DOCSLIB.ORG

The Eternal Horizon: Landscapes from the Sheldon Memorial Art Gallery

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Eternal Horizon: Landscapes from the Sheldon Memorial Art Gallery University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1991 The Eternal Horizon: Landscapes from the Sheldon Memorial Art Gallery Daphne A. Deeds Curator at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Deeds, Daphne A., "The Eternal Horizon: Landscapes from the Sheldon Memorial Art Gallery" (1991). Sheldon Museum of Art Catalogues and Publications. 66. https://digitalcommons.unl.edu/sheldonpubs/66 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE ETERNAL HORIZON Landscapes from the Sheldon Memorial Art Gallery THE ETERNAL HORIZON George Henry Bogert Arthur B. Davies 1864-1944 1862-1928 Sunset Moonlight Sonata n.d., oil on canvas c. 1890, oil on board 22 x 30 in. 4 1(2 x 8 5/8 in. UNL-Giftof NAA-Gift Mr. & Mrs. Thomas of JoAnn Kimball C. Woods in memory of 1953.U-131 Curtis Kimball Jr. 1979.N-655 Gary Bowling Lyonel Feininger 1948- 1871-1956 Minnesota Farm, Brooding Sky Puffy Clouds 1946, watercolor 1986, oil on canvas on paper 24 x 31 in. 123/8 x 183/4 in. UNL-OlgaN. UNL-Sheldon Bequest Sheldon CollectioI' 1950.U-l11 1986.U-400l William Bradford Alan Gussow 1823-1892 1931- Seascape, Terrace in the Sun Cliffs at Sunset n.d., oil on panel n.d., oil on board 95/8 x 13 in. 9 x 14 in. UNL-Olga N. Sheldon Loaned by Collection Carl Rohman 1973.U-3290 1988.L-250-88 Ralston Crawford Marsden Hartley 1906-1978 1877-1943 Easthampton Bridge Altar Boulder, 1940, oil on canvas Dogtown 16 x 22 in. 1931, oil on board UNL-F.M. Hall I 18 x 241/8 in. Collection UNL-Bequest of 1965.H-954 Bertha Schaefer 1971.U-821 Jasper Francis Cropsey 1823-1900 Doune Castle 1848, oil on canvas 14 x 21 in. Childe Hassam NAA-Giftof 1859-1935 Gloucester Harbor Mr. & Mrs. Frank H. Woods, in memory of 1894, oil on canvas Nelia Cochrane Quick 13 3/8 x 25 1/4 in. 1959.N-116 NAA-Thomas C. Woods Memorial Collection 1968.N-193 THE ETERNAL HORIZON: LANDSCAPES FROM THE SHELDON MEMORIAL ART GALLERY It is significant that the van Ruisdael and his student, landscape painters who worked earliest recorded historical docu­ Meindert Hobbema, provided in Fontainebleau paved the way mentation of landscape, as such, the influence that eventually for the Impressionists of the occurred in the same quarter dominated 19th-century land­ 1870s. And, it was certainly century as the Europeans' discov­ scape painting.3 The Dutch those Impressionists who ery of the New World. In 1494 artists also are credited with changed the concept of not only the German painter and print­ having created the first easel landscape, but all painting for maker, Albrecht DUrer, produced paintings that allowed for small generations to come. In the watercolor landscapes, probably renderings of the landscape to be words of Monet, the impression­ on site, in single sittings. Even shown in private homes. In the ist landscape is "a spontaneous PREFACE though Renaissance character­ mid-17th century, Nicolas work rather than a calculated Since man first gazed into the istics such as new techniques in Poussin, often considered the one," as exemplified by the re­ distance, landscape has defined the handling of light, atmos­ most important French painter of peated attempts by Impressionist us. The vertical human form pheric perspective and space are his century, followed the tradi­ artists to capture the transitional measured against the horizontal present in his work, DUrer's tions of recording ancient, effects of light. Simultaneous earth are the most constant co­ classical concepts. Painters with the Barbizon influence in ordinates by which we secure the watercolor sketches of pure influenced by Poussin favored a France, American painters such human condition. Standing on landscapes did not influence the the earth man surveys the world, art of his time. It was another classic linearity as opposed to the as Homer Dodge Martin were and applies meaning to the German, Albrecht Altdorfer, who subtleties of color. However, recording 'transitional' land­ expanse. "is credited with the first pure Poussin's contemporary, French scapes in the time period The enormous subject of landscapes--both in painting and landscape painter Claude between those of the Hudson landscape can be comprehended in prints. Altdorfer etched a Lorraine, favored the ideal, or River School in the 1820s and on many levels. Landscape can series of nine landscapes pastoral tradition that emphasizes the Impressionists in the mid- be a literal reference to a specific between 1517 and 1520 ... "1 light and atmospheric qualities. 