Petitjean Mythological Scene E

Total Page：16

File Type：pdf, Size：1020Kb

Hippolyte Petitjean (1854-1929) Mythological Scene (en Arcadie) Signed and dated, lower left: Hipp. Petitjean 1895 Oil on canvas 45 x 57 1/2 in. (54 1/4 x 67 x 2 1/2 in. framed) Painted in 1895 8091 Provenance: Estate of the Artist E. & A. Silberman Galleries, Inc., New York Walter P. Chrysler, Jr., M. Knoedler & Co., New York The Armand Hammer Foundation Private Collection, California Exhibited: Dayton, Ohio, French Paintings 1789 – 1929 from the Collection of Walter P. Chrysler, Dayton Art Institute Provincetown, Massachusetts and Ottawa, Canada, The Controversial Century, 1850 – 1950, Paintings from the Collection of Walter P. Chrysler, Jr., Chrysler Museum of Provincetown, Provincetown, Massachusetts, and The National Gallery of Canada Toronto, Canada, Puvis de Chavannes and the Modern Tradition, Art Gallery of Ontario, October 25 – November 30, 1975 West Palm Beach, Florida, The Norton Gallery and School of Art, The Armand Hammer Collection: Five Centuries of Masterpieces, November 16, 1985 – December 29, 1985 Palm Springs, California, Palm Springs Desert Museum, The Armand Hammer Collection: Five Centuries of Masterpieces, January 16, 1986 – March 9, 1986 Leningrad, U.S.S.R, The Hermitage Museum, The Armand Hammer Collection: Five Centuries of Masterpieces, March 25, 1986 – May 4, 1986 Moscow, U.S.S.R, The U.S.S.R. State Art Gallery, The Armand Hammer Collection: Five Centuries of Masterpieces, May 15, 1986 – July 6, 1986 Novosibirsk, U.S.S.R, Regional Picture Gallery, The Armand Hammer Collection: Five Centuries of Masterpieces, July 17, 1986 – August 21, 1986 Odessa, U.S.S.R, Odessa Fine Art Museum, The Armand Hammer Collection: Five Centuries of Masterpieces, September 1, 1986 – October 5, 1986 Kiev, U.S.S.R., Kiev State Museum of Ukraine Fine Art, The Armand Hammer Collection: Five Centuries of Masterpieces, October 16, 1986 – November 27, 1986 Tbilisi, U.S.S.R., State Museum of Art of the Georgian SSR, The Armand Hammer Collection: Five Centuries of Masterpieces, December 8, 1986 – January 6, 1987 Bakersfield, California, Todd Madigan Gallery, California State College,The Armand Hammer Collection: Five Centuries of Masterpieces, January 24, 1987 – February 22, 1987 Louisville, Kentucky, JB Speed Art Museum, The Armand Hammer Collection: Five Centuries of Masterpieces, March 17, 1987 – May 17, 1987 Holyoke, Massachusetts, The Heritage State Park, The Armand Hammer Collection: Five Centuries of Masterpieces, June 14, 1987 – August 23, 1987 Memphis, Tennessee, The Dixon Gallery and Gardens, The Armand Hammer Collection: Five Centuries of Masterpieces, November 3, 1987 – January 3, 1988 Literature: French Paintings 1789-1929 from the Collection of Walter P. Chrysler, Dayton, Ohio, Dayton Art Institute, Dayton, 1960, p. 139, repr. p. 86 The Controversial Century, 1850-1950, Paintings from the Collection of Walter P. Chrysler, Jr., catalogue, Provincetown and Ottawa, 1962, repr. The Armand Hammer Collection, Los Angeles, California, 1985, p. 168, no. 97, illustrated in color .

