PAFA Manuscripts Collections
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Berthe Morisot
Calgary Sketch Club April and May 2021 Message from the President “It is important to express oneself ... provided the feelings are real and are taken from your own experience.” ~ Berthe Morisot And now warmer weather invites us outside, into the fields and gardens to experience nature, gain an impression, paint a record of our sensations. Welcome to a summer of painting. Whether you take your photos and paint in the studio or make the time to sit amidst the dynamic landscape, get out and experience the real colours, shapes, and shifting light. Your paintings will be the better for having authentic emotional content. This spring we were able to enjoy a club meeting dedicated to Plein Aire painting, a technical painting method that supported the development of the Impressionism move- ment. While some people may be familiar with the men who worked in impressionism, Monet, Manet, Gaugin, and so on, few dwell on the contribution of women painters to the development and furthering of painting your sensations, impressions, and expe- riences. After viewing work by Berthe Morisot, Mary Cassatt, Eva Gonzales, Marie Bracquemond and Lilly Cabot Perry, we see a sizable contribution to the oevre from the depths of meaning and exciting brushwork of these pioneering artists. The social cultural milleau of 1874 Paris, it was difficult for women to find equal footing or even acceptance as artists. And no matter that the art could stand beside that of any con- temporary man or woman, it was sometimes not enough. However, time has allowed a fuller examination of their work and its place in the impressionist canon. -
Review Essay: Grappling with “Big Painting”: Akela Reason‟S Thomas Eakins and the Uses of History
Review Essay: Grappling with “Big Painting”: Akela Reason‟s Thomas Eakins and the Uses of History Adrienne Baxter Bell Marymount Manhattan College Thomas Eakins made news in the summer of 2010 when The New York Times ran an article on the restoration of his most famous painting, The Gross Clinic (1875), a work that formed the centerpiece of an exhibition aptly named “An Eakins Masterpiece Restored: Seeing „The Gross Clinic‟ Anew,” at the Philadelphia Museum of Art.1 The exhibition reminded viewers of the complexity and sheer gutsiness of Eakins‟s vision. On an oversized canvas, Eakins constructed a complex scene in an operating theater—the dramatic implications of that location fully intact—at Jefferson Medical College in Philadelphia. We witness the demanding work of the five-member surgical team of Dr. Samuel Gross, all of whom are deeply engaged in the process of removing dead tissue from the thigh bone of an etherized young man on an operating table. Rising above the hunched figures of his assistants, Dr. Gross pauses momentarily to describe an aspect of his work while his students dutifully observe him from their seats in the surrounding bleachers. Spotlights on Gross‟s bloodied, scalpel-wielding right hand and his unnaturally large head, crowned by a halo of wiry grey hair, clarify his mastery of both the vita activa and vita contemplativa. Gross‟s foil is the woman in black at the left, probably the patient‟s sclerotic mother, who recoils in horror from the operation and flings her left arm, with its talon-like fingers, over her violated gaze. -
THE AMERICAN ART-1 Corregido
THE AMERICAN ART: AN INTRODUCTION Compiled by Antoni Gelonch-Viladegut For the Gelonch Viladegut Collection Paris-Boston, April 2011 SOMMARY INTRODUCTION 3 18th CENTURY 5 19th CENTURY 6 20th CENTURY 8 AMERICAN REALISM 8 ASHCAN SCHOOL 9 AMERICAN MODERNISM 9 MODERNIST PAINTING 13 THE AMERICAN SOUTHWEST 14 HARLEM RENAISSANCE 14 NEW DEAL ART 14 ABSTRACT EXPRESSIONISM 15 ACTION PAINTING 18 COLOR FIELD 19 POLLOCK AND ABSTRACT INFLUENCES 20 ART CRITICS OF THE POST-WORLD WAR II ERA 21 AFTER ABSTRACT EXPRESSIONISM 23 OTHER MODERN AMERICAN MOVEMENTS 24 THE GELONCH VILADEGUT COLLECTION 2 http://www.gelonchviladegut.com The vitality and the international presence of a big country can also be measured in the field