A Finding Aid to the Rita and Daniel Fraad Papers, 1926-1997, in the Archives of American Art
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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. -
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.................................................... -
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. -
New Exhibition Explores Spanish Influence on American Artists
New Exhibition Explores Spanish Influence on American Artists Chrysler Museum of Art and Milwaukee Art Museum to open major exhibition exploring the widespread influence of Spanish culture and art on American painting NORFOLK, Va. – September 15, 2020 – The extensive impact of Spanish art and culture on American painters in the 19th and early 20th centuries is the focus of Americans in Spain: Painting and Travel, 1820-1920. The new exhibition will be on view at the Chrysler Museum of Art in Norfolk, Virginia, Feb. 12-May 16, 2021, and at the Milwaukee Art Museum, June 11- Oct. 3, 2021. Americans in Spain will explore a pivotal moment in the 19th and early 20th centuries when American artists and their European counterparts flocked to Spain to capture its scenic charms and customs. The first major exhibition to present this important period of American art to a wide audience, it brings together more than 100 artworks, including paintings from the 17th- 20th centuries, photographs, prints and travel guides. It showcases works by American artists Mary Cassatt, William Merritt Chase, Robert Henri, John Singer Sargent and others alongside their Spanish contemporaries and Spain’s old masters. A newly documented painting by Cassatt that has never been shown in the U.S. is one of the highlights. Visitors will be able to access a 3D Visualization of the Prado Museum and Interactive Artist Travelers Project using their mobile devices to visit the Prado Museum and famous sites in Spain. The exhibition draws upon the Chrysler Museum’s collection of American and old master works and the Milwaukee Art Museum’s holdings of realist paintings, specifically by the Ashcan Circle and the Eight. -
View and Download La Belle Époque Art Timeline
Timeline of the History of La Belle Époque: The Arts 1870 The Musikverein, home to the Vienna Philharmonic, is inaugurated in Vienna on January 6. The Metropolitan Museum of Art in New York is established on April 13, without a single work of art in its collection, without any staff, and without a gallery space. The museum would open to the public two years later, on February 20, 1872. Richard Wagner premieres his opera Die Walküre in Munich on June 26. Opening reception in the picture gallery at the Metropolitan Museum of Art, 681 Fifth Avenue; February 20, 1872. Wood engraving published in Frank Leslie’s Weekly, March 9, 1872. 1871 Giuseppe Verdi’s opera Aida premieres in Cairo, Egypt on December 24. Lewis Carroll publishes Through the Looking Glass, a sequel to his book Alice’s Adventures in Wonderland (1865). James McNeill Whistler paints Arrangement in Grey and Black No. 1, commonly known as “Whistler’s Mother”. John Tenniel – Tweedledee and Tweedledum, illustration in Chapter 4 of Lewis Carroll’s Through the Looking Glass and What Alice Found There, 1871. Source: Modern Library Classics 1872 Claude Monet paints Impression, Sunrise, credited with inspiring the name of the Impressionist movement. Jules Verne publishes Around the World in Eighty Days. Claude Monet – Impression, Sunrise (Impression, soleil levant), 1872. Oil on canvas. Musée Marmottan Monet, Paris. 1873 Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs (Co-operative and Anonymous Association of Painters, Sculptors, and Engravers) (subsequently the Impressionists) is organized by Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley in response to frustration over the Paris Salon. -
William Merritt Chase and the Imagination
ISSN: 2471-6839 “It’s in My Mind”: William Merritt Chase and the Imagination James Glisson The Huntington Library, Art Collections, and Botanical Garden In some respects, the research methods I use as a curator are the inverse of those of a graduate student writing a dissertation. While in the past I skipped over works of art that did not fit into my narrative and sought out the best examples to make my point, I now tend a permanent collection and have become better at taking the idiosyncrasies of those artworks as the starting point for research. In particular, curatorial work has made me attuned to those moments when artists work against the grain of habit and do something unpredictable. They make one offs, or two offs, and then return to what they were Fig. 1. The Inner Studio, Tenth Street, c. 1883. Oil on canvas. The Huntington. Gift of the Virginia Steel Scott Foundation. This is the first published photograph of the painting after a Spring 2016 surface cleaning. James Glisson. “‘It’s in My Mind’: William Merritt Chase and the Imagination.” Panorama: Journal of the Association of Historians of American Art 3 no. 1 (Summer, 2017). https://doi.org/10.24926/24716839.1591. doing before. Trying to square these oddball works against thoroughly convincing interpretations of the rest of the oeuvre can be a fruitless exercise. At the Huntington, there is one such painting by William Merritt Chase (1849–1916), The Inner Studio, Tenth Street (fig. 1), which offers a counter narrative to prevailing interpretations of his work.1 From the Gilded Age to the present, Chase has not been known for the poetic or the chimerical. -
Northwest Impressionism, 1910-1935
