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Photographs of Paintings on Sale
THE METROPOLITAN MUSEUM OF ART PHOTOGRAPHS OF PAINTINGS ON SALE NEW YORK 1928 The photographs listed in this pamphlet are on sale as follows: UNMOUNTED MOUNTED Sheet Dull or Dull or Size Glossy Gray Sepia Glossy Gray Sepia $. 15 $. 15 $. 20 4X 5 IO $. 8x 6o Io .40 . 50 . 50 . Mailing charges, 4x5, unmounted, $. o5, mounted, $. so; 8x Io, unmounted, $. Io, mounted, $. 15. ENLARGEMENTS ENLARGEMENTS UNMOUNTED MOUNTED ON MUSLIN Sheet Size Gray Sepia Gray Sepia IIX 14 $1.50 2.00 2.25 $2.75 14x17 3.00 3.50 4.00 4.50 18X zz 4.00 5.00 5.50 6.5o 20 X 24 5.00 6. oo 7.00 8.00 Mailing charges on enlargements vary according to size of enlargement and distance. The following symbols are used in the text: *pas- tel, **=water-color. Orders should be addressed to the Secretary of the Museum, and accompanied by post-office order or check drawn to The Metropolitan Museum of Art. Stamps are acceptable with small orders. H. W. KENT, Secretary PHOTOGRAPHS OF PAINTINGS Arranged Alphabetically according to Schools AMERICAN ABBEY, EDWIN A. BLAKELOCK, R. A. Dirge of Three Queens- Indian Encampment King Lear Pipe Dance ALEXANDER, JOHN BLASHFIELD, E. H. Ring Carry On Study in Black and Green BLUM, ROBERT Walt Whitman Ameya ALLSTON, WASHINGTON Street Scene, Ikao Deluge BOGERT, GEORGE Spanish Girl Chile Church, Isle of Wight AMERICAN SCHOOL October Moonlight Sarah Cornell Clarkson BOGGS, FRANK Miss Foote On the Thames Col. Marinus Willett BOHM, MAX AMES, JOSEPH Evening Meal James Topham Brady Nature and Imagination BAKER, GEORGE BRIDGES, CHARLES John F. -
The Letters of Vincent Van Gogh
THE LETTERS OF VINCENT VAN GOGH ‘Van Gogh’s letters… are one of the greatest joys of modern literature, not only for the inherent beauty of the prose and the sharpness of the observations but also for their portrait of the artist as a man wholly and selessly devoted to the work he had to set himself to’ - Washington Post ‘Fascinating… letter after letter sizzles with colorful, exacting descriptions … This absorbing collection elaborates yet another side of this beuiling and brilliant artist’ - The New York Times Book Review ‘Ronald de Leeuw’s magnicent achievement here is to make the letters accessible in English to general readers rather than art historians, in a new translation so excellent I found myself reading even the well-known letters as if for the rst time… It will be surprising if a more impressive volume of letters appears this year’ — Observer ‘Any selection of Van Gogh’s letters is bound to be full of marvellous things, and this is no exception’ — Sunday Telegraph ‘With this new translation of Van Gogh’s letters, his literary brilliance and his statement of what amounts to prophetic art theories will remain as a force in literary and art history’ — Philadelphia Inquirer ‘De Leeuw’s collection is likely to remain the denitive volume for many years, both for the excellent selection and for the accurate translation’ - The Times Literary Supplement ‘Vincent’s letters are a journal, a meditative autobiography… You are able to take in Vincent’s extraordinary literary qualities … Unputdownable’ - Daily Telegraph ABOUT THE AUTHOR, EDITOR AND TRANSLATOR VINCENT WILLEM VAN GOGH was born in Holland in 1853. -
Van Gogh Museum Journal 2002
Van Gogh Museum Journal 2002 bron Van Gogh Museum Journal 2002. Van Gogh Museum, Amsterdam 2002 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012200201_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword In 2003 the Van Gogh Museum will have been in existence for 30 years. Our museum is thus still a relative newcomer on the international scene. Nonetheless, in this fairly short period, the Van Gogh Museum has established itself as one of the liveliest institutions of its kind, with a growing reputation for its collections, exhibitions and research programmes. The past year has been marked by particular success: the Van Gogh and Gauguin exhibition attracted record numbers of visitors to its Amsterdam venue. And in this Journal we publish our latest acquisitions, including Manet's The jetty at Boulogne-sur-mer, the first important work by this artist to enter any Dutch public collection. By a happy coincidence, our 30th anniversary coincides with the 150th of the birth of Vincent van Gogh. As we approach this milestone it seemed to us a good moment to reflect on the current state of Van Gogh studies. For this issue of the Journal we asked a number of experts to look back on the most significant developments in Van Gogh research since the last major anniversary in 1990, the centenary of the artist's death. Our authors were asked to filter a mass of published material in differing areas, from exhibition publications to writings about fakes and forgeries. To complement this, we also invited a number of specialists to write a short piece on one picture from our collection, an exercise that is intended to evoke the variety and resourcefulness of current writing on Van Gogh. -
