Educator Guide This Educator Guide Is Designed for Use in Conjunction with Field Trips to the Exhibition, Or As a Stand-Alone Classroom Resource
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THE ARTIST's EYES a Resource for Students and Educators ACKNOWLEDGEMENTS
THE ARTIST'S EYES A Resource for Students and Educators ACKNOWLEDGEMENTS It is with great pleasure that the Bowers Museum presents this Resource Guide for Students and Educators with our goal to provide worldwide virtual access to the themes and artifacts that are found in the museum’s eight permanent exhibitions. There are a number of people deserving of special thanks who contributed to this extraordinary project. First, and most importantly, I would like to thank Victoria Gerard, Bowers’ Vice President of Programs and Collections, for her amazing leadership; and, the entire education and collections team, particularly Laura Belani, Mark Bustamante, Sasha Deming, Carmen Hernandez and Diane Navarro, for their important collaboration. Thank you to Pamela M. Pease, Ph.D., the Content Editor and Designer, for her vision in creating this guide. I am also grateful to the Bowers Museum Board of Governors and Staff for their continued hard work and support of our mission to enrich lives through the world’s finest arts and cultures. Please enjoy this interesting and enriching compendium with our compliments. Peter C. Keller, Ph.D. President Bowers Museum Cover Art Confirmation Class (San Juan Capistrano Mission), c. 1897 Fannie Eliza Duvall (1861-1934) Oil on canvas; 20 x 30 in. Bowers Museum 8214 Gift of Miss Vesta A. Olmstead and Miss Frances Campbell CALIFORNIA MODULE ONE: INTRO / FOCUS QUESTIONS 5 MODULE FOUR: GENRE PAINTING 29 Impressionism: Rebels and Realists 5 Cityscapes 30 Focus Questions 7 Featured Artist: Fannie Eliza Duvall 33 Timeline: -
Illustrations of Selected Works in the Various National Sections of The
SMITHSONIAN INSTITUTION libraries 390880106856C A«T FALACr CttNTRAL. MVIIION "«VTH rinKT OFFICIAI ILLUSTRATIONS OF SELECTED WORKS IN THE VARIOUS NATIONAL SECTIONS OF THE DEPARTMENT OF ART WITH COMPLETE LIST OF AWARDS BY THE INTERNATIONAL JURY UNIVERSAL EXPOSITION ST. LOUIS, 1904 WITH AN INTRODUCTION BY HALSEY C. IVES, CHIEF OF THE DEPARTMENT DESCRIPTIVE TEXT FOR PAINTINGS BY CHARLES M. KURTZ, Ph.D., ASSISTANT CHIEF DESCRIPTIVE TEXT FOR SCULPTURES BY GEORGE JULIAN ZOLNAY, superintendent of sculpture division Copyr igh r. 1904 BY THE LOUISIANA PURCHASE EXPOSITION COMPANY FOR THE OFFICIAL CATALOGUE COMPANY EXECUTIVE OFFICERS OF THE DEPARTMENT OF ART Department ' B’’ of the Division of Exhibits, FREDERICK J. V. SKIFF, Director of Exhibits. HALSEY C. IVES, Chief. CHARLES M. KURTZ, Assistant Chief. GEORGE JULIAN ZOLNAY, Superintendent of the Division of Sculpture. GEORGE CORLISS, Superintendent of Exhibit Records. FREDERIC ALLEN WHITING, Superintendent of the Division of Applied Arts. WILL H. LOW, Superintendent of the Loan Division. WILLIAM HENRY FOX Secretary. INTRODUCTION BY Halsey C. Ives “All passes; art alone enduring stays to us; I lie bust outlasts the throne^ the coin, Tiberius.” A I an early day after the opening of the Exposition, it became evident that there was a large class of visitors made up of students, teachers and others, who desired a more extensive and intimate knowledge of individual works than could be gained from a cursory view, guided by a conventional catalogue. 11 undreds of letters from persons especially interested in acquiring intimate knowledge of the leading char¬ acteristics of the various schools of expression repre¬ sented have been received; indeed, for two months be¬ fore the opening of the department, every mail carried replies to such letters, giving outlines of study, courses of reading, and advice to intending visitors. -
Monet and American Impressionism
