1998 Exhibitions

Total Page:16

File Type:pdf, Size:1020Kb

1998 Exhibitions 1998 Exhibitions Masterworks from the Tobin Collection of Theatre Arts Something New October 7, 1997 | January 11, 1998. September 22 | October 25, 1998 The Art of Enchantment: Children’s Book Illustrators Creativity at Work Organized by the Norman Rockwell Museum, October 6, 1998 | January 17, 1999 Stockbridge, Massachusetts Collectors Gallery XXXII October 7, 1997 | January 11, 1998 October 24 | November 22, 1998 Matisse at the McNay Gabriele Münter: The Years of Expressionism, 1903–1920 November 9, 1997 | January 4, 1998 Organized by the Milwaukee Art Museum Reflections of Nature: Small Paintings by Arthur Dove, 1942–43 November 3, 1998 | January 3, 1999 Organized by the Wichita Art Museum Our Pop: Art from the McNay Collection and the American Federation of Arts December 8, 1998 | March 14, 1999 December 19, 1997 | February 15, 1998 Carl Rice Embrey and Andrew Wyeth: O’Keeffe and Texas Recent Acquisitions and Other Works from the Collection January 27 | April 5, 1998 December 8, 1998 | April 11, 1999 Georgia O’Keeffe: Canyon Suite Theodore Robinson, American Impressionism and Realism, Organized by the Kemper Museum of December 8, 1998 | April 11, 1999 Contemporary Art & Design, Kansas City, Missouri January 27 | March 22, 1998 Watercolor Masterpieces at the McNay March 3 | May 3, 1998 Eugene Berman: Off the Stage March 24 | May 31, 1998 Robert L. B. Tobin: Off the Stage April 21 | July 5, 1998 Nature and Symbol: Impressionist and Post-Impressionist Prints from the McNay Collection May 1 | 25, 1998 The Garden Setting: Nature Designed June 23 | September 20, 1998 Kent Rush: A Retrospective July 7 | August 30, 1998 The Photographs of Ansel Adams from the Collection of Dr. Joseph W. Gray August 25 | October 11, 1998 The Pictures of Texas Monthly: 25 Years of Photography Organized by Texas Monthly and the Texas Fine Arts Association September 14 | November 3, 1998 McNAY ART MUSEUM | 15 YEARS IN REVIEW: 1998–2012 EXHIBITIONS mcnayart.org 1999 Exhibitions Creativity at Work October 6, 1998 | January 17, 1999 Gabriele Münter: The Years of Expressionism, 1903–1920 Organized by the Milwaukee Art Museum November 3, 1998 | January 3, 1999 Our Pop: Art from the McNay Collection December 8, 1998 | March 14, 1999 Carl Rice Embrey and Andrew Wyeth: Recent Acquisitions and Other Works from the Collection December 8, 1998 | April 11, 1999 Theodore Robinson, American Impressionism and Realism December 8, 1998 | April 11, 1999 The Great American Pop Art Store: Multiples of the Sixties Organized by the University Art Museum, California State University, Long Beach January 19 | March 14, 1999 Texas Watercolors: Works by Marion Koogler McNay and Other Regional Artists February 23 | April 11, 1999 Out of Russia: A Gift of Scene Designs from Robert L. B. Tobin March 25 | May 30, 1999 Imágenes Mexicanas: Rivera, Siqueiros, and Their Contemporaries April 10 | June 6, 1999 César A. Martinez: A Retrospective July 13 | September 12, 1999 After the Photo Secession: American Pictorial Photography, 1910–1955 Organized by the Minneapolis Institute of Arts August 17 | October 10, 1999 Personal Visions and Universal Themes: Aspects of American Sculpture since 1945 August 24, 1999 | February 6, 2000 Face to Face: Portraits from the Collection of Robert L. B. Tobin October 5, 1999 | January 2, 2000 Collectors Gallery XXXIII October 23 | November 28, 1999 McNAY ART MUSEUM | 15 YEARS IN REVIEW: 1998–2012 EXHIBITIONS mcnayart.org 2000 Exhibitions Personal Visions and Universal Themes: Aspects of American Sculpture since 1945 August 24, 1999 | February 6, 2000 Face to Face: Portraits from the Collection of Robert L. B. Tobin October 5, 1999 | January 2, 2000 Raoul Dufy: Last of the Fauves Organized by the Norton Museum of Art, West Palm Beach, Florida January 18 | March 