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Hudson River School
Hudson River School 1796 1800 1801 1805 1810 Asher 1811 Brown 1815 1816 Durand 1820 Thomas 1820 1821 Cole 1823 1823 1825 John 1826 Frederick 1827 1827 1827 1830 Kensett 1830 Robert 1835 John S Sanford William Duncanson David 1840 Gifford Casilear Johnson Jasper 1845 1848 Francis Frederic Thomas 1850 Cropsey Edwin Moran Worthington Church Thomas 1855 Whittredge Hill 1860 Albert 1865 Bierstadt 1870 1872 1875 1872 1880 1880 1885 1886 1910 1890 1893 1908 1900 1900 1908 1908 1902 Compiled by Malcolm A Moore Ph.D. IM Rocky Cliff (1857) Reynolds House Museum of American Art The Beeches (1845) Metropolitan Museum of Art Asher Brown Durand (1796-1886) Kindred Spirits (1862) Crystal Bridges Museum of American Art The Fountain of Vaucluse (1841) Dallas Museum of Art View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm - the Oxbow. (1836) Metropolitan Museum of Art Thomas Cole (1801-48) Distant View of Niagara Falls (1836) Art Institute of Chicago Temple of Segesta with the Artist Sketching (1836) Museum of Fine Arts, Boston John William Casilear (1811-1893) John Frederick Kensett (1816-72) Lake George (1857) Metropolitan Museum of Art View of the Beach at Beverly, Massachusetts (1869) Santa Barbara Museum of Art David Johnson (1827-1908) Natural Bridge, Virginia (1860) Reynolda House Museum of American Art Lake George (1869) Metropolitan Museum of Art Worthington Whittredge (1820-1910) Jasper Francis Cropsey (1823-1900) Indian Encampment (1870-76) Terra Foundation for American Art Starrucca Viaduct, Pennsylvania (1865) Toledo Museum of Art Sanford Robinson Gifford (1823-1880) Robert S Duncanson (1821-1902) Whiteface Mountain from Lake Placid (1866) Smithsonian American Art Museum On the St. -
2020-2021 Newsletter Department of Art History the Graduate Center, Cuny
2020-2021 NEWSLETTER DEPARTMENT OF ART HISTORY THE GRADUATE CENTER, CUNY 1 LETTER FROM THE EXECUTIVE OFFICER Dear GC Art History Community, The 2020-21 academic year has been, well, challenging for all of us at the GC, as I imagine it has for you. The building—boarded up in November for the elections—is still largely off-limits to students and faculty; the library is closed; classes and meetings have been almost exclusively virtual; and beyond the GC, many of us have lost friends, family, or jobs due to the pandemic and its repercussions. Through it all, we have struggled to keep our community together and to support one another. I have been extraordinarily impressed by how well students, faculty, and staff in the program have coped, given the circumstances, and am I hopeful for the future. This spring, we will hold our rst in-person events—an end-of-year party and a graduation ceremony for 2020 and 2021 Ph.D.s, both in Central Park—and look forward to a better, less remote fall. I myself am particularly looking forward to fall, as I am stepping down as EO and taking a sabbatical. I am grateful to all of you for your help, advice, and patience over the years, and hope you will join me in welcoming my successor, Professor Jennifer Ball. Before getting too excited about the future, though, a few notes on the past year. In fall 2020, we welcomed a brave, tough cohort of ten students into the Ph.D. Program. They have forged tight bonds through coursework and a group chat (not sure if that's the right terminology; anyway, it's something they do on their phones). -
The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
This Is the Drexel
How to Build a The Fight A Bittersweet Great Teacher Against Malaria Goodbye [DREXELWINTER/SPRING 2013 /////// MAGAZINE //////// VOLUME 23 NO. 1 ] COLLEEN WOLFE, BA’08 AJAMU JOHNSON, Michael Brennan, PhD’12, BS’02 is ‘hacking’ for good AMRITA BHOWMICK, MPH’10 This is the Drexel 40 under 40 DREW GINSBURG, BS’09 40 Ambitious Drexel Alumni, Doing Amazing Things 117 Total number of years that Drexel has competed in athletics. And each of those years is now covered in detail at the new Janet E. and Barry C. Burkholder Athletics Hall of Fame, which opened with a gala event at the Daskalakis Athletic Center in early December. The new Hall of Fame is an interactive exhibit that allows visitors to view a complete history of Drexel Athletics, including information on Drexel greats, retired numbers, memorable moments, all- time rosters and more (see story, Page 21). THE LEDGER [ A NUMERICAL ANALYSIS OF LIFE AT DREXEL ] Number of MacBooks held by the new laptop kiosk at the W.W. Hagerty 12 Library—a kiosk that allows students to check out one of 12 MacBooks for free, 24 hours a day, seven days a week. Drexel is the third university in the nation to install this kind of kiosk, and it’s possible that additional machines could be installed around campus in the future. Said Drexel Libraries Dean Danuta A. Nitecki: “This was a great opportunity to match a specific student need with library staff’s ongoing exploration of cutting-edge technologies.” Total raised so far by the College of Medicine’s annual Pediatric AIDS Benefit Concert (PABC). -
A Finding Aid to the Charles Henry Hart Autograph Collection, 1731-1918, in the Archives of American Art