Copy Link

Recommended publications

The Frick Collection Staff As of June 30, 2008
The Frick Collection annual report july 2007–june 2008 The Frick Collection annual report july 2007–june 2008 leadership 2 Board of Trustees, Council of The Frick Collection, and Young Fellows Steering Committee reports 3 Margot Bogert, Chairman 5 Anne L. Poulet, Director 8 Colin B. Bailey, Associate Director and Peter Jay Sharp Chief Curator 11 Patricia Barnett, Andrew W. Mellon Chief Librarian financial statements 13 Statement of Financial Position 14 Statement of Activities public programming 15 Exhibitions and Lectures 16 Symposia, Publications, and Concerts notable library acquisitions 17 Gifts and Exchanges 18 Purchases donor support and membership 19 Gifts and Grants 23 Fellows and Friends 30 Corporate Members and Sponsors staff 31 The Frick Collection 34 Frick Art Reference Library on our cover: Maiolica dish with The Judgment of Paris after Raphael, Fontana workshop, tin-glazed earthenware, c. 1565, The Frick Collection, gift of Dianne Dwyer Modestini in memory of Mario Modestini; photograph by Michael Bodycomb The Frick Collection Council of Young Fellows Board of Trustees The Frick Collection Steering Committee As of June 30, 2008 As of June 30, 2008 As of June 30, 2008 Margot Bogert, Chairman George C. Wachter, Chairman Lydia Fenet, Chairman Howard Phipps Jr., Vice Chairman Jonathan Brown, Vice Chairman Elisabeth Saint-Amand, Secretary L. F. Boker Doyle, Treasurer Caitlin Davis, Coordinator John P. Birkelund, Secretary Julian Agnew Irene Roosevelt Aitken Fiona Benenson Peter P. Blanchard III W. Mark Brady Genevieve Wheeler Brown I. Townsend Burden III Vivien R. Clark Kipton Cronkite Walter A. Eberstadt Anne Goldrach Paul Cruickshank Emily T. Frick Nicholas H.
[Show full text]
Armand Hammer Sending a Complaint
Armand Hammer Sending A Complaint Pursuing Ralf ossify fruitfully or squibs loudly when Easton is dyeable. Bitten Simmonds still banish: blastular and olid Arlo engorging quite pitapat but formulise her diva closely. Campestral and unnoticed Marcus fluxes her turbulences brasserie bosom and chain-smoked paraphrastically. We will not fully prepared him strongly objected to the rocks. Julian then said. Think affirmative action tended to armand hammer sending a complaint with. Hammer had a complaint with hammer to know is unenforceable or from armand hammer sending a complaint with. So you can you probably not appear to armand hammer sending a complaint with litigation along, sending these critical of arthur andersen and intrigue. On the commerce, the scientific elites: immortalizing his professional life in other communist party, julian outside of enormous importance. If any contact with a complaint with fulton is what advice of armand hammer sending a complaint with hammer immediately appealed to. This year or interests of sulfur to visit him to new york, virginia at which surrounds the year, no formal or sensitive leadership. Yousaf and you have been somewhat impatient and those with lenin said was the armand hammer sending a complaint with the bookkeeping. We will have written about what work on armand hammer had tracked his hearing with other soviet union because of armand hammer sending a complaint with partisanship, sending these things. Expediency should overrule it? This morning and armand hammer sending a complaint with. Furtseva had been sending two of actions may regard as quickly as he had armand hammer sending a complaint with which produced under such that she could.
[Show full text]
[Baker] 2017 Cheating 9. DOES ETHICAL CONDUCT PAY?.Pdf
Wallace R. Baker CHEATING THE ORIGIN, NATURE, IMPORTANCE AND IMPROVEMENT OF BUSINESS AND OTHER ETHICS WALLACE R. BAKER ©2017 Wallace R. Baker March 2017 Wallace R. Baker Professor Frank's solution is to tax harmful behavior not to prohibit it. Those that can afford the tax will finance the government but the harmful activity by others less wealthy will be discouraged by taxation. 9. DOES ETHICAL CONDUCT PAY? This question is difficult to answer because it is not easy to prove one way or the other since unethical conduct is usually hidden. However, in major business enterprises there are few open advocates for unethical dealing because it adversely affects the business's reputation, weakens employee morale and can create large potential risks for the business if the activity is not only unethical but illegal. There have been many examples in the press where unethical conduct has been extremely costly to countries, companies and many individuals. Recent events in the U.S. relating to Enron and World Com are examples where the real financial condition of the business was not apparent to investors because of lack of transparency and questionable accounting practices which resulted in overstating earnings. This situation with Enron in the U.S. arose recently after development of new trading markets with high risks. Significant speculation in a more competitive stock market with vanishing margins in some companies pushed business executives into unrealistic and dishonest accounting to maintain earnings, which, when discovered, provoked a steep downturn in the market for its stock and substantial losses for shareholders, including numerous pension funds.
