DOCSLIB.ORG

Ethel Paxson Papers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

byRonald G. Pisano tctqowled$qcqt$ ook is a partial result of six years of research on William Merritt ler Galleries, Inc., Kennedy Galleries, Inc. (Deedee Wigmore), M. Knoed,. The research began as a graduate thesis on Chase,s students, which ler and Co., Kenneth Lux Gallery, Kraushaar Galleries, Newhouse Gal- as the basis for a two-part197l exhibition, "The Students of Wil- leries, Inc. (Clyde Newhouse), Schweitzer Gallery, Robert Schoelkopf, f,erritt Chase," sponsored jointly by the Heckscher Museum in sotheby Parke Bernet, Inc. (Grete Meilman and peter Rathbone), and lre tgton, N.Y., and The Parrish Art Museum in SouthamptorU N.y. Spanierman, Inc. I articles on Chase and his teaching career followed; and in 1976 I I am also grateful for the patience and kind cooperation of the many c* ed a comprehensive exhibition of toa Chase works, held at M. lectors who have responded to my reguests for information about their ler and Company in New York. works of art by Chase. Among these collectors who share my enthusiasm r doing my work on Chase's students, I realized the lack of recent for Chase's work, I would like to express my special thanks to Raymurd h on Chase's own art and took on what would be the long and ar- and Margaret Horowitz, who have been a continual source of inspiratian, task of compiling a catalogue raisonn6. The cataloguing of these and to Dr. Robert Coggins, |oAnn and Julian Ganz,Jr.,and Margaret Mal- of art was complicated by the fact that Chase was a prolific artist lory. |ackson Chase storm (william Merritt Chase's grandson) and Arthur pt no record of his artwork. Also, many unsigned works by his pu- and Irma Zigas (present owners of the Chase homestead in shinnecock re since had false Chase signatures added to them. These problems Hills) have also been encouraging and particularly supportive. w being resolved however, through a computerized catalogue, Those Chase students I have been able to interview have given me a rill allow as well for greater flexibility than is provided by a stind- very special and personal insight into the character of this artis! as well as nted catalogue raisonn6. Additions to it and corrections can be a better understanding of his teaching methods. I am gratefu-l to Georgir. ontinually and easily as new information is made available and as o'Keeffe for providing me with an account of her early days as a chase gs change hands. Other benefits of this computerized format are student. Ethel Paxson DuClos has also been extremely herpfur in desaiE liscovered through further experimentation. ing her experiences at the Pennsylvania Academy or in" rine Arts, rvhere r this computerized catalogue raisonn6, the first such compilation she studied with chase, and in providing additional information about rtist's complete oeuvre, will serve mainly as a research tool, I am her colleagues. other artists who studied under Chase and have shared lly happy to have this opportunity to write a monograph Chase, on their remembrances with me include Caroline van Hook Bean, James FL a broad selection 19 of his work and