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Conncensus Vol. 46 No. 11
Connecticut College Digital Commons @ Connecticut College 1960-1961 Student Newspapers 1-12-1961 ConnCensus Vol. 46 No. 11 Connecticut College Follow this and additional works at: https://digitalcommons.conncoll.edu/ccnews_1960_1961 Recommended Citation Connecticut College, "ConnCensus Vol. 46 No. 11" (1961). 1960-1961. 1. https://digitalcommons.conncoll.edu/ccnews_1960_1961/1 This Newspaper is brought to you for free and open access by the Student Newspapers at Digital Commons @ Connecticut College. It has been accepted for inclusion in 1960-1961 by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. Appearance of Opera Soprano Tuesday Night Roberta Peters, coloratura so- prano star of the Metropolitan (onn Census Opera, will appear in Palmer Auditorium on Tuesday, January 17, at 8:00 p.m. American-born and completely trained in Amer- Vol. 46--No. II New London, Connecticut, Thursday, January 12, 1961 Price 10 Cents ica, Miss Peters has been widely hailed both here and abroad, as the foremost coloratura soprano Foote, Pomeroy of our time. Robert Fulton Logan Etchings Born in New York City, the so- And McGilvra prano was privately educated Featured in Show at Library from her thirteenth year in order On Quiz Show that her voice be properly train- A display of etchings by Mr. tions of the British Museum, ed and her background in music, languages, and allied fields might Connecticut College has been Robert Fulton Logan will be Cambridge University, and sev- invited to participate in the pro- eral European museums. -
The Left Front : Radical Art in the "Red Decade," 1929-1940
LEFT FRONT EVENTS All events are free and open to the public Saturday, January 18, 2pm Winter Exhibition Opening with W. J. T. Mitchell Wednesday, February 5, 6pm Lecture & Reception: Julia Bryan-Wilson, Figurations Wednesday, February 26, 6pm Poetry Reading: Working Poems: An Evening with Mark Nowak Saturday, March 8, 2pm Film Screening and Discussion: Body and Soul with J. Hoberman Saturday, March 15, 2pm Guest Lecture: Vasif Kortun of SALT, Istanbul Thursday, April 3, 6pm Gallery Performance: Jackalope Theatre, Living Newspaper, Edition 2014 Saturday, April 5, 5pm Gallery Performance: Jackalope Theatre, Living Newspaper, Edition 2014 Wednesday, April 16, 2014, 6pm Lecture: Andrew Hemingway, Style of the New Era: THE LEFT FRONT John Reed Clubs and Proletariat Art RADICAL ART IN THE "RED DECADE," 1929-1940 Mary and Leigh Block Museum of Art Northwestern University 40 Arts Circle Drive, Evanston, IL, 60208-2140 www.blockmuseum.northwestern.edu Generous support for The Left Front is provided by the Terra Foundation for American Art, as well as the Terra Foundation on behalf of William Osborn and David Kabiller, and the MARY AND LEIGH BLOCK MUSEUM OF ART Myers Foundations. Additional funding is from the Carlyle Anderson Endowment, Mary and Leigh Block Endowment, the Louise E. Drangsholt Fund, the Kessel Fund at the NORTHWESTERN UNIVERSIty Block Museum, and the Illinois Arts Council, a state agency. theleftfront-blockmuseum.tumblr.com January 17–June 22, 2014 DIRECTOR'S FOREWORD The Left Front: Radical Art in the “Red Decade”, 1929–1940 was curated by John Murphy undergraduate seminar that focused on themes in the exhibition and culminated in and Jill Bugajski, doctoral candidates in the Department of Art History at Northwestern student essays offering close examinations of particular objects from the show. -
Abstract Addictions
