DOCSLIB.ORG

Bulletin Volume

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Allen Memorial Art Museum Oberlin College Bulletin Volume Number 2 Allen Memorial Art Museum Bulletin Oberlin Volume College XLIX Number 2 1996 3 Charles F. Olney Front Cover Jasper F. Cropsey, and the Collecting of Curiosities Temple of the by Marjorie E. Wieseman Sibyl, Tivoli, 1876, oil on canvas, 43 Charles Olney, Charles Freer, 23.2 x 30.8 cm, Gift of and the History of Asian Art Charles F. Olney, Collecting in America 04.1186. by Charles Q. Mason Back Cover Japanese, Meiji period (1868-1012), 52 Acquisitions 1994-1995 Dragon-Form Incense Burner, bronze, in.8 cm 57 Loans 1994-1995 high, Gift of Charles F. Olney, 59 Museum Staff and Publications 04.723. Published twice a year by the Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio. Back issues available from the Museum. Indexed in the Art Index and abstracted by BHA (Bibliography of the History of Art) and ARTbibliographies. Reproduced on University Microfilms, Ann Arbor, Michigan. Printed by Austin Printing. Copyright © Oberlin College, 1996. ISSN: 0002-5739. Charles F. Olney and the Collecting of Curiosities With perspicacity and intent, during the last Charles Fayette Olney was born in Hartford, quarter of the nineteenth century Charles Fayette Connecticut, on August 27, i83t, and was raised Olney assembled a wealth of art and objects that in the nearby village of Southington (fig. i).1 He not only became the physical beginnings of an was the son of Jesse Olney, a teacher, geographer, art gallery at Oberlin College, but also formed and author of several popular nineteenth-century the conceptual school texts. basis for the Allen Olney s paternal Memorial Art grandfather, Museum's promi­ Jeremiah Olney, nent function as and his great- a teaching uncle, Stephen collection. During Olney, had both Olney's lifetime been officers in and for a few the Revolution­ years after his ary War, while death, the collec­ his more distant tion was displayed ancestors had at the Olney Art been among the Gallery in early settlers of Cleveland. It was Rhode Island.2 bequeathed in its Dissuaded by entirety to his family from Oberlin College entering Yale in 1904, and College and portions were encouraged installed in the newly-built Carnegie Library in to pursue a career in education, Charles Olney t9o8. Olney's collection was impressive in its began teaching in local schools in about 1848, sheer magnitude (it numbered nearly 8000 and later established a high school in Stratford, objects) and encyclopedic diversity. This study Connecticut. He moved to New York City, where reconstructs the growth, presentation and inter­ he continued to teach in public schools through pretation of Olney's collection both during his the mid-r88os, and was one of the founders of lifetime and after its arrival at Oberlin, and the New York Teacher's Association. In April examines the ideals and motives of the remark­ 1861 Olney married Louisa Brown of New York. able man behind it. The couple had one child, a girl, who died in infancy. It was after Louisa's death in 1878 that and trustee of the church, was president of the Olney began to build his art collection in earnest, Pilgrim Congregational Society and of the although he had probably already been accumu­ Pilgrim Church Institute, and founded a Fine lating works of art for some time: "[t]his loss, Arts Club for the Church Institute. and the loneliness it entailed, helped to fix and In 1894, Olney headed the committee that intensify the artistic taste which had always organized the successful Cleveland Art Loan characterized him, but which now became a Exhibition, a public viewing of art lent from refuge as well as a passion. He became interested private collections—both local and national—for in forming a collection of works of art and the purpose of raising funds for the city's unem­ 3 articles of virtu. " ployed.5 In addition to his administrative role, On November 30,1887, Olney married Olney loaned numerous paintings, sculptures, Abigail (Abbie) Bradley Lamson (born 1830), a and objets from his own collection. He was also childhood friend and the widow of Thomas H. involved in more long-term projects that Lamson. Lamson, who had died in 1882, was a addressed the city's public image and specific prominent Cleveland cultural needs. Inspired businessman who by the Beaux-Arts had amassed a architectural ensemble sizable fortune as the of the Court of Honor head of the firm of at the World's The Lamson and jm Columbian Exposition Sessions Company, of 1893 m Chicago, manufacturers of Olney was a guiding nuts and bolts. His force in the early devel­ widow inherited this opment of the fortune and a house Cleveland Group Plan, at 137 Jennings which proposed a Avenue (now West similarly unified 14th Street) in arrangement of public Cleveland. Olney buildings