Edwin Coupland Shaw Papers
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Bringing to Light Theodore Wendel (1857-1932) (Left)Rose Arbor, Circa 1905-1915 Oil on Canvas Mounted to Wood Panel 1 1 30 ⁄2 X 21 ⁄8 Inches Signed Lower Right: Theo
Bringing to Light Theodore Wendel (1857-1932) (left)Rose Arbor, circa 1905-1915 Oil on canvas mounted to wood panel 1 1 30 ⁄2 x 21 ⁄8 inches Signed lower right: Theo. Wendel (front cover, detail) Moonrise on the Farm, pg. 9 Bringing to Light: Theodore Wendel (1857-1932) October 19th - December 7th, 2019 V OSE G ALLER IES An Unsung Impressionist By Courtney S. Kopplin For generations, Vose Galleries has welcomed the opportunity to shine a light on the work of ‘unsung artists’ throughout art history, and in the sphere of American Impressionism there is perhaps no artist more deserving of this attention than Theodore Wendel. As part of the first wave of Americans to visit Giverny in the summer of 1887, joining John Leslie Breck, Willard Metcalf and Theodore Robinson, Wendel became one of the earliest painters to apply impressionist principles to his plein air interpretations of the French countryside; sources later reported that the master himself, Claude Monet, who limited his interactions with the Americans, thought highly of Wendel’s work. In March of 1889, short- ly after settling in Boston, Wendel organized a three-day viewing of his pastoral landscapes at a studio on Boylston Street, coinciding with Met- calf’s exhibition of foreign paintings held nearby at the St. Botolph Club. Theodore Wendel painting daughter Mary, Both artists garnered positive reviews from the local press, and over the Upper Farm, Ipswich, circa 1915 next several years Wendel maintained an active exhibition schedule, including a two-person show with Theodore Robinson in 1892, featu- provided, combined with his steady roster of exhibitions, allowed Wen- ring both oils and pastels; several solo and group shows with his fellow del to feel more financially secure in his profession and in 1897 he and Boston artists at the St. -
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. -
Download 2017 Annual Report
Annual Report Issue SUMMER 2018 Please Join Us for the 72nd Annual Meeting and the Members’ Reception for Art and the New England Farm. Friday, June 1, 2018 at 5:30PM Florence Griswold Museum 96 Lyme Street Old Lyme, Connecticut The Annual Meeting takes place on Friday, June 1, 2018 at 5:30pm under a tent on the Adrian P. Moore Garden Terrace. We will share brief reports on the activities of the Museum and invite members to elect a new slate of officers and trustees. Afterwards, we’ll enjoy a festive reception for the exhibition Art and the New England Farm. This is your invitation to the Annual Meeting and Members’ Reception. We hope you can join us. Kindly RSVP (acceptances only) to 860-434-5542 ext. 122 or DeeDee@fl gris.org. Thomas Nason, Midsummer, 1954. Florence Griswold Museum, Gift of Janet Eltinge Art and the New England Farm – the Perils and Pleasures of Farming The Florence Griswold Museum is uniquely positioned to tell the story of Art and the New England Farm, on view May 11 through September 16. This exhibition delves into the agricultural heritage of Florence Griswold’s family estate, the Lyme region and beyond, to examine the complex history and character of New England’s farms. Paintings, drawings, and photographs by artists from the 1830s to the present day will trace the unique challenges of farming in New England. The Museum’s property is itself a case study of family farms in New England. Purchased by the Griswolds in 1841, these grounds became a country estate with barns, an orchard, gardens, and riverfront pastures where the family practiced small-scale farming during Florence’s childhood. -
Annual Report 2000
