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Museum of M()Dern Art , Su M Mer
'MUSEUM OF M()DERN ART . ~ , SU M MER E X H I~B"I·T;'I-O·N .. «' - ....,.- '"' ~'''", . .,~.~ ". , -, ,~ _ '\ c - --7'-"-....;:;.:..,:· ........ ~~., - ", -,'" ,""" MoMAExh_0007_MasterChecklist , , . ,. • •• ' ,A· . -" . .t, ' ." . , , ,.R'ET-ROSPECTIVE .. , . .... ~,~, , ....., , .' ~ ,,"• ~, ~.. • • JUNE 1930 SEPTEMBER 730 FIFTH AVENUE · NEW YORK J ( - del SCULPTURE : , Rudolf Bdling I MAX SCHMELING (Bronze) Born, 1886 Berlin. Collection Museum of Modern Art, New York Gift of Alfred Flechtheim, Berlin CItarl~s D~spiau 2. HEADOFMARIALANI(Bro11ze) Born 1874. .. Collection Museum of Modern Art, New Yark Mont de Marsan, France. Gift of Miss L. P. Bliss WilIt~lm L~Itmf:,ruck >0. 0S~FIGUREOFWO¥AN(Stollt) PREVIOUSLY EXHIBITED Born 1881. Germany. Private Collection, New York Died 1919. 4 STANDING WOMAN (Bro11ze) PREVIOUSLY EXHIBITED Collection Museum of Modern Art, New York MoMAExh_0007_MasterChecklist Gifr of Stephen C. Clark Aristid~ MaiUo! 5 DESIRE (Plaster relief) PREVIOUSLY EXHIBITED Born 1861 in southern France. Collection Museum of Modern Arr, New York Gift of the Sculptor. 6 SPRING (Plaster) PREVIOUSLY EXHIBITED Collection Museum of Modern Art, New York Gifr of the Sculptor. 7 SUMMER (Plaster) PREVIOUSLY EXHIBITED Collection Museum of Modern Art, New York Gift of the Sculptor. 8 TORSO OF A YOUNG WOMAN (Bro11ze) PREVIOUSLY EXHIBITED Collection Museum of Modern Art, New York Gift of A. Conger Goodyear PAINTING P~t~rBlum~ ~ 0 , ~.:s-o 9 PARADE PREVIOUSLY EXHIDITED Born 1906, Russia. Private Collection, New York G~org~s Braqu~ /:5 0 • b0 '3 10 LE COMPOTIER ET LA SERVIETTE Born 1881. Argenteuil. " Collection Frank Crowninshield, New York 0 , " 0 '" II STIlL LIFE I'?> J Collection Frank Crowninshield, New York ~ 0 bUb 12. PEARS, PIPE AND PITCHER ~ I Collection Phillips Memorial Gallery, Washington 3 I L 13D,iQa,13 FALLEN TREE PREVIOUSLY EXHIBITED Born 1893, Ashtabula Harbor, Ohio. -
“A Former Director's Perspective on Provenance Research And
Collections: A Journal for Museums and Archives Professionals Provenance Research in American Museums “A Former Director’s Perspective on Provenance Research and Unprovenanced Cultural Property”[1] Dr. Gary Vikan Former Director, the Walters Art Museum Provenance research for a fine arts museum is neither a luxury contingent on adequate staffing with appropriate training, nor is it one of those onerous tasks only to be undertaken when imposed and funded from without. Rather, provenance research is integral to the day-to-day work of any art museum committed to scholarship – a facet of the analysis of a work of art every bit as important to revealing its story as are its iconographic, stylistic, and technical analyses. Such research is especially important for the Walters Art Museum which, perhaps to a greater extent than any other comprehensive fine arts museum in the country, is the legacy of dealer- collector interaction, to the complete exclusion of works professionally excavated in archaeological context.[2] Researching and reconstructing the collection’s past has been central to the museum’s work since it was opened to the public in 1934. My first project at the Walters when I arrived in 1985 as Assistant Director for Curatorial Affairs and Curator of Medieval Art was to oversee the research and publication of a scholarly exhibition catalogue, Silver from Early Byzantium: The Kaper Koraon and Related Treasures (by Marlia Mundell Mango). Its focus was a treasure (the “Hama Treasure”) of unprovenanced Byzantine liturgical silver acquired by Henry Walters from Joseph Brummer in Paris in 1929 which was part of a larger hoard that almost certainly emerged from a clandestine dig near the town of Kurin in northern Syria in late 1908. -
Glackens, William Illustration Collection
