Edward Coates Correspondence
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Caroline Peart, American Artist
The Pennsylvania State University The Graduate School School of Humanities MOMENTS OF LIGHT AND YEARS OF AGONY: CAROLINE PEART, AMERICAN ARTIST 1870-1963 A Dissertation in American Studies by Katharine John Snider ©2018 Katharine John Snider Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2018 The dissertation of Katharine John Snider was reviewed and approved* by the following: Anne A. Verplanck Associate Professor of American Studies and Heritage Studies Dissertation Advisor Chair of Committee Charles Kupfer Associate Professor of American Studies and History John R. Haddad Professor of American Studies and Popular Culture Program Chair Holly Angelique Professor of Community Psychology *Signatures are on file in the Graduate School ii ABSTRACT This dissertation explores the life of American artist Caroline Peart (1870-1963) within the context of female artists at the turn of the twentieth century. Many of these artists’ stories remain untold as so few women achieved notoriety in the field and female artists are a relatively new area of robust academic interest. Caroline began her formal training at The Pennsylvania Academy of the Fine Arts at a pivotal moment in the American art scene. Women were entering art academies at record numbers, and Caroline was among a cadre of women who finally had access to formal education. Her family had the wealth to support her artistic interest and to secure Caroline’s position with other elite Philadelphia-area families. In addition to her training at the Academy, Caroline frequently traveled to Europe to paint and she studied at the Academie Carmen. -
Download Lesson
GRADE LEVEL Architecture that Pops! 3-5 Create a pop-up paper building inspired by the cityscapes of Colin Campbell Cooper. STANDARDS MATERIALS VISUAL ART Domain: Create o Paper 9 x 12 VA.Cr1.A o Scrap Paper VA.Cr1.B o Scissors VA.Cr2.A o Crayons, Markers, etc. VA.Cr2.B o VA.Cr2.C Glue VA.Cr3.A INSTRUCTIONS 1. 1. Cut one 9 x 12 piece of drawing or construction paper in half. 2. Using one piece of the paper, fold in half lengthwise. 3. From the folded edge of the paper, cut two identical lines about 2. an inch long and an inch and a half apart. 4. Open the paper and push the cut tab to the inside of the page, folding along the creased line to make it stay. 5. Using scrap paper, create background images for the city 3. (skyscrapers, trees, etc.). Color and cut them out then glue them to either side of the pop-up tab. 6. Create a pop-up building using scrap paper. The building can be anything you choose but make sure it is slightly wider than the 4. pop-up tab. Color it then cut it out. 7. Glue the building onto the bottom half of the pop-up tab. 8. Add any additional design elements you like! 9. Finally, glue your second piece of paper around the outside of the card to conceal the cut paper. DISCUSSION About the artist: Colin Campbell Cooper was an American Impressionist best known for his cityscapes. He was born in Philadelphia in 1856 and died in California in 1937. -
A Native Charlestonian, Alice Smith Used Her Art to Bring Attention to the Beauty and Heritage of Charleston and the Surrounding Lowcountry Region
Fig. 1: Alice Ravenel Huger Smith (1876–1958), Cattle in the Broom Grass, An Autumn Evening, from the series A Carolina Rice Plantation of the Fifties, ca. 1935. Watercolor on paper, 18 x 13 inches. Image courtesy of the Gibbes Museum of Art/ Carolina Art Association. 1937.009.0008. A native Charlestonian, Alice Smith used her art to bring attention to the beauty and heritage of Charleston and the surrounding Lowcountry region. In addition to studio practice, Smith was active at the Gibbes Museum of Art, where she organized exhibi- tions of her own work as well as the work of others. Cattle in the Broom Grass is part of a series of thirty original watercolors Smith created for A Carolina Rice Plantation of the Fifties, published in 1936. 302 www.antiquesandfineart.com 11th Anniversary OUTSIDE PERSPECTIVES visiting artists in charleston by pamela wall and sara arnold harleston, South Carolina, has long been a destination for those seeking warm C weather, picturesque landscapes, and the charm of a historic city. Artists are no exception to the rule, and a number of well-known names have visited the city and translated their experiences into works of art. Included among this group are such twentieth- century masters as Edward Hopper, Childe Hassam, George Biddle, and photographer Walker Evans. Between the years 1910 to 1945, in particular, Charleston flourished as a Mecca for art- ists, a period described today as the Charleston Renaissance. The Charleston Renaissance was largely the result of a small community of resident artists who discovered in Charleston’s timeworn alleyways and weathered facades a visual beauty that spoke of its extraordinary architectural and cultural past. -