of culture. This is why Statesmen, and more generally the leaders, always have the objective and concern to leave for posterity or to strengthen big cultural institutions. As proof of this we can quote, as examples, the Bibliothèque Nationale de France, the British Museum, the Monastery of Escorial or the many American Presidential Libraries which honor the memory of the various Presidents of the United States. Since the Holy Roman Empire and, notably, in Europe during the Renaissance times cultural sponsorship has been increasingly active for the sake of art or for the sense of splendor. Nowadays, if there is a country where sponsors have a constant and decisive presence in the world of the art, this is certainly the United States. Names given to museum rooms in memory of devoted sponsors, as well as labels next to the paintings noting the donor’s name, are a very visible aspect of cultural sponsorship, especially in America. -
Charles Grafly Papers
Charles Grafly Papers Collection Summary Title: Charles Grafly Papers Call Number: MS 90-02 Size: 55.0 linear feet Acquisition: Donated by Dorothy Grafly Drummond Processed by: MD, 1990; JEF, 5-19-1998; MN, 1-30-2015 Note: Related collections: MS 93-04, Dorothy Grafly Papers; MS 93-05, Leopold Sekeles Papers Restrictions: None Literary Rights Literary rights were not granted to Wichita State University. When permission is granted to examine manuscripts, it is not an authorization to publish them. Manuscripts cannot be used for publication without regard for common law literary rights, copyright laws and the laws of libel. It is the responsibility of the researcher and his/her publisher to obtain permission to publish. Scholars and students who eventually plan to have their work published are urged to make inquiry regarding overall restrictions on publication before initial research. Content Note Charles Grafly was an American sculptor whose works include monumental memorials and portrait busts. Dating from the late 19th and early 20th centuries, his correspondence relating to personal, business and other matters is collected here as well as newspaper clippings about his works, sketches and class notes, scrapbooks, photographs of his works, research materials and glass plate negatives. All file folder titles reflect the original titles of the file folders in the collection. For a detained description of the contents of each file folder, refer to the original detailed and incomplete finding aid in Box 76. Biography Born and raised in Philadelphia, Charles Grafly (1862-1929) studied under painters Thomas Eakins and Thomas Anshutz at the Pennsylvania Academy of Fine Arts between 1884-88. -
The Gross Clinic, the Agnew Clinic, and the Listerian Revolution
Thomas Jefferson University Jefferson Digital Commons Department of Surgery Gibbon Society Historical Profiles Department of Surgery 11-1-2011 The Gross clinic, the Agnew clinic, and the Listerian revolution. Caitlyn M. Johnson, B.S. Thomas Jefferson University Charles J. Yeo, MD Thomas Jefferson University Pinckney J. Maxwell, IV, MD Thomas Jefferson University Follow this and additional works at: https://jdc.jefferson.edu/gibbonsocietyprofiles Part of the History of Science, Technology, and Medicine Commons, and the Surgery Commons Let us know how access to this document benefits ouy Recommended Citation Johnson, B.S., Caitlyn M.; Yeo, MD, Charles J.; and Maxwell, IV, MD, Pinckney J., "The Gross clinic, the Agnew clinic, and the Listerian revolution." (2011). Department of Surgery Gibbon Society Historical Profiles. Paper 33. https://jdc.jefferson.edu/gibbonsocietyprofiles/33 This Article is brought to you for free and open access by the Jefferson Digital Commons. The Jefferson Digital Commons is a service of Thomas Jefferson University's Center for Teaching and Learning (CTL). The Commons is a showcase for Jefferson books and journals, peer-reviewed scholarly publications, unique historical collections from the University archives, and teaching tools. The Jefferson Digital Commons allows researchers and interested readers anywhere in the world to learn about and keep up to date with Jefferson scholarship. This article has been accepted for inclusion in Department of Surgery Gibbon Society Historical Profiles yb an authorized administrator of the Jefferson Digital Commons. For more information, please contact: [email protected]. Brief Reports Brief Reports should be submitted online to www.editorialmanager.com/ amsurg.(Seedetailsonlineunder‘‘Instructions for Authors’’.) They should be no more than 4 double-spaced pages with no Abstract or sub-headings, with a maximum of four (4) references. -
