Back Bay Stakeholders' Report
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2006 Annual Conference Program Sessions
24 CAA Conference Information 2006 ARTspace is a conference within the Conference, tailored to the interests and needs of practicing artists, but open to all. It includes a large audience session space and a section devoted to the video lounge. UNLESS OTHERWISE NOTED. ALL ARTSPACE EVENTS ARE IN THE HYNES CONVENTION GENTER, THIRD LEVEl, ROOM 312. WEDNESDAY, FEBRUARY 22 ------------------- 7:30 AM-9:00 AM MORNING COFFEE, TEA, AND JUICE 9:30 AM-NOON SlOPART.COM BRIAN REEVES AND ADRIANE HERMAN Slop Art corporate representatives will share popular new product distribution and expression-formatting strategies they've developed to address mounting consumer expectation for increasing affordability, portability, familiar formatting, and validating brand recognition. New franchise opportunities, including the Slop Brand Shippable Showroom™, will be outlined. Certified Masterworks™ and product submission guidelines FREE to all attendees. 12:30 PM-2:00 PM RECENT WORK FROM THE MIT MEDIA LAB Christopher Csikszelltlnihalyi, a visual artist on the faculty at the MIT Media Lab, coordinates a presentation featuring recent faculty work from the MIT Media Lab; see http;llwww.media.mit.edu/about! academics.htm!. 2:30 PM-5:00 PM STUDIO ART OPEN SESSIOII PAINTING Chairs; Alfredo Gisholl, Brandeis University; John G. Walker, Boston University Panelists to be announced. BOSTON 25 THURSDAY, FEBRUARY 23 2:30 PM-5:00 PM STUDIO ART OPEN SESSIOII 7:30 AM-9:00 AM PRINTERLY PAINTERLY: THE INTERRELATIONSHIP OF PAINTING AND PRINTMAKING MORNING COFFEE, TEA, AND JUICE Chair: Nona Hershey, Massachusetts College of Art Clillord Ackley, Museum of Fine Arts, Boston 9:00 AM-5:30 PM Michael Mazur, independent artist James Stroud, independent artist, Center Street Studio, Milton Village, VIDEO lOUNGE: EXPANDED CINEMA FOR THE DIGITAL AGE Massachusetts A video screening curated by leslie Raymond and Antony Flackett Expanded Cinema emerged in the 19605 with aspirations to explore expanded consciousness through the technology of the moving image. -
REVIEW Volume 60 Z No
REVIEW Volume 60 z No. 1 Fall 2017 Willa Cather and Mary Cassatt Willa Cather REVIEW Volume 60 z No. 1 | Fall 2017 13 14 2 19 CONTENTS 1 Letters from the Executive Director and the President 14 On the Visual within Willa Cather Mary Linnea Vaughan 2 Missed (?) Connections: Willa Cather and Mary Cassatt z Ann Romines 19 Regarding “Art-less Pittsburgh,” C. S. Reinhart’s Washed Ashore, and “The Sculptor’s Funeral” 13 The Willa Cather Foundation Art Collection Timothy W. Bintrim On the cover: Mary Cassatt Self-Portrait (ca. 1880), National Portrait Gallery, Smithsonian Institution. Letter from known than some of our other archival holdings. These artworks, the Executive Director many connected to Cather herself, and many inspired by her Ashley Olson writing and evocative of her time, bring great joy to our visitors and to our staff. The collection has grown gradually over the years, to our delight. And now that we have greatly enhanced facilities, So many changes! By now, you have no doubt taken note of we hope to see it grow even more. our beautiful new masthead and this publication’s simple and Humankind is fortunate that since our earliest days, artists sophisticated new name, the Willa Cather Review. We’re pleased have shared their gifts with us. In addition to bringing joy, the arts to debut this new look after another (larger) transformation that push us to become more well-rounded individuals and give us a led to the grand opening and dedication of the National Willa reason to pause for thought and reflection. -
Merrymount Press Records: Finding Aid