directed to the general public. Daugherty, Harriet V. C. Ogderg Helen Lee Peabody, and Helen Appteton rg the works of art to be included was a difficult task; the selection Reed. in effect, intended to represent a broad spectrum of this versatile Two museum directors deserve warmest thanks: Eva Ingersolr c,adforg work. am particularly I grateful to Dorothy Spencer, who sug- (former director of the Heckscher Museum), who provided me the chance ilrat I write this book and provided me with the occasion to do so. to organize my first Chase-related exhibition, and fean weber (dlreaor of ng the general course of my research, I have benefited from the ad- The Parrish Art Museum), who has continually promoted my Chase re- d assistance of innumerable people, including scholars, museum search. I am especially grateful to The Parrish Art Museum for helping b rel, collectors, art dealers, and especially the dedicated staffs of the support my continuing research on Chase and for sponsoring my comFrt_ ision and Print Room of the New York Public Llbrary, the Frick Art erized catalogue raisonn6 and to Robert Chenhall and Carole Rush fu re Library, and the Archives of American Art. Although it is im- their assistance with this project. The william Merritt Chase Archites, e to acknowledge all of these people individually, I would like to which I established at The Parrish Art Museum in 7972, have also seryEd rmy sincere gratitude to all who have assisted me over the past six as a valuable source of photographs documenting Chase,s life. must also single out and thank several colleagues for their contin- Anyone writing about Chase is indebted to the work of previous clEse dp and scholarly contributions: Doreen Bolger Burke, Lois Din- scholars, including most notably, Chase's original biographer IGdrerine David t, Kiehl, Wiltiam Gerdts, Abigail Booth Gerdts, Robert Metcalf Roof and two subseguent Chase scholars-wilbur peat and Ale Bruce Weber, Barbara Weinberg, and Graham Williford. Art gal- Story. Eve also been extremely cooperative and supportive, including Finally, I would like to thank those at Watson-Guptill who have can- (Dennis C,alleries Anderson), Berry Hill Galleries, Inc., Chapellier tributed to publication of this book; D. Frederick Baker, who read the s, [nc. (Irene Little and Pat Eargle), Coe-Kerr Gallery, Inc., Davis manuscript and offered invaluable advice; and David Cassedy, urhoeffi rg C,allery, Inc. (Roy Davis and Cecily Langdale Davis), Graham the initial manuscript and helped me to express my thoughts rrue deuty- , Grand Central Art Galleries, Hammer Galleries, Hirschl and Ad- 5 II i:.: li ::::..:. IT :::.i.lr:i.aii!:i:irjir'.,:::::r,:l::::::,.::,=ttt:::.::,lt,ti,.iiri,:,.:.:i:,::i!,,tr:::;i:]i,,i.:l::t-:j:r::,:;::ii j'" CIrned ard-:fitrraed by'the ,A,rchirres of ,qme rj-can Art, :,1 Smi-ths cmian'Ins ti tution .,: (hester'&-€los, Gi'fr of ;;1!Essex, Conneit i.lr, Septor6e@S, 1gg4 . :+#:, ri r1:#: i':8,: :.' 'i:L i#.l' :"ii6i .4::, l; trSi,i . .i :r+1i!r;#;' .l ,-}" i, :4,t;:-$an ri !: ' :j;i'.] B ", ,#' i# i$: : , -::_ .- ' 'ji.tt'rl, !, t\ mat6+$, uadated and 1903. fggZ ,; ..-. ,, r.ul ,t€d and lSiO -3:ggz 3" Writingp; '1950 - 19 76.