Art Across America
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Notes from New York: Names, Networks, and Connectors in Art History
ISSN: 2471-6839 Notes from New York: Names, Networks, and Connectors in Art History Susan Greenberg Fisher Chaim Gross Foundation The Renee and Chaim Gross Foundation, located in Greenwich Village, is the historic home and studio of American sculptor Chaim Gross (1904–1991) (fig. 1). The foundation is housed in a four story townhouse, with the artist's dramatic sculpture studio on the ground floor (fig. 2). Gross built the studio in 1963 when he purchased the building. It was his final workspace after a long history of studios he had in the Village beginning in the 1930s.1 He and his wife Renee rented the second floor, and in the third floor living space, Gross installed a portion of what had grown to Fig. 1. Home and studio of sculptor Chaim Gross at 526 LaGuardia Place, be an extensive art collection of over one thousand works by Greenwich Village, New York City, built circa 1830 and purchased by Gross 2 his American and European contemporaries (fig. 3). Gross and his wife Renee Gross in 1963. This photograph is circa 1970. The building admired artist house museums that he had seen during his is now The Renee & Chaim Gross Foundation. Archives, The Renee & travels in Europe after World War II, such as the Delacroix Chaim Gross Foundation, New York. museum in Paris, and it was his dream to have a house museum similar to the European models. He incorporated the foundation as a nonprofit organization in 1989, shortly before his death in 1991. Susan Greenberg Fisher. “Notes from New York: Names, Networks, and Connectors in Art History.” Panorama: Journal of the Association of Historians of American Art 2 no. -
Current Issues in the Conservation of Contemporary Art and Its Non-Traditional Materials
Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2018 Current Issues in the Conservation of Contemporary Art and its Non-traditional Materials Sandra Hong Sotheby's Institute of Art Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Art and Materials Conservation Commons, Contemporary Art Commons, Interactive Arts Commons, and the Interdisciplinary Arts and Media Commons Recommended Citation Hong, Sandra, "Current Issues in the Conservation of Contemporary Art and its Non-traditional Materials" (2018). MA Theses. 15. https://digitalcommons.sia.edu/stu_theses/15 This Thesis - Open Access is brought to you for free and open access by the Student Scholarship and Creative Work at Digital Commons @ SIA. It has been accepted for inclusion in MA Theses by an authorized administrator of Digital Commons @ SIA. For more information, please contact [email protected]. High or Low? The Value of Transitional Paintings by Jackson Pollock, Willem de Kooning, and Mark Rothko Monica Peacock A thesis submitted in conformity with the requirements for the Master’s Degree in Art Business Sotheby’s Institute of Art 2018 12,043 Words High or Low? The Value of Transitional Paintings by Jackson Pollock, Willem de Kooning, and Mark Rothko By: Monica Peacock Abstract: Transitional works of art are an anomaly in the field of fine art appraisals. While they represent mature works stylistically and/or contextually, they lack certain technical or compositional elements unique to that artist, complicating the process for identifying comparables. Since minimal research currently exists on the value of these works, this study sought to standardize the process for identifying transitional works across multiple artists’ markets and assess their financial value on a broad scale through an analysis of three artists: Jackson Pollock, Willem de Kooning, and Mark Rothko. -
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. -
Ulrich Museum of Art
HLC Accreditation 2016-2017 Evidence Document Academic Affairs Ulrich Museum of Art Martin H. Bush Outdoor Sculpture Collection Additional information: See more information on the Ulrich Museum’s web pages: http://webs.wichita.edu/?u=ulrichmuseum&p=/art/outdoorsculpturecollection/ (Accessed May 3, 2016.) Ulrich Museum of Art - Wichita State University ABOUT US | ART | NEWS & EVENTS | VISIT | GET INVOLVED | CONTACT US MARTIN H. BUSH OUTDOOR SCULPTURE COLLECTION The Ulrich Museum of Art’s Martin H. Bush Outdoor Sculpture Collection boasts 76 works spread across the 330-acre Wichita State University campus. Public Art Review named this collection among the Top Ten campus sculpture collections in 2006. Take the online sculpture tour. Download a printable PDF map of the outdoor sculpture collection. Submit the Tour Request Form and schedule a free, guided tour of the outdoor sculpture collection for groups of 10 or more. http://webs.wichita.edu/?u=ulrichmuseum&p=/art/outdoorsculpturecollection/[2016-05-03 16:18:32] 51. Jo Davidson (American, 1883–1952) 66. Ernest Trova Dwight D. Eisenhower, 1947 (American, 1927–2009) Bronze, 20 x 20 x 10 1/2 in. Profile Canto L.L. #8, 1976 Museum Purchase with Student Government Stainless steel, 57 1/4 x 48 x 143 1/2 in. Association Funds and Gift of Pat Wallingford in Gift of Lanny Lamont in honor of Vicki Lamont memory of Sam Wallingford In Storage 67. Theodore Roszak (American, born Poland 1907–1981) 52. Aristide Maillol (French, 1861–1944) Skylark, 1950–51 Bust of Renoir, 1907 Bronze, 96 x 77 x 22 in. Bronze, 14 1/2 x 10 x 11 in. -