around a moved into the ••^•^••I^^^^^^B ^^^•••^^•••P central mall in down­ house after his town Cleveland.6 marriage to Abigail, bringing with him his large Beginning in January 1900, Olney also served and continually expanding art collection. on the Board of Trustees of the as-yet unbuilt Having become a man of leisure and modest Cleveland Museum of Art; he was closely wealth, Olney devoted the next fifteen years to involved with the legal, financial, and architectur­ shaping his collection, to constructing and oper­ al aspects of planning for the new museum, ating the Olney Art Gallery, and to participating which opened only in 1916.7 Olney s most in a range of philanthropic activities that reflect impressive philanthropic and organizational his commitments to education, religion, and the undertaking, however, was the Olney Art Gallery. importance of the arts in civic life. He was a member of the Cleveland Public Library Board, Olney s Art Gallery vice-president and trustee of the Cleveland The Olney Art Gallery was the first public art School of Art and chair of its committee on gallery in Cleveland, anticipating the Cleveland instruction, president of the Cleveland Brush and Museum of Art by more than two decades. It Palette Club, charter member and an early presi­ opened with a lavish reception on December 13, dent of the Cleveland Council of Sociology, a 1893, and met with a enthusiastic response from trustee of several charitable institutions, and a the 600 invited guests. member of the Society for the Promotion of The Olney home was spoken of in terms of 4 Atmospheric Purity. Both Olney and his wife admiration as the guests passed from room were active in the Pilgrim Congregational to room....The sweet strains of music issuing Church in Cleveland; Olney served as a deacon from the vestibule, the beauty of the gallery, 4 • Hbt~ the paintings and the decorations all united •Mr ^m^j: ••«#' ' to please the senses....Upon the walls are ~-~ ". _. .!.'• works of art by Bouguerau [sic], Lambrinet, v W^ 1 . -- • Corat [sic], Hart, Dupre, Verbeckhoven [sic] and other eminent artists.9 The gallery was regularly opened to the *. } 121 ^ public one day per week, and also offered a full \ • •PRSSBIan HMk^i If^ I 4f 1 schedule of lectures, tours, and receptions. It iii remained in operation in Cleveland for almost ^»|f*Tj 1 **<• Ji fifteen years, until the collection was moved to 7— it * i ~t i i i! If- Oberlin College in early 1908. Throughout the p \**W MSIH^ ^ vVfiJlgB 9fl WrLA Gallerv's existence, charmed visitors recorded guest register:10 A veritable seat of the muses. (February 22,1895) Kind Professor! We leave your beautiful gallery feeling that we have had a ULilH veritable art bath... (May 17,1895) collection it has been my pleasure to visit in the U.S. (May 25,1896) While we honor him who produces let us not grudge to him who assembles and publishes. As I walk through this T rift gallery two names united in my mind —Prof. Olney and Lorenzo de Medici. 51 w (December 28,1896) Must have been saved from shipwreck 'H-l to experience such afternoons as this. (September 3,1897) Metropolitan Art Gallery of NY. City. Opposite: Fig. 2. Coburn and (January 26,1903) Heureux de trouvez a Cleveland, un Gallery (1802-oj), Cleveland. Photo by George H. petit "Louvre." (March 23,1903) Ketteringham; courtesy the At the time of his move to Cleveland in 1887, Western Reserve Historical Olney s collection probably numbered about Society, Cleveland, Ohio. 4000 objects, enough to overwhelm the living Above Top: Fig. j. Olney Art space of the rather modest house on Jennings Gallery, interior view, ca. 1000. Avenue, even by the claustrophobic standards of Bottom: Fig. 4. Olney Art late-nineteenth century interior decoration. Gallery, interior view, ca. /goo. Construction of a gallery addition was underway by summer 1892. Designed by the Cleveland architectural firm of Forrest A. Coburn and Frank S. Barnum in a classical revival style, the fireproof structure was constructed of yellow brick with terracotta ornament (fig. 2). It consisted of a single large room, which could be accessed either through the "annex," which led from the drawing room of the main house, or from a separate entrance facing onto Jennings The profusion and diversity of the Olney Art Avenue (figs. 3, 4). Immediately inside the Gallery was evidently not at all confusing to Jennings Avenue entrance was a foyer or "recep­ contemporary viewers, however; one visitor tion room." Passing through the foyer into the remarked that it was "the only collection I have gallery, on the left, opposite the doorway leading ever seen so housed that whatever the spectator's to the main house, was an inglenook, a recessed taste, it can be gratified without searching and niche housing a large fireplace flanked by seats.
Recommended publications
  • Charles Augustus Sommer (1829-1894)