October 2017
The Monthly Newsletter of the Philadelphia Sketch Club Gallery hours: Wednesday, Friday, Saturday, Sunday: 1 PM to 5 PM October 2017 Michelle Lockamy This Month’s Portfolio Reminder: It’s never too late. You can always renew your membership The Sketch Club’s 157th Anniversary Gala 2 You may pay online at http://sketchclub.org/annual- Support the Sketch Club 5 dues-payment/ Membership 8 or mail your check to: Sketch Club Activities 9 The Philadelphia Sketch Club Member Activities 11 235 S. Camac St. 2017 Main Gallery Schedule 12 2017 Stewart Gallery Schedule 15 Philadelphia, PA 19107 Sketch Club Open Workshop Schedule 16 For questions please contact the Gallery Manager at Art Natters: Members News 17 213335-545-9298 or email: Calls for Work and Notices 23 [email protected] Member Classifieds 25 Late Breaking News – See items that were submitted Call for Volunteers 26 after the publication date. Go to: Send your member news, announcements and corrections to [email protected] [email protected]. The deadline for ALL submissions The PSC general email is: info@sketchclub is 1-week before the end of the month. The Philadelphia Sketch Club - 235 South Camac Street - Philadelphia PA 19107 - 215-545-9298 A nonprofit organization under Chapter 501(c)(3) of the Internal Revenue Code. Page 1 The Monthly Newsletter of the Philadelphia Sketch Club Gallery hours: Wednesday, Friday, Saturday, Sunday: 1 PM to 5 PM October 2017 The Sketch Club’s 157th Anniversary Gala The Philadelphia Sketch Club’s 157th Anniversary Gala Please join us for our 157th Anniversary Gala on Saturday, October 21st. -
Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – September 27Th, 2019
Stanford Auctioneers Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – September 27th, 2019 www.stanfordauctioneers.com | [email protected] 1: RUDOLF KOPPITZ - Zwei Bruder USD 1,200 - 1,500 Rudolf Koppitz (Czech/Austrian, 1884-1936). "Zwei Bruder [Two Brothers]". Original vintage photometalgraph. c1930. Printed 1936. Stamped with the photographer's name, verso. Edition unknown, probably very small. High-quality archival paper. Ample margins. Very fine printing quality. Very good to fine condition. Image size: 8 1/8 x 7 7/8 in. (206 x 200 mm). Authorized and supervised by Koppitz shortly before his death in 1936. [25832-2-800] 2: CLEMENTINE HUNTER - Zinnias in a Blue Pot USD 3,500 - 4,000 Clementine Hunter (American, 1886/1887-1988). "Zinnias in a Blue Pot". Gouache on paper. c1973. Signed lower right. Very good to fine condition; would be fine save a few very small paint spots, upper rght. Overall size: 15 3/8 x 11 3/4 in. (391 x 298 mm). Clementine Reuben Hunter, a self-taught African-American folk artist, was born at Hidden Hill, a cotton plantation close to Cloutierville, Louisiana. When she was 14 she moved to the Melrose Plantation in Cane River County. She is often referred to as "the black Grandma Moses." Her works in gouache are rare. The last auction record of her work in that medium that we could find was "Untitled," sold for $3,000 at Sotheby's New York, 12/19/2003, lot 1029. [29827-3-2400] 3: PAUL KLEE - Zerstoerung und Hoffnung USD 800 - 1,000 Paul Klee (Swiss/German, 1879 - 1940). -
Cecilia Beaux: Philadelphia Artist
