Andrew Wyeth Studio and Kuerner Farm NHL Nomination
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Underserved Communities
National Endowment for the Arts FY 2016 Spring Grant Announcement Artistic Discipline/Field Listings Project details are accurate as of April 26, 2016. For the most up to date project information, please use the NEA's online grant search system. Click the grant area or artistic field below to jump to that area of the document. 1. Art Works grants Arts Education Dance Design Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts 2. State & Regional Partnership Agreements 3. Research: Art Works 4. Our Town 5. Other Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Information is current as of April 26, 2016. Arts Education Number of Grants: 115 Total Dollar Amount: $3,585,000 826 Boston, Inc. (aka 826 Boston) $10,000 Roxbury, MA To support Young Authors Book Program, an in-school literary arts program. High school students from underserved communities will receive one-on-one instruction from trained writers who will help them write, edit, and polish their work, which will be published in a professionally designed book and provided free to students. Visiting authors, illustrators, and graphic designers will support the student writers and book design and 826 Boston staff will collaborate with teachers to develop a standards-based curriculum that meets students' needs. Abada-Capoeira San Francisco $10,000 San Francisco, CA To support a capoeira residency and performance program for students in San Francisco area schools. Students will learn capoeira, a traditional Afro-Brazilian art form that combines ritual, self-defense, acrobatics, and music in a rhythmic dialogue of the body, mind, and spirit. -
The Graeme Park Gazette J ANUARY - MARCH 2018
The Graeme Park Gazette J ANUARY - MARCH 2018 Celebrate the Pennsylvania Charter with Graeme Park! Join Graeme Park in celebrat- include the land be- ing Pennsylvania’s 337th tween the 39th and birthday on Sunday, 42nd degrees of March 11 from 12 to 4 north latitude and (last admission to from the Dela- house at 3:30). Meet ware River west- Dr. Thomas ward for five de- Graeme as he grees of longi- welcomes you tude. Other provi- to his home. sions assured its This annual people the protec- statewide open tion of English house is held in laws and, to a cer- honor of the tain degree, kept it granting of the subject to the gov- Pennsylvania Charter ernment in England. to William Penn by King In 1682 the Duke of York Charles II in 1681, and many deeded to Penn his claim to the three of Pennsylvania’s historic sites are open lower counties on the Delaware, which for free tours and special activities. (See are now the state of Delaware. INSIDE THIS ISSUE: page 3) In October 1682, Penn arrived in Penn- The King owed William Penn £16,000, FROM THE PRESIDENT 2 sylvania for the first time on the ship OF THE FRIENDS money which his father, Admiral Penn, Welcome. He visited Philadelphia, just NEWSBRIEFS 3 had lent him. Penn, a member of the So- laid out as the capital city, created the ciety of Friends, or Quakers, was look- PA HISTORIC SITES OPEN 3 three original counties (Philadelphia, ing for a haven in the New World where FOR CHARTER DAY Chester, and Bucks), and summoned a he and his fellow believers could prac- LUNCH & LEARN: THE 4 General Assembly to Chester on Decem- WALKING PURCHASE tice their religion freely and without ber 4. -
Celebrating Andrew Wyeth the American Artist’S Centennial Is Being Honored with Two Major Retrospectives of His Work
along the way Celebrating Andrew Wyeth The American artist’s centennial is being honored with two major retrospectives of his work. Andrew Wyeth may have been a favorite of U.S. presidents. In 1963, he became the first painter to receive the Presidential Medal of Freedom when John F. Kennedy bestowed the honor. Richard Nixon once sponsored a White House exhibition of works by the Pennsylvania- and Maine- based artist, and both Bushes honored Wyeth, with the Congressional Gold Medal in 1990 and the National Medal of the Arts in 2007. At the other end of the spectrum, comic- strip character Snoopy owned a Wyeth that he displayed prominently in his doghouse. In between, the artist was alternately lauded and dismissed by critics