19, 2000 Beauty and the Beasts: Dufy’s Works on Paper January 18 | March 19, 2000 Spectacular St. Petersburg: 100 Years of Russian Theatre Design Co-organized with the Columbus Museum of Art February 29 | May 14, 2000 Marsden Hartley: American Modern Organized by the Weisman Art Museum, University of Minnesota, Minneapolis April 11 | June 18, 2000 Collage in Contrast April 18 | June 4, 2000 Mexican Masterpieces: A New Print Collection for the McNay July 18 | August 27, 2000 Taos Artists and their Patrons Organized by the Snite Museum of Art, University of Notre Dame September 12 | December 3, 2000 Setting the Stage—American Style October 1 | December 31, 2000 Joel Shapiro: Sculpture Co-organized with the Spoleto Festival USA October 1, 2000 | January 7, 2001 Kathy Vargas Photographs: 1971–2000 December 19, 2000 | March 18, 2001 McNAY ART MUSEUM | 15 YEARS IN REVIEW: 1998–2012 EXHIBITIONS mcnayart.org 2001 Exhibitions Joel Shapiro: Sculpture Co-organized with the Spoleto Festival USA October 1, 2000 | January 7, 2001 Kathy Vargas Photographs: 1971–2000 December 19, 2000 | March 18, 2001 An American Sculptor: Seymour Lipton Co-organized with the Palmer Museum of Art, State College, Pennsylvania January 29 | April 8, 2001 Metaphor and Irony: Czech Scenic and Costume Design, 1920–1999 Co-organized with the Ohio Arts Council; The Theatre Institute, Prague, in partnership with the Ohio State University; and the Spencer Museum of Art, Lawrence, Kansas February 4 | March 25, 2001 The Drawings of Dan Sutherland: 1991–2001 April 3 | May 27, 2001 Exposed: The Performer Backstage May 22 | July 29, 2001 Elie Nadelman: Classical Folk Organized by the American Federation of Arts June 12 | August 19, 2001 ARTMATTERS 1: Madeline O’Connor: The Spaces in Between July 8 | September 9, 2001 Collectors Gallery XXXIV October 30 | November 25, 2001 American Paintings: A Gift from Robert L. B. Tobin October 30 | December 16, 2001 From Studios to Stages: A Promised Gift of Theatre Designs from the Estate of Robert L. B. Tobin October 30 | December 30, 2001 Corot to Picasso: European Masterworks from the Smith College Museum of Art Organized by the Smith College Museum of Art, Northampton, Massachusetts November 11, 2001 | January 20, 2002 McNAY ART MUSEUM | 15 YEARS IN REVIEW: 1998–2012 EXHIBITIONS mcnayart.org 2002 Exhibitions Corot to Picasso: European Masterworks 2002 ARTISTS LOOKING AT ART from the Smith College Museum of Art Hills Snyder Organized by the Smith College Museum of Art, Northampton, October 2002 Massachusetts Liz Ward November 11, 2001 | January 20, 2002 November 2002 ARTMATTERS 2: Bill Viola: The Greeting January 8 | February 24, 2002 Charles Field December 2002 Texas Modern: The Prints of Bill Reily February 5 | March 31, 2002 Theater of Drawing: Early Artworks of Robert Wilson, 1969–1976 Organized by the Byrd Hoffman Watermill Foundation, New York March 11 | May 19, 2002 Alexander Rodchenko: Modern Photography, Photomontage, and Film Organized by the University Art Museum, University of New Mexico, Albuquerque, circulated by Curatorial Assistance Traveling Exhibitions April 9 | May 26, 2002 The Essential Image: Minimalist Prints and Drawings May 4 | July 7, 2002 Hans Hofmann Paintings from the 1960s: The Berkeley Art Museum Collection Organized by the Berkeley Art Museum, University of California June 11 | September 15, 2002 ARTMATTERS 3: Ray Smith: Recent Paintings July 2 | September 1, 2002 Drawing in San Antonio: Works by Contemporary Area Artists July 21 | September 15, 2002 From Fauvism to Impressionism: Albert Marquet at the Pompidou Organized by the Centre Georges Pompidou, Musée National d’Arte Moderne, Paris, and Art Reach International October 6, 2002 | January 5, 2003 A View from the Top: Henri Rivière and the Eiffel Tower October 6, 2002 | January 5, 2003 Collectors Gallery XXXV November 2 | December 1, 