Breaking Book

Total Page:16

File Type:pdf, Size:1020Kb

Breaking Book reaki ng TrWaITH dition BOhio Women Painters , 1 870 –1950 FIGURE 1: Christine Fowler Shearer, M.A. Clara Deike (1881–1964) Brigitte M. Foley, M.A. Self-Portrait with Orange Hat, c. 1925 William H. Robinson, Ph.D. Oil on canvas , 23 x 17.5 Judy L. Larson, Ph.D. Private Collection Courtesy of Vixseboxse Art Galleries THE MASSILLON MUSEUM Massillon, Ohio May 21, 2005—August 7, 2005 THE RIFFE GALLERY Columbus, Ohio November 3, 2005—January 8, 2006 THE SOUTHERN OHIO MUSEUM AND CULTURAL CENTER Portsmouth, Ohio February 12, 2006—May 21, 2006 © Copyright 2005 Massillon Museum 121 Lincoln Way East Massillon, OH 44646 Christine Fowler Shearer, Director Library of Congress Catalog Number: 2005926800 ISBN: 0-9755555-1-0 Exhibition Curated by: Christine Fowler Shearer, M.A. Project Coordinated by: Ann Caywood Brown Edited by: Hugh J. Brown Typography and Design by: Margy Vogt Printing by: Bates Printing Inc., Massillon, Ohio Staff Support: Alexandra Nicholis, M.A. Amanda Altimus Photo Credits: Brian Pierce Christine Fowler Shearer Canton Museum of Art Keny Galleries Butler Institute of American Art Spanierman Gallery, LLC FIGURE 2: May Ames (1869–1943) In the Ruins, 1926 Oil on canvas, 18 x 12 inches Collection of Robert Burns FIGURE 3: Emma Mendenhall (1873–1964) Flower Market, nd Watercolor, 18 x 14 inches Collection of Robert Burns 2 FIGURE 4: Clara Deike (1881–1964) Willows and Hollyhocks 1916 Watercolor and gouache on paper 18 x 21 inches Christine and Brian Pierce Collection Contents Exhibition Sponsors . 4 Lenders to the Exhibition . 6 Massillon Museum Board of Trustees . 6 Foreword Judy L. Larson, Ph.D .. 7 Breaking with Tradition: Ohio Women Painters, 1870–1950 Christine Fowler Shearer, MA . 13 Patterns and Similarities in Stylistic Development Brigitte M. Foley, MA . 21 Against All Odds: An Untold History of Women Artists in Ohio Wililam H. Robinson, Ph. D. 31 Artists and Paintings in the Exhibition . 51 Bibliography . 58 Authors . 60 Acknowledgments . 62 3 Donors This catalog and exhibition have been made possible by the generous support of the following foundations, organizations and individuals: Canton /Stark County Convention & Visitors Bureau The Ohio Humanities Council Jeanne Cooper Doris Browarsky William and Linda Cornell Russel Carpenter Robert and Carolyn David Beverly Denholm Nancy and Robert Dawson Barbara Gaul Maggie Denman Marie Gardner Bob and Nancy Gessner Cass and Lori Gowins Richard and Susan Gessner Kathleen Hickey Green William and Judy Kapper Robert Hopp Evaline Kirkpatrick David and Judy Lundquist Dave and Kim Leffler David and Jane Schultz Clare Murray Rod and Christine Shearer Mr. and Mrs. Richard Reichel Don and Shirley Sibila Ron and Jane Sibila Harold Smith Mr. and Mrs. Walter T. Sorg, Jr. John and Elaine Snively Dale Young John and Amelia Sparks Thomas and Nancy Straughn Robert and Susan Yund Junie and Dolores Studer Elizabeth Zelei Rudolph and Aileen Tekaucic 4 FIGURE 5: Harriet Kirkpatrick (1877–1962) Docked, 1910 Watercolor on paper, 15 x 10.5 inches Collection of artist’s granddaughter, Sally and Brian Kriska 5 Lenders to the Exhibition Robert Burns Daniel Bush Butler Institute of American Art The Canton Museum of Art Cincinnati Museum Center Cleveland Artists Foundation The Cleveland Play House Columbus Museum of Art James Corcoran Fine Arts Limited, Inc. 2005 Massillon Museum Pete and Pidge Diehl Dr. Eugene Folden Board of Trustees Robin and Harry Froeschke John and Susan Horseman Robert K. Yund, Chairman Keny Galleries David W. Schultz, Past Chairman Sally and Brian Kriska Fred Butler, Vice Chairman Mrs. Richard Margolis David Lundquist, Treasurer Mrs. William A. Monroe Judy Paquelet, Secretary Christine and Brian Pierce Karen Boyd Playhouse Square Center Margaret Cocklin Private Collections Beverly Denholm Rachel Davis Fine Arts William Doll Richmond Art Museum Jayne Ferrero The Schumacher Gallery, Capital University Nancy Gessner Spanierman Gallery, LLC, New York Shane Jackson Thomas French Fine Art William Kapper Helen Wessel Robert Shedlarz Western Reserve Historical Society, Cleveland FIGURE 6: Edith Stevenson Wright (1883–1975) Helen Watkins, 1950’s Oil on Canvas , 24 x 21 inches The Cleveland Play House Collection 6 Foreword Judy L. Larson Be prepared to make some stunning discoveries as you view Breaking with Tradition: Ohio Women Painters, 1870–1950, an exhibition featuring fifteen artists from three geographic areas in