1870s. These painters--Martin place; it can suggest an ideallo­ Altdorfer's singUlar point of Known as 'Claudian,' this and his French Barbizon counter­ cation, offering an alternative to approach influenced the pictur­ parts--related a "sensitivity to aflawed world. Landscape perspective both in his paintings esque beauty of the painters of atmosphere (that) identifies an refers to historical or mytholog­ and this series of etchings places icallocales, or it can transcend the horizon uncharacteristically the 17th through the 19th cent­ essentially Modernist point of the particular to become a meta­ low. It was during this time, and uries, especially the English view, an openness to sensory phor for human aspirations and by these members of the Danube painters Joseph William Mallord suggestion, a willingness to let fears. School in southwestern Turner and Richard Wilson. the brush define on its own terms In our daily lives, the curva­ Germany, that landscape painting John Constable, the English the character of the experience."5 ture of the earth and our accom­ was first treated as an indepen­ landscape painter of the late 18th In America, landscapes by modating vision conspire to dent genre. However, not until and early 19th centuries, is Thomas Cole in 1825 signaled a render the horizon immutable. the early years of the 19th known to have copied the works time for artists "suddenly able to But in spite of its familiarity and of Claude Lorraine. Constable see the American land as an seeming permanence, landscape century did America claim the is in many ways illusory. The landscape tradition. rebelled against the painting independent subject matter offer­ horizon, like the transitory nature Webster defmes landscape styles of his time and concen­ ing a wide variety of natural of life itself, is a temporary cond­ painting as a "picture represent­ trated on the constantly changing forms."6 Cole, Albert Bierstadt, ition, created by the union of ing a section of natural, inland effects of light and atmospheric Thomas Doughty, and Frederick light and our perceptions of the scenery, as of prairie, woodland, conditions. His influence is seen Edwin Church all traveled with global earth. But our trust in mountains, etc." Taken quite in the idealized works of the surveying expeditions, or traders, that meeting of land and sky is literally, then, it is no surprise Barbizon School in France-­ painting romantic, grandiose only as real as our beliefs. that until the 1800s most land­ where the landscape is an 'un­ interpretations of the natural en­ In the twentieth century, land­ scapes were merely scenes that adorned' subject. Also working vironment so new and wondrous scape can assume both represent­ in the mid-19th century was the to them. Those painters, who ational and abstract forms, and served as background for sub­ thus we can discover a full range jects of an historical nature. For realistic painter, Gustave became known as members of of emotional and intellectual example, historian Kenneth Courbet, whose subjects included the Hudson River School, re­ concepts in the traditional genre. Clark states that " ... the moun­ the landscape. Courbet's visual sponded to the 'call of the land' These twenty landscapes traverse tains of Gothic landscape remain attitude, controversial for the as a new generation of artists the history ofAmerican art unreal (because) medieval man time, was to paint realistically who recorded the entire devel­ history, offering the viewer a did not explore them." Clark what one saw, and thus was opment of the frontier. Cole's synopsis of this most favorite and also informs us that the "land­ consistent with Constable's work personifies the prevailing lasting theme. From these scape of fact," or the landscape philosophy, stated in the phrase, attitude in that American artists' visions we can return to of 17th century Holland "directly "I never saw an ugly thing in my moment when the role of the the local vista with renewed ap­ life! "4 Courbet's vision of nature human was 'sublime' to the preciation for the eternal verities influenced, or even created awesomeness of the natural land­ nature reveals to the observant. nineteenth -century vision ... "2 was different--less idealized-­ The straightforward, naturalistic than that of the Barbizon paint­ scape by which it was surround­ approach by the 17th century ers, and that vision was a major ed. And, additionally, that vast Daphne Anderson Deeds Dutch artists who concentrated factor in changing the course of awesomeness "reminded one of Curator/Assistant Director on the peace and quiet of the art. the power of God. "7 Dutch countryside, such as Jacob Courbet and the Barbizon Jasper Francis Cropsey, Keith Jacobshagen Charles Rain 1941- 1911-1985 Towards Bennet Imperial Dusk 1990, monotype,color 1966, oil on panel 193/4 x 15 5/8 in.
