Eighth Annual Exhibition of Miniatures Catalogue
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British Art Studies September 2020 Elizabethan and Jacobean
British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr British Art Studies Issue 17, published 30 September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr Cover image: Left portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1605, watercolour on vellum, laid onto table-book leaf, 5.7 x 4.4 cm. Collection of National Portrait Gallery, London (NPG 3063); Right portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1603, watercolour on vellum, laid on card, 4.9 x 4 cm. Collection of Fitzwilliam Museum, Cambridge (FM 3869). Digital image courtesy of National Portrait Gallery, London (All rights reserved); Fitzwilliam Museum, Cambridge (All rights reserved). PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. -
Yeats at Petitpas' 1910/C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 John Sloan American, 1871 - 1951 Yeats at Petitpas' 1910/c. 1914 oil on canvas overall: 66.2 × 81.28 cm (26 1/16 × 32 in.) framed: 80.96 × 96.36 × 6.51 cm (31 7/8 × 37 15/16 × 2 9/16 in.) Inscription: lower right: John Sloan Corcoran Collection (Museum Purchase, Gallery Fund) 2014.136.54 ENTRY In August 1910 the realist painter John Sloan began this group portrait of regulars at Petitpas’, a French restaurant and boardinghouse in the Chelsea district of Manhattan. The work joined other Ashcan school artists’ depictions of casual dining experiences in urban eateries that focused on portraiture and narrative, such as At Mouquin’s by William Glackens (American, 1870 - 1938) [fig. 1]. [1] The Ashcan school, informally led by Robert Henri (American, 1865 - 1929), generally focused on the everyday life of the working classes rather than idealized views of the city. George Luks (American, 1866 - 1933) and George Bellows (American, 1882 - 1925) completed a watercolor and a print, respectively, featuring Petitpas’ as well [fig. 2], but Sloan’s large image in oil is the most ambitious of the three. [2] The scene takes place in the enclosed backyard of the restaurant, where the dining room was located in the hot summer months. The party gathers around a table placed under an awning decorated with a French flag. [3] At the head sits John Butler Yeats, smoking and sketching. Yeats, the Irish portrait painter and father of the poet William Butler Yeats, lived at Petitpas’ from 1909 until his death in 1922. -
Masters' Thesis Abstract and Table of Contents
Céline Cachaud Masters’ Thesis (2017) École Pratique des Hautes Études (Paris) Pr. Sabine Frommel (dir.) Nicholas Hilliard’s trip to France (1576-1579) and its consequences on his work A holistic approach This thesis is the result of more than two years of research. It is a two-parts research with a study of 167 pages and a comprehensive catalogue of Nicholas Hilliard’s work, the first in French, of 273 numbers. The study is currently only available in French. The study Nicholas Hilliard’s trip to France has regularly been boiled down to a no-consequence phase of his career by most of the specialists and scholars. However, sources and preserved works of art tell us another story : this period was indeed prolific and meaningful for the rest of his life. Although very few works of art are kept, circa twenty compared with the more than 200 authentic and attributed pieces, they are proofs of the plurality of his artistic production and the signs of the apex of his career thanks to the protection of the Valois court and most notably, thanks to the patronage of the French king’s brother, the duke of Alençon. Main issue Through the renewed analysis of the available and discovered archival and iconographical sources, this thesis had for main issue to discuss the consequences of Hilliard’s stay in France and the importance of it. To a lesser extent, it also questions Hilliard’s part in the renewal of portrait miniatures production in France in the late sixteenth century. ABSTRACT AND CONTENTS !1 Method : Our intentional holistic approach aimed at analyzing Hilliard’s trip to Paris in a global way, questioning on both Hilliard’s artistic career and human path into French society. -
WARTS and ALL the Portrait Miniatures of Samuel Cooper (1609-1672)
PRESS RELEASE October 2013 WARTS AND ALL The Portrait Miniatures of Samuel Cooper (1609-1672) A major loan exhibition dedicated to the first internationally celebrated British artist, Samuel Cooper, will go display at the Philip Mould gallery from 13 November – 7 December 2013 (Preview Tuesday, 12 November). Known to his contemporaries as ‘the prince of limners’ or ‘Vandyck in little’. Lenders to the exhibition include Royal Collection Trust, The Duke of Buccleuch, Castle Howard, Burghley House, The Ashmolean Museum, the Victoria and Albert Museum and the National Portrait Gallery. The exhibition takes its name from the Duke of Buccleuch’s iconic unfinished portrait of Oliver Cromwell, which, for the first time, will be hung alongside Sir Peter Lely’s identical portrait of Cromwell [on loan from Birmingham Museum and Art Gallery]. The death mask of Oliver Cromwell will also be loaned from Warwick Castle to allow visitors to compare his features to Cooper’s ad vivum sketch and subsequent portraits. As the exhibition will conclusively show, it is to Cooper that Oliver Cromwell is believed to have made clear his desire to be painted ‘warts and all’. This ambitious exhibition has been curated by Emma Rutherford, portrait miniature specialist to Philip Mould & Co, who has succeeded in securing loans from across the country to make this an outstanding show and give visitors a rare opportunity to glimpse these significant portraits together. Most have not been seen together since leaving Cooper’s studio in the 17th Century. The curator, Emma Rutherford, says “visitors to the exhibition will be able to visually follow Cooper’s career in the same way that we are able to read Pepys diary. -