VALLARINO FINE ART 222 EAST 49TH STREET NEW YORK, NY 10017 FINE ART VALLARINO VALLARINOFINEART.COM ABSTRACT ADDICTIONS: .. .WHAT’S NEXT ....WHO KNOWS?.... .WHAT’S MODERN/POST-WAR ABSTRACT ADDICTIONS: 2020 WHAT’S NEXT.... WHO KNOWS?.... 2020 MODERN/POST-WAR 222 EAST 49TH STREET, NEW YORK, NY 10017 212.628.0722 66 ROUTE 343, MILLBROOK, NEW YORK 12545 [email protected] VALLARINOFINEART.COM ABSTRACT ADDICTIONS: WHAT’S NEXT....WHO KNOWS?.... What’s Next…..Who Knows?? Is a very fitting subtitle for our annual catalogue. What has happened in the past four-five months seems unimaginable, then again, it could be a blessing in disguise, a kind of wake-up call for all of us. Our global treatment of humanity, our planet’s environment, economic collapse, civil rights and politics have caused a boiling point in our society and then add the Covid-19 Pandemic to top things off and there you have “What’s Next…..Who Knows? One thing I know is art and the art market has literally been around forever and has weathered centuries of wars, economic crashes and many other global disasters and will continue to prevail perhaps in new ways to which it will need to reinvent itself. I believe a correction is taking place as has happened in every market throughout history when strained by historic events. The brick & mortar gallery model is becoming a thing of the past and the existence of art fairs in the near future is questionable regarding the current health situations for the dealers and the collectors who attend. I believe that a large group of galleries are going to close as their business models aren’t strong enough to survive these extreme times. -
Art Handbook
OFFICIAL HANDBOOK of ARCHITECTURE and SCULPTURE and ART CATALOGUE TO THE Pan-American Exposition With Maps and Illustrations by permission of C. D. ARNOLD, Official Photographer BUFFALO, NEW YORK, U. S. A., MAY FIRST TO NOVEMBER FIRST, M. CM. & I. Published by DAVID GRAY, BUFFALO, N. Y. Entered according to Act of Congress In the year 1901, by DAVID GRAY, in the Office of the Librarian of Congress, at Washington, D. C. THE PURPOSES OF THE EXPOSITION By JOHN G. MILBURN, President THE act of Congress providing for a was the spirit of the corn-mission to the federal building and exhibit at the Pan- men intrusted with its creation in all of American Exposition states that it is its departments. They were left free to desirable to encourage the holding of the produce the best results, and it is under Exposition “ to fittingly illustrate the such conditions that they have produced marvelous development of the western them. They have received from the hemisphere during the nineteenth century management the fullest sympathy and by a display of the arts, industries, support at every turn. As a consequence manufactures, and products of the soil, there has been thorough cooperation and mines, and sea.” The joint resolution of harmony in the elaboration and execution Congress previously adopted declared of the scheme of the Exposition - a that this development was to be scheme of impressive originality, beauty, illustrated by a “demonstration of the and completeness, probably unexcelled reciprocal relations existing between the in the history of expositions. American Republics and Colonies.” In So much could not have been ac- these declarations the real object of the complished but for the association of the Exposition was comprehensively ex- Exposition with a grand idea - the pressed at the outset, and it has been kept bringing closer together of the peoples of steadily in view. -
Olin Levi Warner (1844—1896)
237 East Palace Avenue Santa Fe, NM 87501 800 879-8898 505 989-9888 505 989-9889 Fax [email protected] Paul (Harry Paul) Burlin (American Painter, 1886-1969) Paul Burlin was born in New York in 1886. He received his early education in England before returning to New York at the age of twelve. He worked for a short time as an illustrator under Theodore Dreiser at Delineator magazine, where he was exposed to Progressivist philosophy and politics. He soon grew tired of commercial work and enrolled at the National Academy of Design. There, he received a formal education and refined his technical skills; though he later dropped out to pursue his artistic studies more informally with a group of fellow students. He was also a frequent visitor at Alfred Steiglitz’s ‘291’ gallery. Burlin achieved a great deal of early artistic success. He visited the Southwest for the first time in 1910. Paintings from this visit were received warmly in New York and exhibited in a 1911 exhibition. As a result of his early success, he was the youngest artist (at twenty-six years of age) to participate in the 1913 Armory Show – the revolutionary exhibition of avant-garde European work that can be credited with introducing modern art to the United States and stimulating the development of modernism in America. There, Burlin’s work was exhibited alongside works by such artists as Picasso, Monet, Cézanne, and Duchamp. Later that year, Burlin returned to the Southwest to live. With the images and ideas of the Armory Show still prominent in his mind, Burlin was impressed and moved by what he described as the ‘primeval, erosive, forbidding character of the landscape’. -