Load more

Recommended publications
  • Hudson River School
    Hudson River School 1796 1800 1801 1805 1810 Asher 1811 Brown 1815 1816 Durand 1820 Thomas 1820 1821 Cole 1823 1823 1825 John 1826 Frederick 1827 1827 1827 1830 Kensett 1830 Robert 1835 John S Sanford William Duncanson David 1840 Gifford Casilear Johnson Jasper 1845 1848 Francis Frederic Thomas 1850 Cropsey Edwin Moran Worthington Church Thomas 1855 Whittredge Hill 1860 Albert 1865 Bierstadt 1870 1872 1875 1872 1880 1880 1885 1886 1910 1890 1893 1908 1900 1900 1908 1908 1902 Compiled by Malcolm A Moore Ph.D. IM Rocky Cliff (1857) Reynolds House Museum of American Art The Beeches (1845) Metropolitan Museum of Art Asher Brown Durand (1796-1886) Kindred Spirits (1862) Crystal Bridges Museum of American Art The Fountain of Vaucluse (1841) Dallas Museum of Art View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm - the Oxbow. (1836) Metropolitan Museum of Art Thomas Cole (1801-48) Distant View of Niagara Falls (1836) Art Institute of Chicago Temple of Segesta with the Artist Sketching (1836) Museum of Fine Arts, Boston John William Casilear (1811-1893) John Frederick Kensett (1816-72) Lake George (1857) Metropolitan Museum of Art View of the Beach at Beverly, Massachusetts (1869) Santa Barbara Museum of Art David Johnson (1827-1908) Natural Bridge, Virginia (1860) Reynolda House Museum of American Art Lake George (1869) Metropolitan Museum of Art Worthington Whittredge (1820-1910) Jasper Francis Cropsey (1823-1900) Indian Encampment (1870-76) Terra Foundation for American Art Starrucca Viaduct, Pennsylvania (1865) Toledo Museum of Art Sanford Robinson Gifford (1823-1880) Robert S Duncanson (1821-1902) Whiteface Mountain from Lake Placid (1866) Smithsonian American Art Museum On the St.
