DOCSLIB.ORG

Curriculum Activities

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Curriculum Activities This teacher’s curriculum guide includes lesson ideas to accompany the 15 works from The School District of Philadelphia Art Collection on view in the exhibition Decorated, Displayed, Discovered: Celebrating the Region’s School Art Collections. July 8, 2017—January 7, 2018 Fred Beans Gallery 138 South Pine Street Doylestown, PA 18901 215-340-9800 www.MichenerArtMuseum.org www.LearnMichener.org Copyright © James A. Michener Art Museum, 2017. Looking Questions: What do you see in this painting? Describe all the details you can find. Identify what you see in the fore- ground, middleground and back- ground. Where is the horizon line? Describe the brushstrokes in the painting. How would you describe the light in this painting? What time of day is it? Explain. What season is it? How do you know? How does this painting make you feel? Why? John Folinsbee (1892-1972), Canal Bridge, c. 1923, oil on canvas, The School District of Philadelphia About the Artwork: Walter Emerson Baum helped acquire this painting for the Woodrow Wilson Middle School in May 1946, as well as a work by Harry Leith-Ross, a good friend of Folinsbee’s who shared a studio with him during their time in Woodstock, NY. Baum frequently attended auctions and gallery exhibitions on behalf of Principal Dudley and received a commission. Keeping to his usual budget, Dudley paid $300 for each painting. Later, he commissioned framemaker and craftsman Frederick Harer to create the frames for each of the works. Canal Bridge was painted earlier in Folinsbee’s career, when he employed more impression- istic elements, including brighter colors, looser brushwork, and capturing the effects of light on the landscape. This Bucks County scene was a setting typical of the Pennsylvania Impres- sionist artists in the area with whom Folinsbee met and worked, including Edward Redfield, Daniel Garber, Robert Spencer, and William Lathrop. The viewer is drawn into this quiet au- tumn location by the curve of the tree-lined towpath. In the distance, one can see the bridge over the canal, and below, with their handler, a pair of mules pulling a barge that is most likely carrying anthracite coal. For more information on John Folinsbee, visit the Michener’s Bucks County Artists’ Database. Download a copy of this activity on Learn with the Michener: www.LearnMichener.org Pre-Visit Activities: Look at the work of John Folinsbee on the Bucks County Artists’ Database. Learn about his style and subject matter. Explore his stylistic changes that happened later in his life. Compare landscapes by different Pennsylvania Impressionist artists found in the exhibition including: John Folinsbee, Walter Baum, Walter Schofield, Theodore Dillaway, Antonio Martino, and Henry Snell. How are their approaches similar or different? Artists would often go out to paint en plein air, or “in the open air” to capture their environment. Often, these areas were very close to where they lived. Create some sketches of your neighbor- hood. What details can you include in your drawing? As a class, discuss your similarities and differences of what is in each of your neighborhoods. Discuss the elements of a landscape including: horizon line, foreground, middleground and back- ground. Explore how the location of the horizon line changes the perspective in the work. Gallery Activities: Weather Reporting Activity Sheet: Write a weather report in response to one of the works in the exhibition. What season is it? How do you know? What kinds of activities would you do during this time of year? Instagram Activity Sheet: Choose a work of art in the exhibit. Sketch the artwork on your activity sheet and write a creative caption along with relevant hashtags to explain your composition. Using Your Senses: If you could walk into one of the landscapes in the exhibition, which one would it be? What would you hear? See? Taste? Smell? Feel? Describe this experience in a short paragraph. Post-Visit Activities: Impressionistic Landscape: Create a painting in the impressionistic style using Canal Bridge as inspiration. Combine tempera paints with flour to create a thick impasto texture. Transportation Systems: Explore the importance of the canal at the turn of the 20th century and its relation to the transportation of coal in the region. How have transportation systems changed along with the use of our natural resources? Write an essay of your findings. Before and After: This painting was created in the 1920s. How would this landscape look today? Draw a version of this place and include the changes that may have happened over the years in your composition. How is it different or similar? Favorite places: Think of a favorite place—a vacation spot, your backyard, a sports field, or somewhere where you go to think. Create a drawing of this place. What details