2000 ANNUAL REPORT NATIONAL GALLERY OF ART 2000 ylMMwa/ Copyright © 2001 Board of Trustees, Cover: Rotunda of the West Building. Photograph Details illustrated at section openings: by Robert Shelley National Gallery of Art, Washington. p. 5: Attributed to Jacques Androet Ducerceau I, All rights reserved. The 'Palais Tutelle' near Bordeaux, unknown date, pen Title Page: Charles Sheeler, Classic Landscape, 1931, and brown ink with brown wash, Ailsa Mellon oil on canvas, 63.5 x 81.9 cm, Collection of Mr. and Bruce Fund, 1971.46.1 This publication was produced by the Mrs. Barney A. Ebsworth, 2000.39.2 p. 7: Thomas Cole, Temple of Juno, Argrigentum, 1842, Editors Office, National Gallery of Art Photographic credits: Works in the collection of the graphite and white chalk on gray paper, John Davis Editor-in-Chief, Judy Metro National Gallery of Art have been photographed by Hatch Collection, Avalon Fund, 1981.4.3 Production Manager, Chris Vogel the department of photography and digital imaging. p. 9: Giovanni Paolo Panini, Interior of Saint Peter's Managing Editor, Tarn Curry Bryfogle Other photographs are by Robert Shelley (pages 12, Rome, c. 1754, oil on canvas, Ailsa Mellon Bruce 18, 22-23, 26, 70, 86, and 96). Fund, 1968.13.2 Editorial Assistant, Mariah Shay p. 13: Thomas Malton, Milsom Street in Bath, 1784, pen and gray and black ink with gray wash and Designed by Susan Lehmann, watercolor over graphite, Ailsa Mellon Bruce Fund, Washington, DC 1992.96.1 Printed by Schneidereith and Sons, p. 17: Christoffel Jegher after Sir Peter Paul Rubens, Baltimore, Maryland The Garden of Love, c. -
Paper Abstracts
PAPER ABSTRACTS 43rd Annual Conference Thursday, April 7th –– Saturday, April 9th, 2016 DePaul University, Chicago rd The 43 Annual Conference of the Midwest Art History Society is sponsored by: DePaul University The Art Institute of Chicago Columbia College Loyola University Institutional Members of the Midwest Art History Society The Cleveland Museum of Art The Figge Art Museum The Frederik Meijer Gardens & Sculpture Park Illinois State University School of Art The Krasl Art Center Michigan State University Art, Art History & Design The Nelson-Atkins Museum of Art Northern Arizona University Art Museum The Snite Museum of Art, University of Notre Dame University of Illinois at Chicago School of Art & Art History University of Iowa Museum of Art University of Iowa School of Art and Art History The University of Kansas The Kress Foundation Department of Art History Wright State University Art Galleries 2 CONTENTS Conference at a Glance 5 Conference Schedule and Abstracts 7 Undergraduate Session (I) 7 El Arte in the Midwest 8 Asian Art 10 Chicago Design: Histories and Narratives 11 The Social Role of the Portrait 13 Latin American and Pre-Columbian Art 14 History of Photography 16 Black Arts Movement 18 The Personal is Political: Feminist Social Practice 18 International Art Collections of Chicago 20 The Chicago World’s Fair: A Reevaluation 21 Native American Images in Modern and Contemporary Art 22 Art for All Seasons: Art and Sculpture in Parks and Gardens 23 Open Session (I) 25 Architecture 26 Twentieth-Century Art (I) 28 Recent Acquisitions -
Robert Vonnoh. French Impressionist in Americadocx.Docx
Robert Vonnoh, French Impressionist in America Recognized as one of the leading American impressionist painters, Robert Vonnoh (1858- 1933) was a pioneer in adapting the techniques and vision of the French Impressionists, first in France and later in the United States. He ventured to Grez-sur-Loing, just south of the forest of Fontainebleau and not far from Paris, in 1887; this art colony was popular with aspiring as well as practicing artists of various nationalities – particularly British, Scandinavian and American. The prominent Americans there at one time or another included John Singer Sargent, Willard Metcalf, Walter Launt Palmer in addition to Vonnoh. In Grez he painted landscapes notable for their high-keyed palette which established his reputation. In 1892 he returned to take up a teaching post in Philadelphia, and when he married the up-and-coming young sculptor Bessie Potter (1872-1955) in 1899 they settled in New York. She is renowned in particular for her small-scale bronzes of women and children in modern dress. Robert and Bessie frequently exhibited together, and his 1913 portrait of her in the guise of Elisabeth Vigee-Lebrun (as she famously portrayed herself), done for a joint exhibition, is an homage to her professional status at a time when she was creating some of her most admired sculptures. This remarkable representation of Bessie Potter Vonnoh is a profound image of the two artists’ shared esthetic and ambition. Collisart is pleased to be showing this painting along with two Robert Vonnoh landscape scenes and a beguiling small Bessie Potter Vonnoh bronze, The Intruder, also of 1913. -