Ohio—Columbus, Cincinnati, and Cleveland. In reading this catalogue, you will likely find artists’ names you do not recognize or works that seem less than familiar. This should not deter you; there is both reward and joy in discovering women artists from all periods. Neglected in most art history textbooks before the 1980s, interest in women artists in the last two decades has been at the center of a resurgence of interest. Scholars comb through historic archives to add to our knowledge of women artists. Curators continue to search the corners of museum storage rooms seeking forgotten works by women artists. It is a challenging area for research, but as this exhibition reveals, there is much to be found. During 1870–1950, the time period covered in this exhibition, women were given few solo exhibitions; they rarely received mention in critical reviews of group exhibitions, and they received little encouragement by way of commissions or through the sale of their art. Nineteenth century attitudes about a woman’s proper role of domesticity, purity, and modesty lingered well into the twentieth century. It was difficult for women to receive training at art academies; women’s classes were often segregated from men’s. A woman was at a disadvantage in the business of art, often barred from the daily commercial worries of caring for a studio, hiring models, and selling art work. Her subject matter was limited: she could not travel as freely as she might like or visit public spaces unless accompanied by a friend or relation. Marriage and motherhood usually signaled the end of any artistic ambitions for a woman, making it especially admirable that women pursued artistic careers at all. FIGURE 7: Clara Deike (1881–1964) New England Landscape , 1931 Oil on canvas , 23 x 17.5 inches Collection of Daniel Bush 7 A scholarly trend during the 1990s in American art history delved more deeply into the works of regional artists and introduced audiences to the varied, rich inventory of new artists and to the local influences that affected artistic styles. Breaking With Tradition: Ohio Women Painters, 1870–1950 follows this scholarly direction, focusing on important women. Ohio has always been a welcoming place for women in the arts. The shaping of arts institutions and commercial artistic venues can be traced to the dreams of a few visionary Ohio women. Many philanthropically minded women deserve mention for their roles in establishing the arts institutions and artistic communities that helped women artists achieve success. As early as the 1850s, Sarah Worthington King Peter established the Ladies Academy of Fine Arts in Cincinnati, which not only offered classes to women but also a collection of European art for their study and appreciation. Entrepreneurial leadership from Maria Longworth Nichols, founder of the Rookwood Pottery Company, and Mary Louise McLaughlin of the Cincinnati Pottery Club created employment opportunities for women interested in design and craft. In the 1930s, the Taft Museum of Art, also of Cincinnati, opened in an historic house with the gift of a large collection of art from Anna Sinton Taft and her husband. Dayton’s Art Institute counts among its founders Julia Shaw Carnell, who became the most generous and influential patron of the arts in her community. In Toledo, the Toledo Museum of Art owes as much to Florence Scott Libbey as to Edward Drummond Libbey—both were committed to artistic education as a vehicle for improving the quality of life for the citizens of Ohio. Elisabeth Severance Prentiss founded the Allen Memorial Museum at Oberlin College in the 1940s. In 1977, Harriet Anderson and her husband established The Dairy Barn—a center for Ohio artisans. Women in Ohio continue to play a significant leadership role in the arts as trustees, directors and curators in art museums today. FIGURE 8: Elizabeth Nourse (1859–1938) Chapelle de St. Guénolé 1908 Oil on canvas 29 x 36 inches Spanierman Gallery, LLC, New York (MASSILLON ONLY ) 8 FIGURE 9: Alice Schille (1869–1936) Grape Arbor, c. 1907–08 Watercolor on paper, 18 x 24 inches Private Collection, Courtesy of Keny Galleries Columbus, Ohio (COLUMBUS ONLY ) Museum visitors are creatures of habit. We tend to gravitate to exhibitions where we are familiar with the names of artists. Because women artists are less known, it is often difficult to find those “celebrity” names on the checklist of an exhibition. In Breaking with Tradition: Ohio Women Painters 1870–1950, Elizabeth Nourse and Alice Schille are