would you include? Or maybe this place is imaginary. What is it like? Write a short descrip- tion to accompany your work. Point of View: Change the position of where you are standing in this landscape. Recreate what you might see from this new perspective. Download a copy of this activity on Learn with the Michener: www.LearnMichener.org John Folinsbee (1892-1972), Canal Bridge, c. 1923, oil on canvas, The School District of Philadelphia. Looking Questions: What do you see in this painting? Describe all the details you can find. Identify what you see in the fore- ground, middleground and back- ground. Where is the horizon line? Describe the brushstrokes in the painting. How would you describe the light in this painting? What time of day is it? Explain. What season is it? How do you know? Where are we positioned in this painting? How does this painting make you feel? Why? Walter Baum (1884-1956), The Brook, (also known as The Brook, Winter), c. 1930, oil on canvas, The School District of Philadelphia. About the Artwork: This painting by Walter Baum was one of the first acquisitions of the Woodrow Wilson Middle School collection in Philadelphia. In the spring of 1931, the school had accumulated several hundred dollars. Principal Charles Dudley and his faculty decided that an appropriate way to spend this money was to purchase an oil painting, because they believed “it would last as long as the school itself” and would “always be not only an inspiration to the pupils who passed through our corridors daily, but also… an object of permanent beauty to enhance the cold and austere walls of our building.” The choice of this painting brought the artist and the staff “much commendation.” Walter Baum had a long standing friendship with Principal Charles Dudley and worked closely with him to obtain works for the school’s collection. Baum would advise Dudley on artists to reach out to and often visited galleries on behalf of Dudley to purchase works of art, often receiving a commis- sion himself. By 1941, the school had acquired 32 oil paintings and eight watercolors. By the end of Dudley’s retirement in 1950, the school had grown a collection of over 70 works. Download a copy of this activity on Learn with the Michener: www.LearnMichener.org Pre-Visit Activities: Write a letter to a friend describing this landscape to them. What details would you include? Look at the work of Walter Baum on the Michener’s Bucks County Artists’ Database. What kinds of facts can you find out about this artist? Explore atmospheric perspective in landscape paintings. What is this technique? How is Baum using it? What other techniques do artists use to create depth? Create a painting demonstrating this technique. Baum would paint the rural areas of Bucks, Montgomery, Lehigh and Berks Counties. He also traveled to the suburb of Manayunk, PA, later in his career. What are the characteristics of this suburb of Philadelphia? Compare this painting to a work of Manayunk found in the exhibit which is part of the collection of the Souderton Area School District. Find this example at: learnmich- ener.org. How are they similar? Different? Which landscape would you rather visit? Why? Gallery Activities: Weather Reporting Activity Sheet: Write a weather report in response to one of the works in the exhibition. What season is it? How do you know? What kinds of activities would you do during this time of year? Instagram Activity Sheet: Choose a work of art in the exhibit. Sketch the artwork on your activity sheet and write a creative caption along with relevant hashtags to explain your composition. Using Your Senses: If you could walk into one of the landscapes in the exhibition, which one would it be? What would you hear? See? Taste? Smell? Feel? Describe this experience in a short paragraph. Post-Visit Activities: Point of View: Imagine you are in the middle of the stream or looking at this landscape from above –what would you see? How would the landscape be different? Draw or paint this scene using the medium of your choice. Principal Charles Dudley would often request frames to be made for the works in the collection at Woodrow Wilson Middle School, often commissioning craftsman Frederick Harer. If you were to create a frame for this painting, what would it look like? Draw this frame and its design. How large would the painting become if you were to add the dimensions of the frame to its overall size? Optional: create this frame in three dimensions using mixed media materials. To learn more about Frederick Harer, visit the Michener’s Bucks County Artists’ Database. Create a landscape painting or drawing using one-point perspective. Is there movement depicted in this work? What movement do you see? Create a landscape depicting movement using a medium of your choice.
Recommended publications
  • AFRO-AMERICAN ART the METROPOLITAN MUSEUM of ART Selections of Nineteenth-Century Afro-American Art