Year of Exhib. Dates of Exhibition Title Of
File Cab.- Drawer File #1: File #2: File #3a: File #4: Year of Exhib. Dates of Exhibition Title of Exhibition or Row/Shelf Objects/Installation Publications Press Background 1941 June 5-September 1 Painting Today and Yesterday in the U.S 19-1 ? Yes Yes ? Masterpieces of Ancient China from Jan 1941 October 19-November 23 Kleijkamp Collection 19-1 ? Yes ? ? Arts of America Before Columbus: 500 B.C. - AD 1942 April 18-June 1500 (Ancient American Art) 19-1 ? Yes Yes ? United Nations Festival and Free France Exhibit Lent by Mr. & Mrs. Walter Arensberg and Edward 1942 May G. Robinson. 19-1 ? ? Yes ? Yes 1942 July 1-July 31 Modern Mexican Painters 19-1 Yes ? ? Five Centuries of Painting lent by Jacob 1943 March 7-April 11 Heimann 19-1 ? No ? ? Paintings, Sculpture, and Lithographs by Arnold 1943 June Ronnebeck 19-1 No No Yes 1943 October 3 - ? America in the War. 19-1 No Yes 1943 November 16-December 7 Paintings by Agnes Pelton 19-1 ? No ? ? 1944 February 9-March 12 Paintings and Drawings by Jack Gage Stark 19-1 ? Yes ? ? Annual Exhibition of the California Watercolor 1944 March 15-April 7 Society 19-1 Yes ? ? ? 1944 April 8-April 30 Paintings by Hilaire Hiler 19-1 Yes ? ? ? 1944 July 8-July 23 Abstract and Surrealist Art in the United States 19-1 ? Yes ? ? 1944 September 5-October 5 First Annual National Competitive Exhibition 19-1 ? Yes ? ? Chinese Sculpture from the I to XII Centuries A.D. from the collection of Jan Kleijkamp and Ellis Monro. (“12 Centuries of Sculpture from Yes (Call# China”) Rare NB 1944 October-November 26 Row 21, Shelf 3 ? 1043.S3) ? ? Charlotte Berend: Exhibition of Paintings in Oil 1944 November 9-December 10 and Watercolor 19-1 ? Yes ? ? 1945 March 11- The Debt to Nature of Art and Education 19-1 ? Yes ? ? Memorial Exhibition: "Philosophical & Allegorical" 1945 March 15-April 11 Paintings by Spencer Kellogg, Jr. -
Women Art Students in America: an Historical Study of Academic Art Instruction During the Nineteenth Century
INFORMATION TO USERS This manuscript has been reproduced from the microfrhn 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 aiQf 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, substandardm a r gins, 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 wiD indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer 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. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. -
Jan | Feb | March | 2016
jan | feb | march | 2016 s a n t a b a r b a r a m u s e u m o f a r t from the director Dear Members, This new year is especially significant as it marks an important milestone—the Museum’s 75th anniversary. On Thursday, June 5, 1941, the Santa Barbara Museum of Art opened its doors for the first time amidst a throng of community leaders, local schoolchildren, and SBMA founders. The idea for a city museum originally came from the local artist Colin Campbell Cooper. When he learned that the main post office building, erected in 1912 and abandoned for several years, was going to be sold, he proposed, in a letter published in the Santa Barbara News-Press in July of 1937, that the impressive Italianate structure should be transformed into a museum. What Cooper himself described as something of a “pipedream” came to fruition just four years later, thanks to a groundswell of support from the community and the commitment of a small, passionate army of artists and civic-minded individuals. Also voicing their enthusiasm for the project was a large group of merchants, some 125 of whom petitioned the County’s Board of Supervisors to buy the property from the federal government so that it may be used as a museum. Their plea was heeded and, before long, a number of Santa Barbara residents formed an official museum committee and a number of generous citizens offered funds to remodel the building, to construct galleries, and to add new floors and lighting that would be up to museum standards. -