Cecilia Beaux: PhiladelphiaArtist PUBLISHED SINCE 1877 BY THE HISTORICAL SOCIETY OF PENNSYLVANIA - - 2 b ?n1nq CXXIV a 3 Book Reviews OGDEN, Legacy- A Biography ofMoses and Walter Annenberg, by Nelson D. Lankford 419 HEMPHIL, Bowing to Necessity: A History ofManners in America, 1620-1860, by Franklin T. Lambert 421 ST. GEORGE, Conversing by Signs: Poetics of Implication in ColonialNew England Culture, by Margaretta M. Lovell 422 DALZELL and DALZELL, George Washington'sMount Vernon: At Home in Revolutionary America, and GARRETr, ed., LAuTMAN, photog., George Washington'sMount Vernon, and GREENBERG, BucHMAN, photog., George Washington:Architect, by James D. Kornwolf 425 WARREN, ed., The Papersof George Washington.Presidential Series, Vol. 7. December 1790-March 1791, by Patrick J. Furlong 431 MASTROMARNO, WARREN, eds., The Papers of George Washington. PresidentialSeries. Vol. 8: March-September 1791, by Ralph Ketcham 432 ABBOT and LENGEL, eds., The Papersof George Washington. Retirement Series. Vol. 3: September 1798-April 1799. Vol. 4: April-December 1799, by John Ferling 435 LARSON, Daughters ofLight: Quaker Women Preachingand Prophesyingin the Colonies andAbroad, 1700-1775, by Jean R. Soderlund 437 LAMBERT, Inventing the "GreatAwakening," by Timothy D. Hall 439 FORTUNE, Franklinand His Friends:Portraying the Man of Science in Eighteenth-CenturyAmerica, by Brian J. Sullivan 441 NUxOLL and GALLAGHER, The Papers ofRobert Morris, 1781-1784. VoL 9: January 1-October30,1784, by Todd Estes 443 RIGAL, The American Manufactory: Art, Labor, and the World of Things in the Early Republic, by Colleen Terrell 445 SKEEN, Citizen Soldiers in the War of 1812, by Samuel Watson 446 WEEKLEY, The Kingdoms ofEdward Hicks, and FORD, EdwardHicks: Painterof the PeaceableKingdom, by Carol Eaton Sokis 448 GRIFFIN, ed., Beloved Sisters and Loving Friends:Letters from Rebecca Primus ofRoyal Oak, Maryland, andAddie Brown of HartfordConnecticut,1854-1868 by Frances Smith Foster 452 DYER, Secret Yankees: The Union Circle in ConfederateAtlanta, by Jonathan M. -
23 League in New York Before They Were Purchased by Granville
is identical to a photograph taken in 1866 (fig. 12), which includes sev- eral men and a rowboat in the fore- ground. From this we might assume that Eastman, and perhaps Chapman, may have consulted a wartime pho- tograph. His antebellum Sumter is highly idealized, drawn perhaps from an as-yet unidentified print, or extrapolated from maps and plans of the fort—child’s play for a master topographer like Eastman. Coastal Defenses The forts painted by Eastman had once been the state of the art, before rifled artillery rendered masonry Fig. 11. Seth Eastman, Fort Sumter, South Carolina, After the War, 1870–1875. obsolete, as in the bombardment of Fort Sumter in 1861 and the capture of Fort Pulaski one year later. By 1867, when the construction of new Third System fortifications ceased, more than 40 citadels defended Amer- ican coastal waters.12 Most of East- man’s forts were constructed under the Third System, but few of them saw action during the Civil War. A number served as military prisons. As commandant of Fort Mifflin on the Delaware River from November 1864 to August 1865, Col. Eastman would have visited Fort Delaware on Pea Patch Island, located in the river channel between Wilmington and New Castle, Delaware. Channel-dredging had dumped tons of spoil at the northern end of the island, land upon which a miserable prison-pen housed enlisted Confederate pris- oners of war. Their officers were Fig. 12. It appears that Eastman used this George N. Barnard photograph, Fort quartered within the fort in relative Sumter in April, 1865, as the source for his painting. -
Emmet, Lydia Field American, 1866 - 1952
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Emmet, Lydia Field American, 1866 - 1952 William Merritt Chase, Lydia Field Emmet, 1892, oil on canvas, Brooklyn Museum, Gift of the Artist, 15.316 BIOGRAPHY Lydia Field Emmet led a remarkably successful artistic career spanning more than 50 years. She is best known as a painter of portraits, particularly of children. Emmet was born in New Rochelle, New York, into a family of female artists. Her mother, Julia Colt Pierson Emmet, her sisters Rosina Emmet Sherwood and Jane Emmet de Glehn, and her cousin Ellen Emmet Rand were all painters. Lydia Emmet’s talent (and enterprise) was apparent early, as she began selling illustrations at the age of 14. In 1884 she accompanied