    AFRO-AMERICAN ART the METROPOLITAN MUSEUM of ART Selections of Nineteenth-Century Afro-American Art

    <^ ? AFRO-AMERICAN ART THE METROPOLITAN MUSEUM OF ART Selections of Nineteenth-Century Afro-American Art Selections of Nineteenth-Century Afro-American Art June 19-August 1,1976 Catalogue by Regenia A. Perry The Metropolitan Museum of Art, New York ON THE COVER: Ashur Moses Nathan and Son by Jules Lion. Pastel on canvas, ca. 1845. Lent by Francois Mignon, Natchitoches, Louisiana. Pho­ tograph by Don R. Sepulvado, Natchitoches, Louisiana. Copyright © 1976 by The Metropolitan Museum of Art 1 he Metropolitan Museum is pleased to present the ex­ hibition Selections of Nineteenth-Century Afro-American Art as part of our observance of the nation's Bicentennial celebration. We are grateful for the generosity of the lenders, whose cooperation made the exhibition possible, and we congratulate Dr. Regenia A. Perry, who or­ ganized the show. It is fitting at this time not only to ex­ amine this important aspect of our national heritage but to view it in the broader context of the history of Ameri­ can art as represented in the collection of The Metropoli­ tan Museum of Art. THOMAS HOVING Director ACKNOWLEDGMENTS I would like to express my gratitude to the School of the Arts at Virginia Commonwealth University for granting me a leave of ab­ sence to work on this project during the academic year 1975—1976, to the Andrew W. Mellon Foundation for funding the fellowship at The Metropolitan Museum of Art which I received during this year, to The Metropolitan Museum of Art for working with me in present­ ing this exhibition, and to the numerous institutions and private col­ lectors who have generously lent their works.
  • Henry Ossawa Tanner: Modern Spirit Exhibition, Pennsylvania Academy of Fine Arts, Philadelphia

    Henry Ossawa Tanner: Modern Spirit Exhibition, Pennsylvania Academy of Fine Arts, Philadelphia

    Review essay HenRy Ossawa TanneR: MOdeRn spiRiT exHibiTiOn, pennsylvania acadeMy Of fine aRTs, pHiladelpHia Alexia I. Hudson he Pennsylvania Academy of Fine Arts (PAFA) is located in Philadelphia within walking distance of City Hall. Founded in T1805 by painter and scientist Charles Willson Peale, sculptor William Rush, and other artists and business leaders, PAFA holds the distinction of being the oldest art school and art museum in the United States. Its current “historic landmark” build- ing opened in 1876, three years before Henry Ossawa Tanner (1859–1937) enrolled as one of PAFA’s first African American students. Tanner would later become the first African American artist to achieve international acclaim for his work. Today, PAFA is comprised of two adjacent buildings—the “historic landmark” building at 118 North Broad Street and the Samuel M. V. Hamilton Building at 128 N. Broad Street. The oldest building was designed by architects Frank Furness and George W. Hewitt and has been designated a National Historic Landmark, hence its name. In 1976 PAFA underwent a delicately managed restoration process to ensure that the archi- tectural and historical integrity of the building was maintained. pennsylvania history: a journal of mid-atlantic studies, vol. 79, no. 2, 2012. Copyright © 2012 The Pennsylvania Historical Association This content downloaded from 128.118.152.206 on Wed, 14 Mar 2018 15:39:34 UTC All use subject to http://about.jstor.org/terms PAH 79.2_06_Hudson.indd 238 18/04/12 12:28 AM review essays The Lenfest Plaza opened adjacent to PAFA on October 1, 2011, and was celebrated with the inaugural lighting of “Paint Torch,” a sculpture by inter- nationally renowned American artist Claes Oldenburg.
  • Center Bridge Burning