Finding Aid to Louise Kidder Sparrow Papers 1900-1986 Archives of Women Artists
Finding Aid to Louise Kidder Sparrow Papers 1900-1986 Archives of Women Artists Finding Aid Prepared by: Emily Moore (March, 2020) Collection Processed by: Patrick Brown (August, 2006) Betty Boyd Dettre Library & Research Center Email: [email protected] Phone: 202-266-2835 Table of Contents (Click a section title to skip down.) Overview ..................................................................................................... ii Administrative Information .......................................................................... ii Biographical Note ...................................................................................... iv Scope and Content Note ........................................................................... vii Organization and Arrangement Information .............................................. viii Names and Subject Terms ....................................................................... viii Container Inventory .................................................................................. viii Overview Repository Information: National Museum of Women in the Arts, Betty Boyd Dettre Library & Research Center 1250 New York Ave NW Washington, D.C. 20005 Email: [email protected] Phone: 202-783-5000 Title: Louise Kidder Sparrow Papers Provenance: The Louise Kidder Sparrow Papers were donated in 1986 by the artist’s son, Maj. Gen. Herbert G. Sparrow, USA, Ret. from the artist’s effects after her death. A majority of the material is photocopies from a collection of papers donated to the Schlesinger Library -
Italy Under the Golden Dome
Italy Under the Golden Dome The Italian-American Presence at the Massachusetts State House Italy Under the Golden Dome The Italian-American Presence at the Massachusetts State House Susan Greendyke Lachevre Art Collections Manager, Commonwealth of Massachusetts Art Commission, with the assistance of Teresa F. Mazzulli, Doric Docents, Inc. for the Italian-American Heritage Month Committee All photographs courtesy Massachusetts Art Commission. Fifth ed., © 2008 Docents R IL CONSOLE GENERALE D’ITALIA BOSTON On the occasion of the latest edition of the booklet “Italy Under the Golden Dome,” I would like to congratulate the October Italian Heritage Month Committee for making it available, once again, to all those interested to learn about the wonderful contributions that Italian artists have made to the State House of Massachusetts. In this regard I would also like to avail myself of this opportunity, if I may, to commend the Secretary of the Commonwealth of Massachusetts, the Hon. William F. Galvin, for the cooperation that he has graciously extended to the Committee in this particular endeavor. Italians and Italian Americans are rightly proud of the many extraordinary works of art that decorate the State House, works that are either made by Italian artists or inspired by the Italian tradition in the field of art and architecture. It is therefore particularly fitting that the October Italian Heritage Month Committee has taken upon itself the task of celebrating this unique contribution that Italians have made to the history of Massachusetts. Consul General of Italy, Boston OCTOBER IS ITALIAN-AMERICAN HERITAGE MONTH On behalf of the Committee to Observe October as Italian-American Heritage Month, we are pleased and honored that Secretary William Galvin, in cooperation with the Massachusetts Art Commission and the Doric Docents of the Massachusetts State House, has agreed to publish this edition of the Guide. -
