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NATIONAL MUSEUM OF WOMEN IN THE ARTS i: L'Ur-'"- • i.-u-i • sa CONTENTS SPONSOR'S STATEMENT | 6 by Hamish Maxwell, Chairman and Chief Executive Officer. Philip Morris Companies Inc. PREFACE AND ACKNOWLEDGMENTS | 7 by Anne-lmclda Marino Radice, Director, National Museum of Women in the Arts INTRODUCTION: WHYANATIONALMUSEUMOF WOMENINTHE ARTS? | 8 by Alessandra Comini, University Distinguished Professor of Art History, Southern Methodist University FOUNDERS' STATEMENT 14 by Wallace and Wilhelmina Holladay SELECTIONS FROM THE PERMANENT COLLECTION 15 Seventeenth Century ITALIAN: Lavinia Fontana, 16; Elisabetta Siraiii, 19 FLEMISH: Clara Peeters, 20 GERMAN: Anna Maria Van Schurman, 23; Maria Sibylla Merian, 25 Eighteenth Century ' ^ DUTCH: Rachel Ruysch, 27 FRENCH: Marie Anne Loir, 28; Marie-Genevieve Navarre, 31; Adelaide Labille-Guiard, 33; Marie Louise Elizabeth Vigee-Lebrun, 34; Marguerite Gerard, 37; Antoinette Cecile Hortense Haudebourt-Lescot, 39 SWISS: Angelica Kauffman, 40 Nineteenth Century AMERICAN: Anna Claypoole Peale, 42; Lilly Martin Spencer, 45; Elizabeth Gardner Bouguereau, 46; Mary Cassatt, 48; Lilla Cabot Perry, 51; Jennie Augusta Brownscombe, 52; Ellen Day Hale, 54; Cecilia Beaux, 57; Evelyn Beatrice Longman, 58; Bessie Potter Vonnoh, 59; / Anna Vaughn Hyatt Huntington, 60; Malvina Hoffman, 60 FRENCH: Rosa Bonheur, 63; Berthe Morisot, 64; Camille Claudel, 67; Suzanne Valadon, 68; Marie Laurencin, 70 . ., Twentieth Century AMERICAN: Gertrude Kasebier, 73; Louise Dahl-Wolfe, 74; Berenice Abbott, 77; Marguerite Thompson Zorach, 79; Georgia O'Keeffe, 80; Beatrice Whitney Van Ness, 83; Alma Thomas, 84; Charmion von Wiegand, 87; Alice Neel, 88; Isabel Bishop, 90; Lee Krasner, 93; Dorothea Tanning, 94; Elaine Fried de Kooning, 97; Joan Mitchell, 98; Georgia Mills Jessup, 101; Helen Frankenthaler, 102; Audrey Flack, 105; Eva Hesse, 106; Dotty Attie, 109; Nancy Graves, 110; Alice Aycock, 113; Maria Montoya Martinez, 114; Lucy Lewis, 114; Margaret Tafoya, 115 BRITISH: Gwendolen John, 116; Barbara Hepworth, 118; Leonora Carrington, 120; Bridget Riley, 123 CANADIAN: Dorothea Rockbume, 125 GERMAN: Kathe Kollwitz, 127; Paula Modersohn-Becker, 128; Gabriele Miinter, 131 PORTUGUESE: Maria Elena Vieira da Silva, 133 RUSSIAN: Natalia Goncharova, 134; Alexandra Exter, 137; Sonia Terk Delaunay, 138 SCOTTISH: Anne Redpath, 141 SWISS: Alice Bailly, 142; Sophie Taeuber-Arp, 145 BLACK-AND-WHITE PLATES | 146 BOOKS FOR FURTHER READING | 249 INDEX TO ARTISTS AND WORKS | 250 PHOTOGRAPH CREDITS I 254.

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A Finding Aid to the Ellen Hale and Hale Family Papers in the Archives of American Art
A Finding Aid to the Ellen Hale and Hale Family Papers in the Archives of American Art Judy Ng Processing of this collection was funded by the Terra Foundation for American Art 2013 August 26 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........................................................................................................ 3 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Biographical Materials, circa 1875-1925................................................... 5 Series 2: Correspondence, circa 1861-1951............................................................ 6 Series 3: Writings, 1878-1933.................................................................................
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Art 109 Slide List of Images Section I for the Exam Know the ARTIST, TITLE, STYLE, Location (For Architecture) and Be Able to An
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2010-2011 Newsletter
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Representations of the Female Nude by American
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Valeska Soares B
National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels As of 8/11/2020 1 Table of Contents Instructions…………………………………………………..3 Rotunda……………………………………………………….4 Long Gallery………………………………………………….5 Great Hall………………….……………………………..….18 Mezzanine and Kasser Board Room…………………...21 Third Floor…………………………………………………..38 2 National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels The large-print guide is ordered presuming you enter the third floor from the passenger elevators and move clockwise around each gallery, unless otherwise noted. 3 Rotunda Loryn Brazier b. 1941 Portrait of Wilhelmina Cole Holladay, 2006 Oil on canvas Gift of the artist 4 Long Gallery Return to Nature Judith Vejvoda b. 1952, Boston; d. 2015, Dixon, New Mexico Garnish Island, Ireland, 2000 Toned silver print National Museum of Women in the Arts, Gift of Susan Fisher Sterling Top: Ruth Bernhard b. 1905, Berlin; d. 2006, San Francisco Apple Tree, 1973 Gelatin silver print National Museum of Women in the Arts, Gift from the Trustees of the Corcoran Gallery of Art (Gift of Sharon Keim) 5 Bottom: Ruth Orkin b. 1921, Boston; d. 1985, New York City Untitled, ca. 1950 Gelatin silver print National Museum of Women in the Arts, Gift of Joel Meyerowitz Mwangi Hutter Ingrid Mwangi, b. 1975, Nairobi; Robert Hutter, b. 1964, Ludwigshafen am Rhein, Germany For the Last Tree, 2012 Chromogenic print National Museum of Women in the Arts, Gift of Tony Podesta Collection Ecological concerns are a frequent theme in the work of artist duo Mwangi Hutter. Having merged names to identify as a single artist, the duo often explores unification 6 of contrasts in their work.