http://oac.cdlib.org/findaid/ark:/13030/c8j96csq No online items Merrymount Press Records: Finding Aid Finding aid prepared by Diann Benti and Kate Peck. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department The Huntington Library 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © January 2020 The Huntington Library. All rights reserved. Merrymount Press Records: mssMerrymount 1 Finding Aid Overview of the Collection Title: Merrymount Press Records Dates (inclusive): 1893-1950 Collection Number: mssMerrymount Creator: Merrymount Press Extent: 364 boxes and 236 volumes (439.92 linear feet) Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection consists of the business records of the Merrymount Press of Boston, Massachusetts, and papers of its owner Daniel Berkeley Updike (1860-1941). The Press, which operated for 45 years, was known for its excellence in typography and design, especially in the field of decorative printing and bookmaking. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher. Preferred Citation [Identification of item]. Merrymount Press Records, The Huntington Library, San Marino, California. -
List of Objects Proposed for Protection Under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (Protection of Cultural Objects on Loan)
List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Manet: Portraying Life 26 January 2013 to 14 April 2013 Title: Amazone Date / Period: c. 1875 Artist: Édouard Manet Inv.N: 1980.5 659 Medium: Oil on canvas Size: Unframed : 88 x 116 cm Image © The Bridgeman Art Library Lender: Provenance: Museu de Arte de São Paulo Inventory after Manet’s death, 1883, no. 30; posthumous sale, 2/4- Assis Chateaubriand, São 5/1884, no. 50; Max Linde, Lübeck (c. 1904); A. Cassirer, Berlin (c. 1930); Wildenstein, New York; Museu de Arte de São Paulo Assis Paulo Chateaubriand, São Paulo . List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Manet: Portraying Life 26 January 2013 to 14 April 2013 Title: Berthe Morisot Date / Period: c.1873 Artist: Édouard Manet Inv.N: 1958.34 Medium: Oil on fabric Size: Unframed : 74 x 60 cm Framed : 91.2 x 76.52 x 7.3 cm © The Cleveland Museum of Art Lender: Provenance: The Cleveland Museum of Manet's studio inventory, 1884, no. 60, ff. 50. Artist's estate sale, Art. Bequest of Leonard C. Paris, Drouot, 4-5 February 1884 (lot 29), La jeune femme au manchon, 73.5 x 60 cm. Bought back by Mrs. Manet (née Hanna, Jr., 1958.34 Leenhoff) for ff 170. Auguste Pellerin, Paris, by 1910. Jules Strauss, Paris, by 1912. Paris sale, Georges Petit, 15 December 1932 (lot 48, repr.), Portrait de Berthe Morisot au Manchon, paint au cours de l'hiver de 1868-69 dans l'atelier de la rue Guyot (acc. -
The New England Watercolor Tradition 1920–1950
The New England Watercolor Tradition 1920–1950 May 15–July 1, 2006 VOSE GALLERIES OF BOSTON Cover: 34209 John Whorf (1903–1959) Heading Out Watercolor on paper 3 15 x 21 ⁄4 inches Signed lower left The New England Watercolor Tradition 1920–1950 May 15–July 1, 2006 Realism and Watercolor, 1900–1950 by Nancy Allyn Jarzombek The Boston Water Color Society and Vose Galleries by Marcia L. Vose The Boston Five: A Brief Fling by Marcia L. Vose Artist Biographies by Elizabeth W. Vose and Rachel Beaupré How to Care for Watercolors: FAQs 238 newbury street • Boston, Massachusetts 02116 V o s e telephone 617.536.6176 • facsimile 617.247.8673 G alleries of B oston [email protected] • www.vosegalleries.com D ealers in f ine P aintinGs for s ix G enerations • e staBlisheD 1841 Boston artists, collectors and critics followed the lead of their New York Realism and Watercolor, 1900–1950 counterparts. The American Watercolor Society was established in New York in by Nancy Allyn Jarzombek 1867 to promote the production of watercolors and their purchase. Their annu - al exhibitions were enthusiastically reviewed by art critics in Boston papers. It By the end of the nineteenth century, watercolor had emerged as an artistic was widely reported that sales of watercolors were brisk and by the middle of the medium with enduring powers. Artists such as Winslow Homer and John Singer 1880s one reviewer noted that every major American painter in oils was also Sargent exploited its expressive and spontaneous possibilities. Collectors, in working in watercolor. 2 The Boston Art Club accepted watercolors into their turn, responded to the fresh, bold handling of the medium; they could not buy annual exhibitions from 1873 until 1881, when the number of watercolors and them fast enough. -
Photoresearcher
