ARONSON to ARONSON the Lineage of Expressionism
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IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, May 10, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART 1-118 Elsie Adler European 1-66 The Eileen & Herbert C. Bernard Collection American 67-118 Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. POST-WAR & CONTEMPORARY ART 119-235 A Connecticut Collector Post-War 119-199 Claudia Cosla, New York Contemporary 200-235 Ronnie Cutrone EUROPEAN ART Mildred and Jack Feinblatt Glossary I Dr. Paul Hershenson Conditions of Sale II Myrtle Barnes Jones Terms of Guarantee IV Mary Kettaneh Information on Sales & Use Tax V The Collection of Willa Kim and William Pène du Bois Buying at Doyle VI Carol Mercer Selling at Doyle VIII A New Jersey Estate Auction Schedule IX A New York and Connecticut Estate Company Directory X A New York Estate Absentee Bid Form XII Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private -
Matters of Life and Death, Museum of Fine Arts, Boston Hyman Bloo
HYMAN BLOOM Born Brunoviski, Latvia, 1913 Died 2009 SELECTED SOLO EXHIBITIONS 2019 Hyman Bloom: Matters of Life and Death, Museum of Fine Arts, Boston Hyman Bloom American Master, Alexandre Gallery, New York 2013 Alpha Gallery, Boston Massachusetts Hyman Bloom Paintings: 1940 – 2005, White Box, New York 2006 Hyman Bloom: A Spiritual Embrace, The Danforth Museum, Framingham, Massachusetts. Travels to Yeshiva University, New York in 2009. 2002 Color & Ecstasy: The Art of Hyman Bloom, The National Academy of Design, New York 2001 Hyman Bloom: The Lubec Woods, Bates College, Museum of Art. Traveled to Olin Arts Center, Lewiston Maine. 1996 The Spirits of Hyman Bloom: Sixty Years of Painting and Drawing, Fuller Museum, Brockton, Massachusetts 1992 Hyman Bloom: Paintings and Drawings, The Art Gallery, University of New Hampshire, Durham 1990 Hyman Bloom: “Overview” 1940-1990, Terry Dintenfass Gallery, New York 1989 Hyman Bloom Paintings, St. Botolph Club, Boston 1983 Hyman Bloom: Recent Paintings, Terry Dintenfass Gallery, New York 1975 Hyman Bloom: Recent Paintings, Terry Dintenfass Gallery, New York 1972 Hyman Bloom Drawings, Terry Dintenfass Gallery, New York 1971 Hyman Bloom Drawings, Terry Dintenfass Gallery, New York 1968 The Drawings of Hyman Bloom, University of Connecticut of Museum of Art, Storrs. Travels to the San Francisco Museum of Art, San Francisco; the Whitney Museum of American Art, New York; and the Boston University School of Fine and Applied Arts Gallery, Boston. 1965 Hyman Bloom Landscape Drawings 1962-1964, Swetzoff Gallery, Boston 1957 Drawings by Hyman Bloom, Currier Museum of Art, Manchester, NH. Travels to The Museum of Art, Rhode Island School of Design; and the Wadsworth Atheneum, Hartford, CT Hyman Bloom Drawings, Swetzoff Gallery, Boston 1954 Hyman Bloom, Institute of Contemporary Art, Boston. -
Contemporary American Painting and Sculpture
AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J. -
Summer Guide
@summerboston 2011 Summer Guide City of Boston Thomas M. Menino, Mayor It is my great pleasure to welcome you to another exciting summer in the City of Boston. From traditional favorites like the Swan Boats and the Freedom Trail, to newer attractions like the Boston Cyberarts Festival and the Extreme Sailing Series at Boston Harborfest, our city has something for everyone. Boston is where history meets innovation. To keep up with our unique cultural landscape, I invite you to follow us @summerboston. There, you will find the the latest Thomas M. Menino information on free events, parades, festivals and more. Mayor of Boston For those who prefer more traditional methods of receiving information, please call 617-635-3911 or visit www.cityofboston.gov/summer. I hope to see you this summer! Thomas M. Menino Mayor of Boston Mayor Menino is excited to launch @summerboston! Follow it for continuous updates about all the fun summer summerboston activities for the whole family to enjoy here in Boston. @ Thank you to our sponsors: 2. May 1st - August 7th May 1st Chihuly, Through the GREASE --May-- Looking Glass Wang Theatre, World-famous glass artist Citi Performing Arts Center, Dale Chihuly, has revolution- 270 Tremont St., Boston. 