DOCSLIB.ORG

Double Vision: Portrait Miniatures and Embedded

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Double Vision: Portrait Miniatures and Embedded DOUBLE VISION: PORTRAIT MINIATURES AND EMBEDDED LIKENESS IN EARLY AMERICA by Katie E. McKinney A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Masters in Arts in American Material Culture Spring 2015 © 2015 Katie McKinney All Rights Reserved ProQuest Number: 1596877 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProQuest 1596877 Published by ProQuest LLC (2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 DOUBLE VISION: PORTRAIT MINIATURES AND EMBEDDED LIKENESS IN EARLY AMERICA by Katie E. McKinney Approved: __________________________________________________________ Catharine Dann Roeber, Ph.D. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ J. Ritchie Garrison, Ph.D. Director of the Winterthur Program in American Material Culture Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education ACKNOWLEDGMENTS I would like to thank my fearless thesis advisor, Catharine Dann Roeber for her unwavering encouragement, hard work, and guidance throughout this process. I am also extremely grateful to Wendy Bellion for her support and for helping me develop this topic. I would also like to thank Mel Buchanan for allowing me access to the New Orleans Museum of Art’s portrait miniature collection. Laura Pass Barry, Margaret Pritchard, and Kate Teiken were so kind in their responses to emails and for granting such wonderful access to the collections at Colonial Williamsburg. I am very grateful to Elle Shushan for her time and wisdom. Further, I would like to thank all of the scholars and curators at various institutions that assisted me with my research including Anna Marly, Robin Jaffee Frank, Alyce Englund, Ethan Lasser, Erik Gronning, Anne Lanning, Daniel Ackermann, and Grahame Long. I owe an extreme debt of gratitude to the staff of the Winterthur Library, especially Emily Guthrie and Lauri Perkins. I would like to thank the Winterthur staff and professors in the Winterthur Program, especially Linda Eaton, Rosemary Krill, Ritchie Garrison, and Jeanne Solenski. Many thanks to my classmates in WPAMC ’15 — it has been a pleasure and an honor. Additionally, I would like to express my utmost thanks to: Amy Torbert, Martin Brükner, Ann Smart Martin, WPAMC ‘13, WPAMC ‘14, WPAMC ‘16, Travis Olson, Tiernan Alexander, and David Blanchfield. iii I am indebted to Joseph Boselovic for being both my full-time support team and reader. Most of all, I would like to thank my parents, Jeff and Adrianne McKinney, and my brother David for their encouragement and love. Finally, thank you to my family and friends for their patience and support throughout this process. iv TABLE OF CONTENTS LIST OF FIGURES ....................................................................................................... vi ABSTRACT .................................................................................................................. ix Chapter 1 INTRODUCTION .............................................................................................. 1 2 THE MINUTE VIEW: PORTRAIT OF AN AMERICAN MINITURIST ..... 24 3 “YES, IT IS YOU MY DEAR”: PORTRAIT MINIATURES WITHIN LARGE-SCALE PORTRAITURE .................................................................. 63 4 THE LANGUAGE OF THE MINIATURE: PORTRAIT MINIATURES IN PRINT CULTURE ......................................................................................... 101 5 CONCLUSION .............................................................................................. 130 REFERENCES ........................................................................................................... 141 Appendix IMAGE PERMISSIONS…………. ........................................................................... 