A Finding Aid to the Charles Henry Hart Autograph Collection, 1731-1918, in the Archives of American Art Jayna M. Josefson Funding for the processing of this collection was provided by the Terra Foundation for American Art 2014 February 20 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........................................................................................................ 2 Arrangement..................................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Charles Henry Hart autograph collection, 1731-1918............................... 4 Series 2: Unprocessed Addition, 1826-1892 and undated..................................... 18 Charles Henry Hart autograph collection AAA.hartchar Collection -
NHHS Consuming Views
CONTRIBUTORS Heidi Applegate wrote an introductory essay for Hudson River Janice T. Driesbach is the director of the Sheldon Memorial Art School Visions: The Landscapes of Sanford R. Gifford (Metro- Gallery and Sculpture Garden at the University of Nebraska- politan Museum of Art, 2003). Formerly of the National Lincoln. She is the author of Direct from Nature: The Oil Gallery of Art, she is now a doctoral candidate in art history at Sketches of Thomas Hill (Yosemite Association in association Columbia University. with the Crocker Art Museum, 1997). Wesley G. Balla is director of collections and exhibitions at the Donna-Belle Garvin is the editor of Historical New Hampshire New Hampshire Historical Society. He was previously curator and former curator of the New Hampshire Historical Society. of history at the Albany Institute of History and Art. He has She is coauthor of the Society’s On the Road North of Boston published on both New York and New Hampshire topics in so- (1988), as well as of the catalog entries for its 1982 Shapleigh cial and cultural history. and 1996 Champney exhibitions. Georgia Brady Barnhill, the Andrew W. Mellon Curator of Elton W. Hall produced an exhibition and catalog on New Bed- Graphic Arts at the American Antiquarian Society, is an au- ford, Massachusetts, artist R. Swain Gifford while curator of thority on printed views of the White Mountains. Her “Depic- the Old Dartmouth Historical Society. Now executive director tions of the White Mountains in the Popular Press” appeared in of the Early American Industries Association, he has published Historical New Hampshire in 1999. -
Myths to Live By: Uncovering the Veiled Past of Actress/Artist Minnie Ashley by Roy Collins William A
Myths to Live By: Uncovering the Veiled Past of Actress/Artist Minnie Ashley by Roy Collins William A. Chanler, Editor On or about June 16th, 1845, 17-year-old Bridget Lyons set sail by ferry from County Cork, Ireland to Liverpool, England. From Liverpool she gained passage aboard the packet ship Concordia, bound for Boston, Massachusetts in the United States. The year 1845 marked the beginning of the ill-fated Potato Famine in Ireland, a dark period that would last six years. It brought mass starvation, poverty, and a multitude of deaths across the island. During the famine period, it was typical for Irish families to send their able-bodied children to seek opportunity in Europe and across the Atlantic to North America. The exact location of the residence where Bridget had resided in County Cork remains uncertain. We know only Photo circa 1898 by Benjamin Falk that later in life Bridget Lyons (then Bridget Tully) would marry John Campbell in Fall River, Massachusetts in 1861. On that marriage record her father was listed as William Lyon and her mother as Catherine (Curly) Lyon. The letter “S” at the end of the surname may have been dropped when transcribed by the town clerk as it was the only time the surname was spelled without the “S.” Most emigres traveled to the United States and Canada on the well-established Mc Corkell Line which offered sea-worthy sailing ships equipped to haul both passengers and freight. Depending upon the fare paid for passage, emigres had the choice of either a small cabin or state room, comparable in size to a small hotel room. -
A Call to the Wild
Q UESTROYAL F INE A RT, LLC A Call to the Wild Thomas Moran John Frederick Kensett Evening Clouds, 1902 New England Coastal Scene with Figures, 1864 Oil on canvas Oil on canvas 141/8 x 20 inches 141/4 x 243/16 inches Monogrammed, inscribed, and dated Monogrammed and dated lower right: JF.K. / ’64. lower left: TMORAN / N.A. / 1902” March 8 – 30, 2019 An Exhibition and Sale A Call to the Wild Louis M. Salerno, Owner Brent L. Salerno, Co-Owner Chloe Heins, Director Nina Sangimino, Assistant Director Ally Chapel, Senior Administrator Megan Gatton, Gallery Coordinator Pavla Berghen-Wolf, Research Associate Will Asencio, Art Handler Rita J. Walker, Controller Photography by Timothy Pyle, Light Blue Studio and Ally Chapel 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 A Call to the Wild Those of us who acquire Hudson River School paintings will of composition, in the application of brushstroke, in texture, in possess something more than great works of art. Each is a perspective, in tone and color, each artist creates a unique visual glimpse of our native land, untouched by man. These paintings language. They have left us a painted poetry that required a compel us to contemplate, they draw us beyond the boundaries combination of imagination and extraordinary technical ability. of a time and space that define our present lives so that we may The magnitude of the artistic achievement of this first American consider eternal truths. -
