EDITOR PLEASE NOTE CHANGE of EXHIBITION DATES American

Total Page：16

File Type：pdf, Size：1020Kb

SIXTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215 extension 224 EDITOR PLEASE NOTE CHANGE OF EXHIBITION DATES American Impressionist Painting will open on July 1 at the National Gallery of Art.(The exhibition was previously scheduled to open on May 12 ) The exhibition will remain on view at the Gallery through August 26 and then will travel to the Whitney Museum of American Art, New York (September 18 - November 2, 1973), the Cincinnati Art Museum (December 15, 1973 - January 31, 1974 ), and the i\orth Carolina Museum of Art, Raleigh (March G - April 29, 1974). This special exhibition has been organized around American artists studying in France in the 1880s who took up the impressionist style beginning in the late eighties. Approximately seventy works have been selected for the exhibition. Among the twenty artists are Childe Hassam, Theodore Robinson, John Twachtman, Mary Cassatt and John Singer Sargent, in his impressionist phase, as well as lesser-known figures such as John Leslie Breck, Frederick Porter Vinton, and Otto Bacher. Three later well-known practitioners of the style, Ernest Lawson, Frederick Frieseke, and William Glackens, are also included. American Impressionist Painting has been organized by the National Gallery of Art,in cooperation with the Whitney Museum of American Art and the North Carolina Museum of Art. The exhibition will be accompanied by a fully-illustrated catalog, with 20 reproductions in color. The introduction to the catalog has been written by Moussa Domit, Acting Director of the North Carolina Museum of Art. Further information and black and white photographs are available from Katherine Warwick, Assistant to the Director, National Gallery of Art, Washington, D.C. 20565, area code 202, 737-4215, ext. 224..

Copy Link

Recommended publications

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.
[Show full text]
Bringing to Light Theodore Wendel (1857-1932) (Left)Rose Arbor, Circa 1905-1915 Oil on Canvas Mounted to Wood Panel 1 1 30 ⁄2 X 21 ⁄8 Inches Signed Lower Right: Theo
Bringing to Light Theodore Wendel (1857-1932) (left)Rose Arbor, circa 1905-1915 Oil on canvas mounted to wood panel 1 1 30 ⁄2 x 21 ⁄8 inches Signed lower right: Theo. Wendel (front cover, detail) Moonrise on the Farm, pg. 9 Bringing to Light: Theodore Wendel (1857-1932) October 19th - December 7th, 2019 V OSE G ALLER IES An Unsung Impressionist By Courtney S. Kopplin For generations, Vose Galleries has welcomed the opportunity to shine a light on the work of ‘unsung artists’ throughout art history, and in the sphere of American Impressionism there is perhaps no artist more deserving of this attention than Theodore Wendel. As part of the first wave of Americans to visit Giverny in the summer of 1887, joining John Leslie Breck, Willard Metcalf and Theodore Robinson, Wendel became one of the earliest painters to apply impressionist principles to his plein air interpretations of the French countryside; sources later reported that the master himself, Claude Monet, who limited his interactions with the Americans, thought highly of Wendel’s work. In March of 1889, short- ly after settling in Boston, Wendel organized a three-day viewing of his pastoral landscapes at a studio on Boylston Street, coinciding with Met- calf’s exhibition of foreign paintings held nearby at the St. Botolph Club. Theodore Wendel painting daughter Mary, Both artists garnered positive reviews from the local press, and over the Upper Farm, Ipswich, circa 1915 next several years Wendel maintained an active exhibition schedule, including a two-person show with Theodore Robinson in 1892, featu- provided, combined with his steady roster of exhibitions, allowed Wen- ring both oils and pastels; several solo and group shows with his fellow del to feel more financially secure in his profession and in 1897 he and Boston artists at the St.
[Show full text]
A Finding Aid to the Raymond and Margaret Horowitz Papers, 1903-2007, Bulk 1960-2007, in the Archives of American Art
A Finding Aid to the Raymond and Margaret Horowitz Papers, 1903-2007, bulk 1960-2007, in the Archives of American Art Joy Goodwin 2015 May 3 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 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Art Collection Files, 1943-2007................................................................ 4 Series 2: Artwork, Sold, or Donated, 1903, 1950-2003........................................... 9 Series 3: Accession Records, 1959-circa 1994..................................................... 17 Series 4: Catalog Information, circa 1960-1967....................................................