    [Show full text]
  • Domestic Space and Religious Practices in Mid-Sixteenth-Century Antwerp
    _full_alt_author_running_head (neem stramien B2 voor dit chapter en nul 0 in hierna): 0 _full_articletitle_deel (kopregel rechts, vul hierna in): “In Their Houses” _full_article_language: en indien anders: engelse articletitle: 0 108 Chapter 3 Chapter 3 “In Their Houses”: Domestic Space and Religious Practices in Mid-Sixteenth-Century Antwerp The Procession to Calvary (1564) is one of sixteen paintings by Pieter Bruegel the Elder listed in the inventory of Niclaes Jonghelinck’s collection prepared in early 1566. Alongside The Tower of Babel, this panel exemplifies Jonghelinck’s predilection for large biblical narratives, which functioned as discursive exem- pla within the secular space of his suburban villa. Displayed alongside Brue- gel’s series of the Months, Floris’s Banquet of the Gods, The Labors of Hercules, and allegories of the Seven Liberal Arts and the Three Theological Virtues, The Tower of Babel and The Procession to Calvary complemented those images’ more universal meaning by kindling a conversation about Antwerp’s current affairs. While The Tower of Babel addressed the socioeconomic transformation of the city, The Procession to Calvary registered the ongoing development of new types of religious practices, and the increasing dissatisfaction with official church and civic rituals. Bruegel’s composition engages with those changes by juxtaposing two artistic idioms. The panel is dominated by a visually rich multi figured view of the crowd following Christ to Golgotha, assisted by sol- diers in sixteenth-century Spanish uniforms and mixed with random passers- by who happen to be taking the same route on their way to Jerusalem. These contemporary witnesses of Christ’s passion contrast sharply with a group in- troduced by Bruegel in the foreground to the right.
    [Show full text]
  • Durand Release
    COMMUNICATIONS DIVISION VIRGINIA MUSEUM OF FINE ARTS 200 N. Boulevard I Richmond, Virginia 23220 www.VMFA.museum/pressroom FOR IMMEDIATE RELEASE Dec. 13, 2018 Asher B. Durand’s Progress, Most Valuable Gift of a Single Work of Art in VMFA’s History, Enters Museum Collection Gift marks first time the painting has been in public domain since its creation in 1853 Richmond, VA––The Virginia Museum of Fine Arts recently received the generous anonymous gift of Asher B. Durand’s painting Progress (The Advance of Civilization), which was approved by the VMFA Board of Trustees yesterday. One of the most important works of American art in private hands, this is the highest valued gift of a single work of art in VMFA’s history, and represents the first time the painting has been held outside of private collections since it was painted in 1853. Because of the extraordinary generosity of the donor, this beloved, canonical painting now enters the public domain, allowing the citizens of Virginia to be among the first to benefit from its presence in its new home at VMFA. Commissioned by the financier and industrialist Charles Gould (1811–1870), this work complements VMFA’s collection of paintings by other Hudson River School artists, including Thomas Cole, Jasper Francis Cropsey, Frederic Edwin Church, George Inness and Robert Seldon Duncanson. Only a handful of masterpieces in American art—including Thomas Cole’s The Oxbow and George Inness’s The Lackawanna Valley (which hang in the Metropolitan Museum of Art and the National Gallery of Art respectively)—rival Progress in dramatizing the meeting of nature and civilization.
    [Show full text]
  • The Hudson River School
    Art, Artists and Nature: The Hudson River School The landscape paintings created by the 19 th century artist known as the Hudson River School celebrate the majestic beauty of the American wilderness. Students will learn about the elements of art, early 19 th century American culture, the creative process, environmental concerns and the connections to the birth of American literature. New York State Standards: Elementary, Intermediate, and Commencement The Visual Arts – Standards 1, 2, 3, 4 Social Studies – Standards 1, 3 ELA – Standards 1, 3, 4 BRIEF HISTORY By the mid-nineteenth century, the United States was no longer the vast, wild frontier it had been just one hundred years earlier. Cities and industries determined where the wilderness would remain, and a clear shift in feeling toward the American wilderness was increasingly ruled by a new found reverence and longing for the undisturbed land. At the same time, European influences - including the European Romantic Movement - continued to shape much of American thought, along with other influences that were distinctly and uniquely American. The traditions of American Indians and their relationship with nature became a recognizable part of this distinctly American Romanticism. American writers put words to this new romantic view of nature in their works, further influencing the evolution of American thought about the natural world. It found means of expression not only in literature, but in the visual arts as well. A focus on the beauty of the wilderness became the passion for many artists, the most notable came to be known as the Hudson River School Artists. The Hudson River School was a group of painters, who between 1820s and the late nineteenth century, established the first true tradition of landscape painting in the United States.