2002 Mostly British: Scene and Costume Designs of the Twentieth Century McNAY ART MUSEUM | 15 YEARS IN REVIEW: 1998–2012 EXHIBITIONS mcnayart.org 2003 Exhibitions From Fauvism to Impressionism: Albert Marquet at the Pompidou Fairfield Porter: A Life in Art, 1907–1975 Organized by the Centre Georges Pompidou, Musée National Organized by Curatorial Assistance Traveling Exhibitions d’Arte Moderne, Paris, and Art Reach International October 5, 2003 | January 4, 2004 October 6, 2002 | January 5, 2003 Tim Burton’s The Nightmare Before Christmas A View from the Top: Henri Rivière and the Eiffel Tower December 2, 2003 | January 25, 2004 October 6, 2002 | January 5, 2003 Mostly British: Scene and Costume Designs of the Twentieth Century November 12, 2002 | January 12, 2003 2003 ARTISTS LOOKING AT ART Estampas Nuevas: Recent Mexican Print Acquisitions Constance Lowe February 4 | March 16, 2003 January 2003 ARTMATTERS 4: Beauty Spot: Jesse Amado Jesse Amado February 4 | April 27, 2003 February 2003 The Mother of Us All: Robert Indiana’s Pop Art Opera Designs Mark Schlesinger February 18 | April 27, 2003 March 2003 An American in Paris: The Prints of Mary Cassatt Janet Flohr February 28 | May 11, 2003 April 2003 Charles Biederman: American Modernist Jene Highstein Organized by the Weisman Art Museum, May 2003 University of Minnesota, Minneapolis April 5 | June 22, 2003 Margo Sawyer June 2003 The Moderns: Twentieth Century American Prints April 15 | June 15, 2003 Joan Fabian July 2003 ARTMATTERS 5: Julian Stanczak: Op Art Painting June 1 | August 24, 2003 Riley Robinson August 2003 Al Hirschfeld: Drawings from the Harvard Theatre Collection Organized by the Harvard Theatre Collection, Ken Little Houghton Library, Harvard University September 2003 June 15 | August 17, 2003 Chris Sauter Alfred H. Maurer: American Modern October 2003 Organized by the Weisman Art Museum, University of Minnesota, Minneapolis
Recommended publications
  • K–12 Student Artists in the Museum Carol Anderson, Mcnay Docent Mary Hogan, Mcnay Docent and Chair-Elect Linda Smith, Mcnay Do
    K–12 Student Artists in the Museum Carol Anderson, McNay Docent Mary Hogan, McNay Docent and Chair-elect Linda Smith, McNay Docent and Chair Kate Carey, Head of Education McNay Art Museum • Built in 1929 by artist and collector Marion Koogler McNay • First Modern Art Museum in Texas, 1954 • Bequests include Mary Cassatt, Marc Chagall, Pablo Picasso, Diego Rivera, & Vincent Van Gogh • Mission: Engage a diverse community in the discovery and enjoyment of the visual arts Spotlight at the McNay • Year-long deep dive with one artwork established 2011 • Creative responses to artwork on view • Celebration in May to honor students & teachers • Exhibition of K–12 student artwork in dedicated gallery (for an entire year) Why Spotlight a Single Object? • A 2018 study by NAEA and AAMD showed the lasting impact of a one-time museum visit. • Students improve problem solving, develop better questioning skills, and extend periods of intense concentration. • "I love that my students, the majority of whom come from low-income families in communities of color, can come to the McNay and see themselves represented there." —San Antonio Teacher Spotlight Exhibition A student painted a portrait of her brother. At Spotlight, she told him, "Look, now you are a work of art!" —2019 Spotlight Participant Spotlight Impact 2016 2017 2018 2019 Rack Gives Back Support Students 578 668 1,014 1,549 Schools 13 14 16 31 Student Projects Exhibited 90 277 439 445 Title I Schools 6 7 6 14 Families reached at After School Outreach Activities 0 1,750 3,785 4,000+ Magnificent Seven Spotlight Schools Roosevelt High School, Camelot Elementary, Montgomery Elementary, and Windcrest Elementary Opening Question • What does outreach look like in your museum? • Who is the target audience? • Support & considerations.