William Glackens Illustration Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Gift of Ira Glackens, 1989 Extent 2 linear feet Abstract The collection contains tear sheets and proofs of illustrations by the artist from a variety of magazines, including Century Magazine, McClure’s Magazine, and The Saturday Evening Post. Access Restrictions Unrestricted Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation William Glackens Illustration Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum 1 Chronology of William Glackens 1870 – Born March 13 in Philadelphia to Samuel Glackens and Elizabeth Finn Glackens. William was the youngest of three children. His brother Louis became a well-known cartoonist and illustrator. 1889 – Graduated from Central High School in Philadelphia, where he met John Sloan and Albert C. Barnes. 1891-1894 – Worked as newspaper artist on the Philadelphia newspapers the Record, the Press, and the Public Ledger. Moving between papers he renewed acquaintance with John Sloan and met Everett Shinn, George Luks, James Preston, and Frederic Gruger. Attended evening classes at the Pennsylvania Academy of the Fine Arts, where he met Robert Henri. Was part of the short-lived Charcoal Club. In 1894, shared a studio with Robert Henri. 1895 – First published book illustrations appeared in Through the Great Campaign with Hastings and his Spellbinders by George Nox McCain. 1895-1896 – Traveled to Paris, and with Robert Henri and James Wilson Morrice made sketching trips outside the city. -
In 193X, Constance Rourke's Book American Humor Was Reviewed In
OUR LIVELY ARTS: AMERICAN CULTURE AS THEATRICAL CULTURE, 1922-1931 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Schlueter, M.A. ***** The Ohio State University 2007 Dissertation Committee: Approved by Professor Thomas Postlewait, Adviser Professor Lesley Ferris Adviser Associate Professor Alan Woods Graduate Program in Theatre Copyright by Jennifer Schlueter c. 2007 ABSTRACT In the first decades of the twentieth century, critics like H.L. Mencken and Van Wyck Brooks vociferously expounded a deep and profound disenchantment with American art and culture. At a time when American popular entertainments were expanding exponentially, and at a time when European high modernism was in full flower, American culture appeared to these critics to be at best a quagmire of philistinism and at worst an oxymoron. Today there is still general agreement that American arts “came of age” or “arrived” in the 1920s, thanks in part to this flogging criticism, but also because of the powerful influence of European modernism. Yet, this assessment was not, at the time, unanimous, and its conclusions should not, I argue, be taken as foregone. In this dissertation, I present crucial case studies of Constance Rourke (1885-1941) and Gilbert Seldes (1893-1970), two astute but understudied cultural critics who saw the same popular culture denigrated by Brooks or Mencken as vibrant evidence of exactly the modern American culture they were seeking. In their writings of the 1920s and 1930s, Rourke and Seldes argued that our “lively arts” (Seldes’ formulation) of performance—vaudeville, minstrelsy, burlesque, jazz, radio, and film—contained both the roots of our own unique culture as well as the seeds of a burgeoning modernism. -
Nicholas Longworth 17 Nicholas Longworth: Art Patron of Cincinnati
Spring 1988 Nicholas Longworth 17 Nicholas Longworth: Art Patron of Cincinnati Abby S. Schwartz ... A little bit of an ugly man came in...he came forward and, taking my hand and squeezing it hard, he looked at me with a keen, earnest gaze. ... His manners are extremely rough and almost course, but his shrewd eyes and plain manner hide a very strong mind and generous heart.1 These observations made in 1841 by the young artist Lilly Martin Spencer hardly seem appropriate for a man who was among America's wealthiest and one of Cin- cinnati's most prominent citizens. Described by another contemporary as "dry and caustic in his remarks" and "plain and careless in his dress, looking more like a beggar than a millionaire,"2 Nicholas Longworth, however eccentric and controversial, was a leading Cincinnati art patron as well as an outstanding collector and a generous supporter of the arts during the middle of the nineteenth century. Longworth's eccentricities of dress and behav- ior are well documented in photographs, portraits, and anec- dotes. While the Portrait of Nicholas Longworth by Robert Scott Duncanson (1 821-1872) portrays the subject as an important property owner and vintner, the work also docu- ments Longworth's eccentric habit of pinning notes to his suit cuffs to remind himself of important errands and appoint- ments. The portrait, painted in 18 5 8, is on permanent loan to the Cincinnati Art Museum from the Ohio College of Applied Science. An often repeated anecdote details young Abraham Lincoln's visit to Longworth's renowned gardens During the years he resided at Belmont (now where Lincoln mistook the master of the house for a gardener: the Taft Museum), 1830 until his death in 18 6 3, Longworth In the middle of the gravel path leading to a pillared portico, a amassed a personal art collection, assisted a number of artists small, queerly dressed old man, with no appearance whatever offinancially, offered advice and letters of introduction to having outgrown his old-fashioned raiment, was weeding. -
Benjamin C. Bradlee
Benjamin C. Bradlee: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Bradlee, Benjamin C., 1921-2014 Title: Benjamin C. Bradlee Papers Dates: 1921-2013 Extent: 185 document boxes, 2 oversize boxes (osb) (77.7 linear feet), 1 galley file (gf) Abstract: The Benjamin C. Bradlee Papers consist of memos, correspondence, manuscript drafts, desk diaries, transcripts of interviews and speeches, clippings, legal and financial documents, photographs, notes, awards and certificates, and printed materials. These professional and personal records document Bradlee’s career at Newsweek and The Washington Post, the composition of written works such as A Good Life and Conversations with Kennedy, and Bradlee’s post-retirement activities. Call Number: Manuscript Collection MS-05285 Language: English and French Access: Open for research. Researchers must register and agree to copyright and privacy laws before using archival materials. Some materials are restricted due to condition, but facsimiles are available to researchers. Administrative Information Acquisition: Purchases, 2012 (12-05-003-D, 12-08-019-P) and Gift, 2015 (15-12-002-G) Processed by: Ancelyn Krivak, 2016 Repository: The University of Texas at Austin, Harry Ransom Center Bradlee, Benjamin C., 1921-2014 Manuscript Collection MS-05285 Biographical Sketch Benjamin Crowninshield Bradlee was born in Boston on August 26, 1921, to Frederick Josiah Bradlee, Jr., an investment banker, and Josephine de Gersdorff Bradlee. A descendant of Boston’s Brahmin elite, Bradlee lived in an atmosphere of wealth and privilege as a young child, but after his father lost his position following the stock market crash of 1929, the family lived without servants as his father made ends meet through a series of odd jobs. -
Marsden Hartley (American, 1877-1943), Still Life, No
THE ARMORY SHOW AT 100 October 18, 2013 - February 23, 2014 Marsden Hartley (American, 1877-1943), Still Life, No. 1, 1912. Oil on canvas, 31 ½ x 25 5/8 in. Columbus Museum of Art, Ohio: Gift of Ferdinand Howald, 1931.184. Vincent van Gogh (Dutch, 1853-1890), Mountains at Saint Rémy (Montagnes à Saint- Rémy), 1889. Oil on canvas, 28 ¼ x 35 ¾ in. Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Justin K. Thannhauser, 1978, 78.2514.24 Maurice Prendergast (American, 1859-1924), Landscape with Figures, ca. 1910-12. Oil on canvas, 38 ½ x 52 ¾ in. Edward W. Root Bequest, 57.212, Munson-Williams-Proctor Arts Institute, Utica, New York. Image, Art Resource, NY Henri Matisse (French, 1869-1954), Blue Nude, 1907. Oil on canvas, 36 ¼ x 55 ¼ in. The Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland, BMA 1950.228. © 2013 Succession H. Matisse / Artists Rights Society (ARS), New York. Photography by Mitro Hood. John Sloan (American, 1871-1951), Sunday, Women Drying Their Hair, 1912. Oil on canvas, 26 1/8 x 32 1/8 in. Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts, Museum Purchase, 1938.67. © 2013 Delaware Art Museum / Artists Rights Society (ARS), New York Paul Gauguin (French, 1848-1903), Parau na te Varua ino (Words of the Devil), 1892. Oil on canvas, 36 1/8 x 26 15/16 in. National Gallery of Art, Washington, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman. Courtesy of the National Gallery of Art, Washington John Marin (American, 1870-1953), Woolworth Building, No. -
