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The Phillips Collection Exhibition History, 1999–2021
Exhibition History, 1999–2021 Exhibition History, 1999–2021 THE PHILLIPS COLLECTION EXHIBITION HISTORY, 1999–2021 The Phillips Collection presented the following exhibitions for which it served as either an organizer or a presenting venue. * Indicates a corresponding catalogue 23, 2000. Organizing institution: The TPC.2000.6* 12, 2002. Organizing institution: 1999 Phillips Collection. William Scharf: Paintings, 1984–2000. Smith College Museum of Art, November 18, 2000–July 2, 2001. Northampton, MA. TPC.1999.1 Organizing institution: The Phillips Photographs from the Collection of 2000 Collection. Traveled to The Frederick TPC.2002.2 Dr. and Mrs. Joseph D. Lichtenberg. R. Weisman Museum of Art, Malibu, John Walker. February 16–August 4, January 12–April 25, 1999. Organizing TPC.2000.1* CA, October 20–December 15, 2001. 2002. Organizing institution: The institution: The Phillips Collection. Honoré Daumier. February 19–May Phillips Collection. 14, 2000. Organizing institutions: TPC.1999.2 The Phillips Collection, The National 2001 TPC.2002.3 An Adventurous Spirit: Calder at The Gallery of Canada, and Réunion des Howard Hodgkin. May 18–July 18, 2002. Phillips Collection. January 23–June Musées Nationaux, Paris. Traveled to 2 TPC.2001.1* Organizing institution: The Phillips 8, 1999. Organizing institutions: The additional venues. Wayne Thiebaud: A Paintings Collection. Phillips Collection and The Calder Retrospective. February 10–April 29, TPC.2000.2* Foundation. 2001. Organizing institution: Fine TPC.2002.4* An Irish Vision: Works by Tony O’Malley. Arts Museums of San Francisco, CA. Edward Weston: Photography and TPC.1999.3 April 8–July 9, 2000. Organizing Traveled to 3 additional venues. Modernism. June 1–August 18, 2002. -
For Immediate Release
FOR IMMEDIATE RELEASE Media Contacts: April 2, 2014 Elizabeth Lubben, 202-387-2151 x235 [email protected] Sarah Schaffer, 202-387-2151 x243 [email protected] Online Press Room www.phillipscollection.org/press THE PHILLIPS COLLECTION HIGHLIGHTS BEAUTY, MOOD, AND EMOTION IN NEO-IMPRESSIONISM AND THE DREAM OF REALITIES: PAINTING, POETRY, MUSIC New exhibition takes a fresh look at Neo-Impressionism, focuses on ideas and dialogue. Washington, D.C.—This fall, The Phillips Collection examines the Neo-Impressionist movement through a new lens with its special exhibition, Neo-Impressionism and the Dream of Realities: Painting, Poetry, Music. Highlighting 15 artists and more than 70 works, the exhibition demonstrates that the Neo- Impressionists, a group generally identified by its pointillist technique and emphasis on the representation of reality, were in fact influenced by their literary Symbolist contemporaries and created evocative, suggestive compositions inspired by ideas and dialogue between the two groups. Neo-Impressionism will be on view at the Phillips from September 27, 2014, through January 11, 2015. The lush exhibition focuses on the Neo- Impressionist movement in Brussels and Paris around 1890. During this time, the exchange of ideas and interactions between painters, poets, and musicians were particularly fruitful and compelled the Neo-Impressionists to create works that accentuated evocative atmosphere. Their paintings and works on paper often transformed reality in a way that seemed to be a departure from the group’s beginnings in 1886; at that time, it was hailed as an alternative to Impressionism that offered a fresh opportunity to focus on light and Paul Signac, Place des Lices, St. -
American Prints 1860-1960
American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks Bennington College, Bennington, Vermont Introduction The 124 prints which make up this exhibition have been selected from my collection of published on the occasion over 800 prints. The works exhibited at Bennington have been confined to those made by ot an exhibitionat the American artists between 1860 and 1960. There are European and contemporary prints in my A catalogue suchasthis and the exhibitionwhich collection but its greatest strengths are in the area of American prints. The dates 1860 to Suzanne Lemberg Usdan Gallery accompaniesit.. is ot necessity a collaborativeeffortand 1960, to which I have chosen to confine myself, echo for the most part my collecting Bennington College would nothave been possible without thesupport and interests. They do, however, seem to me to be a logical choice for the exhibition. lt V.'CIS Bennington \'ermonr 05201 cooperation of many people. around 1860 that American painters first became incerested in making original prints and it April 9 to May9 1985 l am especially graceful to cbe Bennington College Art was about a century later, in the early 1960s, that several large printmaking workshops were Division for their encouragementand interestin this established. An enormous rise in the popularity of printmaking as an arcistic medium, which projectfrom thestart. In particular I wouldlike co we are still experiencing today, occurred at that cime. Copyright © 1985 by MatthewMarks thankRochelle Feinstein. GuyGood... in; andSidney The first American print to enter my collection, the Marsden Hartley lirhograph TilJim, who originally suggestedche topicof theexhibi- (Catalogue #36 was purchased nearly ten years ago. -