The Hudson River School at the New-York Historical Society: Nature and the American Vision
The Hudson River School at the New-York Historical Society: Nature and the American Vision Marie-François-Régis Gignoux (1814–1882) Mammoth Cave, Kentucky , ca. 1843 Oil on canvas Gift of an Anonymous Donor, X.21 After training at the French École des Beaux-Arts , Gignoux immigrated to the United States, where he soon established himself as a landscape specialist. He was drawn to a vast underground system of corridors and chambers in Kentucky known as Mammoth Cave. The site portrayed has been identified as the Rotunda—so named because its grand, uninterrupted interior space recalls that of the Pantheon in Rome. Gignoux created a romantic image rooted in fact and emotion. In contrast to the bright daylight glimpsed through the cavern mouth, the blazing fire impresses a hellish vision that contemporaneous viewers may have associated with the manufacture of gunpowder made from the bat guano harvested and rendered in vats in that very space since the War of 1812. William Trost Richards (1833–1905) June Woods (Germantown) , 1864 Oil on linen The Robert L. Stuart Collection, S–127 Richards followed the stylistic trajectory of the Hudson River School early in his career, except for a brief time in the early 1860s, when he altered his technique and compositional approach in response to the Pre-Raphaelite aesthetics of the English critic John Ruskin. Ruskin’s call for absolute fidelity to nature manifested itself in the United States in a radical 1 group of artists who formed the membership of the Association for the Advancement of Truth in Art, to which Richards was elected in 1863. -
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Shanks Full Dissertation
UCLA UCLA Electronic Theses and Dissertations Title Performing the Museum: Displaying Gender and Archiving Labor, from Performance Art to Theater Permalink https://escholarship.org/uc/item/5sw8510j Author Shanks, Gwyneth Jane Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performing the Museum: Displaying Gender and Archiving Labor, from Performance Art to Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Gwyneth Jane Shanks 2016 © Copyright by Gwyneth Jane Shanks 2016 ABSTRACT OF DISSERTATION Performing the Museum: Displaying Gender and Archiving Labor, from Performance Art to Theater by Gwyneth Jane Shanks Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2016 Professor Sean Aaron Metzger, Chair In recent decades, art museums’ definition of art has expanded to include not only inanimate objects but also live performers. This shift represents a transformation in museum culture and an increase in curated live performance. Performing the Museum: Displaying Gender and Archiving Labor, from Performance Art to Theater contributes to emerging debates in performance studies that seek to understand how performance is impacted by museums. This project, however, does not look solely at performance in museum spaces. Rather, it is one of the first to align contemporary museum performance with theatrical works that dramatize the creation and subsequent museum exhibition of visual art. The project examines work by Marina Abramović, Asco, Guillermo Goméz-Peña, Maria Hassabi, and the musical Sunday in the Park ii with George. -
2017 Annual Report Special Collections Acquisitions List
BOSTON ATHENÆUM 2017 Annual Report Special Collections Acquisitions List Artists’ Books Diane de Bournazel Chutes Libres, 2016 Watercolor, gouache, pen and ink Purchase, Hofer Fund Laura Davidson L. Frank Baum and Oz, 2016 Watercolor, gouache, pen and ink Purchase, Mitchell Fund Laura Davidson Wanderlust, 2016 Miniature book, silverpoint, ink and gold leaf Purchase, Wentworth Fund Stephen Dupont We Cut Heads, 2016 Pigment inks on Japanese washi paper Purchase, Proprietors’ Fund Leslie Gerry Havana, 2016 Inkjet prints with letterpress extracts from Cuba by Irene A. Wright Purchase, Susan Paine Fund Radha Pandey Anatomia Botanica, 2014 Letterpress, reduction linoleum cuts, and pochoir Purchase, Bromfield Fund Judith Rothchild Intermezzi, 2014 Mezzotint Purchase, Rodney Armstrong Fund Susannah Strong A Single Hound, 2008 Watercolor, sumi ink, and dye Purchase, Bromfield Fund Drawings & Watercolors John Badger Bachelder (1825-1894) Lowell, Massachusetts. Sketched from the Residence of Thomas L. Tuxbury Esq., 1856 Watercolor, pen and ink, graphite Gift of the American Textile History Museum John Ingersoll Coggeshall (1856-1927) Mile of Mills, 1913 Oil over photographic print of a painting Gift of the American Textile History Museum Attributed to James S. Conant (active 1870s-1880s) View of Davis & Furber Machine Company Complex, ca. 1887 Watercolor, wash, pen and ink Gift of the American Textile History Museum Alex Gerasev East Boston Harbor (Study for Harbor), 2004 Watercolor and acrylic on paper Purchase, Frances Hovey Howe Print Fund Winslow Homer (1836-1910) Schooner with Small Dory in Tow, ca. 1880 Watercolor over graphite Gift of James M. May Thomas Buford Meteyard (1865-1928) 26 watercolors Gift of Nicholas Kilmer John Perry Newell (1831-1898) Cedar Cottage, Residence of Wm.