Photoresearcher No 10 | August 2007 E 10,– ESHPh European Society for the History of Photography Association Européenne pour l’Histoire de la Photographie Europäische Gesellschaft für die Geschichte der Photographie Photoresearcher Editorial As with our last edition, we are delighted to report that and bestowed with the title of an attaché of the Austri- we received many contributions and, again, we were an Imperial Embassy in the United States of North really surprised at the broad variety of topics offered. America, Friedrichsthal travelled to Mexico in 1839 Once again we are pleased to record that the majority and 1840. On his tour through Europe and North Amer- of our articles are published here for the first time. ica he met a lot of influential people who gave him Alistair Crawford’s title of Suschitzky, photogra- valuable advice for his journey to Mexico, among them pher. Fled Hitler, Loved Lenin, Shot Michael Caine Alexander von Humboldt in Paris, the author and his- refers to a headline of an article in a Scottish news - torian William Hickling Prescott in Boston, the author paper. He outlines the flight of this Viennese photo - and traveller John Lloyd Stephens and the chemist grapher, via the Netherlands, to London, where John William Draper, both in New York. Friedrich- Suschitzky for many years took pictures of children sthal was the first European to describe the ancient and animals in the zoo, besides working later as a Maya ruins of Chichén-Itzá. On his way back to Vien- camera man. Crawford analyses these pictures and tries na he showed his daguerreotypes in New York, London to get to the bottom of the validity of documentary pho- and Paris. -
The Boston School Tradition
The Boston School Tradition TRUTH , B EAUTY AND TIMELESS CRAFT Cover: Joseph Rodefer DeCamp (1858-1923), (detail) The Kreutzer Sonata (The Violinist II) Oil on canvas, 48 1/4 x 40 1/4 inches, signed and dated lower left: Joseph DeCamp 1912, (pg. 19) The Boston School Tradition TRUTH , B EAUTY AND TIMELESS CRAFT June 6 - July 18, 2015 V OSE Fine American Art for Six Generations EST 1841 G ALLERIES LLC Boston Art Schools, Clubs and Studios E.A. Downs, Boston, 1899 , George H. Walker & Co. Lithography, Boston Courtesy of The Norman B. Leventhal Map Center, Boston Public Library Edited by Marcia L. Vose Designed by Stephanie M. Madden and Elizabeth Vose Frey Written by Courtney S. Kopplin, Stephanie M. Madden, and Catharine L. Holmes Photography by Tyler M. Prince Original Museum of Fine Arts location in Printing by Puritan Capital, Hollis, NH Copley Square, circa 1895 © 2015 Copyright Vose Galleries, LLC. All rights reserved. Vose Galleries Archives Foreword by Marcia L. Vose, Vice President Stuffed Sharks or Truth and Beauty? One of our artists, Joel Babb, recently gave me a book that As the definition of “art” becomes increasingly diverse, I I am in the midst of reading, Don Thompson’s The $12 hope future historians will distinguish today’s realist painters Million Stuffed Shark: The Curious Economics of Contem - as upholders of an art form that has been passed down for porary Art . I have had a glimpse into the machinations of centuries, with each succeeding generation applying tradi - this dizzying world, which originated around 1970, and tional methods and timeless craft in new and inventive ways. -
Women and Metalworking in the American Arts and Crafts Movement
A Craft of Their Own: Women and Metalworking in the American Arts and Crafts Movement in Boston and Chicago Carlieanne Kaufman Erickson Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of the Decorative Arts and Design MA Program in the History of the Decorative Arts and Design Cooper-Hewitt, National Design Museum, Smithsonian Institution; and Parsons The New School for Design 2012 ©2012 Carlieanne Kaufman Erickson All Rights Reserved A Craft of Their Own: Women and Metalworking in the American Arts and Crafts Movement in Boston and Chicago Contents: Illustration List……………………………………………………………………………………………………………………………..i Acknowledgements…………………………………………………………………………………………………………………...ix Introduction…………………………………………………………………………………………………………………………….