    [Show full text]
  • The Artist and the American Land
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c.
    [Show full text]
  • Picturing America at the KIA………………………………………………………………………………………3
    at the Kalamazoo Institute of Arts 314 S. Park Street Kalamazoo, MI 49007 269/349-7775, www.kiarts.org 2 Table of Contents Information about Picturing America at the KIA………………………………………………………………………………………3 The Art John Singleton Copley, Mars, Venus and Vulcan: The Forge of Vulcan , 1754……………………….…………..………………4 Charles Willson Peale, The Reverend Joseph Pilmore , 1787……………………………………………………………………...5 John James Audubon, White Headed Eagle , 1828………………………………………………………………………..………...6 Hiram Powers, George Washington , 1838-1844……………………………………………………………………………………..7 Severin Roesen, Still Life with Fruit and Bird’s Nest , n.d………………………………………..…………………………………..8 Johann Mongels Culverhouse, Union Army Encampment , 1860…………………………………………………………………..9 William Gay Yorke, The Great Republic , 1861…………………………………………………………………..………………….10 Eastman Johnson, The Boy Lincoln , 1867………………………………………………………………………………….……….11 Robert Scott Duncanson, Heart of the Andes , 1871……………………………………………………………..………………...12 Albert Bierstadt, Mount Brewer from Kings River Canyon , 1872……………………………………………………..……..........13 Edmonia Lewis, Marriage of Hiawatha , 1872………………………………………………………………………….…………….14 Jasper Francis Cropsey, Autumn Sunset at Greenwood Lake, NY , 1876…………………………………………….…………15 Henry Ossawa Tanner, The Visitation , 1890-1900……………………………………………………..…………………………..16 Frederick William MacMonnies, Nathan Hale , 1890………………………………………………………………………………..17 William Merritt Chase, A Study in Pink (Mrs. Robert MacDougal), 1895………………………………………………..……….18 Alfred Stieglitz, The Steerage , 1907…………………………………………………………………………………………...........19
    [Show full text]
  • A Call to the Wild
    Q UESTROYAL F INE A RT, LLC A Call to the Wild Thomas Moran John Frederick Kensett Evening Clouds, 1902 New England Coastal Scene with Figures, 1864 Oil on canvas Oil on canvas 141/8 x 20 inches 141/4 x 243/16 inches Monogrammed, inscribed, and dated Monogrammed and dated lower right: JF.K. / ’64. lower left: TMORAN / N.A. / 1902” March 8 – 30, 2019 An Exhibition and Sale A Call to the Wild Louis M. Salerno, Owner Brent L. Salerno, Co-Owner Chloe Heins, Director Nina Sangimino, Assistant Director Ally Chapel, Senior Administrator Megan Gatton, Gallery Coordinator Pavla Berghen-Wolf, Research Associate Will Asencio, Art Handler Rita J. Walker, Controller Photography by Timothy Pyle, Light Blue Studio and Ally Chapel Q UESTROYAL F INE A RT, LLC 903 Park Avenue (at 79th Street), Third Floor, New York, NY 10075 :(212) 744-3586 :(212) 585-3828 : Monday–Friday 10–6, Saturday 10–5 and by appointment : gallery@questroyalfineart.com www.questroyalfineart.com A Call to the Wild Those of us who acquire Hudson River School paintings will of composition, in the application of brushstroke, in texture, in possess something more than great works of art. Each is a perspective, in tone and color, each artist creates a unique visual glimpse of our native land, untouched by man. These paintings language. They have left us a painted poetry that required a compel us to contemplate, they draw us beyond the boundaries combination of imagination and extraordinary technical ability. of a time and space that define our present lives so that we may The magnitude of the artistic achievement of this first American consider eternal truths.