    Charles Augustus Sommer (1829-1894)

    Charles Augustus Sommer (1829-1894) Born in Germany in 1929, Charles Augustus Sommer is known for his paintings of the Catskill and Adirondack regions. While biographical details of Sommer’s life are scarce information gleaned from archival sources reveal that Sommer held a studio in New York City at 896 Broadway between 1867 and 1872 and was working as a landscape painter. Sommer participated in three consecutive Winter Exhibitions held at the National Academy of Design between 1868 and 1870. His work included Cascade in the Adirondacks, Coast of Connecticut, Connecticut Shore and Tyrol Mountains. In 1868, Leed’s Art Galleries on Broadway held an exhibition and sale of Sommer’s landscapes. Included in the sale were a few landscapes painted by the artist’s wife. Sommer’s work included scenes such as Morning at Catskill Clove and Cascade in the Adirondacks. A critic for the New York Daily Herald noted that Sommer’s paintings reveal, “…how faithfully he has studied the peculiarities of American scenery.”1 In November of 1868 the Brooklyn Art Association held a reception at the Academy of Music. Invited guests of the elite and highly anticipated event included General Grant and Admiral Farragut. Sommer’s work was shown along with other notable artists including Regis Gignoux (1816-1882). A critic for the Brooklyn Daily Eagle included Sommer and Gignoux on a short list of artists whose work he thought to be remarkable and worthy of inspection. He described a painting by Sommer’s as, “…a very striking picture, representing the sun setting over the expance [sic] of flat country, relieved here and there by trees.
  • The Hudson River School

    The Hudson River School

    Art, Artists and Nature: The Hudson River School The landscape paintings created by the 19 th century artist known as the Hudson River School celebrate the majestic beauty of the American wilderness. Students will learn about the elements of art, early 19 th century American culture, the creative process, environmental concerns and the connections to the birth of American literature. New York State Standards: Elementary, Intermediate, and Commencement The Visual Arts – Standards 1, 2, 3, 4 Social Studies – Standards 1, 3 ELA – Standards 1, 3, 4 BRIEF HISTORY By the mid-nineteenth century, the United States was no longer the vast, wild frontier it had been just one hundred years earlier. Cities and industries determined where the wilderness would remain, and a clear shift in feeling toward the American wilderness was increasingly ruled by a new found reverence and longing for the undisturbed land. At the same time, European influences - including the European Romantic Movement - continued to shape much of American thought, along with other influences that were distinctly and uniquely American. The traditions of American Indians and their relationship with nature became a recognizable part of this distinctly American Romanticism. American writers put words to this new romantic view of nature in their works, further influencing the evolution of American thought about the natural world. It found means of expression not only in literature, but in the visual arts as well. A focus on the beauty of the wilderness became the passion for many artists, the most notable came to be known as the Hudson River School Artists. The Hudson River School was a group of painters, who between 1820s and the late nineteenth century, established the first true tradition of landscape painting in the United States.
  • The Hudson River School of Artist