likely to be the stellar artists by name. Nourse became an expatriate from Cincinnati, finding her new home in Paris, lured by a more open attitude towards women and by a wide circle of artistic friends who influenced her style of painting and her choice of “modern life” as her subject. The opportunities to hone artistic skills in Paris were also important to Caroline A. Lord, Emma Mendenhall and Alice Schille. While Nourse, Lord, and Mendenhall studied either at the Academie Julian or privately with artists who were familiar with the accepted styles of the French Salon, Alice Schille sought out the avant-garde, looking to Post-Impressionists and Fauve painters for inspiration. The Modernism that Schille carried back to Ohio was as new and startling to American audiences as Impressionism had been to the French a generation earlier. This exhibition held revelations for me, which is always a delight. The sun-drenched plein air landscapes of May Ames were new to me; the joy of nature is revealed in her own variation on the styles and themes of Impressionism.
Recommended publications
  • 2017 Fernald Caroline Dissert
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE VISUALIZATION OF THE AMERICAN SOUTHWEST: ETHNOGRAPHY, TOURISM, AND AMERICAN INDIAN SOUVENIR ARTS A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By CAROLINE JEAN FERNALD Norman, Oklahoma 2017 THE VISUALIZATION OF THE AMERICAN SOUTHWEST: ETHNOGRAPHY, TOURISM, AND AMERICAN INDIAN SOUVENIR ARTS A DISSERTATION APPROVED FOR THE SCHOOL OF VISUAL ARTS BY ______________________________ Dr. W. Jackson Rushing, III, Chair ______________________________ Mr. B. Byron Price ______________________________ Dr. Alison Fields ______________________________ Dr. Kenneth Haltman ______________________________ Dr. David Wrobel © Copyright by CAROLINE JEAN FERNALD 2017 All Rights Reserved. For James Hagerty Acknowledgements I wish to extend my most sincere appreciation to my dissertation committee. Your influence on my work is, perhaps, apparent, but I am truly grateful for the guidance you have provided over the years. Your patience and support while I balanced the weight of a museum career and the completion of my dissertation meant the world! I would certainly be remiss to not thank the staff, trustees, and volunteers at the Millicent Rogers Museum for bearing with me while I finalized my degree. Your kind words, enthusiasm, and encouragement were greatly appreciated. I know I looked dreadfully tired in the weeks prior to the completion of my dissertation and I thank you for not mentioning it. The Couse Foundation, the University of Oklahoma’s Charles M. Russell Center, and the School of Visual Arts, likewise, deserve a heartfelt thank you for introducing me to the wonderful world of Taos and supporting my research. A very special thank you is needed for Ginnie and Ernie Leavitt, Carl Jones, and Byron Price.
    [Show full text]
  • The Elegant Home
    THE ELEGANT HOME Select Furniture, Silver, Decorative and Fine Arts Monday November 13, 2017 Tuesday November 14, 2017 Los Angeles THE ELEGANT HOME Select Furniture, Silver, Decorative and Fine Arts Monday November 13, 2017 at 10am Tuesday November 14, 2017 at 10am Los Angeles BONHAMS BIDS INQUIRIES Automated Results Service 7601 W. Sunset Boulevard +1 (323) 850 7500 European Furniture and +1 (800) 223 2854 Los Angeles, California 90046 +1 (323) 850 6090 fax Decorative Arts bonhams.com Andrew Jones ILLUSTRATIONS To bid via the internet please visit +1 (323) 436 5432 Front cover: Lot 215 (detail) PREVIEW www.bonhams.com/24071 [email protected] Day 1 session page: Friday, November 10 12-5pm Lot 733 (detail) Saturday, November 11 12-5pm Please note that telephone bids American Furniture and Day 2 session page: Sunday, November 12 12-5pm must be submitted no later Decorative Arts Lot 186 (detail) than 4pm on the day prior to Brooke Sivo Back cover: Lot 310 (detail) SALE NUMBER: 24071 the auction. New bidders must +1 (323) 436 5420 Lots 1 - 899 also provide proof of identity [email protected] and address when submitting CATALOG: $35 bids. Telephone bidding is only Decorative Arts and Ceramics available for lots with a low Jennifer Kurtz estimate in excess of $1000. +1 (323) 436 5478 [email protected] Please contact client services with any bidding inquiries. Silver and Objects of Vertu Aileen Ward Please see pages 321 to 323 +1 (323) 436 5463 for bidder information including [email protected] Conditions of Sale, after-sale collection, and shipment.
