abroad and coming here in general. I’d just like you to reminisce about your early years, your birth, and how you came here. RAPHAEL SOYER: Well, of course I was born in Russia, in the Czarist Russia, and I came here in 1912 when I was twelve years old.
    [Show full text]