    Center Bridge Burning

    Burning of Center Bridge, 1923 Edward W. Redfield (1869-1965 oil on canvas H. 50.25 x W 56.25 inches James A. Michener Art Museum, acquired with funds secured by State Senator Joe Conti, and gifts from Joseph and Anne Gardocki, and the Laurent Redfield Family Biography The Pennsylvania school born in the Academy at Philadelphia or in the person of Edward W. Redfield is a very concise expression of the simplicity of our language and of the prosaic nature of our sight. It is democratic painting—broad, without subtlety, vigorous in language if not absolutely in heart, blatantly obvious or honest in feeling. It is an unbiased, which means, inartistic, record of nature. —Guy Pene du Bois Among the New Hope impressionists, Edward Willis Redfield was the most decorated, winning more awards than any other American artist except John Singer Sargent. Primarily a landscape painter, Redfield was acclaimed as the most “American” artist of the New Hope school because of his vigor and individualism. Redfield favored the technique of painting en plein air, that is, outdoors amid nature. Tying his canvas to a tree, Redfield worked in even the most brutal weather. Painting rapidly, in thick, broad brushstrokes, and without attempting preliminary sketches, Redfield typically completed his paintings in one sitting. Although Redfield is best known for his snow scenes, he painted several spring and summer landscapes, often set in Maine, where he spent his summers. He also painted cityscapes, including, most notably, Between Daylight and Darkness (1909), an almost surreal, tonalist painting of the New York skyline in twilight.
  • Telling Stories in Art

    Telling Stories in Art

    Telling Stories in Art From Your Museum to Your Home Note to the Caregiver Thank you for taking the time to support your student’s learning. This unit on Telling Stories in ​ Art was created to introduce your student to the ways in which artists can serve as storytellers ​ to their communities and world. Your student will learn multiple ways that pencil and paper can be used to document the people and stories around them. In the Educator Overview, you will find the specific learning objectives for the unit as well as ​ ​ the education standards that each exercise fulfills. The Art Connections section focuses on an artist in our collection, Henry Ossawa Tanner, one of ​ the greatest artists of his time who used his talents to memorialize his father. Through the Learning to Listen exercises, your student will use oral history techniques to record the memories of those around them. We then will invite your student to make their own gesture drawing in the Studio at Home lesson. ​ ​ At the Walters Art Museum, we believe art brings people together. We hope that you can take time to follow along with your student’s learning. Want to dive deeper into Telling Stories in ​ Art? Take a look at our Extension Activities, which include multimedia resources, a Unit ​ ​ ​ Vocabulary list, which is an aid in expanding your student’s vocabulary, and Conversation ​ Questions that will help you continue learning through dialog. ​ Please let us know what you and your student thought of this unit by taking a brief survey found at the end of the workbook.
  • Biden Administration Extends Eviction Moratorium, Potentially Rescuing

    Biden Administration Extends Eviction Moratorium, Potentially Rescuing

    I Volume XXXI, Number XXIV August 5-18, 2021 A long road ahead for voting rights - See Page 3 COVID order outrages Texas Dems Visit us online at www.northdallasgazette.com - See Page 4 Biden Administration extends eviction Dro Guapo moratorium, potentially rescuing remembered with event millions from losing housing - See Page 5 By Stacy M. Brown NNPA Newswire Senior Pandemic National Correspondent widens The Centers for Disease Control school gap and Prevention has taken new mea- sures to protect renters from evic- - See Page 6 tions. Over the past two months, the Irving ISD new prohibition on evictions will apply to communities with high or serves up free substantial COVID-19 transmis- sion. food for all A formal announcement is ex- pected on Wednesday, August 4. - See Page 7 “My hope is it’s going to be a new moratorium that in some way Because of the spread of the Delta variant, President Biden asked the CDC to consider Murder plot covers close to 90 percent of the executive action. The White House said he is issuing a new, 30-day eviction moratorium focused on counties with high or substantial case rates. A formal announcement of the reveals horrid American people or renters,” Presi- extension came on Wednesday. (Photo: iStockphoto / NNPA) dent Joe Biden told news reporters links with law on Tuesday. act,” Congresswoman Maxine Wa- “Today, the Biden administration The President expressed fears ters (D-Calif.), the chairwoman of answered our call to provide a life- - See Page 8 that the order would face court bat- the House Committee on Financial line to millions of Americans at risk tles after the Supreme Court ruled Services, said in a statement.
  • African American Art Holbrook Lauren South Dakota State University