--.,.. -- : :.. 4, Printedr nraterial-, tmdated and 1909-1992 A" Scrrybook of clippings, 1909- Lg44 8,. Ctrippings, 1935-1982 C. Exhibition anrrbuncements and catalogs, . urndated and 1933-1983 D. Books, 1970-1982 E. Miscell.aneous 1-9 75 - 19 81 Photo[raph., "4. B,o rgrdated and 1949-L977 r\ . :., \, . , .1 ' . ' ','' .l : a-\ t ':"2- . I :l::: a'. ,,,ii .r I WHO WAS WHO INAMERICANART Record Series. Boston, Herbert $ddresses: MA. Studied: udth father. Grepiorv [painta, r_avrosKy, decorator of ecclesiastical interiors. cartooni.stl PAua Memleri Boston WCS; Copley Soc.; B^oston ca; Ciouceiteiti* Cfor"*rt", 1880, Minneapolis,- MN d1946. Si;--, I $g^"!pqrt44 North d.a"e noru cgplfy !!or9-{A.'Exhibi;A; ca., J*lti:ilt"ffi ls?z; S., BIvtEA" 1923; DolI &*ch"ra, Aa"" nortdo i.H,:#:ffi"*'"HTiT"*,jH_"", (solos: 1924-29 annyally; tSSg, t%t,-{g#ij; C"*dpt .cr...,ti,irJiti*:cart.,,sr. C$cag9, ty28,.tb3t; t;A- y,s,Tj:!:*:-llyqgr*fpress lcgtt, ett, Diyii, i'srr; rioJ -o"-\ats; Paul P ioneer : .tr"I stoaio, -sounes cili-Jgo;;.-- "' ilA#; 9d. .ol.m. Moors; Gtoucejter SA; Cf oucesieiaa; n"ifip"n free-lance illustr., t{yc. iilWZl.'-' North-Shore i* z AA; Carnegie trrt. art; voiiEar.; O'g"oqrii-(-IntE)- .AC. Wortc Corlmissio;s: interior, bt. Vf.ryt pofiin Ci*"nE,* [f.'i#J^Hrd:i';",?!,rffi"4#,1##.?,ufff :,,. murals, Fenway Theater & Orpheum fneaiir, Af i! B;;n;- Sources: WW15. Strand Theater, Lynn, MA C,i-m."tri-e.L.teO toamJiica, age 20, to avoid conscription jn PAjUSqI, the Tsar's Affiy. ff. toil a Eduard LudwigAtbe rt b.tU50, lolg line of Russian Copenhagen. [scutptor] intdrior O."or"tors *t o ilire well-trained"a_e painters, gilders, and pavlosky Fuffalo, carvers. was sf<iUeO *1, .U-"gori_ {d{ressgg: }fy/We-s$ry, Sturlied: C. Conrads; cal painter but Gerhart, !I. IC speciali"ed in shore ,"io* O"plctiog Hartford; D. Mor4 Xyi. Sr,"irer,-W#i;. Glouceste_r_(MA)- tdlif;;i" nsnerrnen aua ;h; ;;;; fi;ine. C_onsidered PAUSON, Rose fpainte6 craftsperson] b.lg96, San Franciscq CA I d1964, Sai Fran. H,Hl"il"X'"ff '##;'ii:$[ou"uiogr;phicalitrr;**ii'i"r Addrcsses: San Fran. Exhibited: SFMA' 1935; Saa Fran. AA, PAYLOYICH, 1937, 1942, Edward lportrait painter; designerJ bJgl|, Sourrces: Hughes, errrsesii iiiiiii, +n. NYC. PAUTSCH, Addresses: NyC. p. E [painterl early 20th c. Studitgj f_I_.E. fritz; Moschowitz; W. Exhibited: AIC, tg21,. Siuncei: Fak,elC. Starkweather. Memberr Kit KatACl-SArrt CirU. ww40. Sources: P4VAI'., r. xr11, |ilip l atyu oaftslterso4 lecturer; scu tptor] 899, Nykobing ! PAVON, . ?.-1 Fatitea p,i"ri|i'itiii, ios angetes, Jose M. t Addresses: ^ia. CA. Sherman Ot<s,'CA.; U;tff*"iA, Studied: porge.r Tech. Sch. pes., p6nmar[. !cb-; M;t;, Calif. Art Club fp*i,,.xlt:{#{:;,,:k{,r,tT,o?Jt:i;trrtr*?? (pres.); p&S Club; ros l1eei.;-M* rU #r; rqu*i.*u,i" PAWL.\- Frederic$ Algxl nder Soc., london (fellow): alfa [painteri decoratorJ b. tB76 lfeUow;;-5"i"Oiiu"U_a.. a* . England I d.1964, Fort Ord, Ca. Soc. Brasileira de Beias. ArtesiBEii;ffi#ft congress. Addresses: NyC; Santa Barlara CA. Studied: Eqrope. YJ-_Fe31 Solat_Art Soc., NSW; Santu-S*baraAs;-iuo Oi"go EH:$tr;t-t-'"auffiffi AS.
Recommended publications
  • Impressionist Adventures