The Effect of War on Art: the Work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 The effect of war on art: the work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Doland, Elizabeth Leigh, "The effect of war on art: the work of Mark Rothko" (2010). LSU Master's Theses. 2986. https://digitalcommons.lsu.edu/gradschool_theses/2986 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE EFFECT OF WAR ON ART: THE WORK OF MARK ROTHKO A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts in The Interdepartmental Program in Liberal Arts by Elizabeth Doland B.A., Louisiana State University, 2007 May 2010 TABLE OF CONTENTS ABSTRACT…………………………………………………………………iii CHAPTER 1 INTRODUCTION……………………………………………........1 2 EARLY LIFE……………………………………………………....3 Yale Years……………………………………………………6 Beginning Life as Artist……………………………………...7 Milton Avery…………………………………………………9 3 GREAT DEPRESSION EFFECTS………………………………...13 Artists’ Union………………………………………………...15 The Ten……………………………………………………….17 WPA………………………………………………………….19 -
A Finding Aid to the José De Creeft Papers,1871-2004, Bulk 1910S-1980S, in the Archives of American Art
A Finding Aid to the José de Creeft Papers,1871-2004, bulk 1910s-1980s, in the Archives of American Art Jayna M. Josefson Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund 13 May 2016 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 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Material, 1914-1979............................................................. 6 Series 2: Correspondence, 1910s-1980s................................................................. 7 Series 3: Diaries, -
The Pennsylvania State University the Graduate School College Of
The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture. -
Oral History Interview with Katherine Schmidt, 1969 December 8-15
Oral history interview with Katherine Schmidt, 1969 December 8-15 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Katherine Schmidt on December 8 & 16, 1969. The interview took place in New York City, and was conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. Interview DECEMBER 8, 1969 [session l] PAUL CUMMINGS: Okay. It's December 8, 1969. Paul Cummings talking to Katherine Schubert. KATHERINE SCHMIDT: Schmidt. That is my professional name. I've been married twice and I've never used the name of my husband in my professional work. I've always been Katherine Schmidt. PAUL CUMMINGS: Well, could we start in 0hio and tell me something about your family and how they got there? KATHERINE SCHMIDT: Certainly. My people on both sides were German refugees of a sort. I would think you would call them from the troubles in Germany in 1848. My mother's family went to Lancaster, Ohio. My father's family went to Xenia, Ohio. When my father as a young man first started out in business and was traveling he was asked to go to see an old friend of his father's in Lancaster. And there he met my mother, and they were married. My mother then returned with him to Xenia where my sister and I were born. -
The Artistic Journey of Yasuo Kuniyoshi at Smithsonian American
The Artistic Journey Of Yasuo Kuniyoshi At Smithsonian American Art Museum Previous Page: Kuniyoshi used a Japanese subject, festive kites flown on annual celebrations in his native land, in ?Fish Kite,? 1950, but incorporated a date of American significance, ?July 4,? which appears upper right. Fukutake Collection, Okayama, Japan. By Stephen May ASHINGTON, D.C. ? It is W hard to believe that there has not been a comprehensive exhibition in the United States of the art of Yasuo Kuniyoshi (1889?1953) in nearly 70 years. The Japanese-born artist was one of the most respected Modernists in this country between the Starting in the early 1920s, Kuniyoshi spent summers at an artists? colony in Ogunquit. He said of Maine?s terrain, ?That severe landscape and simple New England buildings were my God.? ?Maine Family,? circa 1922?23. The Phillips Collection, Washington, D.C. During summers in Ogunquit, Maine, Kuniyoshi became fascinated with American folk art, collecting it and incorporating aspects into works like ?Boy Stealing Fruit,? 1923. Columbus Museum of Art, Ohio. two world wars, admired for his photographer, Kuniyoshi combined compelling and often challenging elements from his Japanese heritage paintings and works on paper. A with the realistic tradition of painter, printmaker and American painting to create a distinctly individual oeuvre. The lack of attention to his work may be due to this unique blending of Eastern and Western styles that makes categorization difficult. This background makes particularly welcome ?The Artistic Journey of Yasuo Kuniyoshi,? on view at Smithsonian American Art Museum (SAAM), its only venue, through August 30. -