but remained a perennial commercial favorite. This year marks the centennial of Wyeth’s birth, and two major museum retrospectives have been assembled NORTH CAROLINA MUSEUM OF ART, RALEIGH ART, OF MUSEUM CAROLINA NORTH ©ANDREW WYETH/ARTISTS RIGHTS SOCIETY (ARS), RIGHTS WYETH/ARTISTS ©ANDREW for the occasion. Andrew Wyeth at 100 can be seen at Winter 1946, tempera, Andrew Wyeth (1917-2009) the Farnsworth Art Museum in Rockland, Maine, through December 31 (farnsworthmuseum.org), and Andrew in Andrew Wyeth: Maine Watercolors, 1938–2008, the focal Wyeth: In Retrospect is on display through September exhibition in a series of five exhibitions that make upAndrew 17 at the Brandywine River Museum in Chadds Ford, Wyeth at 100, on display at the museum’s Wyeth Center and in Pennsylvania (brandywinemuseum.org), and from October its Hadlock and Wyeth Study Center galleries. -
Brandywine Battlefield Preservation Plan: Revolution in the Peaceful Valley (Map Atlas)
December, 2013 Brandywine MAP ATLAS Battlefield Preservation Plan Revolution in the Peaceful Valley CHESTER AND DELAWARE COUNTIES, PA Prepared by Chester County Planning Commission & John Milner Associates, Inc. Funded by The American Battlefi eld The 7th Preservation Program Pennsylvania Regiments (ABPP Grant Number Brandywine Flag GA-2255-11-003) The Brandywine Battlefield Preservation Plan: Revolution in the Peaceful Valley (Map Atlas) December 2013 Funded by the American Battlefield Preservation Program ABPP Grant Number GA-2255-11-003 Prepared by the Chester County Planning Commission & John Milner Associates, Inc. Chester County Board of Commissioners Delaware County Council Ryan Costello Tom McGarrigle Kathi Cozzone Mario J. Civera, Jr. Terence Farrell John P. McBlain Colleen P. Morrone Chester County Planning Commission David J. White Ronald T. Bailey, Executive Director David Ward, Assistant Director Delaware County Planning Department Carol Stauffer, Director, Planning Services Division John E. Pickett, Director of Planning* Christopher Bittle, Graphic Artist, Photographer Yinka Adesubokan, Associate Planner Yvonne Guthrie, Administrative Assistant Beverly Barnes, Historic Preservation Planner Elizabeth Kolb, Graphic Artists Jill Hall, Historic Preservation Planner Karen Marshall, Historic Preservation Officer Jake Michael, Project Manager Record copies of this document can be obtained Tyler Semder, GIS Specialist from: Jeannine Speirs, Senior Planner Kristen L. McMasters National Park Service John Milner and Associates American Battlefield Protection Program Wade Catts, Associate Director 1201 Eye Street NW (2287) Tom Scofield, Preservation Planner Washington, DC 20005 Pennsylvania Historical and Museum Disclaimer: Commission This material is based upon work assisted by a James M. Vaughan, Executive Director grant from the Department of the Interior, Barbara Franco, Executive Director* National Park Service. -
Ye Intruders Beware: Fantastical Pirates in the Golden Age of Illustration
YE INTRUDERS BEWARE: FANTASTICAL PIRATES IN THE GOLDEN AGE OF ILLUSTRATION Anne M. Loechle Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of the History of Art Indiana University November 2010 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee _________________________________ Chairperson, Sarah Burns, Ph.D. __________________________________ Janet Kennedy, Ph.D. __________________________________ Patrick McNaughton, Ph.D. __________________________________ Beverly Stoeltje, Ph.D. November 9, 2010 ii ©2010 Anne M. Loechle ALL RIGHTS RESERVED iii Acknowledgments I am indebted to many people for the help and encouragement they have given me during the long duration of this project. From academic and financial to editorial and emotional, I was never lacking in support. I am truly thankful, not to mention lucky. Sarah Burns, my advisor and mentor, supported my ideas, cheered my successes, and patiently edited and helped me to revise my failures. I also owe her thanks for encouraging me to pursue an unorthodox topic. From the moment pirates came up during one of our meetings in the spring of 2005, I was hooked. She knew it, and she continuously suggested ways to expand the idea first into an independent study, and then into this dissertation. My dissertation committee – Janet Kennedy, Patrick McNaughton, and Beverly Stoeltje – likewise deserves my thanks for their mentoring and enthusiasm. Other scholars have graciously shared with me their knowledge and input along the way. David M. Lubin read a version of my third chapter and gave me helpful advice, opening up to me new ways of thinking about Howard Pyle in particular. -