    Impressionist Adventures

    impressionist adventures THE NORMANDY & PARIS REGION GUIDE 2020 IMPRESSIONIST ADVENTURES, INSPIRING MOMENTS! elcome to Normandy and Paris Region! It is in these regions and nowhere else that you can admire marvellous Impressionist paintings W while also enjoying the instantaneous emotions that inspired their artists. It was here that the art movement that revolutionised the history of art came into being and blossomed. Enamoured of nature and the advances in modern life, the Impressionists set up their easels in forests and gardens along the rivers Seine and Oise, on the Norman coasts, and in the heart of Paris’s districts where modernity was at its height. These settings and landscapes, which for the most part remain unspoilt, still bear the stamp of the greatest Impressionist artists, their precursors and their heirs: Daubigny, Boudin, Monet, Renoir, Degas, Morisot, Pissarro, Caillebotte, Sisley, Van Gogh, Luce and many others. Today these regions invite you on a series of Impressionist journeys on which to experience many joyous moments. Admire the changing sky and light as you gaze out to sea and recharge your batteries in the cool of a garden. Relive the artistic excitement of Paris and Montmartre and the authenticity of the period’s bohemian culture. Enjoy a certain Impressionist joie de vivre in company: a “déjeuner sur l’herbe” with family, or a glass of wine with friends on the banks of the Oise or at an open-air café on the Seine. Be moved by the beauty of the paintings that fill the museums and enter the private lives of the artists, exploring their gardens and homes-cum-studios.
  • Monet and American Impressionism

    Monet and American Impressionism

    Harn Museum of Art Educator Resource Monet & Impressionism About the Artist Claude Monet was born in Paris on November 14, 1840. He enjoyed drawing lessons in school and began making and selling caricatures at age seventeen. In 1858, he met landscape artist Eugène Boudin (1824-1898) who introduced him to plein-air (outdoor) painting. During the 1860s, only a few of Monet’s paintings were accepted for exhibition in the prestigious annual exhibitions known as the Salons. This rejection led him to join with other Claude Monet, 1899 artists to form an independent group, later known as the Impressionists. Photo by Nadar During the 1860s and 1870s, Monet developed his technique of using broken, rhythmic brushstrokes of pure color to represent atmosphere, light and visual effects while depicting his immediate surroundings in Paris and nearby villages. During the next decade, his fortune began to improve as a result of a growing base of support from art dealers and collectors, both in Europe and the United States. By the mid-1880s, his paintings began to receive critical “Everyone discusses my acclaim. art and pretends to understand, as if it were By 1890, Monet was financially secure enough to purchase a house in Giverny, a rural town in Normandy. During these later years, Monet began painting the same subject over and over necessary to understand, again at different times of the day or year. These series paintings became some of his most when it is simply famous works and include views of the Siene River, the Thames River in London, Rouen necessary to love.” Cathedral, oat fields, haystacks and water lilies.
  • The Art Digest 1929-12-01: Vol 4 Iss 5

    The Art Digest 1929-12-01: Vol 4 Iss 5

    8 on DEC 6 1929 ger » The ART DIGEST Combined with THE Arcus of San Francisco The News --Magazine of Art “LADY WITH A GOLD CHAIN,” BY LUCAS CRANACH (1472-1553). A “German Mona Lisa.” Shown at the Van Diemen Galleries’ Cranach Exhibition. Reproduced by Courtesy of the Owner, Edouard Jonas. nil FIRST-DECEMBER 1929 TWENTY-FIVE CENTS The Art Digest, rst December, 1929 JACQUES SELIGMANN & C° 3 East 51st Street, New York PAINTINGS and WORKS of cART Ancien Palais Sagan, Rue St. Dominique PARIS 9 Rue de la Paix JOHN LEVY cALLERY “The 0 GALLERIES P. Jackson Higgs” : ; 11 EAST 54th STREET Paintings NEW YORK 5 NEW YORK 559 FIFTH AVENUE HIGH CLASS OLD MASTERS ANTIQUITIES THOMAS J. KERR HOWARD YOUNG GALLERIES formerly with DuvEEN BROTHERS IMPORTANT PAINTINGS IMPORTANT PAINTINGS Old and Modern By O_p Masters ANTIQUE Works OF ArT IIIS IIIAIAAIIIIT peppers | NEW YORK LONDON TAPESTRIES FURNITURE er 35 OLD BoND STREET 510 Mapison AvENvE (4th floor) New York | Duranp-Ruet ||| FERARGIL ||] KHRICH NEW YORK F. NEwLin Price, President GALLE RI ES 12 East Fifty-Seventh Street eee cane i Paintings PARIS 37 East Fifty-Seventh St. poe aS. 37 Avenue de Friedland NEW YORK 36 East 5 7th Street New York GRACE HORNE’S BRODERICK GALLERIES GALLERIES BUFFALO, N. Y. Stuart at Dartmouth, BOSTON Paintings Prints Yorke Ballery Throughout the season a series of Antiques Continuous Exhibitions of Paintings selected exhibitions of the best in by American and European Artists OLD ENGLISH SILVER AND CONTEMPORARY ART SHEFFIELD PLATE 2000 S St. WASHINGTON, D.C. The Art Digest, rst December, 1929 3 —_—— — Est.
  • Giving a Good Impressionism