    [Show full text]
  • Edgar Degas French, 1834–1917 Woman Arranging Her Hair Ca
    Edgar Degas French, 1834–1917 Woman Arranging her Hair ca. 1892, cast 1924 Bronze McNay Art Museum, Mary and Sylvan Lang Collection, 1975.61 In this bronze sculpture, Edgar Degas presents a nude woman, her body leaned forward and face obscured as she styles her hair. The composition of the figure is similar to those found in his paintings of women bathing. The artist displays a greater interest in the curves of the body and actions of the model than in capturing her personality or identity. More so than his posed representations of dancers, the nude served throughout Degas’ life as a subject for exploring new ideas and styles. French Moderns McNay labels_separate format.indd 1 2/27/2017 11:18:51 AM Fernand Léger French, 1881–1955 The Orange Vase 1946 Oil on canvas McNay Art Museum, Gift of Mary and Sylvan Lang, 1972.43 Using bold colors and strong black outlines, Fernand Léger includes in this still life an orange vase and an abstracted bowl of fruit. A leaf floats between the two, but all other elements, including the background, are abstracted beyond recognition. Léger created the painting later in his life when his interests shifted toward more figurative and simplified forms. He abandoned Cubism as well as Tubism, his iconic style that explored cylindrical forms and mechanization, though strong shapes and a similar color palette remained. French Moderns McNay labels_separate format.indd 2 2/27/2017 11:18:51 AM Pablo Picasso Spanish, 1881–1973 Reclining Woman 1932 Oil on canvas McNay Art Museum, Jeanne and Irving Mathews Collection, 2011.181 The languid and curvaceous form of a nude woman painted in soft purples and greens dominates this canvas.
    [Show full text]
  • Report on the National Gallery of Art 1957
    REPORT ON THE NATIONAL GALLERY OF ART 1957 SMITHSONIAN INSTITUTION WASHINGTON B.C. 1 1 REPORT ON THE NATIONAL GALLERY OF ART FOR THE YEAR ENDED JUNE 30, 1957 From the Smithsonian Report for 1957 Pages 172-184 If* |PBR\ yoRtt UNITED STATES GOVERNMENT PRINTING OFFICE WASHINGTON : 1958 Report on the National Gallery of Art SIR : I have the honor to submit, on behalf of the Board of Trustees, the 20th annual report of the National Gallery of Art for the fiscal year ended June 30, 1957. This report is made pursuant to the pro- visions of section 5 (d) of Public Resolution No. 14, 75th Congress, first session, approved March 24,1937 (50 Stat. 51). ORGANIZATION The statutory members of the Board of Trustees of the National Gallery of Art are the Chief Justice of the United States, the Sec- retary of State, the Secretary of the Treasury, and the Secretary of the Smithsonian Institution, ex officio. On May 1, 1957, Chester Dale was reelected a general trustee of the National Gallery of Art to serve in that capacity for the term expiring July 1, 1967. Mr. Dale was also reelected by the Board of Trustees on May 2, 1957, to serve as President of the Gallery, and Ferdinand Lammot Belin was reelected Vice President. The four other general trustees continu- ing in office during the fiscal year ended June 30, 1957, were Ferdi- nand Lammot Belin, Duncan Phillips, Paul Mellon, and Eush H. Kress. On September 13, 1956, the Trustees of the Gallery elected Perry B. Cott as Chief Curator and Mrs.
    [Show full text]
  • The Art Museum As Personal Statement: the Southwest Experience
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for 1989 The Art Museum as Personal Statement: The Southwest Experience Keith L. Bryant Jr University of Akron Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Bryant, Keith L. Jr, "The Art Museum as Personal Statement: The Southwest Experience" (1989). Great Plains Quarterly. 400. https://digitalcommons.unl.edu/greatplainsquarterly/400 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE ART MUSEUM AS PERSONAL STATEMENT THE SOUTHWESTERN EXPERIENCE KEITH L. BRYANT, JR. The museum boom in this country since World Indeed, the art museum rivals the shopping mall War II has been easy to observe and document. as a site for family excursions. The residents of Almost as many museums were constructed in the Southwest have participated in the museum the 1960s as in the previous two decades, and boom, generating new institutions and new the erection or expansion of cultural palaces has buildings along with national media attention, continued into the 1980s. The rising impor­ in a proclamation of the region's cultural ma­ tance of museums has been signaled not only turation. It has not always been so, however. by new buildings and massive additions but also In 1948, the artist, critic, and scholar Walter by attendance figures.