1 p.m and 6 p.m. $. ized the art of blown glass Various Dates in May 617-482-9393 Frog Pond Yoga and moving it into the realm of www.citicenter.org Tai Chi Classes large-scale sculpture and Honoring the tranquility of establishing the use of glass, May 1st the reflecting pool, weekly an inherently fragile but also B.B. -
Gifts from David P. Becker Is Supported by the Stevens
CoUectin' GIFTS FROM for DAVID P. BECKER College CoUectin GIFTS FROM for a DAVID P. BECKER Coll Essay by Marjorie B. Cohn Catalogue by David P. Becker BowDOiN College Museum of A Brunswick, Maine 1995 This catalogue accompanies an exhibition of the same name at the Bowdoin College Museum of Art from April 20 through [une 4. 1995. Cover Cat. no. 20. Hcndrik Goltzius, The Four Disgncers, I 588, after Cornells Cornclisz. van Haarlem Frontispieci; Cat. no. 5. Albrecht Diircr. 5/. Michael Fighting the Dragon, ca. 1497, from tlu- Apocalypse Design hv Michael Mahan Graphics, Baih. M.unc Photographs by Dennis Griggs. Tannery Hill Studios, Topsham. Maine Printing hv IViinior Luiiogr.iplu-i>, Lewiston. Maine ISBN: 0-916606-28-7 Library of Congress Catalog Card Number: 95-75252 Copyright © 1995 b\- the President and Trustees of Bowdoin College All rights reserved NOTES All works arc executed on white or off-white colored paper, unless specified otherwise. Measurements are height before width. For woodcuts and lithographs, measurements arc of the image area; for etchings and engravings, the plate; and for drawings, the sheet—unless specified otherwise. Works are listed chronologically in the order of the execution of the print, Oeuvre catalogues for an artist's prints are cited in the headings directly under the medium and measurements; the heading "References" contains notices of the specific impressions in this collection. BCMA is Bowdoin College Museum of Art. Bowdoin's accession numbers (in parentheses at the end of the provenance) indicate the year of the gift. t indicates works that are illustrated m this catalogue. -
A Finding Aid to the Lee Nordness Business Records and Papers, Circa 1931-1992 (Bulk 1954-1984), in the Archives of American Art
A Finding Aid to the Lee Nordness business records and papers, circa 1931-1992 (bulk 1954-1984), in the Archives of American Art Sarah Haug Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund 2012 November 6 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 4 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Nordness Gallery, Inc. and Lee Nordness Galleries Art Advisory Section, Inc., circa 1938-1992 (bulk 1958-1982)................................................................... 6 Series 2: Lee Nordness -
July 1, 2012–June 30, 2013 FY13: a LOOK BACK
Georgia Museum of Art Annual Report July 1, 2012–June 30, 2013 FY13: A LOOK BACK One of the brightest spots of FY13 was the On October 22, the museum celebrated inaugural UGA Spotlight on the Arts, a nine-day its official reaccreditation by the American festival held November 3–11, highlighting visual, Alliance of Museums (formerly the American performing, and literary arts all over campus, Association of Museums). Although the in which the museum participated eagerly. The museum is usually closed on Mondays, it was vision of vice-provost Libby Morris, the festival open to the public for the day. AAM director was planned by the UGA Arts Council, of which Ford Bell attended the event and spoke about museum director William U. Eiland is a member, the museum, followed by an ice cream social. and its subsidiary public relations arm (at Less than 5 percent of American museums are which Michael