    [Show full text]
  • The Broken Wheel and the Taos Society of Artists (Ernest L
    The Broken Wheel and the Taos Society of Artists (Ernest L. Blumenschein Home & Museum Brochure 2016) American artist Joseph Henry Sharp briefly visited Taos in 1893. While studying painting in Paris two years later, he met and became friends with two other young American art students, Ernest L. Blumenschein and Bert G.Phillips. Sharp told them about the Indian village of Taos and the spectacular land. Blumenschein later wrote “I remember being impressed as I pigeon-holed that curious name in my memory with hope that some day I might pass that way.” On his return from Paris in 1896, Blumenschein was commissioned by McClures Magazine to do a series of illustrations in Arizona and New Mexico. He was so taken by the Southwest that he convinced his friend Bert Phillips to join him two years later on a sketching trip from Denver to Mexico. Having spent the summer of 1898 painting and camping in the Rocky Mountains, the two young artists started painting their way south in the early fall. On September 3, while driving the storm- ravaged roads of northern New Mexico, the wheel on their light surrey slipped onto a deep rut and broke. The men tossed a three-dollar gold piece to determine who would carry the wheel to the nearest blacksmith for repair. Blumenschein lost the toss and so made the twenty-mile trek to Taos with the broken wheel. Thus began a great experiment in American Art. Blumenschein (called “Blumy” by his many friends) stayed in Taos only a few months and then returned to New York.
    [Show full text]
  • Points-West 1999.09.Pdf
    -.- A NOTE FROM THE DIRECTOR Tn the previous (Summer, 1999) issue of 3 I PLAINS INDIAN MUSEUM : d RE/NTERPR ETATION LPoints West. a paragraph was inadvertently 4 omitted from the article by Gordon A NATTJRAL HISTORY MUSEUM:A RAIiONAIC ANd 7 Status of a Natural History Museumfor the BufJaIo Wickstrom titled, There's Never Been an Actor B|II Historical Center Like Buffalo BiII. Here is the author's closing SEASONS OF DISCOVERY: A HANdS-ON CENtET paragraph stating his thesis in its entirety: 9 for Children and Families 10 HARRY JACRSON CELEBRATED "This season ol 1876-77 epitomizes the t2 ABOT]T CROW INDIAN HORSES career of this unique actor-and the burden of this essay-who for a sustained stage CFM ACQUIRES GATLING GUN MOUNT l4 career played only himsell in dramas exclu- TWO NEW EXHIBITS ADDED TO CFM 15 sively about himself based more or less on t6 IN SI GHTS-P EG COE HON O RED materials of historical and cultural import that THE ROYAL ARMOURIES: Bulfalo BiIl Exhibit he was instrumental in generating on the Travels to Leeds, England. t7 scene of the national westward expansion." 19 TNTRIDUCING'RENDEZVIUS RIYALE" FRzM rHE HoRSE's MourH 22 Readers' Forum We want to know what you think about what we're doing. Please send your Letters to the Editor to: Editor: Points West Readers' POINIS WEST is published quarterly as a benelit of membership in the Buffalo Bill Historical center. For membership information contact: Forum. Bullalo Bill Historical Center, 720 Jane Sanders Director of Membership Sheridan Avenue, Cody, WY 82414.
    [Show full text]
  • 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.