Papers of Clare Boothe Luce [Finding Aid]. Library of Congress. [PDF
Clare Boothe Luce A Register of Her Papers in the Library of Congress Prepared by Nan Thompson Ernst with the assistance of Joseph K. Brooks, Paul Colton, Patricia Craig, Michael W. Giese, Patrick Holyfield, Lisa Madison, Margaret Martin, Brian McGuire, Scott McLemee, Susie H. Moody, John Monagle, Andrew M. Passett, Thelma Queen, Sara Schoo and Robert A. Vietrogoski Manuscript Division, Library of Congress Washington, D.C. 2003 Contact information: http://lcweb.loc.gov/rr/mss/address.html Finding aid encoded by Library of Congress Manuscript Division, 2003 Finding aid URL: http://hdl.loc.gov/loc.mss/eadmss.ms003044 Latest revision: 2008 July Collection Summary Title: Papers of Clare Boothe Luce Span Dates: 1862-1988 Bulk Dates: (bulk 1930-1987) ID No.: MSS30759 Creator: Luce, Clare Boothe, 1903-1987 Extent: 460,000 items; 796 containers plus 11 oversize, 1 classified, 1 top secret; 319 linear feet; 41 microfilm reels Language: Collection material in English Repository: Manuscript Division, Library of Congress, Washington, D.C. Abstract: Journalist, playwright, magazine editor, U.S. representative from Connecticut, and U.S. ambassador to Italy. Family papers, correspondence, literary files, congressional and ambassadorial files, speech files, scrapbooks, and other papers documenting Luce's personal and public life as a journalist, playwright, politician, member of Congress, ambassador, and government official. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. Personal Names Barrie, Michael--Correspondence. Baruch, Bernard M. -
The Kimbell Art Museum Monet: the Late Years
1 The Kimbell Art Museum Monet: The Late Years An Acoustiguide Tour As Recorded Script Notes: - total word count now: 3710 = approx 25 minutes Acoustiguide Inc. 555 8th Avenue Suite 1009 New York, NY 10018 (212) 279-1300 Production #4226 © Acoustiguide Inc. and The Kimbell Art Museum, 2019. All rights reserved. 2 STOP LIST 500. DIRECTOR'S INTRODUCTION 501. WATER LILIES, REFLECTIONS OF TALL GRASSES, 1897. PRIVATE COLLECTION (CAT. 1) AND GROUP OF 5 (CAT. 4-8) 502. WATER LILIES, C. 1914–17. FINE ARTS MUSEUMS OF SAN FRANCISCO (CAT. 11) 503. WATER LILIES, 1915–17. FONDATION BEYELER, BASEL, SWITZERLAND (CAT. 14); WEEPING WILLOW AND WATER-LILY POND, 1916–19, PRIVATE COLLECTION; WATER LILIES, 1915–17. MUSÉE MARMOTTAN MONET, PARIS (CAT. 15) 504. IRISES, C. 1914–17. THE NATIONAL GALLERY, LONDON (CAT. 17); YELLOW IRISES, C. 1914–17. THE NATIONAL MUSEUM OF WESTERN ART, TOKYO (CAT. 18) 505. WATER-LILY POND, 1917–19. PRIVATE COLLECTION. COURTESY OF BENJAMIN DOLLER, NEW YORK (CAT. 25); WATER LILIES, 1917/19. HONOLULU MUSEUM OF ART (CAT. 26); WATER-LILY POND, 1917/19. THE ART INSTITUTE OF CHICAGO (CAT. 27) 506. WATER LILIES, C. 1921–22. TOLEDO MUSEUM OF ART, OHIO (CAT.16) 507. WATER LILIES (AGAPANTHUS), C. 1915–26. SAINT LOUIS ART MUSEUM (CAT. 28); WISTERIA, 1919–20. MUSÉE MARMOTTAN MONET, PARIS (CAT. 29); WISTERIA, 1919–20. MUSÉE MARMOTTAN MONET, PARIS (CAT. 30) 508. CORNER OF THE WATER-LILY POND, 1918–19. PRIVATE COLLECTION (CAT. 31) 509. GROUP OF JAPANESE BRIDGE PAINTINGS 510. GROUP OF WEEPING WILLOW PAINTINGS, ENDING WITH WEEPING WILLOW, 1918–19. -
Ben Mauk, the Rise of the Private Art “Museum” (The New Yorker)
10/13/2017 The Rise of the Private Art “Museum” | The New Yorker Currency The Rise of the Private Art “Museum” By Ben Mauk May 28, 2015 n the heart of Berlin stands a windowless concrete bunker so awesomely ugly that, I when you see it, you instinctively avert your gaze. It is heavy, gray, and shrapnel- pocked, and has no signage to explain its protean history. Designed by the Nazi architect Karl Bonatz, under the direction of Albert Speer, the bunker was built in 1942 as an air-raid shelter for German citizens. In 1945, it became a Red Army P.O.W. camp. Later, its cool, sunless chambers served as an East German warehouse for fruit imported from Cuba, which is how it picked up an early nickname: the banana bunker. After the fall of the Berlin Wall, the building was appropriated