[Show full text]
Exhibitions Photographs Collection
Exhibitions Photographs Collection This finding aid was produced using the Archivists' Toolkit November 24, 2015 Describing Archives: A Content Standard Generously supported with funding from the National Historical Publications and Records Commission (NHPRC) Archives and Manuscripts Collections, The Baltimore Museum of Art 10 Art Museum Drive Baltimore, MD, 21032 (443) 573-1778 [email protected] Exhibitions Photographs Collection Table of Contents Summary Information ................................................................................................................................. 3 Scope and Contents....................................................................................................................................... 4 Arrangement...................................................................................................................................................4 Administrative Information .........................................................................................................................5 Controlled Access Headings..........................................................................................................................5 Collection Inventory...................................................................................................................................... 7 Exhibitions............................................................................................................................................... 7 Museum shop catalog.........................................................................................................................
[Show full text]
Docent Information Session Slides 8 Modernism and Contemporary
Docent Information Session Slides 8 Modernism and Contemporary ZMA Collection Diverse Culture Gallery TIP: Works from the ZMA collection are markeD Etruscan Votive Foot, circa 400-200 BCE like this… Earthenware, terra cotta TIP• Etruscan: Printculture 800 BCE slides-200 CE; https://www.ancient.eu/timeline/etruscan/ like these anD • Mold-made • Detail indicates this piece was an early casting from the mold create• Offering in gratitude a binDer for healing or plea filleD to heal an infirmity with At Ponte di Nona, e.g., a rural complex some 15 kilometers to the east of Rome, the workscollections are dominatedfrom by feetthe and hands ZMA– precisely thecollection. parts of the body which are likely to suffer damage in the course of agricultural work. More Information: http://exhibits.hsl.virginia.edu/antiqua/healercults/ ZMA Collection Shirley Gorsuch Gallery Romanticism Eugène Delacroix, French 1798–1863, Waterfall, circa 1840, Oil on board, 10458. Purchase, Friends of Art More Information: https://www.youtube.com/watch?v=6skizQlC-uU ZMA Collection Ayers Gallery Neoclassicism Hiram Powers (1805–1873), Psyche,1849, marble ZMA Collection Shirley Gorsuch Gallery Realism/Naturalism/Idealism Thomas Hill (1829-1908), Indian Encampment, Yosemite Valley, 1863, Oil on canvas,1965.11262. Purchase, Friends of Art • Majesty of America, scenes towering mountains • Manifest Destiny-celebrating America’s westward expansion More Information: https://www.youtube.com/watch?v=bUlH2PAMwWc https://www.youtube.com/watch?v=id6CbCjfD-4 https://www.youtube.com/watch?v=MWE0NSpcttk https://www.youtube.com/watch?v=k8l0L-Sw_5w ZMA Collection Shirley Gorsuch Gallery Realism Hudson River School Albert Bierstadt (1830-1902), Old Faithful, 1881-86, Oil on Canvas, 15032 Gift of Mrs.
[Show full text]
Childe Hassam, Study for Across the Avenue in Sunlight, 1918 Oil on Board, 8 X 9.8 In
Childe Hassam, Study for Across the Avenue in Sunlight, 1918 Oil on board, 8 x 9.8 in. (20.3 x 24.9 cm.) New York Private Collection Three enormous flags of the major Allied nations–Britain, France and the United States–are draped over the grand Beaux-Arts style façade of Knoedler & Company, at its original location at 556 Fifth Avenue at 46th Street. The painter’s vantage point is from across Fifth Avenue to the north and east. As pedestrians stroll underneath the flags, these monumental symbols of patriotic fervor hang somberly over them, as if to offer protection from the threat of barbarous Teutonic hordes across the sea. This small oil on panel by Childe Hassam (Figs. 1–7) is likely a study for a larger work on canvas, Across the Avenue in Sunlight, June [1918] (Fig. 8), currently in the collection of the IBM Corporation in Armonk, New York. This larger version is somewhat richer in detail, and notably displays the flags hanging from the Knoedler building in a different order. Also notable is the difference in the use of light between the two versions. The subject study has a muted palette. It is predominately painted in grays and beiges, with streaks of blue on the sidewalk, suggesting recent rainfall. Across the Avenue in Sunlight, June, however, true to its title (and rather unusually, among paintings from Hassam’s Flag series), glows with the bold light of an early summer morning. Hassam, the patriarch of American impressionism and among the most famous living American artists at the outset of World War I, is probably best known for his series of paintings depicting Fifth Avenue adorned with the flags of the United States and those of her allies (Figs.