READ ME FIRST Here Are Some Tips on How to Best Navigate, find and Read the Articles You Want in This Issue
READ ME FIRST Here are some tips on how to best navigate, find and read the articles you want in this issue. Down the side of your screen you will see thumbnails of all the pages in this issue. Click on any of the pages and you’ll see a full-size enlargement of the double page spread. Contents Page The Table of Contents has the links to the opening pages of all the articles in this issue. Click on any of the articles listed on the Contents Page and it will take you directly to the opening spread of that article. Click on the ‘down’ arrow on the bottom right of your screen to see all the following spreads. You can return to the Contents Page by clicking on the link at the bottom of the left hand page of each spread. Direct links to the websites you want All the websites mentioned in the magazine are linked. Roll over and click any website address and it will take you directly to the gallery’s website. Keep and fi le the issues on your desktop All the issue downloads are labeled with the issue number and current date. Once you have downloaded the issue you’ll be able to keep it and refer back to all the articles. Print out any article or Advertisement Print out any part of the magazine but only in low resolution. Subscriber Security We value your business and understand you have paid money to receive the virtual magazine as part of your subscription. Consequently only you can access the content of any issue. -
CHARTER DAY 2014 Sunday, March 9 Celebrate Pennsylvania’S 333Rd Birthday!
PENNSYLVANIA QUARTERLY NEWSLETTER HERITAGE WINTER 2014 TM® FOUNDATION CHARTER DAY 2014 Sunday, March 9 Celebrate Pennsylvania’s 333rd birthday! The following sites expect to be open, but please confirm when planning your visit: Anthracite Heritage Museum Brandywine Battlefield Conrad Weiser Homestead Cornwall Iron Furnace Young visitors enjoy a Charter Daniel Boone Homestead Chat with archivist Drake Well Museum and Park Joshua Stahlman. Eckley Miners’ Village Ephrata Cloister Erie Maritime Museum Fort Pitt Museum Graeme Park PHMC/PHOTO BY DON GILES Joseph Priestley House Landis Valley Village and Farm Museum Old Economy Village Pennsbury Manor Pennsylvania Military Museum Railroad Museum of PHMC/EPHRATA CLOISTER Pennsylvania Student Historians at Ephrata Cloister, The State Museum of Pennsylvania Charter Day 2013. Washington Crossing Historic Park Pennsylvania’s original Charter will be on exhibit at Pennsbury Manor for Charter Day 2014, celebrated by PHMC on Sunday, March 9! The 1681 document, granting Pennsylvania to William Penn, is exhibited only once a year at The State Museum by the Pennsylvania State Archives. Located in Morrisville, Bucks County, Pennsbury Manor is the re-created private country estate of William Penn which opened to the PHMC/PHOTO BY BETH A. HAGER public as a historic site in 1939. Charter Day will kick off Pennsbury’s 75th A Harrisburg SciTech High docent on anniversary celebration. Charter Day at The State Museum. www.phmc.state.pa.usJoin or renew at www.paheritage.org PENNSYLVANIA HERITAGEPHF NEWSLETTER Winter 2014 39 39 HIGHLIGHTS FOR JANUARY–MARch 2013 C (We’re changing our calendar! We will no longer list the full ERIE MARITIME MUSEUM AND event calendar in our quarterly newsletter but will highlight exhibits and FLAGSHIP NIAGARA selected events. -
Andrew Wyeth: in Retrospect June 24 Through September 17, 2017