Annual Exhibition of the Society of American Artists
Digitized by the Internet Archive in 2017 with funding from Getty Research Institute https://archive.org/details/annualexhibition16soci_0 Ube TKnfcfeevbocbev ipress IRcw lotfe Society of American Artists Catalogue OF THE Sixteenth Exhibition 1894 Copyright, 1894 BY SOCIETY OF AMERICAN ARTISTS the GETTY Cr*'!TEft LI.v79.ry ILLUSTRATIONS 1 American Fine Arts Society Building, Henry J. Hardenbergh, Architect. 2 Augustus Saint Gaudens, Portrait. Bas Relief—Marble. 3 Henry Oliver Walker, The Singers. Selected by the Jury for the Shaw Fund. 4 William Thorne, Portrait. 5 J. Alden Weir, Baby Cora. 6 Francis C. Jones, The Porch. 7 Thomas W. Dewing, Comoedia. 8 August Franzen, The Housebuilder. 9 Charles A. Platt, Spring. Awarded the Webb Prize. 10 William M. Chase, Gathering Autumn Leaves. n Will S. Robinson, An Effect of Evening. 12 Theodore Robinson, Port Bend D. and H. Canal. , 13 Herbert Adams, A Study. Bust—Plaster. SIXTEENTH ANNUAL EXHIBITION OF THE Society of American Artists AT THE GALLERIES OF THE AMERICAN FINE ARTS SOCIETY 215 WEST FIFTY-SEVENTH STREET OPEN FROM MONDAY, MARCH TWELFTH, TO SATURDAY, APRIL FOURTEENTH, 1894, FROM NINE A.M. TO SIX P.M. AND FROM HALF-PAST SEVEN TO HALF-PAST TEN P.M. SUNDAYS FROM ONE TO SIX P.M. ALL CHECKS IN PAYMENT FOR WORKS SOLD MUST BE MADE PAYABLE TO THE ORDER OF SAMUEL ISHAM, TREASURER, S. A. A., 215 WEST FIFTY-SEVENTH STREET, NEW YORK, INFORMATION AND PRICES MAY BE OBTAINED FROM THE SOCIETY’S REPRE- SENTATIVE AT THE DESK IN THE GALLERY. SOCIETY OF AMERICAN ARTISTS MDCCCXCIV BOARD OF CONTROL WILLIAM M. -
American Paintings, 1900–1945
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 American Paintings, 1900–1945 Published September 29, 2016 Generated September 29, 2016 To cite: Nancy Anderson, Charles Brock, Sarah Cash, Harry Cooper, Ruth Fine, Adam Greenhalgh, Sarah Greenough, Franklin Kelly, Dorothy Moss, Robert Torchia, Jennifer Wingate, American Paintings, 1900–1945, NGA Online Editions, http://purl.org/nga/collection/catalogue/american-paintings-1900-1945/2016-09-29 (accessed September 29, 2016). American Paintings, 1900–1945 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 CONTENTS 01 American Modernism and the National Gallery of Art 40 Notes to the Reader 46 Credits and Acknowledgments 50 Bellows, George 53 Blue Morning 62 Both Members of This Club 76 Club Night 95 Forty-two Kids 114 Little Girl in White (Queenie Burnett) 121 The Lone Tenement 130 New York 141 Bluemner, Oscar F. 144 Imagination 152 Bruce, Patrick Henry 154 Peinture/Nature Morte 164 Davis, Stuart 167 Multiple Views 176 Study for "Swing Landscape" 186 Douglas, Aaron 190 Into Bondage 203 The Judgment Day 221 Dove, Arthur 224 Moon 235 Space Divided by Line Motive Contents © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 244 Hartley, Marsden 248 The Aero 259 Berlin Abstraction 270 Maine Woods 278 Mount Katahdin, Maine 287 Henri, Robert 290 Snow in New York 299 Hopper, Edward 303 Cape Cod Evening 319 Ground Swell 336 Kent, Rockwell 340 Citadel 349 Kuniyoshi, Yasuo 352 Cows in Pasture 363 Marin, John 367 Grey Sea 374 The Written Sea 383 O'Keeffe, Georgia 386 Jack-in-Pulpit - No. -
University Microfilms International 300 N
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AMERICAN IMPRESSIONISTS: Selected Works from 1880 Through 1920
FOR IMMEDIATE RELEASE May 17, 2012 AMERICAN IMPRESSIONISTS: Selected Works from 1880 through 1920 JUNE 7 - SEPTEMBER 2, 2012 http://www.sullivangoss.com/Exhibits/SGTV_IMPRESSIONISTS Sullivan Goss – An American Gallery presents AMERICAN IMPRESSIONISTS, a remarkable salon of Impressionist, Post-Impressionist and Tonalist paintings by some of the giants of the American School. Around the late 1880s, the rapid brushwork and bold colors found in European salons began appearing in American museums and galleries. Artists like Mary Cassatt, Childe Hassam, John Henry Twachtman, and Louis Ritman traveled abroad to learn the grand tradition of painting only to discover that the rules of classical, Academic painting had been broken. These artists and the others in this exhibition began painting in the modern manner, making way for the world’s favorite style of painting, Impressionism and its offshoots Tonalism and Post Impressionism. Studying under the likes of Claude Monet and James McNeill Whistler, these