    [Show full text]
  • The Hudson River School at the New-York Historical Society: Nature and the American Vision
    The Hudson River School at the New-York Historical Society: Nature and the American Vision Marie-François-Régis Gignoux (1814–1882) Mammoth Cave, Kentucky , ca. 1843 Oil on canvas Gift of an Anonymous Donor, X.21 After training at the French École des Beaux-Arts , Gignoux immigrated to the United States, where he soon established himself as a landscape specialist. He was drawn to a vast underground system of corridors and chambers in Kentucky known as Mammoth Cave. The site portrayed has been identified as the Rotunda—so named because its grand, uninterrupted interior space recalls that of the Pantheon in Rome. Gignoux created a romantic image rooted in fact and emotion. In contrast to the bright daylight glimpsed through the cavern mouth, the blazing fire impresses a hellish vision that contemporaneous viewers may have associated with the manufacture of gunpowder made from the bat guano harvested and rendered in vats in that very space since the War of 1812. William Trost Richards (1833–1905) June Woods (Germantown) , 1864 Oil on linen The Robert L. Stuart Collection, S–127 Richards followed the stylistic trajectory of the Hudson River School early in his career, except for a brief time in the early 1860s, when he altered his technique and compositional approach in response to the Pre-Raphaelite aesthetics of the English critic John Ruskin. Ruskin’s call for absolute fidelity to nature manifested itself in the United States in a radical 1 group of artists who formed the membership of the Association for the Advancement of Truth in Art, to which Richards was elected in 1863.
    [Show full text]
  • Download 1 File
    n IMITHSONIAN^INSTITUTION NOIinillSNI^NVINOSHllWS S3iavaail LIBRARIES SMITHSONIAN~INSTITUTION jviNOSHiiws ssiavaan libraries Smithsonian institution NoiiniusNi nvinoshiiws ssiavaan in 2 , </> Z W iMITHSONIAN INSTITUTION ^NOIinillSNI NVINOSHilWS S3 I y Vy a \1 LI B RAR I ES^SMITHSONIAN INSTITUTION jvinoshiiws S3iavaan libraries Smithsonian institution NoiiniusNi nvinoshiiws ssiavaan 2 r- Z r z mithsonian~institution NoiiniusNi nvinoshiiws ssiyvyan libraries" smithsonian~institution 3 w \ivinoshiiws 's3 iavaan~LiBRARi es"smithsonian~ institution NoiiniusNi nvinoshiiws"'s3 i a va a 5 _ w =£ OT _ smithsonian^institution NoiiniiiSNrNViNOSHiiws S3 lavaan librari es smithsonian~institution . nvinoshiiws ssiavaan libraries Smithsonian institution NouruiiSNi nvinoshjliws ssiavaan w z y to z • to z u> j_ i- Ul US 5s <=> Yfe ni nvinoshiiws Siiavyan libraries Smithsonian institution NouniiisNi_NviNOSHiiws S3iava LIBRARIES SMITHSONIAN INSTITU1 ES SMITHSONIAN INSTITUTION NOIifUllSNI NVINOSHJLIWS S3 I a Va an |NSTITUTION„NOIinillSNI_NVINOSHllWS^S3 I H VU SNI NVINOSH1IWS S3 I ava 8 II LI B RAR I ES..SMITHSONIAN % Es"SMITHSONIAN^INSTITUTION"'NOIinillSNrNVINOSHllWS ''S3IHVHan~LIBRARIES SMITHSONIAN_INSTITU OT 2 2 . H <* SNlZWlNOSHilWslsS lavaail^LIBRARI ES^SMITHSONIAN]jNSTITUTION_NOIinil±SNI _NVINOSHllWS_ S3 I UVh r :: \3l ^1) E ^~" _ co — *" — ES "SMITHSONIAN INSTITUTION^NOIinillSNI NVINOSH1IWS S3iavaail LIBRARIES SMITHSONIAN INSTITU '* CO z CO . Z "J Z \ SNI NVINOSHJ.IWS S3iavaan LIBRARIES SMITHSONIAN INSTITUTION NOIinil±SNI_NVINOSH±IWS S3 I HVi Nineteenth-Century
    [Show full text]
  • From Patinir's Workshop to the Monastery of Pedralbes. a Virgin