Lasting Impressions
The Movement The ideas of Impressionism can be traced to the 1860s when Claude Monet, Alfred Sisley, Pierre-Auguste Renoir and others pursued “en plein air” (painting in open air) together. John Rand’s radical invention of paint tubes allowed such a move. New bright, synthetic colors opened a new world for the painters. In 1874, an expanded group of these painters took the art world by storm. Ignoring the Académie des Beaux-Arts’ Salon de Paris, (the official exhibition and influencer of the art world), this ragtag bunch pooled their money and their works, rented a studio, and set a date. Calling themselves the Anonymous Society of Painters, Sculptors, and Printmakers, they opened against the annual Salon in May 1874. The art world, and our world, was forever changed. Originally a pejorative term, Impressionism shook the art world to its roots. Critics said the works seemed unfinished and were just “impressions.” What they did not understand was that cameras could now capture realism and the artist was freed to show us their own piercing perceptions. Impressionism is considered the first modern movement in painting. Over time, this style became widely accepted— even by the Salon—as the way to present modern life. Loose brushwork of unblended primary colors, short brushstrokes that often only outline that which they represent, and always, the impact of the light. Never simply black and white, shadows are rendered in highlights of color. Impressionists strove to depict a specific moment in time by capturing atmospheric conditions— moving clouds, a ray of sun, a sudden fall of rain. -
SSYRA 2017-2018 GR 6-8 Test Questions
Proud Sponsor 2017-2018 BATTLE/TEST QUESTIONS FOR GRADES 6-8 SSYRA NOMINEE: Framed! Author(s): James Ponti 292 Pages, © 2016 ANSWER Page Paragraph 1. In what grade is Florian Bates? (a) 5th (b) 6th * (c) 7TH 1 1 (d) 8th 2. Where was Florian when he was kidnapped? (a) In the Happy Leprechaun * (b) BEHIND THE SAFEWAY SUPERMARKET 3 4-6 (c) At McDonald's (d) Walking to school 3. The FBI gave Florian a nickname. What was it? (a) Gumshoe (b) Kojak * (c) YOUNG SHERLOCK 14 7-9 (d) Joe Friday 4. Name the famous artist that Florian knew best. * (a) VINCENT VAN GOGH 28 5 (b) Paul Gaugin (c) Degas (d) Renoir 5. The three stolen paintings all had something in common that helped Florian solve the burglary. What was it? (a) Each artist was an Impressionist * (b) THE PAINTINGS WERE ALL THE SAME SIZE 77 3 (c) They were all stolen from the same gallery (d) They were all painted during the 19th century 6. Who was Admiral David Denton Douglas? (a) A counterintelligence agent * (b) THE DIRECTOR OF THE FBI 89 5 (c) An art appraiser (d) A naval commander www.paperdragonreads.com 1 of 3 ANSWER Page Paragraph 7. Admiral Douglas extended a job offer to Florian. What was that job? (a) An errand boy for the local FBI office (b) An FBI photographer (c) An FBI fingerprint analyst * (d) AN FBI CONSULTANT 110 5 8. What mystery did Margaret want Florian to help her solve? (a) The initial A. on her baby blanket * (b) THE IDENTITY OF HER BIRTH PARENTS 115 7 (c) The whereabouts of Novak's copy of Woman With A Parasol (d) The meaning of the slogan, "I Bleed Bison Blue" 9. -
John Sloan Manuscript Collection Helen Farr Sloan Library & Archives
John Sloan Manuscript Collection Helen Farr Sloan Library & Archives, Delaware Art Museum John Sloan Diary, 1906 Jan. 1 Played golf today with Henri1 and Davis.2 We welcome the New Year at James B. Moore's3 "Secret Lair beyond the Moat" 450 W. 23rd. A very small party. James B., Henri, Barney Moore4 (no relative of Jim's) with Miss O'Connor,5 John Sloan, Mrs. J. Sloan. Pleasant evening and early morning. I'm going to try to do a bit less smoking this year. Mr. and Mrs. E. W. Davis,6 old "Wyatt" of the old 806 days,7 to dinner, with their boy 1 Robert Henri (1865-1929) was a major influence in American art in the last decade of the 19th century and the first of the 20th both as a painter and a teacher. He and Sloan met in December 1892. While Sloan never studied formally with Henri, he acknowldged him as his "father in art." Although