A New Catalog Series Featuring the Unusual, the Unruly, & the Self
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Scottsdale Art Auction Seeking Consignments for April 6 Western Art Sale SCOTTSDALE, ARIZ
THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY ANTIQUES AND THE ARTS WEEKLY ț 5 CHURCH HILL RD ț BOX 5503 ț NEWTOWN, CONNECTICUT, 06470 ț FALL 2018 2 — THE GALLERY October 12, 2018 — Antiques and The Arts Weekly THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY Tel. 203-426-8036 or 203-426-3141 or Fax 203-426-1394 www.AntiquesAndTheArts.com contact: Barb Ruscoe email - [email protected] Published by The Bee Publishing Company, Box 5503, Newtown Connecticut 06470 New Acquisitions & Brimming Fair Schedule Propel Edward T. Pollack Fine Arts BRUNSWICK, MAINE — Edward T. 1,” “Nudo 2” and “Nudo 3”; prints by Ynez Pollack Fine Arts has a busy fall and winter Johnston, Jacques Hnizdovsky; several im- season planned for 2018–19. Following a portant Whistler lithographs; and a brilliant successful show at the Brooklyn Book and example of the now rare exhibition poster Print Fair at the Brooklyn Expo in Green- for the famous 1985 exhibition of paintings point early September, Ed Pollack will by Warhol and Basquiat. exhibit at the New York Satellite Print Fair Recent sales have included books illus- at Mercantile Annex 37. The show is held trated and signed by Thomas Hart Benton October 25–28, the same dates as the In- and Keith Haring, a lithograph by Yasuo ternational Fine Print Dealers Association’s Kuniyoshi, several woodcuts by Carol Fine Art Print Fair, in a venue very close Summers, two watercolor drawings by the to the Javits Center. During January and Monhegan Island painter Lynne Drexler, an February, the firm participates in print fairs early and rare Stow Wengenroth lithograph in Portland, Ore., Los Angeles/Pasadena and of Eastport, Maine, a lithograph by Robert San Francisco/Berkeley, Calif. -
Download 2017 Annual Report
Annual Report Issue SUMMER 2018 Please Join Us for the 72nd Annual Meeting and the Members’ Reception for Art and the New England Farm. Friday, June 1, 2018 at 5:30PM Florence Griswold Museum 96 Lyme Street Old Lyme, Connecticut The Annual Meeting takes place on Friday, June 1, 2018 at 5:30pm under a tent on the Adrian P. Moore Garden Terrace. We will share brief reports on the activities of the Museum and invite members to elect a new slate of officers and trustees. Afterwards, we’ll enjoy a festive reception for the exhibition Art and the New England Farm. This is your invitation to the Annual Meeting and Members’ Reception. We hope you can join us. Kindly RSVP (acceptances only) to 860-434-5542 ext. 122 or DeeDee@fl gris.org. Thomas Nason, Midsummer, 1954. Florence Griswold Museum, Gift of Janet Eltinge Art and the New England Farm – the Perils and Pleasures of Farming The Florence Griswold Museum is uniquely positioned to tell the story of Art and the New England Farm, on view May 11 through September 16. This exhibition delves into the agricultural heritage of Florence Griswold’s family estate, the Lyme region and beyond, to examine the complex history and character of New England’s farms. Paintings, drawings, and photographs by artists from the 1830s to the present day will trace the unique challenges of farming in New England. The Museum’s property is itself a case study of family farms in New England. Purchased by the Griswolds in 1841, these grounds became a country estate with barns, an orchard, gardens, and riverfront pastures where the family practiced small-scale farming during Florence’s childhood. -
Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia americká architektúra - pozri chicagská škola, prériová škola, organická architektúra, Queen Anne style v Spojených štátoch, Usonia americká ilustrácia - pozri zlatý vek americkej ilustrácie americká retuš - retuš americká americká ruleta/americké zrnidlo - oceľové ozubené koliesko na zahnutej ose, užívané na zazrnenie plochy kovového štočku; plocha spracovaná do čiarok, pravidelných aj nepravidelných zŕn nedosahuje kvality plochy spracovanej kolískou americká scéna - american scene americké architektky - pozri americkí architekti http://en.wikipedia.org/wiki/Category:American_women_architects americké sklo - secesné výrobky z krištáľového skla od Luisa Comforta Tiffaniho, ktoré silno ovplyvnili európsku sklársku produkciu; vyznačujú sa jemnou farebnou škálou a novými tvarmi americké litografky - pozri americkí litografi http://en.wikipedia.org/wiki/Category:American_women_printmakers A Anne Appleby Dotty Atti Alicia Austin B Peggy Bacon Belle Baranceanu Santa Barraza Jennifer Bartlett Virginia Berresford Camille Billops Isabel Bishop Lee Bontec Kate Borcherding Hilary Brace C Allie máj "AM" Carpenter Mary Cassatt Vija Celminš Irene Chan Amelia R. Coats Susan Crile D Janet Doubí Erickson Dale DeArmond Margaret Dobson E Ronnie Elliott Maria Epes F Frances Foy Juliette mája Fraser Edith Frohock G Wanda Gag Esther Gentle Heslo AMERICKÁ - AMES Strana 1 z 152 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Charlotte Gilbertson Anne Goldthwaite Blanche Grambs H Ellen Day -