Art Bulletin of Nationalmuseum Stockholm Volume 26:1
The Danish Golden Age – an Acquisitions Project That Became an Exhibition Magnus Olausson Director of Collections Art Bulletin of Nationalmuseum Stockholm Volume 26:1 Art Bulletin of Nationalmuseum, Stockholm, © Copyright Musei di Strada Nuova, Genova Martin van Meytens’s Portrait of Johann is published with generous support from the (Fig. 4, p. 17) Michael von Grosser: The Business of Nobility Friends of the Nationalmuseum. © National Gallery of Art, Washington D.C. Open © Österreichisches Staatsarchiv 2020 (Fig. 2, Access image download (Fig. 5, p. 17) p. 92) Nationalmuseum collaborates with Svenska Henri Toutin’s Portrait of Anne of Austria. A © Robert Wellington, Canberra (Fig. 5, p. 95) Dagbladet, Bank of America Merrill Lynch, New Acquisition from the Infancy of Enamel © Wien Museum, Vienna, Peter Kainz (Fig. 7, Grand Hôtel Stockholm, The Wineagency and the Portraiture p. 97) Friends of the Nationalmuseum. © Rijksmuseum, Amsterdam/Public Domain (Fig. 2, p. 20) Graphic Design Cover Illustration © Christies, 2018 (Fig. 3, p. 20) BIGG Daniel Seghers (1590–1661) and Erasmus © The Royal Armoury, Helena Bonnevier/ Quellinus the Younger (1607–1678), Flower CC-BY-SA (Fig. 5, p. 21) Layout Garland with the Standing Virgin and Child, c. Four 18th-Century French Draughtsmen Agneta Bervokk 1645–50. Oil on copper, 85.5 x 61.5 cm. Purchase: © The Metropolitan Museum of Art, New York, Wiros Fund. Nationalmuseum, NM 7505. NY/Public Domain (Fig. 7, p. 35) Translation and Language Editing François-André Vincent and Johan Tobias Clare Barnes and Martin Naylor Publisher Sergel. On a New Acquisition – Alcibiades Being Susanna Pettersson, Director General. Taught by Socrates, 1777 Publishing © The Metropolitan Museum of Art, New York, Ludvig Florén, Magnus Olausson, and Martin Editors NY/Public Domain (Fig. -
A Finding Aid to the Milch Gallery Records, 1911-1995, in the Archives of American Art
A Finding Aid to the Milch Gallery Records, 1911-1995, in the Archives of American Art Catherine Stover 1991 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 Historical Note.................................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 4 Appendix: List of Milch Gallery Exhibitions and Checklists............................................. 4 Names and Subjects .................................................................................................... 24 Container Listing ........................................................................................................... 28 Series 1: Alphabetical Files, 1911-1962................................................................ 28 Series 2: Sales Records and Inventories, 1911-1969, undated............................. 41 Series 3:: Financial Records, 1914-1980, undated............................................... -
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 -
Annual , Water Color
ANNUAL , ANNUAL MEMBE~SHIP WATER COLOR JN AND THE PENNSYLVANIA ACADEMY "MINIATURE · OF THE FINE ARTS EXH.IBITIONS Annual members are such persons as contribute $10 annually for the maintenance of the Academy. ,;t i;t LIFE MEMBERSHIP CATALOGUE f{ - _,........ Life members are those who contribute the sum -~·- of $100. Annual and life members are admitted to all the public exhibitions and lectures at the Academy, have a right to use its library, subject to the regula tions of the institution, and receive an admission ticket. They have all the privileges of stock holders except the right to vote. Checks may be sent to George H. McFadden, Treasurer, at the Academy. FORM OF BEQU~T I giale, Jeoise anJ bequeath to "The Pennsgl oania Academy of the Fine Arts"·············-····· Dollars In trust lo invest and keep lrtPesieJ anJ appiJ, the income only to the maintenance of the The Pennsylvania Academy said Academ_y. of the Fine Arts 1914 MOST OF THE WORK IN THIS EXHI BITION IS FOR SALE AT STUDIO PRICES. INFORMATION IN REGARD TO SALES MAY BE HAD FROM THE SALES-MAN AGER OR FROM ANY ATTENDANT IN THE GALLERIES OR AT THE OFFICE. DUPLICATE PRINTS OF ETCHINGS CAN, IN MOST CASES, BE SUPPLIED. THE PENNSYL V ANJA ACADEMY OF THE FINE ARTS FOUNDED 1805 • THE PHILADELPHIA WATER COLOR CLUB The Schools of The Pennsylvania Academy THE PENNSYLVANIA SOCIETY o.f the Fine Arts train students in painting, OF MINIATURE PAINTERS sculpture and illustrating. The success achieved by the Schools is testified to by the number of artists of great reputation CATALOGUE OF THE TWELFTH who recelved their training in them. -