their paths diverged after the period covered by the diaries, he and Sloan were very close in 1906. Henri's wife, Linda, had died the month before the dairies began and Henri, very lonely, visited the Sloans often. Henri's name was originally Robert Henry Cozad, but the family abandoned the use of "Cozad." His father and mother adopted the surname "Lee" and Henri's brother John became "Frank L. Southrn." [Bennard Perlman. Robert Henri. His Life and Art. New York: Dover Publications, Inc. 1991, pp. 5-6] 2 Edward Wyatt Davis, a friend of Sloan's from the early 1890s and assistant art editor of the Philadelphia Press for which Sloan had worked, had moved to New York and become art editor of the humor magazine Judge. -
National Gallery of Art Collection Exhibitions Education Conservation Research Calendar Visit Support Shop
National Gallery of Art Collection Exhibitions Education Conservation Research Calendar Visit Support Shop National Gallery of Art :: Press Office :: null :: Van Gogh "Green Wheat Fields, Auvers" Search NGA.gov Release Date: December 20, 2013 Van Gogh's "Green Wheat Fields, Auvers" from Paul Mellon Enters Collection of AVAILABLE PRESS IMAGES National Gallery of Art, Goes on View in West Building on December 20, 2013 Order Press Images To order publicity images: Click on the link above and designate your desired images using the checkbox below each thumbnail. Please include your name and contact information, press affiliation, deadline for receiving images, the date of publication, and a brief description of the kind of press coverage planned. PRESS KIT Press Release ONLINE RESOURCES Recent Acquisitions PRESS CONTACTS Emily Bond (202) 842-6598 [email protected] Chief Press Officer Deborah Ziska Vincent van Gogh, Green Wheat Fields, Auvers, 1890 [email protected] Oil on canvas. 28 3/4 x 36 5/8 inches (73 x 93 cm) (202) 842-6353 National Gallery of Art, Washington Collection of Mr. and Mrs. Paul Mellon Washington, DC―Vincent van Gogh's powerful and intense Green Wheat Fields, Auvers (1890), likely painted just weeks before the artist ended his life, goes on view in the National Gallery of Art's West Building, Gallery M-83, beginning December 20. The painting was bequeathed to the Gallery by renowned philanthropist, art collector, and founding Gallery benefactor Paul Mellon (1907–1999), subject to a life estate in his wife, Rachel Lambert Mellon, which gave her the right to possess the work for her lifetime. -
Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera NMAH.AC.1211 Franklin A. Robinson, Jr. 2019 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Stage Musicals and Vaudeville, 1866-2007, undated............................... 4 Series 2: Motion Pictures, 1912-2007, undated................................................... 327 Series 3: Television, 1933-2003, undated............................................................ 783 Series 4: Big Bands and Radio, 1925-1998, -
American Paintings, 1900–1945
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 American Paintings, 1900–1945 Published September 29, 2016 Generated September 29, 2016 To cite: Nancy Anderson, Charles Brock, Sarah Cash, Harry Cooper, Ruth Fine, Adam Greenhalgh, Sarah Greenough, Franklin Kelly, Dorothy Moss, Robert Torchia, Jennifer Wingate, American Paintings, 1900–1945, NGA Online Editions, http://purl.org/nga/collection/catalogue/american-paintings-1900-1945/2016-09-29 (accessed September 29, 2016). American Paintings, 1900–1945 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 CONTENTS 01 American Modernism and the National Gallery of Art 40 Notes to the Reader 46 Credits and Acknowledgments 50 Bellows, George 53 Blue Morning 62 Both Members of This Club 76 Club Night 95 Forty-two Kids 114 Little Girl in White (Queenie Burnett) 121 The Lone Tenement 130 New York 141 Bluemner, Oscar F. 144 Imagination 152 Bruce, Patrick Henry 154 Peinture/Nature Morte 164 Davis, Stuart 167 Multiple Views 176 Study for "Swing Landscape" 186 Douglas, Aaron 190 Into Bondage 203 The Judgment Day 221 Dove, Arthur 224 Moon 235 Space Divided by Line Motive Contents © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 244 Hartley, Marsden 248 The Aero 259 Berlin Abstraction 270 Maine Woods 278 Mount Katahdin, Maine 287 Henri, Robert 290 Snow in New York 299 Hopper, Edward 303 Cape Cod Evening 319 Ground Swell 336 Kent, Rockwell 340 Citadel 349 Kuniyoshi, Yasuo 352 Cows in Pasture 363 Marin, John 367 Grey Sea 374 The Written Sea 383 O'Keeffe, Georgia 386 Jack-in-Pulpit - No. -
A Study of Winifred Knights, 1915-1933