154 v LIST OF FIGURES Figure 1.1 Trade Card of Raphaelle Peale, c. 1801, Winterthur Library: Joseph Downs Collection of Manuscripts and Printed Ephemera……………………………………………………………..12 Figure 2.1 James Peale Painting a Miniature, c.1795, Charles Willson Peale, Mead Art Museum, Amherst College/Bridgeman Images…………………………...........................................................25 Figure 2.2 Detail, Frontispiece, Volume I, from in John Barrow, Dictionarium Polygraphicum, 1758; The Winterthur Library: Printed Book and Periodical Collection…………………………………………….........40 Figure 2.3 Detail, Figure 1, Plate VII, Volume II in John Barrow, Dictionarium Polygraphicum, 1758; The Winterthur Library: Printed Book and Periodical Collection.............................................................................43 Figure 2.4 Portrait of a Gentleman, Abraham Woodside, John Woodside (Brother of Artist), Attributed to John Archibald Woodside, Sr, c. 1810, Pennsylvania Museum of Art…………………………………………49 Figure 2.5 Detail, Portrait of a Gentleman, Abraham Woodside, John Woodside (Brother of Artist), c. 1810, attributed to John Archibald Woodside, Sr, Pennsylvania Museum of Art…………………………………………51 Figure 2.6 Portrait of an Unknown Woman, c. 1825, Courtesy, American Antiquarian Society…………………………………………………...53 Figure 2.7 James Peale, 1822 (oil on canvas), Peale, Charles Willson Peale, Detroit Institute of Arts, USA / Bridgeman Images…………..............60 Figure 3.1 Hannah Ackley Bush, 1791, Attributed to John Mackay or M’Kay American Antiquarian Society……………………………………......74 Figure 3.2 John Bush, 1791, Attributed to John Mackay or M’Kay, American Antiquarian Society…………………………………………………...75 vi Figure 3.3 Detail Hannah Ackley Bush, 1791, from Attributed to John Mackay or M’Kay, American Antiquarian Society………………………………77 Figure 3.4 Charity Platt Bush, 1785/86, Matthew Pratt, American Antiquarian Society………………………………………………………………...79 Figure 3.5 Portrait of Robert Lea, 1797, Adolf Ulrich Wertmüller, The Corcoran Gallery of Art…………………………………………………………84 Figure 3.6 Sara Shippen Lea (Mrs. Thomas Lea), c. 1798, Gilbert Stuart, The Corcoran Gallery of Art……………………........................................86 Figure 3.7 Detail Sara Shippen Lea (Mrs. Thomas Lea)…………………………88 Figure 3.8 Smith Family Portrait, ca. 1807, Attributed to Captain James Smith, The Colonial Williamsburg Foundation……………………………...91 Figure 4.1 Autumn, 1790-1810, Printed and sold by B. Plen, Winterthur Museum, Bequest Henry Francis du Pont……………………………………...110 Figure 4.2 Seeing, 1736-1775, After R. Pyle, engraved by R. Houseton, printed for Carington Bowles, The British Museum…………………………….111 Figure 4.3 The Miniature, 1842, After W. Ferring, engraved by A. L. Dick; engraving, Accessible Archives, Godey’s Ladys Book, 18420700.....113 Figure 4.4 The Seven Deadly Sins: Lust, 1639-1650, After Abraham Bosse, Made by John Goddard, Published by Thomas Jenner, The British Museum……………………………………………………………...117 Figure 4.5 Regrets, c. 1827-1835, After Claude-Marie Debufe, American Antiquarian Society………………………………………………….119 Figure 4.6 Memories, After Claude-Marie Debufe, Drawn on Stone by M.E.D. Brown, American Antiquarian Society……………………………...121 Figure 4.7 Detail, Memories…………………………………………………….122 Figure 5.1 The Dying Soldier, 1870, After H.P Simmons, Engraved by A. Turell , Printed by Thomas Kelley Library of Congress Prints and Photographs Division……………………………………………………………...137 vii Figure 5.2 Three-Quarter Length Portrait, 1847, Jane Anthony Davis, inscribed Sotheby’s Auctions………………………………………………….139 Figure 5.3 Daguerreotype after Jane Anthony Davis (1821-1855) The Important Americana Sale, January 2015. Lot 864. Courtesy of Sotheby’s Auctions……………………………………………………………..140 viii ABSTRACT This thesis examines the important social, cultural, and symbolic roles that portrait miniatures performed in the Early Republic. These small, mobile art objects accomplished a variety of functions both as physical objects and symbolic touchpoints when they became “embedded” or referenced visually and textually in other artistic works. In order to develop a better understanding of the multifaceted nature of portrait miniatures, this thesis explores the role and placement of these objects within large- scale oil portraits, miniatures, prints, and literature to investigate why American sitters, patrons, and artists wished to display and integrate smaller portraits into larger works. This work also analyzes the circulation of portrait miniatures as objects that served to connect individuals physically, emotionally, and otherwise in the early republic. In this thesis I propose the “minute view”, one that was at once intensely concentrated but was representative of social, familial, and national networks on a large scale. The inclusion of these objects in the visual, material, and literary worlds of the post-revolutionary period, helps to place these objects within the framework of the language of portrait miniatures in an American context.
