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Impressionist and Modern Art Introduction Art Learning Resource – Impressionist and Modern Art
art learning resource – impressionist and modern art Introduction art learning resource – impressionist and modern art This resource will support visits to the Impressionist and Modern Art galleries at National Museum Cardiff and has been written to help teachers and other group leaders plan a successful visit. These galleries mostly show works of art from 1840s France to 1940s Britain. Each gallery has a theme and displays a range of paintings, drawings, sculpture and applied art. Booking a visit Learning Office – for bookings and general enquires Tel: 029 2057 3240 Email: [email protected] All groups, whether visiting independently or on a museum-led visit, must book in advance. Gallery talks for all key stages are available on selected dates each term. They last about 40 minutes for a maximum of 30 pupils. A museum-led session could be followed by a teacher-led session where pupils draw and make notes in their sketchbooks. Please bring your own materials. The information in this pack enables you to run your own teacher-led session and has information about key works of art and questions which will encourage your pupils to respond to those works. Art Collections Online Many of the works here and others from the Museum’s collection feature on the Museum’s web site within a section called Art Collections Online. This can be found under ‘explore our collections’ at www.museumwales.ac.uk/en/art/ online/ and includes information and details about the location of the work. You could use this to look at enlarged images of paintings on your interactive whiteboard. -
Gwen John: an Artist and Her Teapot in a Man's World
Gwen John: An Artist and Her Teapot in a Man’s World Jocelyne Fletcher A common trend in scholarly discourse about female artists is to orient them as they relate to their male counterparts. This scholarship implies that a female artist is forever trying to meet a standard set by a ‘creative genius’, a dominant male. Feminist thinking has challenged this apparent necessity: Is it not possible to focus on the artistic production of a female artist independently? Might a talented woman stand alone in critical readings of her artwork? Or must we continuously refer to Artemesia Gentileschi only as she pertains to her father Orazio? Must Lee Krasner always be compared to Jackson Pollock? Georgia O’Keefe to Alfred Steiglitz? This essay will examine the case of the British artist Gwen John (1876-1939) who is nearly always considered in relation to the significant male relationships of her life. In this essay, I consider the view that women ought to be regarded as artists independently of their relationship to men. Seeking to go beyond Victorian era gender ideals by which women artists are understood to be derivative of and dependent on their male counterparts, in this essay I show that there are other reasons why certain male relations should be included in a discussion about a woman artist. The presence of Gwen John’s brother Augustus John and her lover Auguste Rodin in the dialogue surrounding her artwork undoubtedly stems from age-old gendered norms. The real significance of these relationships, in terms of influence on her artistic output, cannot be appreciated using these antiquated models. -
Mapping Gwen John: Lives, Lines and Images
• I N T R O D U C T I O N • Mapping Gwen John: Lives, Lines and Images Picking up beautiful children at Tenby, to draw and adore on the sands, we stood looking at the children, the sea and the shore … On leaving the Slade, I lived in a small room Over a mortuary in the Euston Road And then, alone, in a cellar in Howland Street making water-colours of cats. … Ida Nettleship, Gwen Salmond and I shared a top flat in the Rue Froidveau. I knew Rodin … well. Corresponded with Rilke Never met Proust. Attended Whistler’s School. … Dorelia came with me. Journeying by way of Bordeaux and Toulouse we made our way to Paris. … alone now, often alone alone, now, always. Pearce (1996, 67-7) n his poem To Dieppe: A Lifescape, Brian Louis Peirce (1996) has drawn a literary portrait for Gwen John, who irrupted as an event in my project of I writing a genealogy of women artists. Indeed, my interest in John’s life and work unfolded in unpredicted but passionate ways. In the beginning she was not even included in my genealogical archive. While working with fin-de-siècle women artists’ life documents however, I read Janet Wolff’s essay “Rodin, Rilke and Gwen John in Paris” (1994) and I instantly became interested in finding out more about the grey female figure in Wolff’s essay. A research 2 •NOMADIC NARRATIVES• grant from the Arts and Humanities Research Council and the University of East London allowed me to delve into John’s letters and papers in Wales and Paris and the rest is the book. -