    [Show full text]
  • Mcnay ART MUSEUM 2013 | 2015 Annual Report Visitors Enjoy a Free Family John and Peg Emley with Bill Chiego at the Margaritaville at the Day at the Mcnay
    McNAY ART MUSEUM 2013 | 2015 Annual Report Visitors enjoy a free family John and Peg Emley with Bill Chiego at the Margaritaville at the day at the McNay. McNay Spring Party. Lesley Dill and René Paul Barilleaux, Chief Curator/Curator of Contemporary Art, at the Opening of Lesley Dill: Performance as Art. McNay Second Thursday band plays indie tunes on the Brown Sculpture Terrace. Visitors enjoy a free family day at the McNay. Emma and Toby Calvert at the 60th Sarah E. Harte and John Gutzler at the 60th Anniversary Celebration Anniversary Celebration Visitor enjoys field day activities during a free A local food truck serves up delicious dishes at McNay Second Suhail Arastu at the McNay Gala Hollywood Visions: Dressing the Part. family day at the McNay. Thursdays. Table of Contents Board of Trustees As of December 31, 2015 Letter from the President ................................................................................4 Tom Frost, Chairman Sarah E. Harte, President Letter from the Director ...................................................................................5 Connie McCombs McNab, Vice President Museum Highlights ...........................................................................................6 Lucille Oppenheimer Travis, Secretary Barbie O’Connor, Treasurer Notable Staff Accomplishments ...................................................................10 Toby Calvert Acquisitions ..........................................................................................................13 John W. Feik
    [Show full text]
  • 1998 Loans from the Collection
    1998 Loans from the Collection Kenneth Adams, New Mexico. Crayon on paper, 18 x 24 in. Oscar Berninghaus, Cemetery in New Mexico, ca.1940. Oil on Bequest of Marion Koogler McNay, 1950.1. panel, 9 x 13 in. Gift of Dr. and Mrs. William C. Winter, 1981.35. E. Martin Hennings, Thistle Blossoms, 1929. Oil on canvas, 40 x Berninghaus: Taos Founder/Taos Son. Panhandle-Plains Museum, 40 in. Collection of the Tobin Foundation. Canyon, Texas, November 15, 1998–February 28, 1999. John Ward Lockwood, Summer Landscape, Taos, N.M. Arthur Dove, The Brothers, 1942. Tempera and wax emulsion on Watercolor on paper, 13 15/16 x 20 in. Bequest of Marion Koogler canvas, 20 x 28 in. Gift of Robert L. B. Tobin through the Friends McNay, 1950.88. of the McNay, 1962.3. Enchanted: Taos Art from Texas Collections. Panhandle-Plains Arthur Dove: A Retrospective Exhibition. Last two venues only; Historical Museum, September 6—November 15, 1998. Addison Gallery of American Art, Andover, Massachusetts, April 24–July 14, 1998; Los Angeles County Museum of Art, Rafael Aragón, Our Lady of Guadalupe. Water soluble paint August 2–October 4, 1998. on panel, 22 3/4 x 17 in. Bequest of Marion Koogler McNay, 1950.290. Paul Gauguin, Portrait of the Artist with the Idol, ca.1893. Oil on canvas, 17 1/4 x 12 7/8 in. Bequest of Marion Koogler McNay, El Alma del Pueblo: Spanish Folk Art and its Transformation in 1950.46. the Americas. San Antonio Museum of Art, October 17, 1997– January 4, 1998; Art Museum at Florida International University, Paul Gauguin Tahiti, 1891-1893.
    [Show full text]
  • San-Antonio-300-Years-Of-History.Pdf
    Copyright © 2020 by Texas State Historical Association All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher, addressed “Attention: Permissions,” at the address below. Texas State Historical Association 3001 Lake Austin Blvd. Suite 3.116 Austin, TX 78703 www.tshaonline.org IMAGE USE DISCLAIMER All copyrighted materials included within the Handbook of Texas Online are in accordance with Title 17 U.S.C. Section 107 related to Copyright and “Fair Use” for Non-Profit educational institutions, which permits the Texas State Historical Association (TSHA), to utilize copyrighted materials to further scholarship, education, and inform the public. The TSHA makes every effort to conform to the principles of fair use and to comply with copyright law. For more information go to: http://www.law.cornell.edu/uscode/17/107.shtml If you wish to use copyrighted material from this site for purposes of your own that go beyond fair use, you must obtain permission from the copyright owner. Dear Texas History Community, Texas has a special place in history and in the minds of people throughout the world. Texas symbols such as the Alamo, oil wells, and even the shape of the state, as well as the men and women who worked on farms and ranches and who built cities convey a sense of independence, self-reliance, hard work, and courage.