Inside This Issue
the Bullfrom johnny cake hill | etinspring 2020 Inside this issue: High School Apprenticeship Program’s 10th Anniversary | Upcoming Exhibition on Albert Pinkham Ryder Lighting the Way Celebrates the Centennial of the Ratification of the 19th Amendment HelmFROM THE A Tribute to Llewellyn Howland, III Members and Friends: By Lloyd Macdonald You will likely be reading this Bulletin while we are still in the midst of the coronavirus public health emergency and it is my greatest hope that this edition finds you safe and healthy. With that in mind, there Llewelyn Howland, III (“Louie” to all who knew him), a four-term Trustee of the Museum, former Chair of the may be dates published in these pages that may shift as a result of the situation. While I certainly hope that Scholarship and Publications Committee, long-serving member of the Collections Committee and member during this crisis comes to a speedy conclusion, I am more mindful now than ever of the value of togetherness. his tenure on the Executive and Governance Committees, died on June 21, 2019. He was 81. As a Museum, we are a place of gathering on many levels. We collect and steward the objects, literature, and stories of our region’s history. We protect and share some of the most vital data and research in the Louie’s and my service on the Board coin- to Louie himself. He also co-edited the world of marine mammal bioacoustics. We unearth hidden stories of some of the most impactful women cided almost exactly. Early in our tenure, Museum’s 2007 publication of On the to have walked our streets. -
FY 15 ANNUAL REPORT August 1, 2014- July 31, 2015
FY 15 ANNUAL REPORT August 1, 2014- July 31, 2015 1 THE PHILLIPS COLLECTION FY15 Annual Report THE PHILLIPS [IS] A MULTIDIMENSIONAL INSTITUTION THAT CRAVES COLOR, CONNECTEDNESS, A PIONEERING SPIRIT, AND PERSONAL EXPERIENCES 2 THE PHILLIPS COLLECTION FY15 Annual Report FROM THE CHAIRMAN AND DIRECTOR This is an incredibly exciting time to be involved with The Phillips Collection. Duncan Phillips had a deep understanding of the “joy-giving, life-enhancing influence” of art, and this connection between art and well-being has always been a driving force. Over the past year, we have continued to push boundaries and forge new paths with that sentiment in mind, from our art acquisitions to our engaging educational programming. Our colorful new visual identity—launched in fall 2014—grew out of the idea of the Phillips as a multidimensional institution, a museum that craves color, connectedness, a pioneering spirit, and personal experiences. Our programming continues to deepen personal conversations with works of art. Art and Wellness: Creative Aging, our collaboration with Iona Senior Services has continued to help participants engage personal memories through conversations and the creating of art. Similarly, our award-winning Contemplation Audio Tour encourages visitors to harness the restorative power of art by deepening their relationship with the art on view. With Duncan Phillips’s philosophies leading the way, we have significantly expanded the collection. The promised gift of 18 American sculptors’ drawings from Trustee Linda Lichtenberg Kaplan, along with the gift of 46 major works by contemporary German and Danish artists from Michael Werner, add significantly to new possibilities that further Phillips’s vision of vital “creative conversations” in our intimate galleries. -
Albert Pinkham Ryder 1 S Two Wagnerian Paintings: the Flying Dutchman and Siegfried and the Rhine Maidens
ABSTRACT Title of Thesis: Albert Pinkham Ryder 1 s Two Wagnerian Paintings: The Flying Dutchman and Siegfried and the Rhine Maidens Sharon Dale Carman, Master of Arts, 1988 Thesis directed by: John Peters-Campbell, Assistant Professor, Art History Albert Pinkham Ryder (1847-1917) has traditionally been regarded as an anomalous figure in the history of art. A small, but growing, body of scholarship has recently been devoted to correcting this view of the artist and to establishing his relationship to the aes- thetic currents of his time. This study explores the influence on his art of Ryder's environment, late nineteenth-century New York. Two of Ryder's paintings, each based on an incident in an opera by Richard Wagner, are examined: Siegfried and the Rhine