Old Lyme State
NATIONAL HISTORIC LANDMARK NOMINATION NFS Form 10-900USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 FLORENCE GRISWOLD HOUSE & MUSEUM Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: FLORENCE GRISWOLD HOUSE & MUSEUM Other Name/Site Number: 2. LOCATION Street & Number: 96 Lyme Street Not for publication; N/A City/Town: Old Lyme Vicinity; N/A State: CT County: New London Code: Oil Zip Code: 06371 3. CLASSIFICATION Ownership of Property Category of Property Private; X Building(s); X Public-Local:__ District:__ Public-State:__ Site:__ Public-Federal: Structure:__ Object:__ Number of Resources within Property Contributing Noncontributing 1 4 buildings ____ sites ____ structures ____ objects 4 Total Number of Contributing Resources Previously Listed in the National Register: 1 Name of Related Multiple Property Listing: NFS Form 10-900USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 FLORENCE GRISWOLD HOUSE & MUSEUM Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this ___ nomination ___ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ___ meets ___ does not meet the National Register criteria. -
Download This Lesson As A
Ready. Set. Learn! Creating a Tableau Vivant (Living Painting) of The Fox Chase Grades: 9-12 Time: over the course of a week Grouping: whole class, small groups, individual Materials: access to Museum’s website, writing paper, craft supplies, video/digital recorder Description The Lyme Art Colony was a group of artists who were drawn to Old Lyme, Connecticut, as early as 1900. They stayed at the Griswold boardinghouse that was owned and operated by Florence Griswold. One of the most famous paintings created by a member of the Lyme Art Colony was The Fox Chase, a nearly nine-foot long panel that depicted the artists staging a mock fox hunt down Lyme Street. This lesson introduces students to the art and history of the Lyme Art Colony by having them research one of the characters depicted in The Fox Chase in preparation for a tableau vivant, (a living painting) that talks. Students use the Museum’s on-line resources to gather information (both in words and pictures) about their specific character as well as the Lyme Art Colony to write their character script (150 words) that incorporates the material. The talking tableau vivant can be performed for fellow classmates as well as other students in the schools. Objectives • To learn about the painters of the Lyme Art Colony • To use the Museum’s website as a source of information • To work as a group to develop a tableau vivant • To view historic photographs and paintings of people • To work alone to research, write, and perform a character script that teaches about a historic artist • To work -
The Magazine of The. Visual Arts
The magazine of the.visual arts July August 1981 $3 .50 Portrait: Art of the American Southwest Reassessing Lichtenstein, by Lawrence Alloway Henri Matisse and Dance, by Carter Ratcliff Summer Art Colonies John Perreault on Usable Art Photographs of Liberty in the Making Lannuier Furniture Painting on the Straw Hat Circuit At the turn of the century, American artists fleeing the summer heat established a string of lively art colonies from New York to Maine. by Karal Ann Marling route. Unspoiled scenery-sandy shut down and the farming of mountain beaches, opalescent wetlands, virgin rock was as unprofitable as it was tedi- Art journals used to succumb every Au- forests-was paramount, along with ous. The Catskill meadows seemed to gust to a delightful form of summertime the sleepy, backwater loveliness of an- be awaiting discovery by a founding madness-the special art colony issue. cient villages, where the odd studio sky- colonial father. Along with coat and tie, the dourest of light piercing the roof of barn or fish Thoreau could have been writing the critics shed all pretense of aesthetic house did nothing to ruin the illusion of script for the New England art colonies rigor to celebrate the latest squabbles, bucolic peace. in 1849, when he predicted great days fads, and fancies of the "Straw Hat Cir- The locations of the eastern colonies ahead for Cape Cod: "It only remained cuitThe art world hit the road for a were-still are-extraordinarily beau- to make these towns easy of access by traditional holiday spin through the tiful, which is why artists flocked to rail to turn the outside world toward Muses' seasonal campgrounds on the them in the first place. -