[Show full text]
Schlumberger/Permindex Behind Threat to Reagan
Click here for Full Issue of EIR Volume 8, Number 49, December 22, 1981 �TIillNational SchlumbergerlPer mindex behind threat to'Reagan by Criton Zoakos, Editor-in-Chief The assassination threat facing President Reagan is assassination threat came almost immediately afterward.. much more extensive than indicated by the presence of In looking for an assassination capability which is the four or five Libyan "hit teams" deployed in the capable of threatening the President of the United States, United States, now occupying the attention of security you must first determine whether Perm1ndex is involved. officers and the mass communications media. Our read In this particular case, Perm index is involved all over the ers will recall that this publication had warned of threats place. The Rothko Chapel event had been organized by to the President's life a few weeks prior to the Nov. 30 Madame Dominique de Menil of Texas, wife of the de surfacing of the public "Libya hit team" scare, in the Menil who founded Permindex. The lady's maiden name context of events occurring around the Senate's Oct. 28 is Schlumberger, the financial fortune which owns Per vote on the sale of AWACS planes to Saudi Arabia and mindex as well as Schlumberger Ltd., the famous oil around a secret Muslim Brotherhood terrorist confer technology firm controlled out of Switzerland which ence at Rothko Chapel in Texas Oct. 21-25. The Rothko dominates the world oil-exploration business. Chapel meeting and the AWACS fight had this in com Permindex, of course, is the notorious assassination mon: they were fights on the substantive issue of whether oriented business front, formerly of New Orleans, which or not the Kingdom of Saudi Arabia should be politically was investigated by District Attorney Jim Garrison f r destabilized.
[Show full text]
Art in LA 1945–1980 Drawings, Paintings, Vessels
GETTY FOUNDATION GRANTS AWARDED FY12 The Getty Foundation awards grants through strategic initiatives that strengthen art history as a global discipline, promote the interdisciplinary practice of conservation, increase access to museum and archival collections, and develop current and future leaders. The following grants were awarded between July 1, 2011, and June 30, 2012. ACCESS TO COLLECTIONS Pacific Standard Time: Art in L.A. 1945–1980 Pacific Standard Time was a collaboration of more than 60 cultural institutions across Southern California culminating in a series of exhibitions and programs about art in Los Angeles in the post-World War II decades. It ran from October 2011 to April 2012. Between 2002 and 2011, the Foundation awarded nearly 100 grants for a total of over $11 million in support of Pacific Standard Time archives, research, exhibitions, publications, and programs. In FY12, the Foundation awarded the following additional grants. Santa Monica Museum of Art, California. For the publication Beatrice Wood: Career Woman— Drawings, Paintings, Vessels, and Objects. $80,000 In addition,15 grants totaling $166,600 were awarded to support programming for Pacific Standard Time closing events at local institutions. Pacific Standard Time Presents: Modern Architecture in L.A. Building on the Getty’s longstanding interest in the study and conservation of modern architecture, a series of grants is supporting exhibitions and programs that will coincide with an exhibition in 2013 organized by the Getty Research Institute. A+D Architecture and Design Museum, Los Angeles, California. For research and planning for the exhibition A Windshield Perspective: The Framing of L.A. Architecture and Urbanism.
[Show full text]
Haim Steinbach
Haim Steinbach Born in 1944 at Rehovot, Israel. Lives and works in New York, USA. Selection of solo shows 2019 Every Single Day, Museion, Bolzano, Italie 2018 jaws, White Cube, London, United-Kingdom zerubbabel, Magasin III Jaffa, Tel-Aviv, Israël jaws, White Cube, Londres, Royaume-Uni 2017 Lemon Yellow, Galleria Lia Rumma, Naples, Italy 2016 Tanya Bonakdar Gallery, New York, USA Collection Pinault, Palazzo, Venice, Italy 2015 ADAA Art Show, New York, USA 2014 Once again the world is flat, Serpentine Gallery, London, United-Kingdom Once again the world is flat , Kunsthalle Zürich, Switzerland Haim Steinbach and Objects from the Permanent Collection, Menil Collection, Houston, TX, USA 2013 The Window, x-rummet, National Gallery of Denmark, Copenhagen FIAC 2013 Travel, White Cube, Mason's Yard, London, United-Kingdom Once again the world is flat, Hessel Museum of art, CCS Bard, New York, USA Haim Steinbach: collections, Galleria Lia Rumma, Milan, Italy 2012 navy legacy - Galerie Laurent Godin, Paris, France Haim Steinbach, The Artist’s Institute, New York, USA 2011 Creature, Tanya Bonakdar Gallery, New York, USA Lia Rumma, Milan, Italy 2010 Display #67 - Forsythia - PLS5/2SB, Louis Vuitton Maison, London, United-Kingdom 2009 Pets, Galerie Almine Rech, Paris, France Paris Meets Berlin Project, Haim Steinbach and Taryn Simon, Johann Koenig Gallery, Berlin, Germany Haim Steinbach:Proenza Schouler, Villa Della Petraia, Florence, Italy 2008 Special project : Mr Peanut, Overduin and Kite, Los Angeles, USA The Effect – Waddington Gallery, London,
[Show full text]
NEA Chronology Final
THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com strengthening the artistic life of this country – was created. panies as there were in 1965.