    [Show full text]
  • Women Breaking Boundaries
    WOMEN BREAKING BOUNDARIES Permanent Collection Artwork List A comprehensive list of artworks by artists who identify as female, as well as works that portray strong female subjects, on view throughout the Cincinnati Art Museum’s permanent collection galleries from October 2019 to May 2020. The list is organized by gallery number and artworks in the gallery are identified by theWomen Breaking Boundaries logo. FIRST FLOOR Caroline Wilson (1810–1890), United Pitcher, 1881, Laura Anne Fry (1857– States, The Reverend Lyman A. Beecher, 1943), Cincinnati Pottery Club (estab. Alice Bimel Courtyard designed circa 1842, carved 1860 1879, closed 1890), United States, Harriet Whitney Frishmuth (1880–1980), marble, Gift of the Artist, 1885.12 earthenware, Dull Finish glaze line, United States, The Vine, 1923, bronze, Gift of Women’s Art Museum Centennial Gift of Dwight J. Thomson, Gallery 108 Association, 1881.48 1980.258 Lilly Martin Spencer (1822–1902), United States, Patty Cake, circa 1855, Pocket Vase, 1881, The Rookwood Harriet Whitney Frishmuth (1880–1980), oil on canvas, Museum Purchase: Pottery Company (estab. 1880), United States, The Star, 1923, bronze Bequest of Mr. and Mrs. Walter J. decorator, Maria Longworth Nichols Centennial Gift of Dwight J. Thomson, Wichgar, 1999.214 Storer (1849–1932), decorator, United 1980.259 States, earthenware, Limoges glaze Gallery 110 line, Gift of Women’s Art Museum Gallery 101 Elizabeth Boott Duveneck (1846–1888), Association, 1881.36 Turkey (Mersin), Cypriot Head of a United States, Woman and Children, Umbrella Stand, 1880, Mary Louise Priestess or Goddess, 5th–4th century 1878, oil on canvas, Gift of Frank McLaughlin (1847–1939), Frederick BCE, limestone with traces of paint, Duveneck, 1915.254 Museum Purchase, 2001.321 Dallas Hamilton Road Pottery (estab.
    [Show full text]
  • A Finding Aid to the Dixie Selden Papers, 1837-1936, 1993-2001, in the Archives of American Art
    A Finding Aid to the Dixie Selden papers, 1837-1936, 1993-2001, in the Archives of American Art Hilary Price 2015 November 4 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical Material, circa 1890s-1930s................................................. 4 Series 2: Correspondence, circa 1998, 1837-1935.................................................. 5 Series 3: Writings, circa 1890s-1930s..................................................................... 6 Series 4: Diaries, 1878-circa 1934..........................................................................
    [Show full text]
  • San Diego History Center Is a Museum, Education Center, and Research Library Founded As the San Diego Historical Society in 1928
    The Journal of San Diego Volume 61 Winter 2015 Numbers 1 • The Journal of San Diego History Diego San of Journal 1 • The Numbers 2015 Winter 61 Volume History Publication of The Journal of San Diego History is underwritten by a major grant from the Quest for Truth Foundation, established by the late James G. Scripps. Additional support is provided by “The Journal of San Diego History Fund” of the San Diego Foundation and private donors. The San Diego History Center is a museum, education center, and research library founded as the San Diego Historical Society in 1928. Its activities are supported by: the City of San Diego’s Commission for Arts and Culture; the County of San Diego; individuals; foundations; corporations; fund raising events; membership dues; admissions; shop sales; and rights and reproduction fees. Articles appearing in The Journal of San Diego History are abstracted and indexed in Historical Abstracts and America: History and Life. The paper in the publication meets the minimum requirements of American National Standard for Information Science-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. Front Cover: Clockwise: Casa de Balboa—headquarters of the San Diego History Center in Balboa Park. Photo by Richard Benton. Back Cover: San Diego & Its Vicinity, 1915 inside advertisement. Courtesy of SDHC Research Archives. Design and Layout: Allen Wynar Printing: Crest Offset Printing Editorial Assistants: Travis Degheri Cynthia van Stralen Joey Seymour The Journal of San Diego History IRIS H. W. ENGSTRAND MOLLY McCLAIN Editors THEODORE STRATHMAN DAVID MILLER Review Editors Published since 1955 by the SAN DIEGO HISTORICAL SOCIETY 1649 El Prado, Balboa Park, San Diego, California 92101 ISSN 0022-4383 The Journal of San Diego History VOLUME 61 WINTER 2015 NUMBER 1 Editorial Consultants Published quarterly by the San Diego History Center at 1649 El Prado, Balboa MATTHEW BOKOVOY Park, San Diego, California 92101.
