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Adiant P Ressions
Radiant Impressions Note to Teachers UCI Institute and Museum of California Art (IMCA) aims to be a resource to educators and students by offering school visits, programs, digital tools, and activities designed for grades 3–12 that contribute to the development of stronger critical-thinking skills, empathy, and curiosity about art and culture. When students are encouraged to express themselves and take risks in discussing and creating art, they awaken their imaginations and nurture their creative and innovative potential. School visits offer opportunities for students to develop observation and interpretation skills using visual and sensory information, build knowledge independently and with one another, and cultivate an interest in artistic production. This Teacher Resource Guide includes essays, artist biographies, strategies for interdisciplinary curriculum integration, discussion questions, methods for teaching with objects, a vocabulary list, and activities for three works in IMCA’s collection that are included in the exhibition Radiant Impressions. About the Exhibition From California Impressionism to the Light and Space movement, California artists have been celebrated for their skillful rendering of the perceptual effects of light. Focusing on painters working in California throughout the 20th century, Radiant Impressions considers the ways these artists have engaged with light not only for its optical qualities Radiant Impressions but also for its power to infuse ephemeral moments with meaning and emotion. Whether the warm golden tones of the California sun or the intense glow of electric bulbs, light in these paintings communicates a sense of anticipation, celebration, rest, and reflection. Presenting works organized in thematic groupings—The Domestic Realm and Work, Capturing the Scene, Play and the Social Sphere, and Lighting the Portrait—the exhibition brings together a diverse selection of landscapes and portraiture as well as genre scenes depicting people at work and at play. -
Rocky Neck Historic Art Trail Gloucester, Massachusetts
Rocky Neck Historic Art Trail Gloucester, Massachusetts Trail Site 1 Above 186 to 220 East Main St. Rocky Banner Hill Neck 1 Smith Banner The high ridge, or bluff, rising above the Smith Cove inlet on the east side of Cove Hill Gloucester Harbor, is called “Banner Hill.” So named after the Wonson brothers Stevens Lane raised a flag there at the outbreak of the Civil War, it commands a panoramic scene, with the jewel of Rocky Neck’s wharves and houses sitting in the center R a P c k l i of the harbor, framed by the buildings and steeples of the central city beyond. f f S During the second half of the 19th Century and the first decades of the 20th, t many of America’s most important artists journeyed to Gloucester to experience the amazing coastal scenery in this fishing port composed of high hills overlook - DIRECTIONS: ing a protected and deep harbor. Banner Hill afforded perhaps the most dramatic From the end of Rte. 128 (second traffic light) go straight up over hill. Follow East of these views. Main Street about 5/8 mile just past East Gloucester Square. Banner Hill rises up Attracted to Gloucester by its reputation for authentic New England beauty, as along the left side of the road for a few conveyed in the paintings of famed 19th century artists Fitz H. Lane and Winslow hundred yards along Smith Cove, above Homer, the preeminent landscape painters of the American Impressionist move - the section of 186 to 220 East Main Street, ment in the 1890s, including Childe Hassam, Willard Metcalf, Frank Duveneck, just across from Beacon Marine boat yard and extending southwest, topped by several and John Twachtman, created masterpieces from the perspective of Banner Hill. -
A Finding Aid to the Raymond and Margaret Horowitz Papers, 1903-2007, Bulk 1960-2007, in the Archives of American Art
A Finding Aid to the Raymond and Margaret Horowitz Papers, 1903-2007, bulk 1960-2007, in the Archives of American Art Joy Goodwin 2015 May 3 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 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Art Collection Files, 1943-2007................................................................ 4 Series 2: Artwork, Sold, or Donated, 1903, 1950-2003........................................... 9 Series 3: Accession Records, 1959-circa 1994..................................................... 17 Series 4: Catalog Information, circa 1960-1967.................................................... -
Twentieth Century Masters