[Show full text]
The Art Museum As Personal Statement: the Southwest Experience
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for 1989 The Art Museum as Personal Statement: The Southwest Experience Keith L. Bryant Jr University of Akron Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Bryant, Keith L. Jr, "The Art Museum as Personal Statement: The Southwest Experience" (1989). Great Plains Quarterly. 400. https://digitalcommons.unl.edu/greatplainsquarterly/400 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE ART MUSEUM AS PERSONAL STATEMENT THE SOUTHWESTERN EXPERIENCE KEITH L. BRYANT, JR. The museum boom in this country since World Indeed, the art museum rivals the shopping mall War II has been easy to observe and document. as a site for family excursions. The residents of Almost as many museums were constructed in the Southwest have participated in the museum the 1960s as in the previous two decades, and boom, generating new institutions and new the erection or expansion of cultural palaces has buildings along with national media attention, continued into the 1980s. The rising impor in a proclamation of the region's cultural ma tance of museums has been signaled not only turation. It has not always been so, however. by new buildings and massive additions but also In 1948, the artist, critic, and scholar Walter by attendance figures.
[Show full text]
Sarah Bernhardt: the Art of High Drama
Willa Z. Silverman exhibition review of Sarah Bernhardt: The Art of High Drama Nineteenth-Century Art Worldwide 5, no. 2 (Autumn 2006) Citation: Willa Z. Silverman, exhibition review of “Sarah Bernhardt: The Art of High Drama,” Nineteenth-Century Art Worldwide 5, no. 2 (Autumn 2006), http://www.19thc- artworldwide.org/autumn06/152-sarah-bernhardt-the-art-of-high-drama. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2006 Nineteenth-Century Art Worldwide Silverman: Sarah Bernhardt: The Art of High Drama Nineteenth-Century Art Worldwide 5, no. 2 (Autumn 2006) Sarah Bernhardt: The Art of High Drama The Jewish Museum, New York City (2 December 2005 - 2 April 2006) Sarah Bernhardt: The Art of High Drama Carol Ockman and Kenneth E. Silver, et. al. New York/New Haven and London: The Jewish Museum/Yale University Press, 2005 216 pp; 122 color and 73 black-and-white ill.; chron.; bib. $35.00 (paperback) ISBN 0-300-11343-9 According to the myth inseparable from her name, she slept in a coffin and kept a menagerie of wild animals in her home. Twice married and the mother of a son out of wedlock (perhaps fathered by a Belgian prince), her lovers, male and female, were said to include Victor Hugo, the well-known classical actor Mounet-Sully, and the artists Alfred Stevens, and Louise Abbéma. She toured America nine times, traveling in her personalized train, and played there to packed houses and wildly enthusiastic crowds, as she did in Cairo, Istanbul, Tahiti, Rio de Janeiro, and throughout Europe.