The Jewel City
The Jewel City Ben Macomber The Project Gutenberg EBook of The Jewel City, by Ben Macomber Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: The Jewel City Author: Ben Macomber Release Date: January, 2005 [EBook #7348] [Yes, we are more than one year ahead of schedule] [This file was first posted on April 18, 2003] Edition: 10 Language: English Character set encoding: ASCII *** START OF THE PROJECT GUTENBERG EBOOK THE JEWEL CITY *** Produced by David Schwan Panama-Pacific International Exposition Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. The Jewel City: Its Planning and Achievement; Its Architecture, Sculpture, Symbolism, and Music; Its Gardens, Palaces, and Exhibits By Ben Macomber With Colored Frontispiece and more than Seventy-Five Other Illustrations Introduction No more accurate account of the Panama-Pacific International Exposition has been given than one that was forced from the lips of a charming Eastern woman of culture. -
THE FALL of TYRANNY Kristi Ryba, 2020-2021
ABSOLUTELY FREE Vol. 25, No. 2 February 2021 You Can’t Buy It Print is by East Carolina University’s printmaking professor Heather Muise and is part of the Invitational Print Show at FRANK Gallery in Chapel Hill, North Carolina. The exhibition is on view through February 6, 2021. See the article on Page 28. ARTICLE INDEX Advertising Directory This index has active links, just click on the Page number and it will take you to that page. Listed in order in which they appear in the paper. Page 1 - Cover - FRANK Gallery - Heather Muise Page 3 - Art Support: NC Arts Council, SC Arts Council, CERF & Page 2 - Article Index, Advertising Directory, Contact Info, Links to blogs, and Carolina Arts site National Endowment for the Arts The Arts in North Carolina and COVID-19 Page 4 - Editorial Commentary & Gibbes Museum of Art Page 4 - Wells Gallery Even though participation in the arts has been greatly Page 6 - Gibbes Museum of Art Cont. and Gibbes Museum of Art / Robert Marks Collection disrupted by the coronavirus pandemic, and artists and Page 5 - Ella Walton Richardson Fine Art Page 8 - College of Charleston and Redux Contemporary Art Center arts organizations severely impacted, our network across Page 6 - Halsey McCallum Studio & Whimsy Joy by Roz North Carolina is responding in a myriad of creative ways Page 9 - Redux Contemporary Art Center, City of North Charleston & Charleston Artist Guild Page 7 - Emerge SC, Helena Fox Fine Art, Corrigan Gallery, Halsey-McCallum Studio, that demonstrate the power of the arts to connect, Page 11 - Ella Walton Richardson Fine Art, Robert Lange Studios & cope, and heal. -
La Fundación ENTREVISTA a MIJAIL GORBACHOV ❙ ARTE AMERICANO DE LA PHILLIPS COLLECTION ❙ SEGURIDAD EN EL ENTORNO ESCOLAR
Acción Social ❙ Ciencias del Seguro ❙ Cultura ❙ Medio Ambiente ❙ Prevención ❙ Salud ❙ Seguridad Vial Octubre 2010 Octubre 11 LaFundaciónREVISTA DE Octubre 2010 11 FUNDACIÓN MAPFRE FUNDACIÓN Fundación La ENTREVISTA A MIJAIL GORBACHOV ❙ ARTE AMERICANO DE LA PHILLIPS COLLECTION ❙ SEGURIDAD EN EL ENTORNO ESCOLAR EDITORIAL Sostenibilidad Las ciudades las crea el hombre para su defensa y protección, pero también para desarrollar en ellas la razón, la liber- tad, la sociabilidad y la cultura; las ciudades que así lo ha- cen aprenden a ser sostenibles, encuentran su razón de ser y hacen dichosos a sus habitantes. FUNDACIÓN MAPFRE ha querido profundizar en esta Edward Hopper. Domingo, 1926. idea y, en colaboración con FUNDACIÓN BARREIROS, ha organizado con éxito la VI Conferencia Internacional sobre la Ciudad Sostenible. Merece la pena que, pensan- Un artículo sobre las catástrofes naturales nos recuerda que do en el futuro, nos detengamos en el reportaje que so- los humanos estamos muchas veces a merced de la capri- bre ese acontecimiento publicamos en la Revista y, sin- chosa naturaleza, y que por eso debemos asegurarnos gularmente, en las interesantes entrevistas exclusivas frente a ellas. La seguridad vial nos aproxima a los