…xi Chapter 1: From Hobbyist to Professionals: How Women Became Arts and Crafts Jewelers and Metalworkers……………………………………………..1 Chapter 2: A New England State of Mind: The Women of the Boston Movement………………………………………15 Chapter 3: A Midwestern Perspective: The Women of the Chicago Movement…………………………………………34 Chapter 4: Decorative Dialects: A Stylistic Study of Boston and Chicago…………………………………………………….52 Bibliography.…………………………………………………………………………………………………………………………….61 Illustrations.………………………………………………………………………………………………………………………………69 i List of Illustrations Figure 2.1 Necklace, c. 1910-18; Josephine Hartwell Shaw, Gold, jade, colored glass; Image reproduced from the Collection of the Museum of Fine Arts, Boston. Figure 2.2 Detail, Necklace, c. 1910-18; Josephine Hartwell Shaw, Gold, jade, colored glass; Image reproduced from the Collection of the Museum of Fine Arts, Boston. Figure 2.3 Necklace, date unknown; Josephine Hartwell Shaw, Rose quartz, purple tourmaline, gold, and silver; Image reproduced from Skinner Auctioneers and Appraisers, from the Fine Jewelry Sale #2330, Lot # 492. Figured 2.4 Necklace, c. 1914-1915; Josephine Hartwell Shaw, Blue Ceylon sapphire and white gold; Image reproduced from April 1915 issue of House Beautiful. -
A Touch of Art”: Sarah Wyman Whitman and the Art of the Book in Boston
“A Touch of Art”: Sarah Wyman Whitman and the Art of the Book in Boston Molly Kristin Eckel Submitted in Partial Fulfillment of the Prerequisite for Honors in Art History © 2012 Molly K. Eckel 2 In memory of my grandparents 3 Table of Contents List of Illustrations…………………………………………………………….…………4 Acknowledgements……………………………………………..………………………6 “ʼA Touch of Artʼ: Sarah Wyman Whitman and the Art of the Book in Boston” I. Sarah Wyman Whitman: Two Worlds, Two Lives………………………………...8 II. The Fine Art of Conversation: Social Networks and Art-Making………………38 III. The Book in Boston, 1850-1900…………………………………………………62 IV. Stone, Glass, and Cloth: A Survey of Whitmanʼs Book Designs…………….87 V. Epilogue: Changing Tastes, Changing Communities…………………………113 Illustrations……………………………………………………………………………124 Works Cited…………………………………………………………………………...154 4 Illustrations Follow page 124 1. Helen Bigelow Merriman, Sarah Wyman Whitman (1909-1910). 2. John White Alexander, Portrait of Sarah de St. Prix (Wyman) Whitman (ca. 1904). 3. John Singer Sargent, William Merritt Chase (1902). 4. Sarah Wyman Whitman, Roses – Souvenir de Villiers-le-bel (1877 or 1879). 5. Sarah Wyman Whitman, Phillips Brooks Memorial Window (1893). 6. Sarah Wyman Whitman, book cover for Sarah Orne Jewett, The Country of the Pointed Firs (1896). 7. William Harcastle Brown, Heartthrobs of Gifted Authors (1878). 8. Armstrong & Company Houghton Mifflin and Company's Holiday Books Advertisement (1895). 9. Sarah Wyman Whitman, Gemma Timminsʼ funerary monument (ca. 1890). 10. Sarah Wyman Whitman, book cover for Susan Coolidge [Sarah Chauncey Woolsey],Verses (1880). 11. Dante Gabriel Rossetti, book cover for Charles A. Swinburne, Atalanta in Calydon (1865). 12. Sarah Wyman Whitman, book cover for Nathanial Hawthorne, The Marble Faun (1889). -
Back Bay Walk East — 52
Back Bay Walk East — 52 ��������������� ������������� �� �������� ��������� ���������� �� �� �� �� �� ��� �� �� ��������������� � � � � � ������ ����������������� � � ������ � � ����������� ������������ � � ���������� � � ������ ������ �������������� ������������� ������������ ������������� ������������� �������� ������� � Back Bay Walk East Use this map for all “BBE” sites T = MBTA stop M Back Bay Walk East — 53 Back Bay Walk East “Educators, Artists, and Reformers” The Back Bay, originally a mudflat, was filled in with gravel brought from suburban Needham by train between 1852 and 1890. The land is flat, with streets laid out in a straight grid. The cross streets are conveniently named alphabetically from A to H. This elegant neighborhood includes Commonwealth Avenue with its tree-lined mall of grass, center walking path, and sculptures, as well as the “uptown” shopping area with high-end stores, art galleries, and restaurants. The Back Bay East Walk starts and ends at the Public Garden. The