Andrew Wyeth: In Retrospect June 24 through September 17, 2017 Chadds Ford, PA—April 3, 2017—On June 24, the Brandywine River Museum of Art will open Andrew Wyeth: In Retrospect, the first major survey of the artist’s work in more than 40 years. The exhibition will feature over 100 works, spanning the entirety of the artist’s career: from the early watercolors that established his reputation to his final painting, Goodbye, completed just a few months before his death in 2009. The show also will include many of Wyeth’s studies, which were rarely exhibited in the artist’s lifetime and offer new insights into his creative process and approach. Co-organized by the Brandywine and the Seattle Art Museum, Andrew Wyeth: In Retrospect commemorates the centennial of the artist’s birth—in July—and provides the most in-depth presentation of the renowned artist’s diverse and prolific practice to date. Wyeth’s life extended from World War I—a period that sparked the imagination of the artist as a young boy—to the new millennium. This comprehensive retrospective examines four major periods in Wyeth’s career, taking inspiration from the artist’s own words likening his painting to “following a long thread leading like time to change and evolution.” The exhibition offers new interpretations of his work, including the lesser explored influences of popular film and images of war, and looks more closely at the relatively unstudied but numerous portrayals of African Americans from the Chadds Ford community. Andrew Wyeth: In Retrospect also provides a thorough comparison of his widely divergent approaches to watercolor—which inspired him to paint quickly and at times with abandon—and to his use of tempera, a more controlled medium, in which he slowly and deliberately built up layers of paint on panels. -
414 Act 1988-72 LAWS of PENNSYLVANIA No. 1988-72 an ACT HB 1731 Amending Title 37
414 Act 1988-72 LAWS OF PENNSYLVANIA No. 1988-72 AN ACT HB 1731 Amending Title 37 (Historical and Museums) of the Pennsylvania Consolidated Statutes, adding provisions relating to the Pennsylvania Historical and Museum Commission, publications and historical societies; reestablishing the Pennsylvania Historical and Museum Commission; further providing for the powers andduties of the commission; providing forthe Brandywine Battlefield Park Commission and the Washington Crossing Park Commission; establish- ing an official flagship of Pennsylvania; abolishing certain advisory boards; adding provisionsrelating to concurrent jurisdiction; andmaking repeals. TABLE OF CONTENTS TITLE 37 HISTORICAL AND MUSEUMS Chapter 1. General Provisions § 101. Short title of title. § 102. Declaration of policy. § 103. Definitions. § 104. Pennsylvania Historical and Museum Commission. Chapter 3. Powers and Duties of Pennsylvania Historical and Museum Commission § 301. General powers and duties. § 302. Specific powers and duties. § 303. Sites. § 304. Personal property. § 305. Documents. § 306. Publications and reproductions. § 307. Qualified historical and archaeological societies~ Chapter 5. Historic Preservation § 501. Short title of chapter. § 502. Powers and duties of commission. § 503. Inclusion of property on register. § 504. Historic Preservation Board. § 505. Powers and duties of board. § 506. Archaeological field investigations on Commonwealth land. § 507. Cooperation by public officials with the commission. § 508. Interagency cooperation. § 509. Transfer of Commonwealth land involving historic resources. § 510. Approval of construction affecting historic resources. § 511. Criminal penalties. SESSION OF 1988 Act 1988-72 415 § 512. Enforcement of historic preservation laws and policies. Chapter 7. Historic Properties § 701. Title to historic property. § 702. Powers over certain historic property. § 703. Brandywine Battlefield. § 704. Washington Crossing. § 705. United States Brig Niagara. -
Notes About an Artist
museu mVIEWS A quarterly newsletter for small and mid-sized art museums Summer 2010 PICASSO looks at DEGAS The following is a sampling from the introduc - fame Throughout his life Pablo Picasso was fas - tion and a chapter of this engaging study. increased…. cinated with the life and work of Edgar Degas. “Picasso initially encountered works by “…Never He collected Degas’s pictures, re-interpreted Degas and his peers in black-and-white illus - straightfor - ardly his subject matter, and created scenes that trations, and only began to see their original w included images of Degas himself. “Picasso pastels and paintings when he visited Paris imitative, Looks at Degas,” the summer exhibition at the several times from 1900 onward. Dating from Picasso’s Sterling and Francine Clark Art Institute in this moment are his first tentative gestures