A Finding Aid to the Charles M. Kurtz Papers, 1843-1990, Bulk 1884-1909, in the Archives of American Art
A Finding Aid to the Charles M. Kurtz Papers, 1843-1990, bulk 1884-1909, in the Archives of American Art Arleen Pancza-Graham Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee. 1996 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 Note............................................................................................................. 2 Scope and Content Note................................................................................................. 5 Arrangement..................................................................................................................... 6 Names and Subjects ...................................................................................................... 6 Container Listing ............................................................................................................. 8 Series 1: Biographical Information, 1885-1931, undated......................................... 8 Series 2: Correspondence, 1843-1940, undated..................................................... 9 Series 3: Circulars/Requests for Submissions -
A Girl Scout Gold Award Project
A KID’S WALKING TOUR OF OLD LYME’S HISTORIC DISTRICT A GIRL SCOUT GOLD AWARD PROJECT by EMILY C. ZEMBA 1 FOR MORE INFORMATION! “A WALKING TOUR GUIDE OF THE HISTORIC DISTRICT OF OLD LYME, CONNECTICUT” BY JENNIFER PERRY “LYME AS IT WAS AND IS” BY JAMES ELY HARDING “OLD LYME, LYME, AND HADLYME” BY KATHRYN BURTON www.oldlyme-ct.gov (TOWN OF OLD LYME WEBSITE) www.arttrail.org (CONNECTICUT IMPRESSIONIST ART TRAIL) www.cthistoryonline.org (CONNECTICUT HISTORY ONLINE) www.oldlymehistoricalsociety.org (OLD LYME HISTORICAL SOCIETY) www.flogris.org (FLORENCE GRISWOLD MUSEUM) 35 I have lived in Old Lyme for most of my life. We pass these signs and others every Through the years I have come to appreciate the day, but do we really know what they historical significance that my town has. There is mean? so much history here, and it seems as if hardly any- Lyme and Old Lyme are filled with body knows about it. For my Girl Scout Gold Award project, I de- history (and herstory) just waiting to be cided to create a Children’s Walking Tour of the discovered, but in order to find it you Historic District in my town. I know that there is have to pay attention to the things an adult walking tour of Old Lyme available in our around you and always ask questions! local library, however, I believe that it is important for kids to get to know their area’s history in a fun Remember, “you have to know the past and educational way. to understand the present.” -Carl Sagan In summer 2003, I took part in a Girl Scout program called “Freedom’s Rites” in Rochester, New York. -
I N D U S T R I a L S U B L I
Art/New York/History Billowing smoke, booming industry, noble bridges, and an epic waterfront are the landscape of a transforming New I York from 1900 to 1940. The convulsive changes in the N metropolis and its rivers are embraced in modern paintings from Robert Henri to Georgia O’Keeffe. D I U S N T S R I D A U L U B s S u L b l T i I m R e M The book is the companion catalogue to the exhibition Industrial Sublime: Modernism and the Transformation of New York’s Rivers, 1900 to 1940. fordham university press hudson river museum I The project is organized by Kirsten M. Jensen and Bartholomew F. Bland. COVER DETAILS E FRONT: George Ault. From Brooklyn Heights, 1925. Collection of the Newark Museum BACK: John Noble. The Building of Tidewater, c.1937, The Noble Maritime Collection; George Parker. East River, N.Y.C., 1939. Collection of the New-York Historical Society; Everett Longley Warner. Peck Slip, N.Y.C., n.d. Collection of the New-York Historical Society; Ernest A Lawson. Hoboken Waterfront, c. 1930. Collection of the Norton Museum of Art A COPUBLICATION OF L Empire State Editions An imprint of Fordham University Press New York www.hrm.org www.fordhampress.com INDUSTRIAL SUBLIME INDUSTRIAL SUBLIME Modernism and the Transformation of New York’s Rivers, 1900-1940 Empire State Editions An imprint of Fordham University Press New York Hudson River Museum www.hrm.org www.fordhampress.com I know it’s unusual for an artist to want to work way up near the roof of a big hotel, in the heart of a roaring city, but I think that’s just what the artist of today needs for stimulus.. -
Thelight LIES SOFTLY