Biographical Sketch of Minot Pratt by Ray Angelo (2017)
Biographical Sketch of Minot Pratt by Ray Angelo (2017) Minot Pratt was a Concord worthy of whom relatively little is known, overshadowed by other famous Concordians -- Thoreau, Emerson, Alcott and Hawthorne, who were his friends. He had significant connections to all of these families. Minot was active in town affairs and left behind a noteworthy manuscript on the flora of Concord, so diligently explored by others of his time and afterward. No image of him is known. The closest we have is a description of his appearance in Lindsay Swift’s “Brook Farm” (1900) where he is said to be “one of the most conspicuously attractive inhabitants [of Brook Farm] … large and of fine physique, with strong features, and a modest but dignified mien”. This sketch is an attempt to lift him more into the light for a better appreciation of his admirable life. When Bela and Sophia Pratt welcomed their third child, Minot, into the world in Weymouth, Massachusetts, in the winter of 1805 on January 8th, he was among the seventh generation of Pratts thriving in Weymouth. Bela and Sophia would eventually have thirteen children. All of these were females except -- the oldest child, Ezra (1801-1874), Minot, and a younger brother Bela (1810-1844). The myriad Pratt relatives in Weymouth were all derived from their patriarch, Mathew Pratt, born in 1595 in Aston Clinton, England and who died in Weymouth on August 29, 1672. According to the extensive Pratt genealogy of Mathew Pratt by Francis G. Pratt, Jr. (1890), the Pratt name is from a remote period and has been a common name in England, especially the southern counties. -
Spring/Summer
friends OF THE SAINT-GAUDENS MEMORIAL CORNISH I NEW HAMPSHIRE I SUMMER 2007 (Right Augustus Saint-Gaudens in his Paris Studio, 1898. Sketch of the Amor Caritas IN THIS ISSUE SAINT-GAUDENS’ in the background. Saint-Gaudens’ Numismatic Legacy I 1 NUMISMATIC LEGACY (Below) Obverse of the high relief The Model for the 1907 Double Eagle I 4 The precedent that President 1907 Twenty Dollar A Little Known Treasure I 5 Gold Coin. Saint-Gaudens Film & Symposium I 6 Theodore Roosevelt established, Concerts and Exhibits I 7 of having academically trained Coin Exhibition I 8 sculptors design U.S. coinage, resulted in a series of remarkable coins. Many of these were created FROM THE MEMORIAL by five artists who trained under AND THE SITE Augustus Saint-Gaudens. Archival photo DEAR FRIENDS AND ANS MEMBERS, Bela Pratt (1867-1917) This Friends Newsletter from Connecticut, first studied with Saint-Gaudens In 1907, Pratt was encouraged by is dedicated to the centennial at the Art Students League Dr. William Sturgis Bigelow (185 0-1926), of Saint-Gaudens’ Ten and in New York City. He then a prominent collector of Oriental art and Twenty Dollar Gold Coins moved to Paris, where he an acquaintance of President Theodore studied under Jean Falguière (1831-1900) Roosevelt, to redesign the Two and a Half and his numismatic legacy. and Henri-Michel-Antoine Chapu (183 3- and Five Dollar Gold Coins. Pratt’s designs Augustus Saint-Gaudens, at the request 1891) at the École des Beaux-Arts. Saint- were the first American coins to have an of President Theodore Roosevelt, was the Gaudens was the first American accepted incused design, which is a relief in reverse . -
Other Artist Bios
CSFINEARTSCENTER.ORG Contact: Warren Epstein, Media Relations and Community Outreach Manager 719.477.4316; [email protected] Other Artist Bios Jozef Bakos (1891–1977) The Polish artist founded Los Cinco Pintores (the five painters) , Santa Fe's first Modernist art group, and was dedicated to works that depicted specifically American subjects, such as the New Mexico landscape, local adobe architecture and Native American dances. He studied art with John E. Thompson at the Albright Art Institute in Buffalo, New York, and taught at the University of Colorado in Boulder. In 1920, during a break from teaching, Bakos