    https://doi.org/10.5565/rev/locus.323 LOCVS AMŒNVS 16, 2018 19 - 57 From Patinir’s Workshop to the Monastery of Pedralbes. A Virgin and Child in a Landscape Rafael Cornudella Universitat Autònoma de Barcelona [email protected] Reception: 05/04/2018, Acceptance: 23/06/2018, Publication: 04/12/2018 Abstract Among the paintings of netherlandish origin imported into Catalonia during the first half of the 16th century, preserved at the Monastery of Pedralbes, there is a small panel featuring the Madonna and Child in a landscape which is attributed here to Patinir’s workshop, not excluding the possibility of some autograph intervention by the master. Whatever the case, this article sets out to situate the piece both in the context of its production and in that of its reception, that is, the community of nuns of Saint Claire of Pedralbes. What is interesting about this apparently modest work is the fact that it combines a set of ingredients typical of Patinir in a composition that is otherwise atypical as regards his known output as a whole, above all in terms of the relationship between the figure and the landscape, although also of its presumed iconographic simplicity. The final section of the article examines the piece in relation to the ever-controver- sial issue –which still remains to be definitively resolved– of the authorship of the figures in the works of Patinir. Keywords: Joachim Patinir; 16th Century Netherlandish Painting; landscape painting; The Virgin suckling the Child; The Rest during the Flight into Egypt; Monastery of Santa Maria de Pedralbes Resum Del taller de Patinir al monestir de Pedralbes.
    [Show full text]
  • SELLING ART in the AGE of RETAIL EXPANSION and CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS and the AMERICAN ART MARKET of the 1930S and 1940S
    SELLING ART IN THE AGE OF RETAIL EXPANSION AND CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS AND THE AMERICAN ART MARKET OF THE 1930s AND 1940s by TIFFANY ELENA WASHINGTON Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation advisor: Anne Helmreich Department of Art History CASE WESTERN RESERVE UNIVERSITY JANUARY, 2013 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of __________Tiffany Elena Washington_________ candidate for the __Doctor of Philosophy___ degree*. (signed) _______Anne L. Helmreich________ (chair of the committee) ______Catherine B. Scallen__________ ________ Jane Glaubinger__________ ____ _ _ Renee Sentilles___________ (date) 2 April, 2012 *We also certify that written approval has been obtained for any proprietary material contained herein. 2 For Julian, my amazing Matisse, and Livia, a lucky future artist’s muse. 3 Table of Contents List of figures 5 Acknowledgments 8 Abstract 11 Introduction 13 Chapter 1 46 Chapter 2 72 Chapter 3 93 Chapter 4 127 Chapter 5 155 Conclusion 202 Appendix A 205 Figures 207 Selected Bibliography 241 4 List of Figures Figure 1. Reeves Lewenthal, undated photograph. Collection of Lana Reeves. 207 Figure 2. Thomas Hart Benton, Hollywood (1937-1938). Tempera and oil on canvas mounted on panel. The Nelson Atkins Museum of Art, Kansas City. 208 Figure 3. Edward T. Laning, T.R. in Panama (1939). Oil on fiberboard. Smithsonian American Art Museum. 209 Figure 4. Plan and image of Associated American Artists Gallery, 711 5th Avenue, New York City. George Nelson, The Architectural Forum. Philadelphia: Time, Inc, 1939, 349. 210 Figure 5. Thomas Hart Benton, Departure of the Joads (1939).
    [Show full text]
  • A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
    A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W.
    [Show full text]