response to Degas was mercurial and competi - Williamstown (MA), brings together more than toward some of Degas’s signature themes: the tive, always involving an element of willful 100 works that shed light on the relationship cabaret singer, the prostitute, and, as Fagus transformation and sometimes bordering on between the two who, in fact, never met. “Yet indicated, racecourses, female nudes, and parody or pastiche. A parallel narrative… the café habitués, stage performers, bathers, dancers. After settling in Montmartre in 1904, concerns the gradually revealed affinity and ballerinas that Degas typically depicted Picasso became acquainted with several people between these two artists as professionals and also appear repeatedly in Picasso’s images, and who knew Degas, including the dealer as human beings, an affinity that Picasso was Degas the man appears in person in a substan - Ambroise Vollard, who briefly represented surely aware of. -
Landscapes in Maine 1820-1970: a Sesquicentennial Exhibition
LANDSCAPE IN MAINE 1820-1970 Digitized by the Internet Archive in 2015 https://archive.org/details/landscapesinmainOObowd LANDSCAPE IN MAINE 1820-1970 Landscape in Maine 1820-1970 Jl iSesquicentennial exhibition Sponsored by the Maine Federation of Women's Clubs, through a grant from Sears-Roebuck Foundation, The Maine State Commission on the Arts and Humanities, Colby College, Bowdoin College and the University of Maine at Orono. Colby College Art Museum April 4 — May 10 Bowdoin College Museum of Art May 21 — June 28 Carnegie Gallery, University of Maine, Orono July 8 — August 30 The opening at Colby College to be on the occasion of the first Arts Festival of the Maine Federation of Women's Clubs. 1970 is the Sesquicentennial year of the State of Maine. In observance of this, the Bowdoin College Museum of Art, the Carnegie Gallery of the University of Maine at Orono and the Colby College Art Museum are presenting the exhibition. Landscape in Maine, 1820-1970. It was during the first few years of Maine's statehood that American artists turned for the first time to landscape painting. Prior to that time, the primary form of painting in this country had been portraiture. When landscape appeared at all in a painting it was as the background of a portrait, or very occasionally, as the subject of an overmantel painting. Almost simultaneously with the artists' interest in landscape as a suitable sub- ject for a painting, they discovered Maine and its varied landscape. Since then, many of the finest American artists have lived in Maine where they have produced some of their most expressive works. -
Nga-Bulletin-Spring-2015-Wyeth.Pdf
NUMBER 52 • SPRING 2015 43 Cennini, were introduced to Wyeth by Peter Hurd. Th e photographer James Welling provided a link between the conference at the Gallery and the intense fi eld trip to the Brandywine River Museum held the following day. In his talk, Welling described his understanding of the perceptual acuity of Wyeth, whose work he had studied as a youth and returned to in 2010, photographing sites that Wyeth inhabited and rep- resented. Welling’s photography has been called a kind of ventriloquism, and his studies of Wyeth’s territory in particular a kind of haunting. Th rough working in Maine and Chadds Ford, Pennsylvania, over the past few years, Welling says that he has come to see how his own interest in frames, fram- ing edges, windows, and doorways, Fig. 1. Andrew Wyeth, Brandywine as well as in water and wind, was Valley, 1940, watercolor on wove paper, confi rmed by Wyeth’s work, though The Armand Hammer Collection the relationship is never literal. Th e Gallery’s Wind from the Sea by Wyeth Fig. 2. James Welling, Wind from the Sea, inspired Welling’s photograph of the 2012, archival inkjet print on rag paper, same title made in 2012 (fi g. 2). At Chadds Ford, a smaller group courtesy of the artist and David Zwirner, discussed Wyeth’s paintings and draw- New York/London, The Olson House, a ings on display in the Brandywine National Historic Landmark, owned and River Museum. Joyce Hill Stoner operated by the Farnsworth Art Museum, conserved many of these works with Rockland, Maine Wyeth’s guidance, and her oral his- tory, shared in the galleries, will be a remarkable record for the future.