Hidden in Plain Sight: Northwest Impressionism, 1910-1935 John E. Impert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2012 Reading Committee: Susan Casteras, Chair René Bravmann Douglas Collins Program authorized to Offer Degree: Art History University of Washington Abstract Hidden in Plain Sight: Northwest Impressionism, 1910-1935 John E. Impert Chair of the Supervisory Committee: Professor Susan Casteras Art History Northwest Impressionist artists are among the forgotten figures in American art history. Responsible for bringing Modernism to Washington and Oregon, they dominated the art communities in Seattle and Portland from about 1910 to 1928, remaining influential until the mid 1930’s. After describing the artists briefly, this dissertation summarizes and evaluates the slim historiography of Northwest Impressionism. Impressionism and Tonalism are contrasted in order to situate these artists within the broad currents of American art history. Six important artists who have not been studied in the past are each accorded a chapter that summarizes their educations, careers, and artistic developments. In Seattle, Paul Gustin, the early leader of the Seattle art community, was most closely associated with images of Mount Rainier. Edgar Forkner, a well established Indiana artist, moved to Seattle and painted numerous canvases of old boats at rest and still lifes of flowers. Dorothy Dolph Jensen, a latecomer, emphasized shoreline and harbor scenes in her work. In Portland, Charles McKim traded complete anonymity in Portland, Maine for the leadership of the Oregon art community, creating a variety of landscapes and seascapes. Clyde Keller produced an enormous output of landscapes over a long career that extended to California as well as Oregon. -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
This page intentionally left blank This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 by Dorothy W. Phillips Curator of Collections The Corcoran Gallery of Art, Washington D.G. 1973 Library of Congress Catalogue Card Number N 850. A 617 Designed by Graham Johnson/Lund Humphries Printed in Great Britain by Lund Humphries Contents Foreword by Roy Slade, Director vi Introduction by Hermann Warner Williams, Jr., Director Emeritus vii Acknowledgments ix Notes on the Catalogue x Catalogue i Index of titles and artists 199 This page intentionally left blank Foreword As Director of the Corcoran Gallery of Art, I am pleased that Volume II of the Catalogue of the American Paintings in the Corcoran Gallery of Art, which has been in preparation for some five years, has come to fruition in my tenure. The second volume deals with the paintings of artists born between 1850 and 1910. The documented catalogue of the Corcoran's American paintings carries forward the project, initiated by former Director Hermann Warner Williams, Jr., of providing a series of defini• tive publications of the Gallery's considerable collection of American art. The Gallery intends to continue with other volumes devoted to contemporary American painting, sculpture, drawings, watercolors and prints. In recent years the growing interest in and concern for American paint• ing has become apparent. -
The Elie and Sarah Hirschfeld Collection, Scenes of New York City
THE ELIE AND SARAH HIRSCHFELD COLLECTION, SCENES OF NEW YORK CITY The first artworks from philanthropists and art collectors Elie and Sarah Hirschfeld’s extraordinary promised gift to the New-York Historical Society have joined the Museum’s collection and go on view on February 12. Depicting New York locations still recognizable today, the works include The Boat Harbor (Gowanus Pier), ca. 1888, by William Merritt Chase; Early Spring, Washington Square, ca. 1910, by William James Glackens; Foggy Night, ca. 1922-25, by George Luks; and Dredging in the East River, ca. 1879, by John Henry Twachtman. The full Hirschfeld Collection exhibition—featuring a who’s who of 19th- to 21st-century artists, including Isabel Bishop, Charles Burchfield, Marc Chagall, Christo, Stuart Davis, Willem de Kooning, Keith Haring, David Hockney, Edward Hopper, Franz Kline, Jacob Lawrence, Fernand Léger, Sol Lewitt, John Marin, Louise Nevelson, Georgia O’Keeffe, Norman Rockwell, and Andy Warhol, among others—opens at New-York Historical in fall 2021. John Henry Twachtman (1853-1903) Dredging in the East River, ca. 1879 Oil on canvas; 12 x 18 in. New-York Historical Society, Gift of the Elie and Sarah Hirschfeld Collection, Scenes of New York City, 2020.35.4 Dredging in the East River is the first work by Twachtman to enter the collections of New-York Historical. Its slashing brushstrokes and dark chiaroscuro forego the aestheticization that contemporaneous artists employed to draw a veil over the industrializing waterways of the city. The painting focuses instead on the violence of modernization and the destruction that progress entails—anticipating the early-20th century Ashcan School and its pursuit of a stark and brutal urban realism. -
News Release
NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 CONTACT: Randall Kremer (202) 842-6353 FOR IMMEDIATE RELEASE ** PRESS PREVIEW: Tues., May 3 11:00 A.M. - 2:00 P.M. NATIONAL GALLERY TO SHOW FLAG PAINTINGS OF AMERICAN IMPRESSIONIST CHILDE HASSAM WASHINGTON, March 13, 1988 - The National Gallery of Art will pay tribute to one of America's foremost painters, Childe Hassam (1859-1935), with an exhibition of 21 of his World War I era flag paintings. Entitled The Flag Paintings of Childe Hassam, this will be the most complete showing of the paintings since the artist's lifetime. The exhibition, which has been organized by the Los Angeles County Museum of Art, will open at the National Gallery's East Building on May 8, 1988, where it will be on view through July 17, 1988. This is the second of three National Gallery exhibitions to recognize the achievements of American impressionist painters. The series, Masters and Masterpieces of American Impressionism, opened last year with William Merritt Chase: Summers at Shinnecock 1891 - 1902 and the third exhibition in 1989 will present the works of John Twachtman. The entire series is made possible at the National Gallery by Bell Atlantic. (more) Childe Hassam ... page two "When Childe Hassam began his series of flag paintings, in 1916, he was regarded as America's most important impressionist painter," said J. Carter Brown, director of the National Gallery of Art. "The spirit he captures in these pictures is one of the great city of New York calling for all Americans to support the ideals that brought the nation into the First World War.