    The Hudson River School of Artist

    THE HUDSON RIVER SCHOOL OF ARTIST The following is a list of painters in the Hudson River School, a midth-century American art . a Hudson River School artist, and the two painted similar subjects. Sister Julie Hart Beers (Kempson) was also a landscape artist of this school. A rusted silo looms over a parking lot where he had seen dirt roads and marshland. Albert Bierstadt painted mountain landscapes on enormous canvases which included pictures of wild scenery filled with mists and clouds. It was promoted as a single-picture attraction—i. The Hudson River School origins date back to these romantic and nationalism ages of America. Fully illustrated, this website brings a personal dimension to the artists of the 19th century. The Wadsworth Atheneum in Hartford, Connecticut houses one of the largest collections of paintings by artists of the Hudson River School. So where Cropsey saw unkempt groves and choppy currents buffeting sailboats from a window there, we consoled ourselves with views of not much more than a fenced-off duck pond in the shadow of a street overpass. However, a new American school of landscape painting was about to emerge along with a new form of public entertainment — the art museum. Cole painted pictures as depicted by the novelist. If Cole is rightly designated the founder of the school, then its beginnings appear with his arrival in New York City in Advertisement People fishing there were staring at the water and their rods. Rain was threatening by the time I scrambled back up to the main trail, so we flagged down a passing flatbed truck for a ride to our car.
  • Of Painting and Seventeenth-Century

    Of Painting and Seventeenth-Century

    Concerning the 'Mechanical' Parts of Painting and the Artistic Culture of Seventeenth-CenturyFrance Donald Posner "La representation qui se fait d'un corps en trassant making pictures is "mechanical" in nature. He understood simplement des lignes, ou en meslant des couleurs, est proportion, color, and perspective to be mere instruments in consider6e comme un travail m6canique." the service of the painter's noble science, and pictorial --Andre F61ibien, Confirences de l'Acadimie Royale de Pezn- elements such as the character of draftsmanship or of the ture et de Sculpture, Paris, 1668, preface (n.p.). application of paint to canvas did not in his view even warrant notice-as if they were of no more consequence in les Connoisseurs, ... avoir veus "... apr6s [les Tableaux] judging the final product than the handwriting of an author d'une distance s'en en raisonnable, veiiillent approcher setting out the arguments of a philosophical treatise.3 Paint- suite pour en voir l'artifice." ers who devoted their best efforts to the "mechanics of the de Conversations sur connoissance de la -Roger Piles, la art" were, he declared, nothing more than craftsmen, and 300. peinture, Paris, 1677, people who admired them were ignorant.4 Judging from Chambray's text, there were a good many A of Champion French Classicism and His Discontents ignorant people in France, people who, in his view seduced ca. 1660 by false fashion, actually valued the display of mere craftsman- In Roland Freart de his 1662 Chambray published IdMede la ship. Chambray expresses special
  • Annual Report 2003 Annual04c 5/23/05 3:55 PM Page 1

    Annual Report 2003 Annual04c 5/23/05 3:55 PM Page 1

    Annual04C 5/23/05 4:17 PM Page 1 MILWAUKEE ART MUSEUM Annual Report 2003 Annual04C 5/23/05 3:55 PM Page 1 2004 Annual Report Contents Board of Trustees 2 Board Committees 2 President’s Report 5 Director’s Report 6 Curatorial Report 8 Exhibitions, Traveling Exhibitions 10 Loans 11 Acquisitions 12 Publications 33 Attendance 34 Membership 35 Education and Programs 36 Year in Review 37 Development 44 MAM Donors 45 Support Groups 52 Support Group Officers 56 Staff 60 Financial Report 62 Independent Auditors’ Report 63 This page: Visitors at The Quilts of Gee’s Bend exhibition. Front Cover: Milwaukee Art Museum, Quadracci Pavilion designed by Santiago Calatrava. Back cover: Josiah McElheny, Modernity circa 1952, Mirrored and Reflected Infinitely (detail), 2004. See listing p. 18. www.mam.org 1 Annual04C 5/23/05 3:55 PM Page 2 BOARD OF TRUSTEES COMMITTEES OF Earlier European Arts Committee David Meissner MILWAUKEE ART MUSEUM THE BOARD OF TRUSTEES Jim Quirk Joanne Murphy Chair Dorothy Palay As of August 31, 2004 EXECUTIVE COMMITTEE Barbara Recht Sheldon B. Lubar Martha R. Bolles Vicki Samson Sheldon B. Lubar Chair Vice Chair and Secretary Suzanne Selig President Reva Shovers Christopher S. Abele Barbara B. Buzard Dorothy Stadler Donald W. Baumgartner Donald W. Baumgartner Joanne Charlton Vice President, Past President Eric Vogel Lori Bechthold Margaret S. Chester Hope Melamed Winter Frederic G. Friedman Frederic G. Friedman Stephen Einhorn Jeffrey Winter Assistant Secretary and Richard J. Glaisner George A. Evans, Jr. Terry A. Hueneke Eckhart Grohmann Legal Counsel EDUCATION COMMITTEE Mary Ann LaBahn Frederick F.
  • A Call to the Wild