for use rst as an avant- garde performance space, and later as a techno club whose low ceilings, dark rooms, and frequent fetish parties led to its designation as “the hardest club in the world.” In 2003, a few years after authorities shuttered the night club, Christian and Karen Boros bought the building to display a portion of their sizable collection of contemporary art. They recongured its hundred and twenty cramped rooms into eighty larger ones, and added an astonishing window-lined penthouse, where the couple lives with their ten-year-old son. Between 2008 and 2012, more than a hundred and twenty thousand visitors navigated through the bunker’s intricate passageways to see the début exhibition, which focussed on the theme of light. -
Please Confirm Dates and Titles with the Information Office (202) 842-6353
NOTE TO EDITORS: Information listed below is subject to change. Please confirm dates and titles with the Information Office (202) 842-6353. ADVANCE EXHIBITION SCHEDULE August 1986 - September 1987 CONTINUING EXHIBITIONS GEORGE INNESS Through Sept. 7, 1986 Uest Building, Ground Floor Seen in four other cities across the U.S. during the past two years, George Inness represents the first national retrospective of this widely influential late 19th century American landscape artist. The exhibition traces Inness' artistic output from his early assimilation of French Barbizon landscape art through his development of an individually expressive artistic language. The exhibition was organized by Michael Quick, curator of American art, Los Angeles County Museum of Art and coordinated in its Washington showing by Nicolai Cikovsky, Jr., curator of American art, National Gallery of Art. George Inness is accompanied by a fully illustrated, scholarly catalogue. GIFTS TO THE NATION: SELECTED ACQUISITIONS FROM THE COLLECTIONS OF MR. AND MRS. PAUL MELLON Through Oct. 19, 1986 West Building, Main Floor This exhibition of more than 85 works of art by French, British and American masters spanning the 18th - 20th centuries has been selected from the 822 works given to the National Gallery by Mr. and Mrs. Paul Mellon since 1964. Gifts to the Nation features outstanding paintings and works on paper by American artists Winslow Homer, George Bellows, Thomas Eakins and Maurice Prendergast, as well as European masters Paul Cezanne, Henri Matisse, Edgar Degas, Georges Seurat, Claude Monet, William Hogarth, John Crome and Richard Wilson. The exhibition includes selections from the most recent gift made by the Me!Ions in 1985, some of which are on view at the Gallery for the first time. -
Robert Lehman Papers
Robert Lehman papers Finding aid prepared by Larry Weimer The Robert Lehman Collection Archival Project was generously funded by the Robert Lehman Foundation, Inc. This finding aid was generated using Archivists' Toolkit on September 24, 2014 Robert Lehman Collection The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY, 10028 [email protected] Robert Lehman papers Table of Contents Summary Information .......................................................................................................3 Biographical/Historical note................................................................................................4 Scope and Contents note...................................................................................................34 Arrangement note.............................................................................................................. 36 Administrative Information ............................................................................................ 37 Related Materials ............................................................................................................ 39 Controlled Access Headings............................................................................................. 41 Bibliography...................................................................................................................... 40 Collection Inventory..........................................................................................................43 Series I. General