American artists defined what we have come to know and love about this era of American art--soft, affecting light conveyed by small daubs of paint that coalesce into a gorgeous image full of light and air. While in Europe, many of these artists lived communally in Giverny, France. Alongside Monet, they worked en plein air to capture the immediate effects of light in nature. It is remembered that Monet told Lilla Cabot Perry that her “first impression should go onto the canvas, as it is the truest and most pure expression.” Upon the American artists’ repatriation, they brought with them works by their European teachers and paved the way for these avant-garde styles in the domestic art market. -
Dutch Utopia: American Artists in Holland, 1880‐1914
Dutch Utopia: American Artists in Holland, 1880‐1914 About the Telfair Museum of Art Three unique buildings, three distinct collections, bridging three centuries of art & architecture… The Telfair Museum of Art, the oldest public art museum in the South, has been an integral part of the city of Savannah for over a century. Since opening its doors to the public in the 1880s, the museum has grown from a renovated family mansion into a distinguished cultural institution boasting three architecturally‐significant buildings; a permanent collection of approximately 4,000 works of art from America and Europe, dating primarily from the eighteenth through the twenty‐ first centuries; and a history of dynamic educational programming, community outreach, and exciting exhibitions. Located in Savannah’s vibrant historic district, the museum consists of the Telfair Academy and the Owens‐Thomas House—two circa 1820 National Historic Landmark buildings—and the contemporary Jepson Center for the Arts. About this Guide This guide is designed to be used by educators in conjunction with field trips to the Dutch Utopia exhibition or as a stand‐alone resource guide for classroom use. This internationally travelling exhibition offers a wealth of subjects to explore with your students. Potential curriculum connections may be found for grades 2 – 12 in areas ranging from Fine Arts, Social Studies, Science, and particularly English Language Arts given the narrative content of many works in the exhibition. This guide includes a timeline, suggested in‐class activities, Georgia Performance Standards connections, resources, and links for further information. The guide is accompanied by a transparency packet download on the museum’s website which may be used for education purposes. -
Art Changes Everything
LLC RT, A INE F Art Changes Everything Changes Art UESTROYAL UESTROYAL Q Q UESTROYAL F INE A RT, LLC Important American Paintings XIX Important American Paintings Art Changes Everything Louis M. Salerno, Owner Brent L. Salerno, Co-Owner Chloe Heins, Director Nina Sangimino, Senior Manager, Research and Special Projects Ally Chapel, Senior Administrator Kelly Reilly, Collections Manager Eli Sterngass, Administrative Assistant Megan Gatton, Intern Rita J. Walker, Controller Jenny Lyubomudrova, Guest Researcher and Contributor Alison Kowalski, Guest Researcher and Contributor Q UESTROYAL F INE A RT, LLC 903 Park Avenue (at 79th Street), Third Floor, New York, NY 10075 :(212) 744-3586 :(212) 585-3828 : Monday–Friday 10–6, Saturday 10–5 and by appointment : gallery@questroyalfineart.com www.questroyalfineart.com Contents DESIGN : Malcolm Grear Designers Why Do People Buy Art? PRINTING : Meridian Printing Art Changes Everything . PHOTOGRAPHY : Timothy Pyle, Light Blue Studio Jude Domski A Special Request . EDITING : Amanda Sparrow INSIDE FRONT COVER ( DETAIL ) William Trost Richards (1833–1905) Adirondacks Lake, 1869, 29 FRONTISPIECE ( DETAIL ) Thomas Cole (1801–1848) 1 Avery, Milton 20, 21 Hassam, Childe Reclining Figure in a Mountain Landscape, 11 2, 3 Bellows, George 22 Hoffbauer, Charles INSIDE BACK COVER ( DETAIL ) 4, 5 Blakelock, Ralph Albert 23 Johnson, David Hayley Lever (1876–1958) 66th Street, Looking West, New York, 1935, 6 Bricher, Alfred Thompson 24, 25 Lever, Hayley 24 7 Brown, William Mason 26 Moran, Edward 8, 9 Burchfield, Charles 27 Moran, Thomas 10 Carles, Arthur B. 28 Nichols, Dale 11 Cole, Thomas 29, 30 Richards, William Trost 12 Cooper, Colin Campbell 31 Ritman, Louis 13 Crane, Bruce 32, 33 Sloane, Eric 14, 15, 16 Cropsey, Jasper Francis 34 Turner, Helen Maria 17 Doughty, Thomas 35 Whittredge, Worthington 18 Gasser, Henry Martin 36 Wiggins, Guy C.