    African American Art Holbrook Lauren South Dakota State University

    The Journal of Undergraduate Research Volume 6 Journal of Undergraduate Research, Volume Article 3 6: 2008 2008 Documented Struggles and Triumph: African American Art Holbrook Lauren South Dakota State University Follow this and additional works at: http://openprairie.sdstate.edu/jur Part of the African American Studies Commons, Art and Design Commons, and the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Lauren, Holbrook (2008) "Documented Struggles and Triumph: African American Art," The Journal of Undergraduate Research: Vol. 6, Article 3. Available at: http://openprairie.sdstate.edu/jur/vol6/iss1/3 This Article is brought to you for free and open access by Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. It has been accepted for inclusion in The ourJ nal of Undergraduate Research by an authorized administrator of Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. For more information, please contact [email protected]. GS019 JUR08_GS JUR text 11/18/09 8:53 AM Page 7 DOCUMENTED STRUGGLES AND TRIUMPH: AFRICAN AMERICAN ART 7 Documented Struggles and Triumph: African American Art (winner of a 2008 SDSU Schultz-Werth Award) Author: Holbrook Lauren Faculty Sponsor: Dr. Leda Cempellin Department: Visual Arts “I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow jail cells. Some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering.
  • A Lasting Impression

    A Lasting Impression

    1 A Lasting Impression An Introduction to Pennsylvania Impressionism James A. Michener Art Museum’s Traveling Trunk James A. Michener Art Museum • 138 South Pine Street • Doylestown, PA 18901 MichenerArtMuseum.org • 215-340-9800 2 A Lasting Impression James A. Michener Art Museum’s Traveling Trunk Table of Contents Lessons Lesson 1: First Impressions pages 3-4 Lesson 2: Improvisational Theater pages 5-6 Lesson 3: Journals and Boxes page 7 Lesson 4: Contemporary Connections pages 8-9 Lesson 5: The Arts and Media pages 10 Lesson 6: Painting Impressions page 11 Lesson 7: Michener Museum Impressions pages 12-13 Lesson 8: Women in the Arts pages 14-15 Lesson 9: Impressionism and the Environment page 16 Lesson 10: Your Last Impression page 17 Appendix 1: Vocabulary pages 18-24 Appendix 2: Standards pages 25-40 Appendix 3: Biographies and Visuals pages 41-102 Appendix 4: Bibliography pages 103-104 James A. Michener Art Museum • 138 South Pine Street • Doylestown, PA 18901 MichenerArtMuseum.org • 215-340-9800 3 A Lasting Impression James A. Michener Art Museum’s Traveling Trunk Lesson 1: First Impressions Social Studies, Studio Art, Language Arts, Art History Connections Objectives: Students will be introduced to the themes and materials in the James A. Michener Art Museum Culture Kit, A Lasting Impression. Students will demonstrate an understanding of the vocabulary presented in the Lasting Impressions Culture Kit Students will become familiar with the distinctive style in Pennsylvania Impressionist paintings, through the works of Lathrop, Redfield, and Sotter Students will use original documentation to learn about the history of Pennsylvania Impressionism Students will understand the importance of Bucks County heritage as it relates to Pennsylvania, American, and French Impressionism Lesson Ideas Explore the Culture Kit Display the contents of the Culture Kit in your classroom or school library.
  • Painting the World's Christ: Tanner, Hybridity, and the Blood of the Holy Land