    [Show full text]
  • Piper – Exanimate Subjects
    ISSN: 2471-6839 Exanimate Subjects: Taxidermy in the Artist’s Studio Corey Piper University of Virginia Fig. 1. William Merritt Chase, The Turkish Page (The Unexpected Intrusion), 1876. Oil on canvas, 48 ½ x 37 1/8 in. Cincinnati Art Museum. Gift of the John Levy Galleries / Bridgeman Images. In the course of researching my dissertation “Animal Pursuits: Hunting and the Visual Arts in Nineteenth-Century America,” I have often had occasion to consider (and sometimes lament) the unequal relationships between humans and animals that are frequently pictured in art. I have found taxidermy to be a potent material embodiment of this power dynamic that somewhat surprisingly connects a wide variety of nineteenth- century visual history, encompassing the work of Charles Willson Peale (1741–1827), Victorian home furnishings, academic painting, and other visual realms. While the presence of taxidermy in nineteenth-century life is well documented, it has been more challenging to trace its intersection with the fine arts. References to artists such as Piper, Corey. “Exanimate Subjects: Taxidermy in the Artist’s Studio.” Panorama: Journal of the Association of Historians of American Art 2 no. 1 (Summer, 2016). https:// doi.org/10.24926/24716839.1549. Gustave Courbet (1819–1877) who employed taxidermy in the studio are scattered throughout the literature on nineteenth-century art, but relatively little material or documentary record of the practice remains.1 I was thrilled, however, to find a piece of visual evidence hiding in plain sight within a photograph of the studio of William Merritt Chase (1849–1916) at the Archives of American Art that allowed for the concrete determination of an artist’s use of a taxidermy model in the construction of a painting.
    [Show full text]
  • Hannah Adams
    GODDARD WOMEN 1922 GEORGIA GRACE WATSON GODDARD (1866-1935), ELEANOR GRACE GODDARD DANIELS (1889-1981), ELEANOR DANIELS BRONSON HODGE (b. 1917), 1922 Mary Fairchild Low (1858-1946) Oil on canvas 58 x 48”; 147.3 x 121.9 cm. Hewes Number: 60 Born in New Haven, Connecticut, Low studied at the St. Louis School of Fine Arts, and then in Paris with Carolus-Duran and at the Academy Julian with Bouguereau, Lefebvre, and T. Robert Fleury.1 Other American women at the Academy Julian included Ellen Day Hale, Gabrielle Clements, Dora Wheeler, Amanda Brewster, Rosina Emmet, Lydia Field Emmet, Cecilia Beaux and Elizabeth Nourse.2 She married the artist Frederick MacMonnies in 1888 and lived in Paris and Giverny during the summers in the 1890s. They divorced and she married the artist Will H. Low in 1909; he had also studied with Carolus-Duran and the Ecoles de Beaux Arts.3 He was renowned as a mural and landscape painter. After their marriage, she lived in Bronxville, New York, just outside of New York City. Her figure paintings were exhibited in both France and the United States with great frequency.4 This was a substantial commission from a major artist and suggests the important status of the family within the city of Worcester. For example, in 1905, the parents of Harry W. Goddard celebrated their fiftieth wedding anniversary in the brand new residence at 190 Salisbury Street. At the same event, Eleanor Goddard celebrated her sixteenth birthday. The detailed description of this event in the Worcester newspaper lists all of the guests, provides family background for 1 Lois M.
    [Show full text]
  • Highlights from the Mcclung Museum's European & American Art Collections
    Highlights from the McClung Museum’s European & American Art Collections Introduction Like many university museums, the University and broader community to inter- McClung Museum has been gifted a wide act with them in their teaching and learn- variety of art since it opened its doors fifty ing. years ago. Among those gifts is a signifi- cant grouping of American and European In that sense, we are grateful for the long art that forms the backbone of the Mu- history of generous donations to the seum’s Western Art collections. McClung Museum, which not only benefit the museum itself, but University of Tennes- From nineteenth century society portraits see faculty, students, and researchers, as to twentieth century abstract art, these well as the East Tennessee community. paintings, sculptures, and works on paper reflect a handful of collectors’ tastes. While Collections like this one allow for the kind not focused in any particular area, the col- of intimate and eye-opening, and I think ex- lection is wonderful in its breadth and qual- traordinary important, interactions with art ity. that can only happen in the museum space. I organized this show the Summer of 2014 in order to highlight some of the gems in our collections, many of which had not been displayed in decades. Its chronologi- cal display not only roughly follows the col- Catherine Shteynberg lecting patterns of each of the donors pro- Curator filed throughout the exhibit, but also of course the chronology of major art move- ments. As we are a University museum, we not only have the opportunity to temporarily display these works of art, but to allow the ii The Collectors iii The Audigiers were Knoxvillians and strong patrons of the arts who made one of the first large donations of art to the Uni- versity of Tennessee.
    [Show full text]
  • 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
    [Show full text]