Lachowski and Hillary Brown accredited, and the process is not a simple one. represented the museum). The festival attracted Reaccreditation is a lengthy process, involving great attendance, especially from students, and a self-study that the museum worked on for demonstrated the administration’s commitment several years and a site visit lasting several days, to making the arts an essential part of the during which AAM representatives toured the university experience. Later in the fiscal year, the facility from top to bottom, met with university Arts Council began working on a strategic plan, upper administration, and interviewed staff with brainstorming meetings held by both the members, volunteers, students, and patrons of executive and PR committees in the museum’s the museum. -
Die Tendenz Zum Farbobjekt Und Kellys Paradigmatische Bedeutung Im Künstlerischen Entwicklungsprozess Der Malerei Zu Einem Neuen Bildverständnis
DIE TENDENZ ZUM FARBOB- JEKT ÜBER VERÄNDERUNGEN DER FARBKONZEPTE UND DES BILDVERSTÄNDNISSES IN DER ZEITGENÖSSISCHEN MALEREI UNTER BESONDERER BERÜCKSICHTIGUNG DES WERKES VON ELLSWORTH KELLY VORGELEGT VON: NINA EBBIGHAUSEN, SYBELSTRASSE 24, 10629 BERLIN EINGEREICHT IM MÄRZ 2004 INAUGURAL-DISSERTATION ZUR ERLANGUNG DES GRADES EINES DOKTORS DER PHILOSOPHIE DER FAKULTÄT BILDENDE KUNST AN DER UNIVERSITÄT DER KÜNSTE BERLIN ERSTER BERICHTERSTATTER: PROF. DR. ANDREAS HAUS ZWEITER BERICHTERSTATTER: PROF. DR. KARLHEINZ NOWALD INHALTSVERZEICHNIS 1. EINLEITUNG: ERKENNTNISINTERESSE UND THESEN DER ARBEIT Das Diktum vom “Ende der Malerei“: Debatten, Forschungsdefizite, Fragen 4 – Wege der Erweiterung und Grenzauslotung in der zeitgenössischen Malerei und die Bedeutung Ellsworth Kellys: Fragestellungen und Thesen der Arbeit 9 4 - 17 2. FARBE, RAUM, LICHT: ZUR ENTWICKLUNG NEUER KÜNSTLERISCHER AUS- DRUCKS- UND WAHRNEHMUNGSFORMEN IN DER NACHFOLGE DER KLASSI- SCHEN TAFELBILDMALEREI 2.1 Aspekte der Veränderung des Farbverständnisses Farbe und ihre Relativität in der Wahrnehmung 18 – Die Entdeckung der Eigenwertigkeit der Farbe 22 – Farbe gleich Form: Zuspitzungen 28 2.2 Die Nutzung neuer Materialien und Techniken Das Material im Bild 31 – Zur Entwicklung und zur Verwendung neuer Malmaterialien und Techniken 33 2.3 Die Einbeziehung des Umraumes, neuer Beleuchtungsformen und neuer Medien: Rück- wirkung auf das Bildverständnis Zum Wandel des Verhältnisses von Bild und Raum 38 – Über den Einfluss neuer Be- leuchtungsformen und über die Verknüpfung verschiedener -
1 Article 21 ADVISORY COMMITTEE's
Article 21 ADVISORY COMMITTEE’S RECOMMENDATION SUMMARY: Article 21 is a resolution would recognize the work of John Wilson, an artist who lived in Brookline for more than half a century. In addition to calling attention to John Wilson’s life and work, the resolution supports the installation in Town Hall of his sculpture of the head of Martin Luther King, Jr. The Advisory Committee unanimously agreed that acquiring and exhibiting the bust of Martin Luther King, Jr. would be a wonderful way to honor John Wilson and thus recommends FAVORABLE ACTION. BACKGROUND: John Wilson was born in Roxbury in 1922 and lived in Brookline from 1964 until his death in 2015. His wife and daughter still live here. He was chosen to create the bust of Martin Luther King, Jr. that stands in the rotunda of the United States Capitol. As the petitioners explain, John Wilson is a nationally celebrated artist, and his work is exhibited in many major museums. (Some of his prints have been on exhibit recently at the Museum of Fine Arts). In addition to the bust of Dr. King at the Capitol, Mr. Wilson had other major commissions for sculptures–one, the seven- foot-high Eternal Presence at the National Center for Afro- American Artists in Roxbury, and an eight-foot sculpture of the head of Dr. King in the Marin Luther King, Jr. Park in Buffalo. This past spring, after learning that a 30-inch bronze maquette (artist’s preliminary model or study) for the 8-foot Martin Luther King, Jr. head was available at a local gallery, a group of Brookline residents representing diverse backgrounds came together and decided to raise the funds to purchase it and offer it as a gift to the Town. -