Charles Hopkinson – the Innocent
Charles s. h opkinson The Innocent Eye Charles Hopkinson’s Studio at “Sharksmouth” Manchester-by-the-Sea, Massachusetts Photograph by Charles R. Lowell Charles s. h opkinson (1869-1962) The Innocent Eye June 8-July 20, 2013 V ose Fine American Art for Six Generations Est 1841 G alleries llc introduCtion Vose Galleries is pleased to present our fifth one-man exhibition of works by Boston painter Charles Sydney Hopkinson (1869-1962), most of which have come directly from the Hopkinson family and have never before been offered for sale. We present fifteen watercolors and fifteen oil paintings, including the powerful cover work, Yacht Races , which illustrates Hopkinson’s life long search for new methods and ideas in the making of art. Unlike most of his Boston con - temporaries who studied and taught at the School of the Museum of Fine Arts, Boston, Hopkinson chose a different approach. He studied at the Art Students League in New York City, whose instructors followed a less dogmatic method of teaching. The artist also made several trips to Europe, where he viewed exciting new forms of self-expression. He was one of only a few Boston artists to be invited to show work in the avant-garde International Exhibition of Modern Art in New York City in 1913, which exposed audiences to the radical art movements taking place in Europe, particularly in France. Now cel - ebrating its one-hundredth year anniversary, the exhi - bition, which is now commonly referred to as the Armory Show of 1913, has become a watershed in the history of modernism in the United States. -
View the Press Release
DAVIS & LANGDALE COMPANY, INC. 231 EAST 60TH STREET NEW YORK, NY 10022 PHONE 212 838 0333 FAX 212 752 7764 PRESS RELEASE / ART LISTING November 16, 2018 Woman in Green Coat and Black Hat Curled Up Sleeping Tortoise-Shell Cat Flowers and Foliage in Blue & Pink Vase Gouache on paper Wash and pencil on paper Gouache on paper 8 13/16 x 6 7/8 inches 8 5/8 x 9 7/8 inches 7 1/8 x 5 3/4 inches Probably executed1920s Executed 1904 - 1908 Probably executed during the late 1920s DAVIS & LANGDALE COMPANY, 231 EAST 60TH STREET, NEW YORK, announces its new exhibition: GWEN JOHN: WATERCOLORS AND DRAWINGS which will open Friday, November 16, and continue through Saturday, December 8, 2018. A reception will be held on Wednesday December 5, 2018 from 5pm – 7pm. This exhibition will be the final show at 231 East 60th Street; after January 1, 2019, Davis & Langdale will be open by appointment only at a new location. The exhibition will consist of twenty-five works on paper, all of which have just been released from the artist’s estate and have never been previously shown. They include gouaches of women and children in church, drawings of the poet and critic Arthur Symons and of the artist’s friend Chloe Boughton-Leigh, images of peasant boys and girls, watercolors of cats, still lifes, and landscapes. GWEN JOHN (1876 – 1939) is one of the foremost British artists of the twentieth century. Born in Wales, she was the sister of the also famous Augustus John. -
Llyfrgell Genedlaethol Cymru = the National Library of Wales