Chaim Gross (1904-1991)
CHAIM GROSS (1904-1991) BORN: Wolowa, East Austria EDUCATION: 1919, 1920 Academy of Art, Budapest 1921 Kunstgewerbe Schule, Vienna 1921-1926 Educational Alliance Art School, New York 1922-1925 Beaux-Arts Institute of Design, New York 1926 Arts Students League, New York ONE-PERSON EXHIBITIONS: 1932 Exhibition of Sculpture by Chaim Gross, Gallery 144, New York 1935 Sculpture, Boyer Galleries, Philadelphia, PA 1935 Store Studio Galleries, Boston, MA 1937 Chaim Gross, Boyer Galleries, Boyer Galleries NYC, New York 1939 Sculpture Chaim Gross, Cooperative Gallery, Newark, New Jersey 1942 Associated American Artists Galleries, New York 1943 Associated American Artists Galleries, New York 1945 Chaim Gross, Muriel Latov Interiors, Springfield, MA 1946 Associated American Artists Galleries, New York 1946 Massillon Museum, Massillon, OH 1947 Associated American Artists Galleries, New York 1948 Associated American Artists Galleries, New York 1949 Associated American Artists Galleries, New York 1950 Massillon Museum, Massillon, OH 1952 Chaim Gross Sculpture & Drawings, State Teachers College, New Paltz, NY Chaim Gross Watercolors & Sculpture, Philadelphia Art Alliance, Philadelphia, PA Associated American Artists Galleries, New York 1953 Chaim Gross Exhibition The Jewish Museum, New York, NY Sculptures & Drawings, Muriel Latow Gallery, Springfield, MA 1955 Sculptures, Watercolors & Drawings, The Shore Studio Galleries, Boston, MA 1957 Chaim Gross Exhibition, Duveen-Graham Gallery, New York 1961 Chaim Gross, Marble Arch Gallery, Miami, FL 1962 Chaim -
Oral History Interview with Raphael Soyer, 1981 May 13-June 1
Oral history interview with Raphael Soyer, 1981 May 13-June 1 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Funding for this interview was provided by the Wyeth Endowment for American Art. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Raphael Soyer on May 13, 1981. The interview was conducted by Milton Brown for the Archives of American Art, Smithsonian Institution. Interview Tape 1, side A MILTON BROWN: This is an interview with Raphael Soyer with Milton Brown interviewing. Raphael, we’ve known each other for a very long time, and over the years you have written a great deal about your life, and I know you’ve given many interviews. I’m doing this especially because the Archives wants a kind of update. It likes to have important American artists interviewed at intervals, so that as time goes by we keep talking to America’s famous artists over the years. I don’t know that we’ll dig anything new out of your past, but let’s begin at the beginning. See if we can skim over the early years abroad and coming here in general. I’d just like you to reminisce about your early years, your birth, and how you came here. RAPHAEL SOYER: Well, of course I was born in Russia, in the Czarist Russia, and I came here in 1912 when I was twelve years old. -
Biblical and Jewish Motives in Art from Renaissance Till Contemporary Times
Biblical and Jewish motives in art from Renaissance till contemporary times. The Tower of Babel, Pieter Brueghel the Elder, Bereshit/Genesis 11:1-9. Biblical and Jewish motives in art from Renaissance till contemporary times Biblical and Jewish Motives in Art from Renaissance till Contemporary Times. During the Renaissance 17th century c.e. great non-Jewish Grand Masters in the painting art have contributed a great part in the distribution of themes from the Tanach around the globe. It is to be said that these great Grand Masters created these art works in Christian influence and were commissioned by the church. The Grand Masters in painting art are some notably Rembrandt, Rubens, Michelangelo and many others.Aside Biblical artwork made by the Grand Masters from the Renaissance throughout the industrial revolution 19th century c.e. Jewish artwork made by Jewish artists came at the beginning of the 19th century c.e., artists as Maurycy Gottlieb. These artists will be mentioned in this essay as Jewish art work from the 20th century c.e. as Marc Chagall, Chaim Gross and others. I wrote this essay in full awareness that, in contradiction with any book about Jewish art, it would be more consulted and probably read. But art has always interested me and to see it combined with my interests in Judaism is a fascinating and encouraging experience. It is the ideal introduction and announcement of the Tanach towards everyone. This essay would be written with explanatory and information but it will consist mostly with images of these wonderful and beautiful artwork.