    Giving a Good Impressionism

    Program Tuition The Parsippany~Troy Hills Live Well, Age Smart! Public Library System Fall 2016 Lecture Series Inclusive fee for all 4 sessions: $25 www.parsippanylibrary.org October 7, 14, 21, 28 This fee will help us to cover the cost of our Main Library speaker and materials. 449 Halsey Road Giving a Good Please make your check payable to: Parsippany, NJ 07054 “Parsippany Public Library Foundation” 973-887-5150 Impressionism Registration is open until October 6, 2016 Lake Hiawatha Branch You may either mail your registration to 68 Nokomis Avenue Speaker: Dr. Michael Norris Parsippany-Troy Hills Public Library Founda- Lake Hiawatha, NJ 07034 Metropolitan Museum of tion, Attn: Stephanie Kip. 973-335-0952 Art Educator 449 Halsey Road, Parsippany, NJ 07054 or Mount Tabor Branch drop it off at any of our library locations. 31 Trinity Park Name: _________________________________ Mount Tabor, NJ 07878 Parsippany~Troy Hills Public Library 973-627-9508 449 Halsey Road Address:_________________________________ Parsippany, NJ 07054 _________________________________ 973-887-5150 www.parsippanylibrary.org Phone: _________________________________ Email: _________________________________ Please check: _____ I would like to receive information about future Live Well, Age Smart programs _____ I would also like to receive information about ongoing programs. The library is the of your community! About Live Well, Class Information Presenter Biography Age Smart Live Well, Age Smart is an ongoing series Friday, October 7, 2:00-3:30 pm Dr. Michael Norris that provides creative learning opportuni- A New French Revolution: Impressionism ties to the Parsippany area community. Uti- in Art lizing collegiate level speakers, the series Learn how influences from Japan, a fascina- Dr.
  • American Art New York | November 19, 2019

    American Art New York | November 19, 2019

    American Art New York | November 19, 2019 AMERICAN ART | 39 2 | BONHAMS AMERICAN ART | 3 American Art at Bonhams New York Jennifer Jacobsen Director Aaron Anderson Los Angeles Scot Levitt Vice President Kathy Wong Specialist San Francisco Aaron Bastian Director American Art New York | Tuesday November 19, 2019 at 4pm BONHAMS BIDS INQUIRIES ILLUSTRATIONS 580 Madison Avenue +1 (212) 644 9001 Jennifer Jacobsen Front Cover: Lot 15 New York, New York 10022 +1 (212) 644 9009 fax Director Inside Front Cover: Lots 47 and 48 bonhams.com [email protected] +1 (917) 206 1699 Inside Back Cover: Lot 91 [email protected] Back Cover: Lot 14 PREVIEW To bid via the internet please visit Friday, November 15, 10am - 5pm www.bonhams.com/25246 Aaron Anderson Saturday, November 16, 10am - 5pm +1 (917) 206 1616 Sunday, November 17, 12pm - 5pm Please note that bids should be [email protected] Monday, November 18, 10am - 5pm summited no later than 24hrs prior to the sale. New Bidders must REGISTRATION also provide proof of identity when IMPORTANT NOTICE SALE NUMBER: 25246 submitting bids. Failure to do this Please note that all customers, Lots 1 - 101 may result in your bid not being irrespective of any previous processed. activity with Bonhams, are CATALOG: $35 required to complete the Bidder LIVE ONLINE BIDDING IS Registration Form in advance of AUCTIONEER AVAILABLE FOR THIS SALE the sale. The form can be found Rupert Banner - 1325532-DCA Please email bids.us@bonhams. at the back of every catalogue com with “Live bidding” in the and on our website at www.
  • 1998 Education