    [Show full text]
  • Image List for Impressions
    Media Contact Rachel Trevino, Head of Communications and Marketing (o) 210.805.1754 (c) 210.854.8889 [email protected] Anastasia Pelias: mama NOW ON VIEW AT MCNAY ART MUSEUM New Outdoor Installation Activates Museum Grounds with Sculpture and Painted Landscape San Antonio, TX (January 2, 2019) – Commissioned by the McNay Art Museum from New Orleans-native Anastasia Pelias, mama is comprised of a monumental sculpture immersed within a painted landscape, and is now on view at the Museum. Located on a small hill just inside the North New Braunfels gate, the installation activates the landscape of the museum grounds by creating a space the artist intends to be “a place for people to be, to think, and to meditate.” “We are thrilled to feature mama this winter on the grounds of the first modern art museum in Texas,” said Richard Aste, Director of the McNay. “It is a paragon of artistic excellence--which we have defined in San Antonio for almost 65 years--and a thoughtful, meditative addition to our growing outdoor museum experience.” Pelias’s artworks span the areas of painting, drawing, video, sculpture, and installation, united through a cultural identity combining her native Louisiana birthplace and her ancestral roots in Greece. The sculpture’s shape is informed by the ancient iconic shapes associated with the Minoan civilization on the island of Crete. mama is at once a temporal artwork, an homage to Pelias’s family history, and a site for quiet contemplation. "mama is a work that pays homage to the essence of the female, to all mamas,” said Pelias.
    [Show full text]
  • Drawings from the Kröller-Müller National Museum, Otterlo Edited by William S
    Drawings from the Kröller-Müller National Museum, Otterlo Edited by William S. Lieberman Author Lieberman, William S. (William Slattery), 1924-2005 Date 1973 Publisher The Museum of Modern Art ISBN 0870702971 Exhibition URL www.moma.org/calendar/exhibitions/2541 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 DRAWINGS FROM THE KROLLER-MULLER NATIONAL MUSEUM, OTTERLO DRAWINGS FROM THE KROLLER-MULLER NATIONAL MUSEUM, OTTERLO van Gogh: Man with a Pipe. 1882. Lithographic crayon and pencil, heightened with gouache, ij}4 x 10% inches DRAWINGS FROM THE KROLLER-MULLER NATIONAL MUSEUM, OTTERLO Edited by William S. Lieberman The Museum of Modern Art, New York Copyright © 1973 by The Museum of Modern Art All rights reserved The Museum of Modern Art 11 West 53 Street New York, New York 10019 Library of Congress Catalog Card Number: 72-95074 isbn: 0-87070-297-1 Designed by James Wageman Printed in the United States of America COVER van Gogh: Cypresses with Two Women. 1889. Reed pen and ink, chalk, and touches of oil, 12^x9^ inches SCHEDULE This catalogue is published in conjunction with an exhibition sponsored by OF THE the Netherlands Ministry of Cultural Affairs, Recreation, and Social Welfare EXHIBITION and shown in the United States and Canada under the auspices of The Inter national Council of The Museum of Modern Art. The Museum of Modern Art, New York May 24-August 19, 1973 The Art Institute of Chicago September 8-October 21, 1973 The National Gallery of Canada, Ottawa November 9, 1973-January 1, 1974 Marion Koogler McNay Art Institute, January 13-March 3, 1974 San Antonio CONTENTS 6 ACKNOWLEDGMENTS 7 FOREWORD by Rudolf W.
    [Show full text]
  • Biographical Dictionary of Kansas Artists (Active Before 1945)
    Biographical Dictionary of Kansas Artists (active before 1945) Compiled by Susan V. Craig, Art & Architecture Librarian Univ. of Kansas August 2006 1 This book began with a 1981 reference question about John Noble, a name I did not recognize despite having studied art history and worked as an art librarian for more than 10 years. Learning that John Noble was a Kansas artist, I went looking for the best available book on Kansas art only to learn the resources were few. As a new faculty member at the Univ. of Kansas, I needed to establish a research project so I decided to prepare a dictionary of Kansas artists thus fulfilling both the research requirement and educating myself about the history of the visual arts in my native state; I just didn't intend the project to take 25 years or realize that I would have more than 1750 entries in the dictionary. I began by defining the scope of the work: • "Kansas artist" was loosely defined as artists who were both born in the state as well as artists who were born elsewhere but were artistically active in Kansas. Under this latter definition, I included artists who produced significant artworks such as the murals installed in Kansas post offices. Occasionally, artists who lived or worked primarily in Kansas City, MO may be included. I did not deliberately include all Kansas City artists but neither did I exclude them if the name came from a Kansas source such as the Kansas State Gazetteer. • Another choice I made was to look for artists who were artistically active before 1945.