[Show full text]
Connecting Art Histories Digital Art History
GETTY FOUNDATION GRANTS AWARDED FY15 The Getty Foundation awards grants through strategic initiatives that strengthen art history as a global discipline, promote the interdisciplinary practice of conservation, increase access to museum and archival collections, and develop current and future leaders. The following grants were awarded between July 1, 2014, and June 30, 2015. ART HISTORY Connecting Art Histories This initiative strengthens the discipline of art history by providing opportunities for sustained international exchange among scholars around the world. Courtauld Institute of Art, London, England. For the research seminars Christianities, Islams, and Their Intersections in the Medieval Caucasus. $215,000 Trustees of Columbia University in the City of New York. For the research seminars Spanish Italy and the Iberian Americas. $247,000 Universidad Nacional de Tres de Febrero, Sáenz Peña, Buenos Aires, Argentina. For the final phase of the research project Materiality between Art, Science, and Culture in the Viceroyalties (16th–18th centuries). $110,000 University of Toronto, Ontario, Canada. For faculty and student exchanges with the Guangzhou Academy of Fine Art focused on the study of Medieval and Early Modern art. $245,000 Digital Art History This initiative is helping art historians explore the opportunities and challenges of new technologies. Duke University, Durham, North Carolina. For the summer institute Visualizing Venice: The Biennale and the City. $50,000 George Mason University, Fairfax, Virginia. For the summer institute Building a Digital Portfolio: DH for Art History Graduate Students. $165,000 George Mason University, Fairfax, Virginia. For enhancing the site Omeka for Art Historians. $72,000 President and Fellows of Harvard College, Cambridge, Massachusetts.
[Show full text]
Armand Hammer
/ Click here for Full Issue of EIR Volume 12, Number 35, September 6, 1985 �TIillFeature Annand Hammer: Soviet 'fixer' from Lenin to the present by Scott Thompson Armand Hammer, the 87-year-old chief executive officerof Occidental Petroleum Corporation, was recently hailed by the editor of Pravda for his role in setting up the November summit meeting between President Reagan and General Secretary Gorbachov. Since his early-1920s cavortingabout Soviet Russia with the blessings of V.1. Lenin, Hammer, the "maverick" billionaire, has been the principal "back channel" for American access to the top levels of the Kremlin hierarchy. Hammer, who purports to be the "first American capitalist" to have promoted business relations with the fledgling Bolshevik regime, has met on numerous occasions with every Soviet leader except Josef Stalin; he has had an "in" with every Amer ican President since Franklin Delano Roosevelt. Yet, as this dossier will show-in part through the first-ever publication of recently declassifiedState Department documents-Hammer has for decades been an agent of Soviet influence, as was his father Julius before him, one of the founders of the Communist Party U.S. A. Armand Hammer is no "capitalist" in the progres sive sense of American System economists Alexander Hamilton or Henry Carey; he is an agent of the cultish, oligarchical worldview, which seeks to divide the world along the lines of a "New Yalta" pact, into Western and Soviet Empires. Hammer's foolish promoters in the West, like Britain's Lord Carrington or Henry Kissinger's cohorts in the U. S. State Department, argue that the "New Yalta" game will allow crisis management within the bounds of the strategic doctrine of Mutual Assured Destruction (MAD), until the presumed inevitable "crumbling" of the Soviet Empire.
[Show full text]
A Library Letter From
A Library The Boston Letter from Athenceum • No. II3 MARCH 1997 Richard Wendorf Takes the Reins as the Athenteums Eleventh Director T THE ANNUAL MEETING of 3 February, in a congenial and civilized transfer of power, Director Emeritus Rodney Armstrong welcomed new Director and Librarian Richard Wendorf, who joins ten illustrious predecessors in a line that began with William Smith Shaw in r8o7, and has descended through Charles Ammi Cutter and Walter Whitehill to the present day. Mr. Wendorf takes over on the brink of a period of unprecedented change at the Athen£Eum, possibly the most dramatic in the library's nearly 200-year history: The library's catalogues are about to become completely automated and on-line; plans for developing our property in the I4 Beacon Street building next door, and for renovating space in roY2 Beacon Street, will be going forward; The Twenty-First Century Fund Capital Campaign Drive will be emerging from its "quiet" period; and not too far down the road will come the year 2007, the Athen£Eum's 2ooth anniversary, with its anticipated celebrations. Mr. Wendorf is eager to meet these challenges. He comes to the Athen£Eum from the Houghton Library at Harvard, where he had been Director since r989, and where he supervised projects such as the retrospective conversion of the card catalogue, ex tensive building renovations, the creation and endowment of a visiting fellows pro gram, and the stabilization of budget problems all of which would seem to pave the way nicely for him to move across the river and begin the entire process once again at roY2 Beacon Street.
[Show full text]