TWENTIETH CENTURY MASTERS FINDLAY GALLERIES Gallery Collection on View Balthus (1908 - 2001) Braque (1882 - 1963) Camoin (1879 - 1965) Chagall (1887 - 1985) D'Espagnat (1870 - 1950) Degas (1834 - 1917) Friesz (1879 - 1949) Glackens (1870 - 1938) TWENTIETH Hassam (1859 - 1935) CENTURY Homer (1836 - 1910) Lachaise (1882 - 1935) Laurencin (1883 - 1956) Le Sidaner (1862 - 1939) Lebasque (1865 - 1937) Lebourg (1849 - 1928) Luce (1858 - 1941) Martin- Ferrieres (1893 - 1972) Matisse (1869 - 1954) Metzinger (1883 - 1956) Pissarro- (1830 - 1903) Prendergast (1858 - 1924) Renoir (1841 - 1919) Valtat (1869 - 1952) Van Dongen (1877 - 1968) Vlaminck (1876 - 1958) Vuillard (1868 - 1940) KEES VAN DONGEN (1877 - 1968) Portrait de jeune femme au petit chien, c. 1920 oil on canvas 59 x 59 inches Signed 'van Dongen' (middle right) 137616 3 // FINDLAY TWENTIETH CENTURY MASTERS Findlay Galleries continues its long tradition of presenting highly important paintings to fine art collectors throughout the world. The Masters' Collection offers a cross-section of highlights from our collection including recent acquisitions of Impressionist and Modern Masters. The Galleries' global position in the art market for nearly 148 years has distinguished it as a leader in providing unique opportunities for collectors. Many of the paintings in this exhibition have appeared in museums around the globe and in distinguished collectors' homes. Several of these works have been privately collected and quietly passed down from generation through generation. As always, our art consultants offer unparalleled excellence in assisting our clients as they enhance or begin their collections. As a dealer to individuals, institutions and corporate collectors alike, Findlay Galleries continues to celebrate its traditions of presenting exhibitions featuring collections of diverse, original, and outstanding works. -
New York City Through the Eyes of Its Artists
New York City through the Eyes of Its Artists In the nineteenth century, American Impressionist artist Childe Hassam described New York City as “the most wonderful and most beautiful city in the world. All life is in it . No street, no section of Paris or any other city I have seen equal to New York.” His artwork was inspired by parks, pristine residential districts and genteel strolling pedestrians. Yet the dawn of the twentieth century would bring a deluge of European immigrants to the shores of New York City and a plethora of rapidly advancing technology, creating a new modern metropolis unlike anything that had been seen before. Gone was the picturesque city of the nineteenth century Hassam adored; a city made of brick and timber, its streets filled with horse drawn carriages. These remnants of a by-gone century had been replaced with soaring towers of glass and steel, streets teeming with noisy streetcars, electrified subways and elevated railroads, motor buses and electric streetlights. Advances in technology had revolutionized the look and feel of the city. The skyscraper towered above it all, its verticality an emblem for urban innovation. For Hassam, a stalwart proponent of the picturesque nineteenth century New York, these new tall buildings were, “wildly formed architectural freak[s]” and not “marvel[s] of art.” The more progressive looking the building, the less appealing it was for Hassam to represent it in his artwork. When he did include modern buildings in his artwork, they were often anonymous and generic, blending in with the older buildings he favored. -
Childe Hassam (1859-1935)
CHILDE HASSAM (1859-1935) Twilight After Rain, c. 1887-89 Oil on board 8 x 6 inches Signed lower left Inscribed in the artist’s hand Twilight after Rain / (The rue Royal and the Church of the Madeleine Paris) / Childe Hassam / 95 5th Ave New York on paper affixed to the reverse Note: This painting will be included in Kathleen M. Burnside's and Stuart P. Feld's forthcoming catalogue raisonné of the artist's work. PROVENANCE Richard Harding Davis, Mount Kisco, New York Mrs. Cecil Clark Davis, Marion, Massachusetts Miss M. Campbell-Hutchinson, New York (sold: Parke-Bernet Galleries, New York, November 13, 1957, lot 4) Estate of Joseph Katz, Baltimore, Maryland, until 1959 Babcock Galleries, New York Acquired by the prior owner from the above, 1959 Private Collection, CT (Frederick) Childe Hassam (1859-1935) was a pioneer of the American Impressionist movement. His body of work comprises over 2,000 oils, watercolors, pastels and illustrations and after 1912, over 400 etchings and prints. Today, he is perhaps best known for his paintings that capture the excitement of New York City at the turn of century, such as his famous depictions of flag-studded Fifth Avenue during World War I, but his unparalleled skill at portraying the tranquility and beauty of the countryside with his bright, tonal palette and descriptive brushwork are considered to be some of his most sophisticated work. Hassam was born in Dorchester, Massachusetts (now a part of Boston) to a prominent merchant family descended from the settlers of the Massachusetts Bay Colony. He initially trained as an apprentice to a wood engraver, and from the late 1870s to the mid-1880s created drawings for book illustrations—largely children’s stories—as well as illustrations for periodicals such as Century and Harper’s magazines. -
CHILDE HASSAM: Docent Notes