[Show full text]
Theodore Robinson 1852- --- 896
1 Yftce:cA2e Pr-i'e"~ FIRST EXJIBITION SINCE 1895 f M itr SG THEODORE ROBINSON 1852- --- 896 Self Portrait April 19th - May 8th I943 MACBETH GALLERY i- East 5 7 th Street, New York City .... .... .. -: :.. .. :...:. -- In 1895, the year preceding Robinson's death, this gallery and following the impressionistic dicta of spontaneity, breadth and strong atmospheric accent, he contrives to secure the most astonishing freshness held his first one-man exhibition. As far as we know, there has and fidelity ... As a rule he has something to say, and says it with a con- not been since that time another exhibition of his work. This first sciousness of symmetry, of selection . exhibition, while generally applauded by the art reviewers, as the ---45440 from the newspapers will indicate, was not following excerpts New York Times, February 5, 1895. enthusiastically received by the public of that day. Robinson was S.. Mr. Robinson has a charm about his work peculiarly his own, "too radical" for the taste of 1895. Only one painting was sold and these pictures possess much interest, his view is a personal one . The work here all shows serious thought and earnest striving after truth, from the exhibition, the purchaser none other than the artist and the results are attractive . That Mr. Robinson is a draughtsman is William M. Chase who recognized in Robinson an artist of strong always felt, no matter how slight the sketch . His color is fresh, his work simple and direct, and he has not bothered with details. He will personality, who wove the concepts of impressionism into and not, perhaps, achieve popularity with the general public, but to those who through his own individuality thus producing pictures of rare realize his aims and put themselves in sympathy with his work, the exhibi- tion will prove of considerable interest." sensitiveness, great charm and lovely color.
[Show full text]
Gardening with a Paintbrush
Chicago Tribune | Arts+Entertainment | Section 4 | Thursday, July 2, 2015 3 VISUAL ARTS AMERICAN IMPRESSIONISTS Gardening with a paintbrush By Mark St. John Erickson Tribune Newspapers When the first American impressionists began returning from Europe in the mid-1880s, they soon found themselves embracing a familiar yet unex- pectedly rich and rewarding subject. Newly trained by their French mentors to paint out of doors — where they could revel in the mysteries of shifting light and color — they set out looking for American settings just as the nation’s late-19th-century gar- den movement was taking off. So as they had seen the great Claude Monet do in his beloved home garden at Giverny, artists started packing up their palettes, canvases and paints and walking out their back doors in search of spaces filled with flowers. What resulted was one of art history’s great marriages of subject and style as — over the following three decades — such talented painters as Frederick Childe Hassam, Philip Leslie Hale and Maria Oakey Dewing paired the country’s new fasci- nation for horticulture and gar- dens with their own blossoming passion for loose brushwork, dappled light and seemingly CURRIER MUSEUM OF ART, MANCHESTER, N.H. infinite variations of color. A new traveling show on American impressionists holds over 70 paintings, such as Frederick Childe Hassam’s 1916 “The Goldfish Window,” above, Acentury later, more than 70 that paired the country’s fascination with gardens, starting in the late 1880s, with artists’ rising passion for loose brushwork and dappled light. of the finest and most eye-catch- ing examples can be found at the shimmering sunlight and vibrant Pennsylvania Academy of the Chrysler Museum of Art in a flowers.
[Show full text]
Theodore Robinson [PDF]
Theodore Robinson Oil Paintings Theodore Robinson [American Painter, 1852-1896] In the Garden canvas painting, 47497-Robinson, Theodore-In the Garden.jpg Oil Painting ID: 47497 | Order the painting In the Orchard canvas painting, 47498-Robinson, Theodore-In the Orchard.jpg Oil Painting ID: 47498 | Order the painting La Vachere canvas painting, 47499-Robinson, Theodore-La Vachere.jpg Oil Painting ID: 47499 | Order the painting Low Tide Riverside Yacht Club canvas painting, 47500-Robinson, Theodore-Low Tide Riverside Yacht Club.jpg Oil Painting ID: 47500 | Order the painting On the Cliff canvas painting, 47501-Robinson, Theodore-On the Cliff.jpg Oil Painting ID: 47501 | Order the painting Pere Trognon and His Daughter at the Bridge canvas painting, 47502-Robinson, Theodore-Pere Trognon and His Daughter at the Bridge.jpg Oil Painting ID: 47502 | Order the painting 1/3 Self-portrait canvas painting, 47503-Robinson, Theodore-Self-portrait.jpg Oil Painting ID: 47503 | Order the painting Springtime canvas painting, 47504-Robinson, Theodore-Springtime.jpg Oil Painting ID: 47504 | Order the painting The Forge canvas painting, 47505-Robinson, Theodore-The Forge.jpg Oil Painting ID: 47505 | Order the painting The Layette canvas painting, 47506-Robinson, Theodore-The Layette.jpg Oil Painting ID: 47506 | Order the painting Total 3 pages, 2/3 | Page : 1 [2] 3 Robinson, Theodore (Nationality : American Painter, 1852-1896) Theodore Robinson (July 3, 1852 - April 2, 1896) was an American painter best known for his impressionist landscapes. He was one of the first American artists to take up impressionism in the late 1880s, visiting Giverny and developing a close friendship with Claude Monet.