    Painting the World's Christ: Tanner, Hybridity, and the Blood of the Holy Land

    Alan C. Braddock Painting the World's Christ: Tanner, Hybridity, and the Blood of the Holy Land Nineteenth-Century Art Worldwide 3, no. 2 (Autumn 2004) Citation: Alan C. Braddock, “Painting the World's Christ: Tanner, Hybridity, and the Blood of the Holy Land,” Nineteenth-Century Art Worldwide 3, no. 2 (Autumn 2004), http://www. 19thc-artworldwide.org/autumn04/298-painting-the-worlds-christ-tanner-hybridity-and-the- blood-of-the-holy-land. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2004 Nineteenth-Century Art Worldwide Braddock: Painting the World‘s Christ: Tanner, Hybridity, and the Blood of the Holy Land Nineteenth-Century Art Worldwide 3, no. 2 (Autumn 2004) Painting the World's Christ: Tanner, Hybridity, and the Blood of the Holy Land by Alan C. Braddock In 1899, Henry Ossawa Tanner painted Nicodemus Visiting Jesus (fig. 1), based on a story from the Gospel of John in which Christ tells a Jewish Pharisee of miraculous visionary powers available to those who are born again. By signing the painting "H. O. Tanner, Jerusalem, 1899," the artist touted his firsthand knowledge of Palestine, where he spent eleven months on two separate trips between 1897 and 1899. The Nicodemus is one of several paintings with biblical subjects that Tanner produced around 1900 after expatriating himself from the United States. Frustrated by pervasive racial discrimination on account of his African ancestry, Tanner left Jim Crow America in 1894 to live in France for the rest of his life, except for occasional family visits to Philadelphia and artistic expeditions to Palestine and North Africa.[1] Fig.
  • American Painting

    American Painting

    a century of American Painting Century of Painting FC IFC IBC_fnl.crw2.indd 1-3 11/5/15 9:38 AM a century of American Painting Century of Painting PGS fnl.crw3.indd 1-2 11/5/15 9:51 AM a century of American Painting December 5, 2014 to January 31, 2015 100 Chetwynd Drive, Bryn Mawr, Pennsylvania 19010 Century of Painting PGS fnl.crw3.indd 3-4 11/5/15 9:51 AM Foreword We tend to look at art through the lens of our own time. We make judgments about its quality and relevance based on current sentiments and tastes. This is a natural inclination, but unless we take the time to consider where and when the artists were working and what the conditions were like at that time, we miss much of the story that lies behind every great work of art. If we fail to consider that Eastman Johnson’s The Vacant Chair (cat. 4) was painted in 1865, we might conclude that it is simply a nicely painted interior of an old kitchen. When we stop to remember that the Civil War had just ended when Johnson put brush to canvas and that the empty chair might symbolize a missing soldier who will never return home, the painting’s powerful statement is fully realized. When we look at the paintings of great women Impressionists, such as Jane Peterson (cat. 18), it deepens our appreciation of their work when we stop to think of their struggle to be taken seriously at a time when women were con- sidered to be, at best, hobbyists.
  • Pennsylvania Folklife Vol. 34, No. 1 Hans Trumpy

    Pennsylvania Folklife Vol. 34, No. 1 Hans Trumpy

    Ursinus College Digital Commons @ Ursinus College Pennsylvania Folklife Magazine Pennsylvania Folklife Society Collection Fall 1984 Pennsylvania Folklife Vol. 34, No. 1 Hans Trumpy William T. Parsons Ursinus College Marion Lois Huffines Robert P. Stevenson Jane Adams Clarke Follow this and additional works at: https://digitalcommons.ursinus.edu/pafolklifemag Part of the American Art and Architecture Commons, American Material Culture Commons, Christian Denominations and Sects Commons, Cultural History Commons, Ethnic Studies Commons, Fiber, Textile, and Weaving Arts Commons, Folklore Commons, Genealogy Commons, German Language and Literature Commons, Historic Preservation and Conservation Commons, History of Religion Commons, Linguistics Commons, and the Social and Cultural Anthropology Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Trumpy, Hans; Parsons, William T.; Huffines, Marion Lois; Stevenson, Robert P.; and Clarke, Jane Adams, "Pennsylvania Folklife Vol. 34, No. 1" (1984). Pennsylvania Folklife Magazine. 106. https://digitalcommons.ursinus.edu/pafolklifemag/106 This Book is brought to you for free and open access by the Pennsylvania Folklife Society Collection at Digital Commons @ Ursinus College. It has been accepted for inclusion in Pennsylvania Folklife Magazine by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. 6:ontrilJutt1r~ JANE ADAMS CLARKE co-authored "The Search for our German Ancestors" which appeared in the Spring, 1982 issue of Pennsylvania Folklife. That article concerned research on her paternal family line; this article traces some of her maternal ancestry. In the course of her research, she found that both sides of her family had moved to Philadelphia from the Goshen­ hoppen region of Pennsylvania; indeed, her parents married in 1924 little knowing that their ancestors were neighbors some 124 years earlier.
  • 2013 Newsletter