    1998 Education

    1998 Education JANUARY JUNE 11 Video: Alfred Steiglitz: Photographer 2–5 Workshop: Drawing for the Doubtful, Earnest Ward, artist 17 Teacher Workshop: The Art of Making Books 3 Video: Masters of Illusion 18 Gallery Talk: Arthur Dove’s Nature Abstraction, 10 Video: Cezanne: The Riddle of the Bathers Rose M. Glennon, Curator of Education 17 Video: Mondrian 25 Members Preview: O’Keeffe and Texas 21 Gallery Talk: Nature and Symbol: Impressionist and 26 Colloquium: The Making of the O’Keeffe and Texas Post-impressionism Prints from the McNay Collection, Exhibition, Sharyn Udall, Art Historian, William J. Chiego, Lyle Williams, Curator, Prints and Drawings Director, Rose M. Glennon, Curator of Education 22 Lecture and Members Preveiw: The Garden Setting: Nature Designed, Linda Hardberger, Curator of the Tobin FEBRUARY Collection of Theatre Arts 1 Video: Women in Art: O’Keeffe 24 Teacher Workshop: Arts in Education, Getty 8 Video: Georgia O’Keeffe: The Plains on Paper Education Institute 12 Gallery Talk: Arthur Dove, Georgia O’Keeffe and American Nature, Charles C. Eldredge, title? JULY 15 Video: Alfred Stieglitz: Photographer 7 Members Preview: Kent Rush Retrospective 21 Symposium: O’Keeffe in Texas 12 Gallery Talk: A Discourse on the Non-discursive, Kent Rush, artist MARCH 18 Performance: A Different Notion of Beautiful, Gemini Ink 1 Video: Women in Art: O’Keeffe 19 Performance: A Different Notion of Beautiful, Gemini Ink 8 Lunch and Lecture: A Photographic Affair: Stieglitz’s 26 Gallery Talk: Kent Rush Retrospective, Lyle Williams, Portraits
  • Annual Report 1995

    Annual Report 1995

    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
  • American Paintings, Furniture & Decorative Arts

    American Paintings, Furniture & Decorative Arts

    AMERICAN PAINTINGS, FURNITURE & DECORATIVE ARTS INCLUDING PROPERTY FROM THE COLLECTION OF FRANK AND CLAIRE TRACY GLASER Tuesday, October 8, 2019 NEW YORK AMERICAN PAINTINGS, FURNTURE & DECORATIVE ARTS INCLUDING PROPERTY FROM THE COLLECTION OF FRANK AND CLAIRE TRACY GLASER AUCTION Tuesday, October 8, 2019 at 10am EXHIBITION Friday, October 4, 10am – 5pm Saturday, October 5, 10am – 5pm Sunday, October 6, Noon – 5pm LOCATION Doyle 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalog: $10 The Marian Sulzberger Heiskell & Andrew Heiskell Collection Doyle is honored to present The Marian Sulzberger Heiskell and Andrew Heiskell Collection in select auctions throughout the Fall season. A civic leader and philanthropist, Marian championed outdoor community spaces across AMERICAN New York and led a nonprofit organization responsible for restoring the 42nd Street theatres. She was instrumental in the 1972 campaign PAINTINGS, SCULPTURE & PRINTS to create the Gateway National Recreation Area, a 26,000-acre park with scattered beaches and wildlife refuges around the entrance to the New York-New Jersey harbor. For 34 years, she worked as a Director of The New York Times, where her grandfather, father, husband, brother, nephew and grand-nephew served as successive publishers. Her work at the newspaper focused on educational projects. In 1965, Marian married Andrew Heiskell, the Chairman of Time Inc., whose philanthropies included the New York Public Library. The New York Times The New York Property from The Marian Sulzberger Heiskell and Andrew Heiskell Collection comprises lots 335-337, 345-346, 349, 354 in the October 8 auction. Additional property from the Collection will be offered in the sales of Fine Paintings (Oct 15), Prints & Multiples (Oct 22), English & Continental Furniture & Old Master Paintings (Oct 30), Impressionist & Modern Art (Nov 6), Post-War & Contemporary Art (Nov 6), Books, Autographs & Maps (Nov 12), Bill Cunningham for Doyle at Home (Nov 26) and Photographs (Dec 11).
  • Picturing France