sites highlight the work of women in the arts and in education, and women who led the way in environmental protection, suffrage, and peace. Time: 1 1/2 hours Begins: Boston Public Garden T Directions: Enter the Public Garden at the corner of Beacon and Charles streets. BBE1: The Public Garden and Ducklings, modeled on the ducklings Fountains by Women Sculptors in Robert McCloskey’s book of the same Beacon, Charles and Arlington Streets name, is by local sculptor, Nancy Schön. The Public Garden opened in 1837 as Women also designed the sculptures for a private space, but grew into a public four fountains in the Public Garden. park with its lagoon, swan boats, seasonal Using the map below, begin with the plantings, fountains, and sculpture. ducklings (V). The newest sculpture, Make Way for Map by Karen Tenney Arlington Street Boylston Street Beacon Street Charles Street Back Bay Walk East — 54 Follow the path to the left to Triton Babies (IV) by Anna Coleman Ladd (1878-1939), given by Elizabeth Sturgis Grew Beal. -
A Catalogue Raisonné Polly P
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: English, Department of Department of English 5-1993 Paintings and Drawings in Willa Cather's Prose: A Catalogue Raisonné Polly P. Duryea University of Nebraska-Lincoln Follow this and additional works at: http://digitalcommons.unl.edu/englishdiss Part of the American Art and Architecture Commons, American Literature Commons, Illustration Commons, Interdisciplinary Arts and Media Commons, Modern Literature Commons, Other American Studies Commons, Other History of Art, Architecture, and Archaeology Commons, and the Women's Studies Commons Duryea, Polly P., "Paintings and Drawings in Willa Cather's Prose: A Catalogue Raisonné" (1993). Dissertations, Theses, and Student Research: Department of English. 93. http://digitalcommons.unl.edu/englishdiss/93 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. PAINTINGS AND DRAWINGS IN WILLA CATHER'S PROSE A CATALOGUE RAISONNE' by Polly P. Duryea A DISSERTATION Presented to the Faculty of The Graduate College in the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy Major: English Under the Supervision of Professor Susan J. Rosowski Lincoln, Nebraska May 1993 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. DISSERTATION TITLE PAINTINGS AND DRAWINGS IN WILLA CATHER'S PROSE A CATALOGUE RAISONNE BY Polly Patricia Duryea SUPERVISORY COMMITTEE: r\ APPROVED DATE Sig! nr iffa Susan J. -
REVOLT, THEY SAID. 1 a Project by Andrea Geyer
REVOLT, THEY SAID. 1 a project by Andrea Geyer INSTALLATION MUSEUM OF MODERN ART NEW YORK Ida York Abelman (1908–2002) was a highly regarded Social OCTOBER 16th - NOVEMBER 27th 2015 Realist, known for the graphic work that she produced for the various Federal Art Projects in New York during the Depression. BIOGRAPHIES FOR DRAWING Her etchings and lithographs of the 1930s depict the difficult living conditions endured by many. Abelman also completed two murals for the Federal Art Projects: Lewiston Milestones in Lewiston, Illinois, and Booneville Beginnings in Booneville, Indiana, both extant. Her art training included the National Academy of Design, Grand Central Art School, College of the City of New York, and Hunter College, all in New York City. She was a member of the American Artists Congress and exhibited at the Museum of Modern Art, the Whitney Museum Louise Abbéma (1853–1927) was an artist known for her of American Art, and the Berkshire Museum, Massachusetts, portraits of notable figures of the Belle Époque, including among other venues. Her work is the collections of numerous Emperor Dom Pedro II of Brazil, architect Charles Garnier, and museums as well as the Library of Congress. actress Sarah Bernhardt. Bernhardt and Abbéma were lovers and exhibited artworks together at the 1893 World’s Columbian Gertrude Abercrombie (1909–1977) was an American Exposition in Chicago. Abbéma was a regular exhibitor at the painter. She spent much of her childhood traveling Europe with Paris Salon and regular contributor to the journals Gazette des her parents who toured with an opera company. The outbreak of Beaux-Arts and L’Art.