A Study of Winifred Knights, 1915-1933 Rosanna Eckersley Department of Art History and World Art Studies University of East Anglia A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy November 2015 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any formation derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract Winifred Knights, 1899-1947, was a student at the Slade School of Art from 1915, where she developed a decorative manner of rhythmic, repetitive forms, one form of cautious modernism. In 1920 she was the first woman to win the Rome Prize in Decorative Painting. The award was for three years at the British School at Rome. Knights often chose to base her paintings on biblical subjects, or the lives of saints. She was not religious and I argue that these stories, which were well-known in Britain at the time, were vehicles to represent the lives of women and families in the unsettled years during and after WWI. Many women artists have depicted domestic scenes, but Knights chose the exterior and multi-figure compositions, including many self-portraits. She used these compositions to explore women‟s vulnerability, rebellion against male control, maternity and the self-sufficiency of a women‟s community. Personal material is present in all her work and much of it deals with the traumas she suffered. -
Passages from the French and Italian Notebooks
Passages From the French and Italian Notebooks Nathaniel Hawthorne Passages From the French and Italian Notebooks Table of Contents Passages From the French and Italian Notebooks................................................................................................1 Nathaniel Hawthorne.....................................................................................................................................1 VOL. I.........................................................................................................................................................................2 FRANCE........................................................................................................................................................2 MARSEILLES.............................................................................................................................................12 THE MEDITERRANEAN SEA..................................................................................................................15 ROME..........................................................................................................................................................16 JOURNEY TO FLORENCE.......................................................................................................................75 TO TERNI.BORGHETTO. .......................................................................................................................77 FOLIGNO....................................................................................................................................................79 -
Dr Frederick Gerstel's Private Collection for Sale
For Immediate Release 28 April 2006 Contact: Christina Freyberg 020 7389 2117 [email protected] Stephanie Manstein 020 7389 2962 [email protected] DR FREDERICK GERSTEL’S PRIVATE COLLECTION FOR SALE AT CHRISTIE’S THIS JUNE Egon Schiele Egon Schiele Moa, 1911 Stehendes Mädchen in weissem Unterkleid (Standing Girl in White Petticoat), 1911 Estimate: £2,400,000-3,200,000 Estimate £1,800,000-2,400,000 German and Austrian Art Christie’s King Street 20 June 2006 London – An outstanding group of five works on paper by Egon Schiele are to be offered in Christie’s German and Austrian Art section on Tuesday 20 June 2006. Growing interest in this area of the market, as seen in February 2006 when this section realised £24.5 million, has encouraged Christie’s to build on the success and hold a second dedicated section of German and Austrian Art this summer as part of the evening sale of Impressionist and Modern Art. The February 2006 sale reaffirmed Christie’s dominant position in this section of the market and established a new auction record for a work on paper by Egon Schiele, when Kniender weiblicher Halbakt (Kneeling female half-nude), 1917, sold for £4.15 million. “Masterpieces by Egon Schiele rarely appear on the market. It is therefore unprecedented to have five museum-quality works in the same sale. With the German and Austrian art market at fever pitch, it promises to be the most exciting sale in the field we have seen for a decade,” said Jussi Pylkkänen, President of Christie’s Europe.