    Picturing France

    Picturing France Classroom Guide VISUAL ARTS PHOTOGRAPHY ORIENTATION ART APPRECIATION STUDIO Traveling around France SOCIAL STUDIES Seeing Time and Pl ace Introduction to Color CULTURE / HISTORY PARIS GEOGRAPHY PaintingStyles GOVERNMENT / CIVICS Paris by Night Private Inve stigation LITERATURELANGUAGE / CRITICISM ARTS Casual and Formal Composition Modernizing Paris SPEAKING / WRITING Department Stores FRENCH LANGUAGE Haute Couture FONTAINEBLEAU Focus and Mo vement Painters, Politics, an d Parks MUSIC / DANCENATURAL / DRAMA SCIENCE I y Fontainebleau MATH Into the Forest ATreebyAnyOther Nam e Photograph or Painting, M. Pa scal? ÎLE-DE-FRANCE A Fore st Outing Think L ike a Salon Juror Form Your Own Ava nt-Garde The Flo ating Studio AUVERGNE/ On the River FRANCHE-COMTÉ Stream of Con sciousness Cheese! Mountains of Fra nce Volcanoes in France? NORMANDY “I Cannot Pain tan Angel” Writing en Plein Air Culture Clash Do-It-Yourself Pointillist Painting BRITTANY Comparing Two Studie s Wish You W ere Here Synthétisme Creating a Moo d Celtic Culture PROVENCE Dressing the Part Regional Still Life Color and Emo tion Expressive Marks Color Collectio n Japanese Prin ts Legend o f the Château Noir The Mistral REVIEW Winds Worldwide Poster Puzzle Travelby Clue Picturing France Classroom Guide NATIONAL GALLERY OF ART, WASHINGTON page ii This Classroom Guide is a component of the Picturing France teaching packet. © 2008 Board of Trustees of the National Gallery of Art, Washington Prepared by the Division of Education, with contributions by Robyn Asleson, Elsa Bénard, Carla Brenner, Sarah Diallo, Rachel Goldberg, Leo Kasun, Amy Lewis, Donna Mann, Marjorie McMahon, Lisa Meyerowitz, Barbara Moore, Rachel Richards, Jennifer Riddell, and Paige Simpson.
  • Emmet, Lydia Field American, 1866 - 1952