Maidens, drawn from Gotterdammerung; and The Flying Dutchman, inspired by Der fliegende Hollander. The history of opera in nineteenth- century New York helps to explain how an American painter came to be influenced by such distinctly German operatic themes. German immigration patterns are linked with changes in operatic taste, and the interest of native intellectuals in Wagner's music and ideas is discussed. Wagnerian staging tradition is posited as a source for the compositions of both Siegfried and the Rhine Maidens and The Flying Dutchman. It is demonstrated that the set designed by Josef Hoffmann for the original Bayreuth pro duction of Gotterdammerung, Act III, Scene I, served as the specific compositional basis for Ryder's Siegfried and the Rhine Maidens. ALBERT PINKHAM RYDER'S TWO WAGNERIAN PAINTINGS: THE FLYING DUTCHMAN AND SIEGFRIED AND THE RHINE MAIDENS by Sharon Dale Carman 111 Thesis submitted to the Faculty of the Graduate School of The University of Maryland in partial fulfillment of the requirements for the degree of Master of Arts 1988 C-, ( \ I ~·1 '" I () ,,. -
Greenwich Historical Society Celebrates Centenary of 1913
FOR IMMEDIATE RELEASE Media contacts: Carolyn Mandelker/914-242-0010 [email protected] Laura Mogil/914-242-0010 [email protected] A FIRST! GREENWICH HISTORICAL SOCIETY CELEBRATES CENTENARY OF 1913 ARMORY SHOW WITH UNUSUAL EXHIBITION THAT FOCUSES ON SHOW’S INFLUENCE ON GREENWICH’S COS COB ART COLONY ARTISTS Exhibition Also Highlights Critical Role Cos Cob Artists Played in Producing the Armory Show Several Accomplished Yet Virtually Unknown Cos Cob Artists Spotlighted Greenwich, Conn., October 9, 2013—Lauded as one of the most influential events in the history of American art, The International Exhibition of Modern Art in 1913—popularly known as the Armory Show—was the first large exhibition of modern art in the United States, and one that introduced astonished Americans to European ‘avant-garde’ artists such as Pablo Picasso, Henri Matisse and Paul Cézanne. Much has been written about the show, yet no exhibition to date has explored the direct effect that the Armory Show had on artists and their artistic production. But the Greenwich Historical Society is about to change that. Beginning October 9, the Greenwich Historical Society will present The New Spirit and the Cos Cob Art Colony: Before and After the Armory Show, which for the first time shows the direct impact of the Armory Show on the Cos Cob art colony artists. A perfect complement to larger exhibitions in the metropolitan New York area inspired by the centennial of the Armory Show, this small yet critical exhibition at the Greenwich Historical Society highlights the extensive involvement of Cos Cob artists, such as Elmer MacRae and Henry Fitch Taylor, in producing the Armory Show, and brings to public attention several of the accomplished Cos Cob artists whose work has been rarely exhibited until now. -
Impressionist Still Life 2001
Impressionist Still Life 2001- 2002 Finding Aid The Phillips Collection Library and Archives 1600 21st Street NW Washington D.C. 20009 www.phillipscollection.org CURATORIAL RECORDS IN THE PHILLIPS COLLECTION ARCHIVES INTRODUCTORY INFORMATION Collection Title: Impressionist Still Life; exhibition records Author/Creator: The Phillips Collection Curatorial Department. Eliza E. Rathbone, Chief Curator Size: 8 linear feet; 19 document boxes Bulk Dates: 1950-2001 Inclusive Dates: 1888-2002 (portions are photocopies) Repository: The Phillips Collection Archives INFORMATION FOR USERS OF THE COLLECTION Restrictions: The collection contains restricted materials. Please contact Karen Schneider, Librarian, with any questions regarding access. Handling Requirements: Preferred Citation: The Phillips Collection Archives, Washington, D.C. Publication and Reproduction Rights: See Karen Schneider, Librarian, for further information and to obtain required forms. ABSTRACT Impressionist Still Life (2001 - 2002) exhibition records contain materials created and collected by the Curatorial Department, The Phillips Collection, during the course of organizing the exhibition. Included are research, catalogue, and exhibition planning files. HISTORICAL NOTE In May 1992, the Trustees of The Phillips Collection named noted curator and art historian Charles S. Moffett to the directorship of the museum. Moffett, a specialist in the field of painting of late-nineteenth-century France, was directly involved with the presentation of a series of exhibitions during his tenure as director (1992-98). Impressionist Still Life (2001-2002) became the third in an extraordinary series of Impressionist exhibitions organized by Moffett at The Phillips Collection, originating with Impressionists on the Seine: A Celebration of Renoir‟s Luncheon of the Boating Party in 1996, followed by the nationally touring Impressionists in Winter: Effets de Neige, on view at the Phillips in 1998. -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W. -