[Show full text]
Modern Art Collection
MODERN ART COLLECTION Theodore Robinson Afternoon Shadows 1891 Oil on canvas 19 × 22½ in. (48.3 × 57.2 cm) Museum purchase, funds provided by Michael A. and Donna Singer 2007.7 Theodore Robinson was one of the first American artists to embrace the innovations of the French impressionist movement and was among the few American artists to enjoy a close personal friendship with Claude Monet, the father of French impressionism. Between 1887 and 1892, Robinson spent half of each year in Giverny, where his mature artistic style—characterized by a powerful sense of design, atmospheric effects, and lively surface texture—evolved under the direct influence of Monet. Painted at Giverny in the summer of 1891, Afternoon Shadows depicts a single stack of grain in a meadow of vivid greens and yellows bordered by a line of trees along the horizon. The deep shadows in the foreground recede toward the sunlit boundary of the field, suggesting late afternoon. The title of the work was given by Robinson himself in his diary in an entry dated December 8, 1893. Robinson was an academically trained figure painter who studied at the Art Institute of Chicago and at the National Academy of Design in New York City. Following this early period of study from 1870 to 1874, Robinson sought an art education in Europe and continued his studies in Paris between 1876 and 1879 at the École des Beaux-Arts and the Académie Julian. He was an active member of the American artistic community in France and exhibited his work at the Paris Salons in 1877, 1880, and 1887 through 1890.
[Show full text]
Evansville Citizen, P. 4, Col. 1, July 3, 1867, Evansville Review
March 20, 1867, Evansville Citizen, p. 1, col. 7, Evansville, Wisconsin Evansville Citizen, p. 4, col. 1, July 3, 1867, Evansville Review Young ―Thed‖ has chosen an artists’ profession – limner. He went to Chicago last week where he will take lessons of experienced teachers, with intentions to make perspective drawing and painting a profession. All who have seen Theodore’s pencil sketches the past year or two, are convinced that he has selected a congenial profession. There is not a young man of better habits, purer morals, or one whom Evansville would delight to honor in any calling, more than Theodore Robinson. If health supports him a brilliant future lies within his reach. November 16, 1870, Evansville Review, Evansville, Wisconsin July 31, 1872, Evansville Review, p. 1, col. 3, Evansville, Wisconsin August 14, 1872, Evansville Review, p. 1, col. 4, Evansville, Wisconsin August 21, 1872, Evansville Review, p. 1, col. 5, Evansville, Wisconsin October 23, 1872, Evansville Review, p. 4, col. 2, Evansville, Wisconsin October 23, 1872, Evansville Review, p. 4, col. 2, Evansville, Wisconsin January 22, 1873, Evansville Review, p. 1, col. 4, Evansville, Wisconsin March 12, 1873, p. 1, col. 4, Evansville Review, Evansville, Wisconsin April 30, 1873, Evansville Review, p. 1, col. 3, Evansville, Wisconsin Our young artist, Theodore, is stopping in Janesville for the purpose of giving instructions in the beautiful art of crayon drawing, and executing his life-size portraits from photographs, so pleasing and popular with many of our people here. December 3, 1873, Evansville Review, p. 1, col. 2, Evansville, Wisconsin February 19, 1874, The Evansville Review, p.
[Show full text]
The Etchings of J. Alden Weir
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1967 THE ETCHINGS OF J. ALDEN WEIR Norman Geske Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman, "THE ETCHINGS OF J. ALDEN WEIR" (1967). Sheldon Museum of Art Catalogues and Publications. 99. https://digitalcommons.unl.edu/sheldonpubs/99 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE ETCHINGS OF J ALDEN WEIR THE ETCHINGS OF J ALDEN WEIR An exhibition of the etchings of J. AIden Weir shown at the University of Nebraska Art Galleries November 7 through December 3} 1967 The present exhibition and catalogue are the first in what we ho pe will be a continuing series devoted to American artists in various media, sometimes dealing with a particular aspect of their work, sometimes with the totality. In each instance we hope to direct attention to matters hitherto neglected, overlooked or forgotten, and to provide some measure of inventory as well as critical appraisal. Such aseries fulfills apart of the proper function of a museum, and, in particular, a university museum. Acknowledgment and thanks for this initial effort should go to Mr. Robert Spence of the University's Department of Art, to Jon Nelson and Dwight Stark of the Art Gallery staff, and most especially to Mrs.
[Show full text]