Load more

Recommended publications
  • New York Painting Begins: Eighteenth-Century Portraits at the New-York Historical Society the New-York Historical Society Holds
    New York Painting Begins: Eighteenth-Century Portraits at the New-York Historical Society The New-York Historical Society holds one of the nation’s premiere collections of eighteenth-century American portraits. During this formative century a small group of native-born painters and European émigrés created images that represent a broad swath of elite colonial New York society -- landowners and tradesmen, and later Revolutionaries and Loyalists -- while reflecting the area’s Dutch roots and its strong ties with England. In the past these paintings were valued for their insights into the lives of the sitters, and they include distinguished New Yorkers who played leading roles in its history. However, the focus here is placed on the paintings themselves and their own histories as domestic objects, often passed through generations of family members. They are encoded with social signals, conveyed through dress, pose, and background devices. Eighteenth-century viewers would have easily understood their meanings, but they are often unfamiliar to twenty-first century eyes. These works raise many questions, and given the sparse documentation from the period, not all of them can be definitively answered: why were these paintings made, and who were the artists who made them? How did they learn their craft? How were the paintings displayed? How has their appearance changed over time, and why? And how did they make their way to the Historical Society? The state of knowledge about these paintings has evolved over time, and continues to do so as new discoveries are made. This exhibition does not provide final answers, but presents what is currently known, and invites the viewer to share the sense of mystery and discovery that accompanies the study of these fascinating works.
    [Show full text]
  • British Art Studies September 2020 Elizabethan and Jacobean
    British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr British Art Studies Issue 17, published 30 September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr Cover image: Left portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1605, watercolour on vellum, laid onto table-book leaf, 5.7 x 4.4 cm. Collection of National Portrait Gallery, London (NPG 3063); Right portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1603, watercolour on vellum, laid on card, 4.9 x 4 cm. Collection of Fitzwilliam Museum, Cambridge (FM 3869). Digital image courtesy of National Portrait Gallery, London (All rights reserved); Fitzwilliam Museum, Cambridge (All rights reserved). PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom.
    [Show full text]
  • ESSSAR Masthead
    EMPIRE PATRIOT Empire State Society of the Sons of the American Revolution Descendants of America’s First Soldiers Volume 10 Issue 1 February 2008 Printed Four Times Yearly THE CONCLUSION OF . THE PHILADELPHIA CAMPAIGN In Summary: We started this journey several issues ago beginning with . LANDING AT THE HEAD OF ELK - Over 260 British ships arrived at Head of Elk, Maryland. Washington was ready. The trip took overly long, horses died by the hundreds. British General Howe was anxious to move on, but first he had to unload his massive armada. ON THE MARCH TO BRANDYWINE - Howe heads for Philadelphia. Washington blocks the path. On the way to their first engagement of 1777, Washington exposes himself to capture, Howe misses an opportunity, the rains fall, and everyone seems prepared for what happens next. THE BATTLE OF BRANDYWINE- The first battle in the campaign. Howe conceives and executes a daring 17 mile march catching Washington by surprise. The Continental Army is impressive, but the day belongs to the British. THE BATTLE OF THE CLOUDS Both armies were poised for another major engagement Five days after the Battle of Brandywine, a confrontation is rained out PAOLI MASSACRE Bloody bayonets in a midnight raid Mad” Anthony Wayne, assigned to attack the rear guard of the British army, is himself surprised in a “dirty” early morning raid. MARCH TO GERMANTOWN Washington prepares to win back the capital Congress flees Philadelphia as the British occupy the city amid chaos and fear. THE BATTLE OF GERMANTOWN The battle is fought in and around a mansion. For the first time the British retreat during battle, but fog and confusion turned the American advance around.