visited Walter Mruk, a childhood friend and artist who was living in Santa Fe. During his stay he exhibited some paintings together with Mruk at the Museum of Fine Arts in Santa Fe. Gustave Baumann (1881–1971) Baumann was one of the leading figures of the color-woodcut revival in America. Born in Magdeburg, Germany, Baumann moved to the U.S. at the age of 10 and by 17, attended night classes at the Art Institute of Chicago. After spending time in Brown County, Ind., as a member of the Brown County Art Colony, Baumann headed to the Southwest in 1918. He found Taos to be too crowded and social but eventually ended up settling in Santa Fe, where he became known as a master of woodcuts, while also producing oils and sculpture. Tom Benrimo (1887 – 1958) A self-taught artist, Benrimo was born in San Francisco and lived there until the San Francisco earthquake and fire of 1906 destroyed his home. Relocating to New York with his family, he worked as a scenic designer for theatrical shows and created illustrations for various advertising companies. -
Romare Bearden: the Prevalence of Ritual Introductory Essay by Carroll Greene
Romare Bearden: the prevalence of ritual Introductory essay by Carroll Greene Author Museum of Modern Art (New York, N.Y.) Date 1971 Publisher The Museum of Modern Art ISBN 0870702513 Exhibition URL www.moma.org/calendar/exhibitions/2671 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art ROMARE BEARDEN: THE PREVALENCEOF RITUAL "W * . .. ROMARE BEARDEN: INTRODUCTORY ESSAYBY CARROLL GREENE THE PREVALENCEOF RITUAL THE MUSEUM OF MODERN ART, NEW YORK TRUSTEES OF THE MUSEUM OF MODERN ART ACKNOWLEDGMENTS David Rockefeller, Chairman; Henry Allen Moe, John Hay This exhibition has required the cooperation of many per Whitney, Gardner Cowles, Vice Chairmen; William S. Paley, sons, and I am most grateful for their assistance. I wish to President; James Thrall Soby, Mrs. Bliss Parkinson, Vice express my appreciation first to Romare Bearden, who Presidents; Willard C. Butcher, Treasurer; Robert O. Ander spent countless hours in conversation with me concerning son, Walter Bareiss, Robert R. Barker, Alfred H. Barr, Jr.,* his life and work, which this exhibition celebrates. His Mrs. Armand P. Bartos, William A. M. Burden, J. Frederic generosity in supplying information and documentary Byers III, Ivan Chermayeff, Mrs. Kenneth B. Clark, Mrs. W. material cannot be measured. Murray Crane,* John de Menil, Mrs. C. Douglas Dillon, Members of The Museum of Modern Art staff have been Mrs. Edsel B. Ford, Gianluigi Gabetti, George Heard Hamil especially generous and helpful in executing important ton, Wallace K. -
Painting and Sculpture by Living Americans : Ninth Loan Exhibition, December 2, 1930 to January 20, 1931
Painting and sculpture by living Americans : ninth loan exhibition, December 2, 1930 to January 20, 1931 Author Museum of Modern Art (New York, N.Y.) Date 1930 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/1916 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art DERN LIBRARY THE ^U-£UM OF .viJOt^NART PAINTING AND SCULPTURE BY LIVING AMERICANS NINTH LOAN EXHIBITION 9;o DECEMBER 2, i TO JANUARY 20, ijjji MUSEUM OF MODERN ART NEW YORK ACKNOWLEDGMENTS The exhibition has been selected from the following collections AN AMERICAN PLACE, NEW YORK EDWARD DUFF BALKEN, PITTSBURGH JAY H. BARNUM, NORWALK, CONNECTICUT MISS L. P. BLISS,NEW YORK MRS. W. MURRAY CRANE, NEW YORK FRANK CROWNINSHIELD, NEW YORK THE CHESTER DALE COLLECTION, NEW YORK THE DANIEL GALLERY, NEW YORK THE DOWNTOWN GALLERY, NEW YORK MRS. MURIEL DRAPER, NEW YORK JOHN A. DUNBAR, NEW YORK MRS. JULIANA R. FORCE, NEW YORK A. CONGER GOODYEAR, NEW YORK EDWARD S. GREENBAUM, NEW YORK DR. F. H. HIRSCHLAND, NEW YORK EARL HORTER, PHILADELPHIA JOEL T. HOWARD, DALLAS, TEXAS SIDNEY JANOWITZ, NEW YORK KRAUSHAAR GALLERIES, NEW YORK MR. AND MRS. SAMUEL A. LEWISOHN, NEW YORK MRS. CHARLES J. LIEBMAN, NEW YORK THE MACBETH GALLERIES, NEW YORK MRS. MALCOLM L. McBRIDE, CLEVELAND, OHIO GLENN FORD McKINNEY, NEW YORK DR. AND MRS. JAMES B. MURPHY, NEW YORK GUST AVE NASSAUER, NEW YORK J.