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Art Hand-Book, Sculpture, Architecture, Painting
:. •'t-o^ * ^^' v^^ ^ ^^^^\ ^^.m <. .*^ .. X 0° 0^ \D^ *'ir.s^ A < V ^^; .HO^ 4 o *^,'^:^'*.^*'^ "<v*-^-%o-' 'V^^''\/^ V*^^'%^ V\^ o '^^ o'/vT^^^ll^"" vy:. -rb^ ^oVv^'' '^J^M^^r^^ ^^jl.^0'rSi' ^oK °<<. ^""^^ • Sculpture » Architecture * Painting Official H^NDBOOKo/ARCHITECTVRE and SCULPTURE and ART CATALOGUE TO THE Pan-American Exposition With Maps and Illustrations by -permission of C. D. Arnold, Official Photographer BUFFALO, NEW YORK, U. S. A., MAT FIRST TO NOVEMBER FIRST, M. CM. & I. Published by DAVID GRAY, Buffalo, N. Y. Entered according to Act of Congress in the year 1901, by David Gray, in the Office of the Librarian of Congress, at Washington, D. C. • • • • • e • • •• V. • » » « » . f>t • •_••» »'t»» » » » * • • . CONGRESS, Two Copiea Received JUN. 17 1901 Copyright entry EXPOSITION, 1901. CLASS ^XXc N». PAN-AMERICAN Buffalo, N. Y. , U. S. A COPY 3, Office of Director-General. March 30, 1901. To whom it may concern: — Mr. David Gray of this City has "been granted hy the Exposition a concession to publish the Art Catalogue of the Exposition^ which will he a hook in reality a memorial of the ideals of the Exposition in Archi- tecture, Sculpture and Pine Arts. WILLIAM I. BUCHANAN, Director-General The articles, pictures and catalogue descriptions in the Pan-American Art Hand Book are copyrighted, and publication thereof without permission is forbidden. \ r..k^ ^'««- -^ -"^^ ^^ This Art Hand Book was made by the publishing and printing house of ISAAC H,. BLANCHARD CO,, in the city of New Torky at 268 and 270 Canal Street, * 200 feet, iij9 inches east of Broadway.
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Raeburn : English School
NOVEMBER, 1905 RAEBURN PRICE, 15 CENTS anxa 84-B 5530 Jjpueiniipntljlu. RAEBURN J3atK^anO*<iuU&C[ompany, Xtybligfjerg 42<H)auncji^treEt MASTERS IN ART A SERIES OF ILLUSTRATED MONOGRAPHS: ISSUED MONTHLY PART 71 NOVEMBER, 1905 VOLUME 6 a 1 1 u t* 1X CONTENTS Plate I. Portrait of Mrs. Strachan Worcester Art Museum, Worcester, Mass. Plate II. Portrait of Lord Newton National Gallery of Scotland, Edinburgh Plate III. Mrs. Ferguson and Children Owned by R. C. Munroe-Ferguson, Esq. Plate IV. Portrait of Sir Walter Scott Collection of the Earl of Home Plate V. Portrait of Sir John Sinclair Owned by Sir Tollemache Sinclair Plate VI. Portrait of Mrs. Campbell of Balliemore National Gallery of Scotland, Edinburgh Plate VII. Portrait of John Wauchope National Gallery of Scotland, Edinburgh Plate VIII. Portrait of Mrs. Scott-Moncrieff National Gallery of Scotland, Edinburgh Plate IX. Portrait of James Wardrop of Torbanehill Owned by Mrs. Shirley Plate X. The Macnab Owned by Hon. Mrs. Baillie Hamilton Portrait of Raeburn by Himself : Owned by Lord Tweedmouth Page 22 The Life of Raeburn Page 23 ’ Abridged from Edward Pinnington's ‘ Sir Henry Raeburn The Art of Raeburn Page 30 Criticisms by Armstrong, Pinnington, Brown, Van Dyke, Cole, Muther, Stevenson The Works of Raeburn : Descriptions of the Plates and a List of Paintings Page 36 Raeburn Bibliography Page 42 Photo-angravings by C. J. Ptttrs Son: Boston. Prass-work by tht Evantt Prass : Boston complata pravious ba ba consultad library A indax for numbars will found in tba Rtadar's Guida to Pariodical Litaratura , which may in any PUBLISHERS’ ANNOUNCEMENTS SUBSCRIPTIONS: Yearly subscription, commencing with any number of the 1905 volume, $1.50, payable in advance, postpaid to any address in the United States or Canada.
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The Domestication of History in American Art: 1848-1876
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1998 The domestication of history in American art: 1848-1876 Jochen Wierich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Wierich, Jochen, "The domestication of history in American art: 1848-1876" (1998). Dissertations, Theses, and Masters Projects. Paper 1539623945. https://dx.doi.org/doi:10.21220/s2-qc92-2y94 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. 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 bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
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The Art of the Metropolitan Museum of New York
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