Annual Report FY18
FY 18 ANNUAL REPORT August 1, 2017- July 31, 2018 1 THE PHILLIPS COLLECTION FY18 Annual Report cultivating members 9,225 MEMBERS 1,783 NEW MEMBERS (from 36 states and 5 countries) welcoming diverse audiences 137,276 VISITORS (from 50 US states and over 50 countries, non-members only) 50 PUBLIC PROGRAMS (13,572 attendees) 31 PHILLIPS MUSIC CONCERTS (4,520 attendees) engaging our digital fans inspiring young minds NEW FANS ON 2,755 STUDENTS 1,984 Facebook (28,803 total) ON SCHOOL TOURS 6,197 Instagram (27,500 total) 38 SCHOOLS 1,156 Twitter (29,335 total) 718 ART LINKS STUDENTS 67,347 YOUTUBE VIEWS 4 PARTNER SCHOOLS PHILLIPS WEBSITE PRISM.K12 WEBSITE 1,195 average daily visitors 33,007 page views 50 US States / 208 Countries sharing our growing collection 64 NEW ACQUISITIONS 37 ARTWORKS LOANED TO OTHER MUSEUM EXHIBITIONS 38 ARTWORKS IN TRAVELING COLLECTION EXHIBITIONS 2 THE PHILLIPS COLLECTION FY18 Annual Report FROM THE CHAIRMAN AND DIRECTOR As always, this year has been filled with new and robust partnerships, exciting special exhibitions, and dynamic programming. Through the opening of a new satellite campus and the launch of a diversity initiative, the museum is working to bring together art lovers of all backgrounds through modern and contemporary art. Thanks to your support, the Phillips continues to increase its scope and impact. In January 2018 we opened a satellite campus East of the River at the Town Hall Education Arts Recreation Campus (THEARC); thanks to the hard work of our Education and Community Engagement team, as well as the leadership and generosity of our Board of Trustees, foundations, corporations, and individual donors including the new Friends of Phillips@THEARC group. -
Duncan and Marjorie Phillips and America's First Museum of Modern
Duncan and Marjorie Phillips and America’s First Museum of Modern Art Dr. Pamela Carter-Birken Foreword by Dr. Steven A. Burr Series on the History of Art Copyright © 2021 Vernon Press, an imprint of Vernon Art and Science Inc, on behalf of the author. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, Suite 1200 C/Sancti Espiritu 17, Wilmington, Delaware, 19801 Malaga, 29006 United States Spain Series on the History of Art Library of Congress Control Number: 2021931488 ISBN: 978-1-64889-212-7 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Cover design by Vernon Press. Cover image: Duncan and Marjorie Phillips with son Laughlin, early 1930s. The Phillips Collection Archives. Background image designed by aopsan / Freepik. Table of Contents List of Figures vii Acknowledgments xv Foreword by Steven A. -
Guide to the Record of the Phillips Properties
The Phillips Properties, Incorporated Records 1919 - 1967 Finding Aid The Phillips Collection Library and Archives 1600 21st Street NW Washington D.C. 20009 www.phillipscollection.org THE PHILLIPS PROPERTIES, INCOPORATED RECORDS IN THE PHILLIPS COLLECTION ARCHIVES INTRODUCTORY INFORMATION Collection Title: The Phillips Properties, Incorporated Records Author/Creator: The Phillips Collection. The Phillips Properties, Incorporated. Size: 1.7 linear feet; 4 document boxes Bulk Dates: 1919-1967 Inclusive Dates: 1919-1967 Repository: The Phillips Collection Archives INFORMATION FOR USERS OF THE COLLECTION Restrictions: The collection contains restricted materials. Please contact Karen Schneider, Librarian, with any questions regarding access. Handling Requirements: none Preferred Citation: The Phillips Collection Archives, Washington, D.C. Publication and Reproduction Rights: See Karen Schneider, Librarian, for further information and to obtain required forms. ABSTRACT The Phillips Properties Incorporated Records (1919-1967) contain materials created and maintained by The Phillips Properties, Incorporated, a corporation that operated from 1919 to 1967, formed by Duncan Phillips and a small number of incorporators and stockholders to manage the company’s stocks and bonds, to purchase or lease real estate and personal property of the corporation, and to construct or alter houses and buildings on land owned or leased by the corporation. Included are meeting minutes, articles of incorporation, by-laws, legal filings, and financial data. HISTORICAL NOTE Duncan Phillips (1886-1966) was thirty-three years old when the company he formed, The Phillips Properties, Incorporated, was officially incorporated on October 31, 1919. The certificate of incorporation was notarized and sealed in the presence of incorporators Eustace Seligman, Alfred Jaretzki, Jr., and Walter Chalaire (the original subscribers to the company’s capital stock), and filed in the state of Delaware on November 4, 1919.