    2013 Newsletter

    the newsletter of the department of art history at the university of delaware Spring 2013 Looking Forward Remembering William Innes Homer 1 Spring 2013 From the Chair Editor: Camara Dia Holloway Dear friends of the Department of Art History at Editorial Assistant: Amy Torbert the University of Delaware, As you will see from this issue of Insight, it has been Art Director and Project Manager: a busy and eventful year for the faculty and students Christina Jones and former students in the Department. I am writing to you from my temporary position as interim Chair Lawrence Nees. for the next three terms, which I began to occupy in January Photo by George Freeman. Department of Art History Staff: 2013. In the fall of last year our distinguished Professor Nina Linda J. Magner, Starline Griffin Athanassoglou-Kallmyer, who had been serving as Chair for several years, announced that she wished to step down from Photographer: George Freeman that position and, after the sabbatical now beginning, will retire from full-time teaching. Professor Kallmyer has taught at Delaware since 1982 and has brought much distinction to the faculty and immense learning and energy to our students at all levels. She is the Insight is produced by the Department author of four important books, French Images from the Greek War of Independence of Art History as a service to alumni and (1989), Eugène Delacroix: Prints, Politics and Satire (1991), Cézanne and Provence (2003) friends of the Department. We are always and Théodore Géricault (2010), and countless articles, the recipient of many awards, pleased to receive your opinions and including the College Art Association’s (CAA) Arthur Kingsley Porter Prize, and her many The officers of the Art History ideas.
  • Encyklopédia Kresťanského Umenia

    Encyklopédia Kresťanského Umenia

    Marie Žúborová - Němcová: Encyklopédia kresťanského umenia americká architektúra - pozri chicagská škola, prériová škola, organická architektúra, Queen Anne style v Spojených štátoch, Usonia americká ilustrácia - pozri zlatý vek americkej ilustrácie americká retuš - retuš americká americká ruleta/americké zrnidlo - oceľové ozubené koliesko na zahnutej ose, užívané na zazrnenie plochy kovového štočku; plocha spracovaná do čiarok, pravidelných aj nepravidelných zŕn nedosahuje kvality plochy spracovanej kolískou americká scéna - american scene americké architektky - pozri americkí architekti http://en.wikipedia.org/wiki/Category:American_women_architects americké sklo - secesné výrobky z krištáľového skla od Luisa Comforta Tiffaniho, ktoré silno ovplyvnili európsku sklársku produkciu; vyznačujú sa jemnou farebnou škálou a novými tvarmi americké litografky - pozri americkí litografi http://en.wikipedia.org/wiki/Category:American_women_printmakers A Anne Appleby Dotty Atti Alicia Austin B Peggy Bacon Belle Baranceanu Santa Barraza Jennifer Bartlett Virginia Berresford Camille Billops Isabel Bishop Lee Bontec Kate Borcherding Hilary Brace C Allie máj "AM" Carpenter Mary Cassatt Vija Celminš Irene Chan Amelia R. Coats Susan Crile D Janet Doubí Erickson Dale DeArmond Margaret Dobson E Ronnie Elliott Maria Epes F Frances Foy Juliette mája Fraser Edith Frohock G Wanda Gag Esther Gentle Heslo AMERICKÁ - AMES Strana 1 z 152 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Charlotte Gilbertson Anne Goldthwaite Blanche Grambs H Ellen Day