CHILDE HASSAM: Docent Notes The Childe Hassam oil painting in the Mint‟s holdings –“The Stone Cottage, Old Lyme”- has always been a favorite of our museum visitors, at least in my experience. This short survey and biographical note is followed by a brief timeline and some authoritative quotes from art historians. Hassam (born in Boston in 1859, died at the summer home East Hampton NY 1935), is widely known as America‟s foremost Impressionist. He is often described as “the American Monet”, and his works were collected and admired during his life by major collectors such as Freer, Whitney, Frick, and White -–no struggling, starving, misunderstood artist he! “Stone Cottage, Old Lyme” is obviously painted outdoors (en plein air to use the French term), with a very pleasing impressionist palette – pastel and deep blues, greens, and yellows. Note that he used no blacks or greys. The sun is to the left and behind the cottage, casting a chimney shadow on the roof and shadow on the ground. While there is a wisp of smoke from the chimney, the people seem warmed by the sun. The adult walker is effectively silhouetted against the tree trunks. Hassam used the quick, short brushstrokes of the impressionist –though he decried this term, and never acknowledged being influenced by the French Impressionists--to give the characteristic vibrant, shimmering light effect. Unlike the French, his works always had form and did not disintegrate into simply “vibrations of light”. The strokes seem loose but controlled. Note the different qualities of brushwork: quick vigorous horizontals for the roof, choppy impasto for the foliage, wide diagonals for the sky. -
Harn Museum of Art Instructional Resource: Thinking About Modernity
Harn Museum of Art Instructional Resource: Thinking about Modernity TABLE OF CONTENTS “Give Me A Wilderness or A City”: George Bellows’s Rural Life ................................................ 2 Francis Criss: Locating Monuments, Locating Modernity ............................................................ 6 Seeing Beyond: Approaches to Teaching Salvador Dalí’s Appollinaire ............................. 10 “On the Margins of Written Poetry”: Pedro Figari ......................................................................... 14 Childe Hassam: American Impressionist and Preserver of Nature ..................................... 18 Subtlety of Line: Palmer Hayden’s Quiet Activism ........................................................................ 22 Modernist Erotica: André Kertész’s Distortion #128 ................................................................... 26 Helen Levitt: In the New York City Streets ......................................................................................... 31 Happening Hats: Pierre-Auguste Renoir’s Le chapeau épinglé .............................................. 35 Diego Rivera: The People’s Painter ......................................................................................................... 39 Diego Rivera: El Pintor del Pueblo ........................................................................................................... 45 Household Modernism, Domestic Arts: Tiffany’s Eighteen-Light Pond Lily Lamp .... 51 Marguerite Zorach: Modernism’s Tense Vistas .............................................................................. -
Docent Information Session Slides 8 Modernism and Contemporary
Docent Information Session Slides 8 Modernism and Contemporary ZMA Collection Diverse Culture Gallery TIP: Works from the ZMA collection are markeD Etruscan Votive Foot, circa 400-200 BCE like this… Earthenware, terra cotta TIP• Etruscan: Printculture 800 BCE slides-200 CE; https://www.ancient.eu/timeline/etruscan/ like these anD • Mold-made • Detail indicates this piece was an early casting from the mold create• Offering in gratitude a binDer for healing or plea filleD to heal an infirmity with At Ponte di Nona, e.g., a rural complex some 15 kilometers to the east of Rome, the workscollections are dominatedfrom by feetthe and hands ZMA– precisely thecollection. parts of the body which are likely to suffer damage in the course of agricultural work. More Information: http://exhibits.hsl.virginia.edu/antiqua/healercults/ ZMA Collection Shirley Gorsuch Gallery Romanticism Eugène Delacroix, French 1798–1863, Waterfall, circa 1840, Oil on board, 10458. Purchase, Friends of Art More Information: https://www.youtube.com/watch?v=6skizQlC-uU ZMA Collection Ayers Gallery Neoclassicism Hiram Powers (1805–1873), Psyche,1849, marble ZMA Collection Shirley Gorsuch Gallery Realism/Naturalism/Idealism Thomas Hill (1829-1908), Indian Encampment, Yosemite Valley, 1863, Oil on canvas,1965.11262. Purchase, Friends of Art • Majesty of America, scenes towering mountains • Manifest Destiny-celebrating America’s westward expansion More Information: https://www.youtube.com/watch?v=bUlH2PAMwWc https://www.youtube.com/watch?v=id6CbCjfD-4 https://www.youtube.com/watch?v=MWE0NSpcttk https://www.youtube.com/watch?v=k8l0L-Sw_5w ZMA Collection Shirley Gorsuch Gallery Realism Hudson River School Albert Bierstadt (1830-1902), Old Faithful, 1881-86, Oil on Canvas, 15032 Gift of Mrs. -
William Merritt Chase: a Modern Master