    A Call to the Wild

    Q UESTROYAL F INE A RT, LLC A Call to the Wild Thomas Moran John Frederick Kensett Evening Clouds, 1902 New England Coastal Scene with Figures, 1864 Oil on canvas Oil on canvas 141/8 x 20 inches 141/4 x 243/16 inches Monogrammed, inscribed, and dated Monogrammed and dated lower right: JF.K. / ’64. lower left: TMORAN / N.A. / 1902” March 8 – 30, 2019 An Exhibition and Sale A Call to the Wild Louis M. Salerno, Owner Brent L. Salerno, Co-Owner Chloe Heins, Director Nina Sangimino, Assistant Director Ally Chapel, Senior Administrator Megan Gatton, Gallery Coordinator Pavla Berghen-Wolf, Research Associate Will Asencio, Art Handler Rita J. Walker, Controller Photography by Timothy Pyle, Light Blue Studio and Ally Chapel Q UESTROYAL F INE A RT, LLC 903 Park Avenue (at 79th Street), Third Floor, New York, NY 10075 :(212) 744-3586 :(212) 585-3828 : Monday–Friday 10–6, Saturday 10–5 and by appointment : gallery@questroyalfineart.com www.questroyalfineart.com A Call to the Wild Those of us who acquire Hudson River School paintings will of composition, in the application of brushstroke, in texture, in possess something more than great works of art. Each is a perspective, in tone and color, each artist creates a unique visual glimpse of our native land, untouched by man. These paintings language. They have left us a painted poetry that required a compel us to contemplate, they draw us beyond the boundaries combination of imagination and extraordinary technical ability. of a time and space that define our present lives so that we may The magnitude of the artistic achievement of this first American consider eternal truths.
  • NINETEENTH CENTURY AMERICAN PAINTINGS at BOWDOIN COLLEGE Digitized by the Internet Archive

    NINETEENTH CENTURY AMERICAN PAINTINGS at BOWDOIN COLLEGE Digitized by the Internet Archive

    V NINETEENTH CENTURY^ AMERIGAN PAINTINGS AT BOWDOIN COLLEGE NINETEENTH CENTURY AMERICAN PAINTINGS AT BOWDOIN COLLEGE Digitized by the Internet Archive in 2015 https://archive.org/details/nineteenthcenturOObowd_0 NINETEENTH CENTURY AMERICAN PAINTINGS AT BOWDOIN COLLEGE BOWDOIN COLLEGE MUSEUM OF ART 1974 Copyright 1974 by The President and Trustees of Bowdoin College This Project is Supported by a Grant from The National Endowment for The Arts in Washington, D.C. A Federal Agency Catalogue Designed by David Berreth Printed by The Brunswick Publishing Co. Brunswick, Maine FOREWORD This catalogue and the exhibition Nineteenth Century American Paintings at Bowdoin College begin a new chapter in the development of the Bow- doin College Museum of Art. For many years, the Colonial and Federal portraits have hung in the Bowdoin Gallery as a permanent exhibition. It is now time to recognize that nineteenth century American art has come into its own. Thus, the Walker Gallery, named in honor of the donor of the Museum building in 1892, will house the permanent exhi- bition of nineteenth century American art; a fitting tribute to the Misses Walker, whose collection forms the basis of the nineteenth century works at the College. When renovations are complete, the Bowdoin and Boyd Galleries will be refurbished to house permanent installations similar to the Walker Gal- lery's. During the renovations, the nineteenth century collection will tour in various other museiniis before it takes its permanent home. My special thanks and congratulations go to David S. Berreth, who developed the original idea for the exhibition to its present conclusion. His talent for exhibition installation and ability to organize catalogue materials will be apparent to all.
  • A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art