    [Show full text]
  • Signers of the United States Declaration of Independence Table of Contents
    SIGNERS OF THE UNITED STATES DECLARATION OF INDEPENDENCE 56 Men Who Risked It All Life, Family, Fortune, Health, Future Compiled by Bob Hampton First Edition - 2014 1 SIGNERS OF THE UNITED STATES DECLARATION OF INDEPENDENCE TABLE OF CONTENTS INTRODUCTON Page Table of Contents………………………………………………………………...………………2 Overview………………………………………………………………………………...………..5 Painting by John Trumbull……………………………………………………………………...7 Summary of Aftermath……………………………………………….………………...……….8 Independence Day Quiz…………………………………………………….……...………...…11 NEW HAMPSHIRE Josiah Bartlett………………………………………………………………………………..…12 William Whipple..........................................................................................................................15 Matthew Thornton……………………………………………………………………...…........18 MASSACHUSETTS Samuel Adams………………………………………………………………………………..…21 John Adams………………………………………………………………………………..……25 John Hancock………………………………………………………………………………..….29 Robert Treat Paine………………………………………………………………………….….32 Elbridge Gerry……………………………………………………………………....…….……35 RHODE ISLAND Stephen Hopkins………………………………………………………………………….…….38 William Ellery……………………………………………………………………………….….41 CONNECTICUT Roger Sherman…………………………………………………………………………..……...45 Samuel Huntington…………………………………………………………………….……….48 William Williams……………………………………………………………………………….51 Oliver Wolcott…………………………………………………………………………….…….54 NEW YORK William Floyd………………………………………………………………………….………..57 Philip Livingston…………………………………………………………………………….….60 Francis Lewis…………………………………………………………………………....…..…..64 Lewis Morris………………………………………………………………………………….…67
    [Show full text]
  • Der Prozess Der Deutschen Wiedervereinigung Aus Der Sicht Der Angelsächsischen Partner, Dem Vereinigten Königreich Und Den Vereinigten Staaten Von Amerika
    1 Dissertation Der Prozess der deutschen Wiedervereinigung aus der Sicht der angelsächsischen Partner, dem Vereinigten Königreich und den Vereinigten Staaten von Amerika von Jörg Beck betreut durch Herrn Professor Dr. Hermann Hiery Lehrstuhl für Neueste Geschichte an der Universität Bayreuth Zweitkorrektor: Professor Dr. Jan-Otmar Hesse 2 Zum sehr großen Dank für die extrem starke Unterstützung an meine Mutter Frau Ilse Beck 3 Vorwort Die Dissertation „Der Prozess der Deutschen Wiedervereinigung aus der Sicht der angelsächsischen Partnerstaaten, dem Vereinigten Königreich und den Vereinigten Staaten von Amerika“ an der Kulturwissenschaftlichen Fakultät der Universität Bayreuth wurde begutachtet von Herrn Professor Dr. Hermann Hiery, Inhaber des Lehrstuhls für Neueste Geschichte an der Kulturwissenschaftlichen Fakultät der Universität Bayreuth und Herrn Professor Dr. Jan-Otmar Hesse, Inhaber des Lehrstuhls für Wirtschafts- und Sozialgeschichte an der Kulturwissenschaftlichen Fakultät der Universität Bayreuth. Die Dissertation wurde am 15. November 2017 angenommen. Jörg Beck Bayreuth, 24. Juli 2019 4 5 Inhaltsverzeichnis Seite Einleitung 8 A Problembereich und Fragestellungen 8 B Zum Forschungsinteresse der Kapitel im Einzelnen 9 C Forschungsstand 12 C 1 Forschungsstand in der Sekundärliteratur 12 C 2 Überblick und Kritik der verwendeten Quellen 15 Methodik 25 Materialzugang 25 Der Prozess der deutschen Wiedervereinigung aus der Sicht der angelsächsischen Partner, dem Vereinigten Königreich und den Vereinigten Staaten von Amerika 29 1 Das
    [Show full text]
  • Charles Coleman Sellers Collection Circa 1940-1978 Mss.Ms.Coll.3
    Charles Coleman Sellers Collection Circa 1940-1978 Mss.Ms.Coll.3 American Philosophical Society 3/2002 105 South Fifth Street Philadelphia, PA, 19106 215-440-3400 [email protected] Charles Coleman Sellers Collection ca.1940-1978 Mss.Ms.Coll.3 Table of Contents Summary Information ................................................................................................................................. 3 Background note ......................................................................................................................................... 5 Scope & content ..........................................................................................................................................6 Administrative Information .........................................................................................................................7 Related Materials ........................................................................................................................................ 