Rosina to Europe, and they studied at the Académie Julian in Paris for six months. During the late 1880s Emmet sold wallpaper designs, made illustrations for Harper’s Weekly, and created stained glass designs for Tiffany Glass Company. From 1889 to 1895 Emmet studied at the Art Students League, where her instructors included William Merritt Chase (American, 1849 - 1916) and Kenyon Cox (American, 1856 - 1919). Chase appointed her an instructor at his Shinnecock Summer School of Art on Long Island, where she taught preparatory classes for several terms. Emmet also posed for one of his most elegant portraits, now in the collection of the Brooklyn Museum. Emmet, Lydia Field 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 In 1893 both Emmet and her sister Rosina painted murals for the Women’s Building at the World’s Fair in Chicago. -
Caroline Peart, American Artist
The Pennsylvania State University The Graduate School School of Humanities MOMENTS OF LIGHT AND YEARS OF AGONY: CAROLINE PEART, AMERICAN ARTIST 1870-1963 A Dissertation in American Studies by Katharine John Snider ©2018 Katharine John Snider Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2018 The dissertation of Katharine John Snider was reviewed and approved* by the following: Anne A. Verplanck Associate Professor of American Studies and Heritage Studies Dissertation Advisor Chair of Committee Charles Kupfer Associate Professor of American Studies and History John R. Haddad Professor of American Studies and Popular Culture Program Chair Holly Angelique Professor of Community Psychology *Signatures are on file in the Graduate School ii ABSTRACT This dissertation explores the life of American artist Caroline Peart (1870-1963) within the context of female artists at the turn of the twentieth century. Many of these artists’ stories remain untold as so few women achieved notoriety in the field and female artists are a relatively new area of robust academic interest. Caroline began her formal training at The Pennsylvania Academy of the Fine Arts at a pivotal moment in the American art scene. Women were entering art academies at record numbers, and Caroline was among a cadre of women who finally had access to formal education. Her family had the wealth to support her artistic interest and to secure Caroline’s position with other elite Philadelphia-area families. In addition to her training at the Academy, Caroline frequently traveled to Europe to paint and she studied at the Academie Carmen. -
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MASTERPIECES OF ART April 21 to September 4, 1962 SEATTLE WORLD'S FAIR Cover: PIERRE AUGUSTE RENOIR, French, 1841-1919 48. NEAPOLITAN GIRL'S HEAD LENT BY: Montreal Museum of Fine Arts (Adoline Van Home Bequest, 1945), Montreal, Quebec, Canada. Property of The Hilla von Rebay Foundation Copyright 1962 by Century 21 Exposition Inc. Seattle World's Fair Catalogue MASTERPIECES OF ART FINE ARTS PAVILION April 21 to September 4, 1962 SEATTLE WORLD'S FAIR April 21 to October 21, 1962 Original model of portion of Seattle World's Fair. Art building in left foreground. FOREWORD The "Masterpieces of Art" catalogue illustrates and describes one of the five exhibits which comprise the Fine Arts Exhibition at the Seattle World's Fair. The form and selection of this exhibit are the work of Dr. William M. Milliken, Director Emeritus of The Cleveland Museum of Art. These great works come from fifty-seven American museums; and from the National Gallery of Canada, the Art Gallery of Toronto, Montreal Museum of Fine Arts, the Louvre, Paris, the Tokyo National Museum, Japan, the Academia Sinica, Taiwan, Republic of China, and the National Museum of India. The loan of these priceless works is a measure of the importance of our Seattle World's Fair; but even more, the willingness to lend these works is a tribute of affection and esteem to Dr. Milliken himself, the dean of American museum directors. The Fine Arts Exhibition at the Seattle World's Fair comprises five main exhibits, each the responsibility of a leading authority in his field: "Master- pieces of Art," assembled by Dr.