Llyfrgell Genedlaethol Cymru = The National Library of Wales Cymorth chwilio | Finding Aid - Letters of Augustus John, Ida John and Gwen John, (NLW MS 23549C.) Cynhyrchir gan Access to Memory (AtoM) 2.3.0 Generated by Access to Memory (AtoM) 2.3.0 Argraffwyd: Mai 13, 2017 Printed: May 13, 2017 Wrth lunio'r disgrifiad hwn dilynwyd canllawiau ANW a seiliwyd ar ISAD(G) Ail Argraffiad; rheolau AACR2; ac LCSH Description follows NLW guidelines based on ISAD(G) 2nd ed.; AACR2; and LCSH https://archifau.llyfrgell.cymru/index.php/letters-of-augustus-john-ida-john-and- gwen-john archives.library .wales/index.php/letters-of-augustus-john-ida-john-and-gwen-john Llyfrgell Genedlaethol Cymru = The National Library of Wales Allt Penglais Aberystwyth Ceredigion United Kingdom SY23 3BU 01970 632 800 01970 615 709 [email protected] www.llgc.org.uk Letters of Augustus John, Ida John and Gwen John, Tabl cynnwys | Table of contents Gwybodaeth grynodeb | Summary information .............................................................................................. 3 Hanes gweinyddol / Braslun bywgraffyddol | Administrative history | Biographical sketch ......................... 3 Natur a chynnwys | Scope and content .......................................................................................................... 4 Nodiadau | Notes ............................................................................................................................................. 4 Pwyntiau mynediad | Access points .............................................................................................................. -
Women As Readers: Visual Interpretations
Women as Readers: Visual Interpretations LINDA J. DOCHERTY HE PORTRAIT of Anne Pollard (fig. i), one of the icons of early American painting, uses a book to define a type of Tfemale character. Traditionally seen as a document of Puritan history and an example of hnuaer art, this 1721 likeness of a hundred-year-old woman also bears consideration for its iconography. Biography alone fails to explain the literary attribute. According to Pollard's obituary, she was born in Essex, England, came to the New World as young girl, and married a Boston innkeeper in 1643.' She bore her husband thirteen children and, afrer his death, continued to manage the tavern they had opened near the present site of Park Street Church. Pollard must have had a modicum of education, but hardly enough to justify por- trayal with a symbol of authorship and learning most commonly A portion of this article was first presented at a conference sponsored by the American Antiquarian Society's Program in the History of the Book in American Culture on 'Iconography and the Culture of the Book,' held in Worcester on June 14-15, ^')*)^- Research for that presentation was supported by a fellowship ftom the American Council of Learned Societies. I am gratefiii to Georgia Barnhill and Caroline Sloatat the Ainerican Antiquarian Society and to Celeste Goodridge and Theodora Penny Martin at Bowdoln College for providing references, commenLs, and encouragement as I prepared this ex- panded version. Thanks also go to Alexis Guise for research assistance on the original c on- ference paper and to Diane Apostolos-Cappadona for comments on the same. -
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 -
EDNA CLARKE HALL's POEM PICTURES in the EARLY 1920S
SELF-ORDERING CREATIVITY AND AN INDEPENDENT WORK SPACE: EDNA CLARKE HALL’S POEM PICTURES IN THE EARLY 1920s by KATHRYN EMMA FLEMING MURRAY A thesis submitted to the University of Birmingham for the degree of MASTERS OF PHILOSOPHY (B) in History of Art College of Arts and Law School of Languages, Cultures, Art History and Music Department of History of Art University of Birmingham January 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis argues that the Poem Pictures made by Edna Clarke Hall (1879-1979) in the early 1920s signify new approaches to the treatment of ‘neuroses’ in British psychiatry following World War One, and contends that the artist’s biography is pertinent to understanding the production and meaning of these works. These hypotheses are demonstrated by considering Dr Henry Head’s responses to Clarke Hall when she sought his aid in 1920, following a period of emotional imbalance and physical illness. The thesis proposes that the philosophies underlying Head’s advice can be traced, via his acquaintance with psychiatrist Dr W.H.R. -
Llyfrgell Genedlaethol Cymru = the National Library of Wales Cymorth