    Emmet, Lydia Field American, 1866 - 1952

    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Emmet, Lydia Field American, 1866 - 1952 William Merritt Chase, Lydia Field Emmet, 1892, oil on canvas, Brooklyn Museum, Gift of the Artist, 15.316 BIOGRAPHY Lydia Field Emmet led a remarkably successful artistic career spanning more than 50 years. She is best known as a painter of portraits, particularly of children. Emmet was born in New Rochelle, New York, into a family of female artists. Her mother, Julia Colt Pierson Emmet, her sisters Rosina Emmet Sherwood and Jane Emmet de Glehn, and her cousin Ellen Emmet Rand were all painters. Lydia Emmet’s talent (and enterprise) was apparent early, as she began selling illustrations at the age of 14. In 1884 she accompanied Rosina to Europe, and they studied at the Académie Julian in Paris for six months. During the late 1880s Emmet sold wallpaper designs, made illustrations for Harper’s Weekly, and created stained glass designs for Tiffany Glass Company. From 1889 to 1895 Emmet studied at the Art Students League, where her instructors included William Merritt Chase (American, 1849 - 1916) and Kenyon Cox (American, 1856 - 1919). Chase appointed her an instructor at his Shinnecock Summer School of Art on Long Island, where she taught preparatory classes for several terms. Emmet also posed for one of his most elegant portraits, now in the collection of the Brooklyn Museum. Emmet, Lydia Field 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 In 1893 both Emmet and her sister Rosina painted murals for the Women’s Building at the World’s Fair in Chicago.
  • Adiant P Ressions

    Adiant P Ressions

    Radiant Impressions Note to Teachers UCI Institute and Museum of California Art (IMCA) aims to be a resource to educators and students by offering school visits, programs, digital tools, and activities designed for grades 3–12 that contribute to the development of stronger critical-thinking skills, empathy, and curiosity about art and culture. When students are encouraged to express themselves and take risks in discussing and creating art, they awaken their imaginations and nurture their creative and innovative potential. School visits offer opportunities for students to develop observation and interpretation skills using visual and sensory information, build knowledge independently and with one another, and cultivate an interest in artistic production. This Teacher Resource Guide includes essays, artist biographies, strategies for interdisciplinary curriculum integration, discussion questions, methods for teaching with objects, a vocabulary list, and activities for three works in IMCA’s collection that are included in the exhibition Radiant Impressions. About the Exhibition From California Impressionism to the Light and Space movement, California artists have been celebrated for their skillful rendering of the perceptual effects of light. Focusing on painters working in California throughout the 20th century, Radiant Impressions considers the ways these artists have engaged with light not only for its optical qualities Radiant Impressions but also for its power to infuse ephemeral moments with meaning and emotion. Whether the warm golden tones of the California sun or the intense glow of electric bulbs, light in these paintings communicates a sense of anticipation, celebration, rest, and reflection. Presenting works organized in thematic groupings—The Domestic Realm and Work, Capturing the Scene, Play and the Social Sphere, and Lighting the Portrait—the exhibition brings together a diverse selection of landscapes and portraiture as well as genre scenes depicting people at work and at play.
  • Camille on Her Deathbed

    Camille on Her Deathbed

    ART AND IMAGES IN PSYCHIATRY SECTION EDITOR: JAMES C. HARRIS, MD Camille on Her Deathbed AMILLE-LEONIE DONCIEUX Monet (1847- Many years after Camille’s passing, Monet spoke with 1879) died at 32 years of age after a pro- his friend Georges Clemenceau, the former French prime tracted illness, most likely metastatic cer- minister, about her death: vical cancer.1 She had been the inspiration and model for her husband, Claude Mo- I found myself staring at the tragic countenance, automatically trying to identify the sequence, the proportion of light and shade Cnet (1840-1926). In 1866, despite his youth, Monet’s in the colors that death had imposed on the immobile face. painting of Camille (Woman in Green Dress) was ac- Shades of blue, yellow, gray...Even before the thought oc- cepted and acclaimed at the annual Paris Salon, the con- curred to memorize the face that meant so much to me, my first servative arbiter of subject matter and style in painting.2 involuntary reflex was to tremble at the shock of the colors. In In the ensuing 12 years, Camille, either alone or with her spite of myself, my reflexes drew me into the unconscious op- son, was the primary model for his paintings. eration that is the daily order of my life. Pity me, my friend.4 Their relationship began when she was just 19 years of age and he was 25. She was said to be attractive and in- These comments were made 40 years after Camille’s telligent with beautiful eyes. During their life together she death.