    A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art

    A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W.
  • Remember the Ladies: Women of the Hudson River School

    Remember the Ladies: Women of the Hudson River School

    Remember the Ladies d women of the hudson river school Charlotte Buell Coman (1833–1924) frontispiece: Forest Brook, 1895 Oil on canvas, 24 x 20 in. Private Collection Remember the Ladies d women of the hudson river school May 2–October 31, 2010 essays by Nancy Siegel and Jennifer Krieger 218 Spring Street, Catskill, NY 12414 518.943.7465 • www.thomascole.org Edith Wilkinson Cook (active 1851–1875) FIG.1: Autumn Landscape with Figures, 1871 1 5 Oil on canvas, 7 /4 x 5 /8 in. Mark Lasalle Fine Art director’s statement d N MAY 2010 THE THOMAS COLE NATIONAL HISTORic SITE opened the first known exhibition to focus Isolely on the women artists associated with the Hudson River School, the nineteenth-century land- scape painting movement. Considering all the attention that has been given to this art movement in recent decades, it is certainly time that the names of these women become better known. The fact that there were women artists who were inspired by the landscape during the same years as Thomas Cole, Asher Durand, and Frederic Church is a story that needs to be told, and we are so pleased to bring their fascinating lives and work to the public. Their landscape paintings, and the stories behind them, speak to these women’s perseverance, triumph, heartbreak, and even their sense of humor about it all. One young woman was forbidden to create art, and her drawings were burned by her stepmother. Another was conducting her art career while raising her children as a single mother. Yet another climbed “all the principal peaks of the Catskills, Adirondacks, and White Mountains, as well as those of the Alps, Tyrol, and Black Forest, often tramping twenty-five miles a day, and sketching as well, often in the midst of a blinding snow- storm,” according to an 1889 article.1 And all this in the sort of clothing we today would not consider practical.
  • In Pursuit of Caravaggio

    In Pursuit of Caravaggio

    IN PURSUIT OF CARAVAGGIO 21 November 2016 – 27 January 2017 38 Dover Street, W1S 4NL, London Robilant+Voena are pleased to present In Pursuit of Caravaggio at their London gallery from 21 November 2016 to 27 January 2017. Robilant+Voena is the premier international gallery for the Caravaggesque, paintings by the European artists who flocked to Rome around 1600 and fuelled an artistic revolution instigated by Michelangelo Merisi da Caravaggio (1573-1610). Timed to coincide with the National Gallery of Art’s exhibition Beyond Caravaggio, In Pursuit of Caravaggio is an exhibition which will display an exceptional group of Caravaggesque paintings as a vehicle to explore the profound way that art dealers have informed and influenced the reception of the controversial art of Caravaggio and his followers. The years proceeding Michelangelo Merisi da Caravaggio’s (1573-1610) arrival in Rome in the late summer of 1592 were transformative in the history of western art. Caravaggio landed in the Eternal City and both scandalised and delighted artistic patrons with his brutally naturalist style. His manner was revolutionary and stood counter to the classical idealism of traditional Roman painters. His influence was profound and he quickly garnered a following of both artists and patrons. So when Caravaggio, at the height of his fame, left Rome in 1606, his insistence not to take pupils or to run an organised workshop left no obvious successor to fill the extraordinary demand for commissions. But Rome was filled with artists who were inspired by Caravaggio’s methods. These artists adopted the tenets of Caravaggio’s art (a realistic depiction of figures, dramatic subject matter, and use of chiaroscuro, a high contrast of light to dark) and gave birth to one of the most expressive and beautiful artistic movements of all time.
  • Civil War Research Seminar, Keene State College, Spring 2020 The