ISSN: 2471-6839 William Merritt Chase: A Modern Master Curated by: Katherine M. Bourguignon, Giovanna Ginex, Erica E. Hirshler, and Elsa Smithgall Exhibition schedule: The Phillips Collection, Washington, DC, June 4–September 11, 2016; Museum of Fine Arts, Boston, October 9, 2016–January 16, 2017; Ca’ Pesaro Galleria Internazionale d’Arte Moderna, Venice, February 11–May 28, 2017 Exhibition catalogue: Elsa Smithgall, Erica E. Hirshler, Katherine M. Bourguignon, Giovanna Ginex, and John Davis, William Merritt Chase: A Modern Master, exh. cat. New Haven: Yale University Press in association with The Phillips Collection, 2016. 248 pp.; 176 color illus. Hardcover $60.00 (ISBN: 9780300206265) Reviewed by: Christina Michelon, doctoral candidate, Department of Art History, University of Minnesota, [email protected] William Merritt Chase: A Modern Master surveys the long career of one of the most virtuosic painters of the late nineteenth century. Renowned during his lifetime, Chase (1849–1916) is perhaps best known today as an influential teacher to such artists as George Bellows, Edward Hopper, Georgia O’Keeffe, and Charles Sheeler—students who would ultimately overshadow their mentor’s career and legacy. After his death a century ago, Chase’s notability began to wane with the arrival of more overtly modernist styles. As the Christina Michelon. “Review of William Merritt Chase: A Modern Master.” Panorama: Journal of the Association of Historians of American Art 3 no. 1 (Summer, 2017). https://doi.org/10.24926/24716839.1599. opening panel at the Museum of Fine Arts, Boston read: “William Merritt Chase is the most famous nineteenth-century American painter of whom many people have never heard.”1 A cooperative effort between The Phillips Collection, Washington, DC, the Museum of Fine Arts, Boston; the Fondazione Musei Civici di Venezia; and the Terra Foundation for American Art, A Modern Master brings Chase back into the spotlight. -
Childe Hassam, Study for Across the Avenue in Sunlight, 1918 Oil on Board, 8 X 9.8 In
Childe Hassam, Study for Across the Avenue in Sunlight, 1918 Oil on board, 8 x 9.8 in. (20.3 x 24.9 cm.) New York Private Collection Three enormous flags of the major Allied nations–Britain, France and the United States–are draped over the grand Beaux-Arts style façade of Knoedler & Company, at its original location at 556 Fifth Avenue at 46th Street. The painter’s vantage point is from across Fifth Avenue to the north and east. As pedestrians stroll underneath the flags, these monumental symbols of patriotic fervor hang somberly over them, as if to offer protection from the threat of barbarous Teutonic hordes across the sea. This small oil on panel by Childe Hassam (Figs. 1–7) is likely a study for a larger work on canvas, Across the Avenue in Sunlight, June [1918] (Fig. 8), currently in the collection of the IBM Corporation in Armonk, New York. This larger version is somewhat richer in detail, and notably displays the flags hanging from the Knoedler building in a different order. Also notable is the difference in the use of light between the two versions. The subject study has a muted palette. It is predominately painted in grays and beiges, with streaks of blue on the sidewalk, suggesting recent rainfall. Across the Avenue in Sunlight, June, however, true to its title (and rather unusually, among paintings from Hassam’s Flag series), glows with the bold light of an early summer morning. Hassam, the patriarch of American impressionism and among the most famous living American artists at the outset of World War I, is probably best known for his series of paintings depicting Fifth Avenue adorned with the flags of the United States and those of her allies (Figs. -
Gardening with a Paintbrush
Chicago Tribune | Arts+Entertainment | Section 4 | Thursday, July 2, 2015 3 VISUAL ARTS AMERICAN IMPRESSIONISTS Gardening with a paintbrush By Mark St. John Erickson Tribune Newspapers When the first American impressionists began returning from Europe in the mid-1880s, they soon found themselves embracing a familiar yet unex- pectedly rich and rewarding subject. Newly trained by their French mentors to paint out of doors — where they could revel in the mysteries of shifting light and color — they set out looking for American settings just as the nation’s late-19th-century gar- den movement was taking off. So as they had seen the great Claude Monet do in his beloved home garden at Giverny, artists started packing up their palettes, canvases and paints and walking out their back doors in search of spaces filled with flowers. What resulted was one of art history’s great marriages of subject and style as — over the following three decades — such talented painters as Frederick Childe Hassam, Philip Leslie Hale and Maria Oakey Dewing paired the country’s new fasci- nation for horticulture and gar- dens with their own blossoming passion for loose brushwork, dappled light and seemingly CURRIER MUSEUM OF ART, MANCHESTER, N.H. infinite variations of color. A new traveling show on American impressionists holds over 70 paintings, such as Frederick Childe Hassam’s 1916 “The Goldfish Window,” above, Acentury later, more than 70 that paired the country’s fascination with gardens, starting in the late 1880s, with artists’ rising passion for loose brushwork and dappled light. of the finest and most eye-catch- ing examples can be found at the shimmering sunlight and vibrant Pennsylvania Academy of the Chrysler Museum of Art in a flowers.