7 Indexing Terms ........................................................................................................................................... 7 Bibliography ................................................................................................................................................9 Collection Inventory ..................................................................................................................................10 Series I. Charles Willson Peale Portraits & Miniatures........................................................................10
    [Show full text]
  • Revising the World with Speech in Franz Kafka, Robert Walser and Thomas Bernhard
    Monologue Overgrown: Revising the world with speech in Franz Kafka, Robert Walser and Thomas Bernhard by Paul Joseph Buchholz This thesis/dissertation document has been electronically approved by the following individuals: Schwarz,Anette (Chairperson) Gilgen,Peter (Minor Member) McBride,Patrizia C. (Minor Member) MONOLOGUE OVERGROWN: REVISING THE WORLD WITH SPEECH IN FRANZ KAFKA, ROBERT WALSER AND THOMAS BERNHARD A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Paul Joseph Buchholz August 2010 © 2010 Paul Joseph Buchholz MONOLOGUE OVERGROWN: REVISING THE WORLD WITH SPEECH IN FRANZ KAFKA, ROBERT WALSER AND THOMAS BERNHARD Paul Joseph Buchholz, Ph. D. Cornell University 2010 My dissertation focuses on unstable, chronically unpublished prose texts by three key 20th century prose writers, quasi-novelistic texts whose material instability indicates a deep discomfort with the establishment of narrative authority qua narrative violence. I argue that Franz Kafka, Robert Walser and Thomas Bernhard, radically refunctionalized the device of interpolated “character monologue,” turning characters' speech from a narrative function, into a site where a text can be rewritten from within. In the Bildungsroman tradition, extended oral interpolations serve as an engine for the expansion and exposition of the plotted work, deepening the epic narrative world and exhaustively presenting a perspective that will be incorporated into biographical trajectory. I locate an estrangement of this practice: moments when oral monologues of fictional interlocutors “overgrow,” becoming an interventionary force that doubles, disrupts and re-frames the narrative discourse out of which it first sprouted. In showing how the labor of ‘world-making’ is split and spread across different competing layers of these texts, my dissertation contributes to the study of the narrative phenomenon of metalepsis.
    [Show full text]
  • Masters' Thesis Abstract and Table of Contents
    Céline Cachaud Masters’ Thesis (2017) École Pratique des Hautes Études (Paris) Pr. Sabine Frommel (dir.) Nicholas Hilliard’s trip to France (1576-1579) and its consequences on his work A holistic approach This thesis is the result of more than two years of research. It is a two-parts research with a study of 167 pages and a comprehensive catalogue of Nicholas Hilliard’s work, the first in French, of 273 numbers. The study is currently only available in French. The study Nicholas Hilliard’s trip to France has regularly been boiled down to a no-consequence phase of his career by most of the specialists and scholars. However, sources and preserved works of art tell us another story : this period was indeed prolific and meaningful for the rest of his life. Although very few works of art are kept, circa twenty compared with the more than 200 authentic and attributed pieces, they are proofs of the plurality of his artistic production and the signs of the apex of his career thanks to the protection of the Valois court and most notably, thanks to the patronage of the French king’s brother, the duke of Alençon. Main issue Through the renewed analysis of the available and discovered archival and iconographical sources, this thesis had for main issue to discuss the consequences of Hilliard’s stay in France and the importance of it. To a lesser extent, it also questions Hilliard’s part in the renewal of portrait miniatures production in France in the late sixteenth century. ABSTRACT AND CONTENTS !1 Method : Our intentional holistic approach aimed at analyzing Hilliard’s trip to Paris in a global way, questioning on both Hilliard’s artistic career and human path into French society.