    Civil War Research Seminar, Keene State College, Spring 2020 The

    1 Civil War Research Seminar, Keene State College, Spring 2020 The Book, Volume 3 Table of Contents Part I. Death and Culture. .and Art Chapter 1. Lydia Hurley, “The Reformation of American Children: How the American Civil War Left a Lasting Impact on the Lives of Children” website Chapter 2. Betsy Street, “Hard Tack, Ham Fat, and Death: Nelson’s Civil War” website Chapter 3. Graham Kaletsky, “Art and the Civil War” website Part II. Medicine and Science Chapter 4. Laura Ruttle, “‘Removed’: American Midwives in the Nineteenth Century and Civil War” website Chapter 5. Timothy Hastings, “Quantifying Inferiority: Scientific Racism, Biological Determinism, and the American Civil War” website Chapter 6. Ryan Goff, “The Evolution of Medicine Due to the Civil War” website Part III. Military and Soldiers Chapter 7. Kyle Gilmore, “Snipping the Sinews of War: How the Union Blockade Strangled the Confederate Economy” website Chapter 8. Cole Tollett, “The Texas Brigade” website Chapter 9. Zachary Grupp, “The Value of Southern Honor: How Confederate Irregulars Became American Outlaws” website Chapter 10. Michael Fremeau, “Pride in One’s Country or Hatred for the South? Why New England Soldiers Fought in the Civil War” website Part IV. Politics and Abolitionism Chapter 11. Amber Hobbs, “Running the Underground Railroad” website Chapter 12. Lydia Mardin, “Political Slavery and Personal Freedom: Federal Legislation of the Underground Railroad” website Chapter 13. Molly Ryan, “The Battle of Abraham Lincoln’s Reelection” website 2 Part I. Death and Culture. .and Art Chapter 1 Lydia Hurley, “The Reformation of American Children: How the American Civil War Left a Lasting Impact on the Lives of Children” It is August 3rd, 1864.
  • Morganhallguide-Print.Pdf

    Morganhallguide-Print.Pdf

    SOUTH WALL NORTH WALL 1 William Heysham Overend 8 Emanuel de Witte 15 Cigoli (Ludovico Cardi) 22 Jacob Pynas 28 Sir Thomas Lawrence 35 Claude Vignon and Studio 1 Emanuel Gottlieb Leutze 8 Unidentified Artist 15 Cristóbal Villalpando 20 Constance Mayer 26 John Trumbull 32 Carlo Dolci English, 1851–1898 Dutch, 1617 – 1692 Italian, Florence, 1559 – 1613 Dutch, c. 1590 – c.1648 English, 1769 – 1830 French, 1593 – 1670 German, active in America, Italian, Bologna Mexican, 1649 – 1714 (Marie–Françoise–Constance American, 1756 – 1843 Italian, Florence, 1616 – 1686 An August Morning with The New Fish Market in Adoration of the Shepherds, The Adoration of the Magi, 1617 Lady St. John as “Hebe,” c. 1808 Banquet of Anthony and 1816 – 1868 Fantastic Architectural The Archangel Michael, c. 1700 La Martinière) The Death of General Warren Christ Child with Flowers, Farragut; The Battle of Mobile Amsterdam, 1678 c. 1602 Oil on copper Oil on canvas Cleopatra, c. 1630 The Storming of the Teocalli by Perspective, c. 1730–40 Oil on canvas French, 1775 – 1821 at the Battle of Bunker’s Hill, c. 1670s Bay, August 5, 1864, 1883 Oil on canvas Oil on canvas The Ella Gallup Sumner and Mary Catlin Gift in memory of Mae Cadwell Oil on panel Cortez and His Troops, 1848 Oil on canvas The Ella Gallup Sumner and Mary Catlin Self–Portrait of the Artist with June 17, 1775, 1834 Oil on canvas Oil on canvas The Ella Gallup Sumner and Mary Catlin The Douglas Tracy Smith and Dorothy Sumner Collection Fund, 1959.103 Rovensky, 1961.194 The Ella Gallup Sumner and Mary Catlin Oil