the LIGHT LIES SOFTLY the impressionist art of Clark Greenwood Voorhees 1871-1933 fig 1. My Garden, Oil on canvas, 28 x 36 inches, Signed lower right, Collection of Michael W. Voorhees, Granddaughter of the Artist the LIGHT LIES SOFTLY the impressionist art of Clark Greenwood Voorhees 1871-1933 December 15, 2009–February 27, 2010 Essay by Marshall N. Price with a Foreword by Jennifer C. Krieger 74 East 79th Street, Suite 3A-B * New York, New York 10075 * 212.731.0550 [email protected] * www.hawthornefineart.com * Tues–Sat 10am–6pm & by appointment fig 2. Apple Blossoms, Oil on board, 18 x 24 inches, Signed lower right Foreword he first painting that I ever sold on my own was by Clark Greenwood Voorhees [fig. 1], a delicate, yet strong evocation of poetry within the landscape. This image left an indelible imprint on me, T leading me to seek out more works by the artist and to delve into his life’s work. Now, as our gallery is mounting a large-scale exhibition on Voorhees, I feel that I have truly come full circle, both as an admirer of the artist and as a dealer with the ambition to rediscover the greatest talents of American art. It is with a true love of Voorhees’ unique style that this exhibition was born, a love for the flickering of light, the rich softness of color, and the rippling of texture, all inherent in his touch. While Impressionist pictures often seem most effective when viewed from afar, I urge the viewer of Voorhees’ works to inspect them closely and appreciate their tactile delicacy, the warp and woof of the artist’s imagination. -
Vose Galleries, and Continuing on to Six Other Venues
Crosscurrents : The Colonies, Clubs & Schools That Established Impressionism in America Featuring the Collection of Abbot W. and Marcia L. Vose OSE AL LERI ES, LL C VDealers in FineG American Art fo r Six Generations 175 years Celebr1a8 4ti1n-2g0 16 C1e7l5e brati yearsng 1841-2016 TABLE OF CONTENTS THE COLLECTION OF ABBOT W. AND MARCIA L. V OSE : A S HARED PASSION 2 CROSSCURRENTS : T HE COLONIES , C LUBS & S CHOOLS THAT ESTABLISHED IMPRESSIONISM IN AMERICA 8 The Making of an Artist: The Role of Art Schools in Boston and New York City 10 The Boston School 10 Art Students League of New York 20 THE ART SCENE IN EUROPE : A MERICAN ARTISTS STUDY ABROAD 27 BRINGING IMPRESSIONISM HOME : A MERICAN COLONIES IN NEW ENGLAND AND NEW YORK 30 Old Lyme, Connecticut 30 Bill Vose Pays Tribute to the Florence Griswold Museum in Old Lyme, Connecticut 37 Cos Cob, Connecticut 38 Mystic, Connecticut 39 Cape Ann, Massachusetts 40 Provincetown, Cape Cod and the Islands, Massachusetts 52 Ogunquit, Maine 58 Monhegan, Maine 62 CONTEMPORARY INSPIRATIONS 66 June Grey 67 Warren Prosperi 68 Liz Haywood-Sullivan 70 Joel Babb 72 John Whalley 74 Janet Monafo 76 Don Demers 78 Crosscurrents: The Colonies, Clubs & Schools That Established Impressionism in America Featuring the Collection of Abbot W. and Marcia L. Vose October 29 - December 31, 2016 The Collection of Abbot W. and Marcia L. Vose The Collection of Abbot W. and Marcia L. Vose: A Shared Passion By Marcia L. Vose We are very pleased to share with you the 44-year story of how we built our collection of American paintings. -
Connecticut Explored Subject Index Fall 2002 – Fall 2010
Connecticut Explored Subject Index Fall 2002 – Fall 2010 Issues of Hog River Journal Fall 2002 to Summer 2009 and Connecticut Explored Fall 2009 to present are archived in the Hartford History Center. A Abuza, Sophie Kalish See Tucker, Sophie Aetna Viaduct Winter 2009/2010, vol. 8, no. 1, pg. 47 Condon, Tom. Soapbox: City Seeks Reunion in Alternative I-84. Describes the negative effects of the historic routing of I-84 through downtown Hartford and speculates on why planners settled on that highway design. Since the Aetna Viaduct (downtown portion of I-84) needs repair, groups such as the Aetna Viaduct Alternatives Committee (now The Hub of Hartford) are calling for a re- routing rather than a repair. African-Americans See also: Other entries under “African-Americans” (e.g., African-Americans—Education) Amistad Center for Art & Culture Racism Slaves and Slavery Underground Railroad Summer 2009, vol. 7, no. 3, pgs. 12-19 Leach, Eugene. The Aging of the American Dream. Tracks the historical shift of the American Dream from collective to individual goals, and argues that African-Americans have been most true to the original ideals of equality and prosperity for humankind rather than for the individual only. Fall 2009, vol. 7, no. 4, pgs. 24-29 Pierce, Bill. The Fastest Men on Two Wheels. Describes the 1900 bicycle race between William Fenn of Bristol, Connecticut and Marshall “Major” Taylor at the Hartford Velodrome. Focuses especially on the life of Major Taylor, who was the only African-American professional cyclist in the United States at the time. Summer 2010, vol.