Llyfrgell Genedlaethol Cymru = The National Library of Wales Cymorth chwilio | Finding Aid - Michael Holroyd (Augustus and Gwen John) manuscripts, (GB 0210 MSMICHOLJOHN) Cynhyrchir gan Access to Memory (AtoM) 2.3.0 Generated by Access to Memory (AtoM) 2.3.0 Argraffwyd: Mai 08, 2017 Printed: May 08, 2017 Wrth lunio'r disgrifiad hwn dilynwyd canllawiau ANW a seiliwyd ar ISAD(G) Ail Argraffiad; rheolau AACR2; ac LCSH Description follows NLW guidelines based on ISAD(G) 2nd ed.; AACR2; and LCSH https://archifau.llyfrgell.cymru/index.php/michael-holroyd-augustus-and-gwen- john-manuscripts archives.library .wales/index.php/michael-holroyd-augustus-and-gwen-john- manuscripts Llyfrgell Genedlaethol Cymru = The National Library of Wales Allt Penglais Aberystwyth Ceredigion United Kingdom SY23 3BU 01970 632 800 01970 615 709 [email protected] www.llgc.org.uk Michael Holroyd (Augustus and Gwen John) manuscripts, Tabl cynnwys | Table of contents Gwybodaeth grynodeb | Summary information .............................................................................................. 3 Hanes gweinyddol / Braslun bywgraffyddol | Administrative history | Biographical sketch ......................... 3 Natur a chynnwys | Scope and content .......................................................................................................... 4 Trefniant | Arrangement .................................................................................................................................. 4 Nodiadau | Notes ............................................................................................................................................ -
Cecilia Beaux Mary Cassatt
Cecilia Beaux AMERICAn: 1855–1942 NOMINATED BY MARY SAUER The realist portrait painter Cecilia Beaux split her time between Paris and Pennsylvania. The artist considered her- Meet 10 women artists whose talents and pioneering self a “new woman” and declared she’d never marry, choosing instead to devote spirits continue to inspire and influence today. her time to painting, which she did with great success. Before encountering Beaux’s work, artist Mary Sauer had always pointed to John Singer Sargent (1856–1925) as her favorite painter, and Beaux’s exquisite brushwork could easily be mistaken for that of the prolific portrait painter. “I love Beaux’s loose style and the drama in her portraits,” Sauer says. “When I learned about her in college, I couldn’t believe she hadn’t received more credit for her work, compared to Sargent. When I first saw her WOMEN Portrait of a Young Girl [or Portrait of a Young Woman?], in Philadelphia, part of a traveling exhibit, I felt a huge rush. I knew this was the direction my art was supposed CELEBRATING to be taking, and I was excited.” Sita and Sarita By Cecilia Beaux 1921; oil on canvas, 445/8x33) NATIONAL GALLERY OF ART, WASHINGTON, D.C. Mary Cassatt AMERICAn: 1844–1926 NOMINATED BY MARY WHYTE WOMEN Mary Cassatt—along with her peers, by Cynthia Close Edgar Degas and Berthe Morisot— created some of the best-loved paintings from the Impressionist period. Although born in Pennsylvania, Cassatt is often considered to be On August 26th, 1920, the 19th Amendment, granting women the right to a French artist, having spent most of her adult life in Paris. -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
This page intentionally left blank This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 by Dorothy W. Phillips Curator of Collections The Corcoran Gallery of Art, Washington D.G. 1973 Library of Congress Catalogue Card Number N 850. A 617 Designed by Graham Johnson/Lund Humphries Printed in Great Britain by Lund Humphries Contents Foreword by Roy Slade, Director vi Introduction by Hermann Warner Williams, Jr., Director Emeritus vii Acknowledgments ix Notes on the Catalogue x Catalogue i Index of titles and artists 199 This page intentionally left blank Foreword As Director of the Corcoran Gallery of Art, I am pleased that Volume II of the Catalogue of the American Paintings in the Corcoran Gallery of Art, which has been in preparation for some five years, has come to fruition in my tenure. The second volume deals with the paintings of artists born between 1850 and 1910. The documented catalogue of the Corcoran's American paintings carries forward the project, initiated by former Director Hermann Warner Williams, Jr., of providing a series of defini• tive publications of the Gallery's considerable collection of American art. The Gallery intends to continue with other volumes devoted to contemporary American painting, sculpture, drawings, watercolors and prints. In recent years the growing interest in and concern for American paint• ing has become apparent.