riesgos con Mijail Gorbachov y Gro Harlem Brundtland, dos que deben soportar los alumnos de nuestros centros esco- personalidades públicas, dos líderes europeos que, respec- lares y a su prevención, y profundizamos en la geotermia, tivamente, inauguraron y pusieron el broche de oro a la una de las energías renovables menos desarrolladas. Conferencia. El arte americano de la Phillips Collection nos invita a vi- Y, como siempre, noticias, consejos sobre salud y lectura, una sitar sin tardanza la muestra que se exhibe hasta el 16 de invitación a conocer la hermosa Costa Rica, y el propó- enero de 2011 en la Sala de Exposiciones del Paseo de Re- sito de seguir formando e informando a nuestros lectores, coletos, en Madrid. -
The Pennsylvania Academy of the Fine Arts
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS BROAD AND CHERRY STREETS • PHILADELPHIA 160th ANNUAL REPORT 196 5 Cover: Interior With Doorway by Richard Diebenkorn Gilpin Fund Purchase, 1964 The One Hundred and Sixtieth Annual Report of PENNSYLVANIA ACADEMY OF THE FINE ARTS FOR THE YEAR 1965 Presented to the Meeting of the Stockholders of the Academy on February 7, 1966. OFFICERS Frank T. Howard · . President Alfred Zantzinger · Vice President C. Newbold Taylor . Treasurer Joseph T. Fraser, Jr. · . Secretary BOARD OF DIRECTORS Mrs. Leonard T. Beale John W. Merriam Francis Bosworth C. Earle Miller Mrs. Bertram D. Coleman Mrs. Herbert C. Morris (resigned, September) David Gwinn Evan Randolph, Jr. J. Welles Henderson Henry W. Sawyer, 3rd Frank T. Howard (ex officio) John Stewart R. Sturgis Ingersoll James K. Stone Arthur C. Kaufmann C. Newbold Taylor Henry B. Keep Franklin C. Watkins James M. Large William H. S. Wells James P. Magill (Director Emeritus) William Coxe Wright Henry S. McNeil Alfred Zantzinger Ex officio Representing Women's Committee: Mrs. H. Lea Hudson, Chairman (to May) Mrs. Erasmus Kloman, Vice Chairman (to May) Mrs. George Reath, Chairman (from May) Mrs. Erasmus Kloman, Vice Chairman (from May) Mrs. Albert M. Greenfield, Jr., Vice Chairman (from May) Representing City Council: Representing Faculty: Paul D'Ortona John W. McCoy 2nd (to May) Robert W. Crawford Hobson Pittman (from May) Solicitor: William H. S. Wells, Jr. 2 STANDING COMMITTEES COLLECTIONS AND EXHIBITIONS Franklin C. Watkins, Chairman Mrs. Herbert C. Morris Mrs. Leonard T. Beale William H. S. Wells, Jr. James M. Large William Coxe Wright Alfred Zantzinger Representing Women's Committee: Mrs. -
Robert Vonnoh (1858-1933) Haystacks Oil on Panel 12 ¾ X 16 Inches Signed at Lower Left
Robert Vonnoh (1858-1933) Haystacks Oil on panel 12 ¾ x 16 inches Signed at lower left Robert Vonnoh’s most direct influence was the renowned Impressionist, Claude Monet (1840 - 1926). Vonnoh was inspired by Monet’s landscapes and his explorations of light and color through numerous series of paintings of a single subject in different seasons and times of day. Indeed, Vonnoh’s Haystacks has a direct correlation to Monet’s paintings of the same subject. Yet, while Monet prominently features one to two large haystacks as the dominant focus of his composition, Vonnoh places more emphasis on the vast fields and open skies of the rural landscape where large groups of haystacks line the countryside. Though Vonnoh embraced the Impressionist style, as seen in this painting of haystacks, his forms never went as far as his French counterparts in fully dissolving forms into pure light and color. Much like Monet, Vonnoh also produced numerous paintings of flowers, especially poppies, and frequently integrated figures into his landscapes. For example, Vonnoh’s 1890 painting, In Flanders Field bears a strong resemblance to Monet’s Poppies of 1873. It is also likely that Vonnoh was aware of Monet’s paintings of flowers and waterlilies produced in his garden at Giverny. *** Robert Vonnoh, an influential landscape and portrait painter, is recognized as one of the first American artists to bring European Impressionism to the United States. He was born in Hartford Connecticut to German-American parents, and was raised in Boston, where he began his art education at the Massachusetts Normal Art School in 1875. -
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.