    [Show full text]
  • Mcnay Art Museum Announces Rich Aste As New Director
    Media Contact Daniela Oliver de Portillo Director of Communications and Marketing 210.805.1754 | [email protected] Images and more information at mcnayart.org/astepress McNay Art Museum Announces Rich Aste as New Director Rich Aste brings a vibrant future to the McNay and is set to become a dynamic cultural leader for the City of San Antonio San Antonio, TX, August 2, 2016 - This morning the McNay Art Museum’s Board of Trustees confirmed the appointment of Dr. Richard Aste (as-tee) to serve as the museum’s third director. Aste is a socially conscious cultural leader and a dynamic art historian with wide-ranging experience in managing, curating, teaching, and publishing. In addition, he bears a deep knowledge of the art market. He comes to the McNay from the Brooklyn Museum in New York, where he served as Managing Curator, Arts of the Americas and Europe, and Curator of European Art. "Over the past six years, Rich rose to be one of the most treasured curators at the Brooklyn Museum.” comments Anne Pasternak, the Brooklyn Museum’s Shelby White and Leon Levy Director. “With a focus on Latin American art, he brought insightful exhibitions to vast publics while expanding the Museum's reach and scope to increasingly diverse audiences." Aste’s academic training as a scholar of European art and his professional development in New York and the Caribbean make him the ideal candidate to oversee the McNay and its growing collections. As former Associate Curator of European Art at the Museo de Arte de Ponce in Puerto Rico, he organized temporary exhibitions on Auguste Rodin and Impressionist landscapes and reinstalled the European collection.
    [Show full text]
  • 28 August, 2000
    OWINGS-DEWEY FINE ART A GALLERY FOR TH AND TH CENTURY AMERICAN ART CONSULTATION| SALES| APPRAISAL JOHN WARD LOCKWOOD (b. 1894 Atchison, Kansas – d. 1963 Taos, New Mexico) Media: oil; watercolor, etching; pastel; ink; polymers Education: Pennsylvania Academy of the Fine Arts, Philadelphia; Academie Ransom, Paris. Exhibitions: (partial list) Salon d’Automne, Paris, 1921; Venice Biennale, 1937; Corcoran Gallery of Art, Washington, DC, 1935, 39; Colorado Springs Fine Arts Center, 1946; Whitney Museum of American Art, 1936, 39, 46, 50; Chicago Art Institute, 1935; Brooklyn Museum, 1949; Metropolitan Museum of Art, New York, 1950, Denver Art Museum, 1952; Museum of New Mexico, Santa Fe, 1956. Collections: (partial list): Colorado Springs Fine Arts Center; Delaware Art Center, Wilmington; Denver Art Museum; Harwood Foundation, Taos; Marion Koogler McNay Art Institute, San Antonio; Museum of Fine Art, Santa Fe; Pennsylvania Academy of Fine Arts, Philadelphia; Roswell Museum and Art Center, Roswell, New Mexico; Santa Barbara Museum of Art, CA; Whitney Museum of American Art, New York City. Murals: Taos County Court House; Colorado Springs Fine Arts Center; Wichita, Kansas, Post Office; Washington, DC, Post Office Department Building; Lexington, Kentucky, Federal Court House; Edinburgh, Texas, Post Office; Hamilton, Texas, Post Office. Selected Bibliography: Coke, Van Deren, Taos and Santa Fe, The Artist’s Environment, 1882-1942. The University of New Mexico Press, Albuquerque, 1963. Nelson, Mary Carroll, The Legendary Artists of Taos. Watson-Guptill Publications, New York, 1980. John Ward Lockwood was born in Atchison, Kansas in 1894. He received a complete, and well-rounded education at the University of Kansas, the Philadelphia Academy of Fine Arts, and the Academie Ranson in Paris.
    [Show full text]