Dix Family Papers Collection 421 Finding Aid Prepared by Julie Tabberer
Finding aid for the Dix family papers Collection 421 Finding aid prepared by Julie Tabberer This finding aid was produced using the Archivists' Toolkit February 13, 2015 Describing Archives: A Content Standard Grand Rapids Public Library, Grand Rapids History and Special Collections Department February 2015 111 Library Street NE Grand Rapids, Michigan, 49503 616-988-5400 [email protected] Finding aid for the Dix family papers Collection 421 Table of Contents Summary Information ................................................................................................................................. 3 Biographical/Historical note.......................................................................................................................... 4 Scope and Contents note............................................................................................................................... 4 Administrative Information .........................................................................................................................4 Related Materials ........................................................................................................................................ 5 Controlled Access Headings..........................................................................................................................5 Collection Inventory...................................................................................................................................... 7 Wilmarth & Morman Company -
Gertrude Kasebier: Her Photographic Career, 1894-1929
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1985 Gertrude Kasebier: Her Photographic Career, 1894-1929 Barbara L. Michaels Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1848 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Portrait Miniatures in the New Republic
he stunning events of July 1804 were almost unfath- omable for the citizens of the new American republic. One Founding Father had fatally wounded another. TAlexander Hamilton was dead and Aaron Burr would be indicted for murder. The duel and its aftermath marked a turning point in American culture. Five days before the Burr-Hamilton duel, Edward Greene Malbone arrived for a week’s stay in New York. Considered the Portrait finest miniaturist in the United States, Malbone was attractive, popular, already exceedingly successful, and only twenty-six miniatures years old. As Hamilton’s massive funeral snaked up Broadway on July 14, he was meeting twenty-five year-old Anson Dick- Left to right, from facing page, bottom: in the New inson for the first time. A fledgling artist, Dickinson had com- Fig. 1. Anson Dickinson [1779– missioned Malbone to paint his miniature, hoping to learn by 1852] by Edward Greene Malbone Republic (1777–1807), 1804. Watercolor on 1 watching the more experienced artist at work (Fig. 1). So ab- ivory, 2 ½ by 1 7⁄8 inches. Stamford sorbed was Malbone in the painting “that he neither paused Historical Society, Connecticut, 2 Cruikshank Bequest. himself to view the pageant nor suffered his sitter to do so.” Fig 2. John Francis [1763–1796] by Around the corner on Wall Street, twenty-five-year-old Malbone, 1795. Signed and dated Joseph Wood and twenty-three-year-old John Wesley Jarvis had “Malbone 1795” at center right. recently formed an artistic partnership. All four artists, soon to Watercolor on ivory, 2 13⁄16 by 2 1⁄8 inches. -
The Portrait Miniature Revival, 1890-1930
DISMISSED YET DISARMING: THE PORTRAIT MINIATURE REVIVAL, 1890-1930 A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment Of the requirements for the degree Master of Fine Arts Maryann Sudnick Gunderson November 2003 This thesis entitled DISMISSED YET DISARMING: THE 20TH CENTURY PORTRAIT MINIATURE REVIVAL BY MARYANN SUDNICK GUNDERSON Has been approved for the School of Art and the College of Fine Arts Jody Lamb Associate Professor of Art History Raymond Tymas-Jones Dean, College of Fine Arts GUNDERSON, MARYANN S. MFA. November 2003. Art History Dismissed yet Disarming: The Portrait Miniature Revival, 1890-1930 (112pp.) Director of Thesis: Jody Lamb The portrait miniature revival is examined regarding contemporary influences and artists, during the period c. 1890-1930. Modern influences, including the philosophies of Arts and Crafts and Art Nouveau, are defined in context of the miniature. The fine arts of John Singer Sargent’s portraiture, as well as the abstraction and color of Mary Cassatt and Edgar Degas, are revealed as instrumental in altering the style of the revival miniature. Photography is examined for its influence versus eclipse of the miniature. The miniaturist’s environment is found to be highly significant, as the city of New York provided constant immersion in art societies, exhibitions, and studio residences where artists coexisted while creating new styles. Focus is on the works of miniaturists Eulabee Dix and Laura Coombs Hills. Patronage is found to be highly supportive of the portrait miniature and essential to an understanding of why the miniature was revived during the period.