The Federal Art Project in Provincetown, Massachusetts: the Impact of a Relief Program on an Established Art Colony
University of New Hampshire University of New Hampshire Scholars' Repository Master's Theses and Capstones Student Scholarship Spring 2009 The Federal Art Project in Provincetown, Massachusetts: The impact of a relief program on an established art colony Whitney E. Smith University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/thesis Recommended Citation Smith, Whitney E., "The Federal Art Project in Provincetown, Massachusetts: The impact of a relief program on an established art colony" (2009). Master's Theses and Capstones. 113. https://scholars.unh.edu/thesis/113 This Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Master's Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. THE FEDERAL ART PROJECT IN PROVINCETOWN, MASSACHUSETTS THE IMPACT OF A RELIEF PROGRAM ON AN ESTABLISHED ART COLONY BY WHITNEY E. SMITH BA, University of New Hampshire, 2007 THESIS Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Masters of Liberal Studies in History May 6, 2009 UMI Number: 1466954 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. -
Oral History Interview with Raphael Soyer, 1981 May 13-June 1
Oral history interview with Raphael Soyer, 1981 May 13-June 1 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Funding for this interview was provided by the Wyeth Endowment for American Art. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Raphael Soyer on May 13, 1981. The interview was conducted by Milton Brown for the Archives of American Art, Smithsonian Institution. Interview Tape 1, side A MILTON BROWN: This is an interview with Raphael Soyer with Milton Brown interviewing. Raphael, we’ve known each other for a very long time, and over the years you have written a great deal about your life, and I know you’ve given many interviews. I’m doing this especially because the Archives wants a kind of update. It likes to have important American artists interviewed at intervals, so that as time goes by we keep talking to America’s famous artists over the years. I don’t know that we’ll dig anything new out of your past, but let’s begin at the beginning. See if we can skim over the early years abroad and coming here in general. I’d just like you to reminisce about your early years, your birth, and how you came here. RAPHAEL SOYER: Well, of course I was born in Russia, in the Czarist Russia, and I came here in 1912 when I was twelve years old. -
Oral History Interview with Bernard Chaet, 1997 June 18-August 15
Oral history interview with Bernard Chaet, 1997 June 18-August 15 The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Bernard Chaet on 1997 June 18- August15. The interview took place at Chaet's home in Rockport, MA, and was conducted by Robert Brown for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ROBERT BROWN: —nterviewing Bernard Chaet at his house in Rockport, Massachusetts, June— BERNARD CHAET: 18. ROBERT BROWN: —18, 1997. All right. Let's just see how—perhaps you could talk a bit about some of your early memories, your family background. BERNARD CHAET: Mm-hmm [affirmative]. ROBERT BROWN: You were born in Boston. BERNARD CHAET: Boston, nineteen hundred and 24 [1924]. ROBERT BROWN: Mm-hmm [affirmative]. BERNARD CHAET: According to my older cousins, they remember that I was drawing all over the wallpaper in this apartment, and they're talking about age two or three, and they were, I was drawing animals, and as I told you the last time we talked, I showed you photographs of a book that I drew all over, and they looked like some of the cows I started painting 50-60 years later.