    [Show full text]
  • Eighth Annual Exhibition of Miniatures Catalogue
    EIGHTH ANNUAL EXHIBITION OF MINIATURES CATALOGUE THE PENNSYLVANIA ACADEMY OF THE FINE ARTS MDCCCCIX THE PENNSYL VANIA ACADEMY OF THE FINE ARTS FOUNDED 1805 THE PENNSYLVANIA SOCIETY OF MINIATURE PAINTERS CATALOGUE OF THE EIGHTH ANNUAL EXHIBITION OF MINIATURES, NOVEMBER 8 TO DECEMBER 19, 1909 PHILADELPHIA MCMIX MANAGEMENT OF THE PENNSYL VANIA ACADEMY OF THE FINE ARTS PRESIDENT, JOHN FREDERICK LEWIS. VICE· PRESIDENT I CLEMENT B. NEWBOLD. HONORARY VICE-PRESIDENTS, JOH N H. CONVERSE, E. BURGESS WARREN. DIRECTORS, THEOPHILUS P. CHANDLER, ALFRED C . HARRISON, HERBERT M. HOWE, M.D., CLARENCE C. ZANTZINGER, GEORGE H. McFADDEN, GEORGE D. WIDENER, CLEMENT B. NEWBOLD, T. DE 'WITT CUYLER, EDWARD T. STOTESBURY, ARTHUR H. LEA, THEODORE N. ELY, CHARLEMAGNE TOWER, FRANK H. CAVEN. TREASURER, ~ GEORGE H. McFADDEN. SECRETARY AND MANAGER, JOHN E. D. TRASK. ASSISTANT TO SECRETARY AND TREASURER, HARRY P. RHOADS. CURATOR OF SCHOOLS, CHARLES F. RAMSEY. SOLICITOR, JOHN G, JOHNSON. COMMITTEE ON EXHIBITIONS, CLEMENT B. NEWBOLD, CHAIRMAN, GEORGE H. McFADDEN, ALFRED C. HARRISON, EDWARD T. STOTESBURY, THEODORE N. ELY, CHARLEMAGNE TOWER. 2 @ff(cers ant> members of tl)e lDennsog{\?anta Soctet\? of miniature lDainters PRESIDENT EMILY DRAYTON TAYLOR VICE· PRESIDENT LUDWIG E. FABER SECRETARY A. MARGARETTA ARCHA~IBAULT TREASURER SARAH YOCUM McFADDEN EXECUTIVE COMMITTEE ELLEN WETHERALD AHRENS AMY OTIS REBECCA PEALE PATTERSON MEMBERS ELLEN WETHERALD AHRENS REBECCA BURD PEALE PATTERSON A. MARGARETTA ARCHAMBAULT EVELYN PURDIE ALICE BECKINGTON EDNA F. HUESTIS SIMPSON ELLA SHEPARD BUSH Lucy MAY STANTON SALLY CROSS MARIA JUDSON STREAN HERMAN DEIGENDESCH MARY H. TANNAHILL EULABEE DIX EMILY DRAYTON TAYLOR LUDWIG E. FABER HELEN M. TURNER JEAN WILLIAMS LUCAS MABEL R.
    [Show full text]
  • Double Vision: Woman As Image and Imagemaker
    double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond.
    [Show full text]
  • WARTS and ALL the Portrait Miniatures of Samuel Cooper (1609-1672)
    PRESS RELEASE October 2013 WARTS AND ALL The Portrait Miniatures of Samuel Cooper (1609-1672) A major loan exhibition dedicated to the first internationally celebrated British artist, Samuel Cooper, will go display at the Philip Mould gallery from 13 November – 7 December 2013 (Preview Tuesday, 12 November). Known to his contemporaries as ‘the prince of limners’ or ‘Vandyck in little’. Lenders to the exhibition include Royal Collection Trust, The Duke of Buccleuch, Castle Howard, Burghley House, The Ashmolean Museum, the Victoria and Albert Museum and the National Portrait Gallery. The exhibition takes its name from the Duke of Buccleuch’s iconic unfinished portrait of Oliver Cromwell, which, for the first time, will be hung alongside Sir Peter Lely’s identical portrait of Cromwell [on loan from Birmingham Museum and Art Gallery]. The death mask of Oliver Cromwell will also be loaned from Warwick Castle to allow visitors to compare his features to Cooper’s ad vivum sketch and subsequent portraits. As the exhibition will conclusively show, it is to Cooper that Oliver Cromwell is believed to have made clear his desire to be painted ‘warts and all’. This ambitious exhibition has been curated by Emma Rutherford, portrait miniature specialist to Philip Mould & Co, who has succeeded in securing loans from across the country to make this an outstanding show and give visitors a rare opportunity to glimpse these significant portraits together. Most have not been seen together since leaving Cooper’s studio in the 17th Century. The curator, Emma Rutherford, says “visitors to the exhibition will be able to visually follow Cooper’s career in the same way that we are able to read Pepys diary.
    [Show full text]
  • Karaoke Mietsystem Songlist
    Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.
    [Show full text]