Harn Museum of Art Educator Resource Monet & Impressionism About the Artist Claude Monet was born in Paris on November 14, 1840. He enjoyed drawing lessons in school and began making and selling caricatures at age seventeen. In 1858, he met landscape artist Eugène Boudin (1824-1898) who introduced him to plein-air (outdoor) painting. During the 1860s, only a few of Monet’s paintings were accepted for exhibition in the prestigious annual exhibitions known as the Salons. This rejection led him to join with other Claude Monet, 1899 artists to form an independent group, later known as the Impressionists. Photo by Nadar During the 1860s and 1870s, Monet developed his technique of using broken, rhythmic brushstrokes of pure color to represent atmosphere, light and visual effects while depicting his immediate surroundings in Paris and nearby villages. During the next decade, his fortune began to improve as a result of a growing base of support from art dealers and collectors, both in Europe and the United States. By the mid-1880s, his paintings began to receive critical “Everyone discusses my acclaim. art and pretends to understand, as if it were By 1890, Monet was financially secure enough to purchase a house in Giverny, a rural town in Normandy. During these later years, Monet began painting the same subject over and over necessary to understand, again at different times of the day or year. These series paintings became some of his most when it is simply famous works and include views of the Siene River, the Thames River in London, Rouen necessary to love.” Cathedral, oat fields, haystacks and water lilies. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
American Impressionism Treasures from the Daywood Collection
American Impressionism Treasures from the Daywood Collection American Impressionism: Treasures from the Daywood Collection | 1 Traveling Exhibition Service The Art of Patronage American Paintings from the Daywood Collection merican Impressionism: Treasures from the Daywood dealers of the time, such as Macbeth Gallery in New York. Collection presents forty-one American paintings In 1951, three years after Arthur’s death, Ruth Dayton opened A from the Huntington Museum of Art in West Virginia. the Daywood Art Gallery in Lewisburg, West Virginia, as a The Daywood Collection is named for its original owners, memorial to her late husband and his lifelong pursuit of great Arthur Dayton and Ruth Woods Dayton (whose family works of art. In doing so, she spoke of her desire to “give surnames combine to form the moniker “Daywood”), joy” to visitors by sharing the collection she and Arthur had prominent West Virginia art collectors who in the early built with such diligence and passion over thirty years. In twentieth century amassed over 200 works of art, 80 of them 1966, to ensure that the collection would remain intact and oil paintings. Born into wealthy, socially prominent families on public display even after her own death, Mrs. Dayton and raised with a strong appreciation for the arts, Arthur and deeded the majority of the works in the Daywood Art Gallery Ruth were aficionados of fine paintings who shared a special to the Huntington Museum of Art, West Virginia’s largest admiration for American artists. Their pleasure in collecting art museum. A substantial gift of funds from the Doherty only increased after they married in 1916. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
International Scholarly Conference the PEREDVIZHNIKI ASSOCIATION of ART EXHIBITIONS. on the 150TH ANNIVERSARY of the FOUNDATION
International scholarly conference THE PEREDVIZHNIKI ASSOCIATION OF ART EXHIBITIONS. ON THE 150TH ANNIVERSARY OF THE FOUNDATION ABSTRACTS 19th May, Wednesday, morning session Tatyana YUDENKOVA State Tretyakov Gallery; Research Institute of Theory and History of Fine Arts of the Russian Academy of Arts, Moscow Peredvizhniki: Between Creative Freedom and Commercial Benefit The fate of Russian art in the second half of the 19th century was inevitably associated with an outstanding artistic phenomenon that went down in the history of Russian culture under the name of Peredvizhniki movement. As the movement took shape and matured, the Peredvizhniki became undisputed leaders in the development of art. They quickly gained the public’s affection and took an important place in Russia’s cultural life. Russian art is deeply indebted to the Peredvizhniki for discovering new themes and subjects, developing critical genre painting, and for their achievements in psychological portrait painting. The Peredvizhniki changed people’s attitude to Russian national landscape, and made them take a fresh look at the course of Russian history. Their critical insight in contemporary events acquired a completely new quality. Touching on painful and challenging top-of-the agenda issues, they did not forget about eternal values, guessing the existential meaning behind everyday details, and seeing archetypal importance in current-day matters. Their best paintings made up the national art school and in many ways contributed to shaping the national identity. The Peredvizhniki -
Bringing to Light Theodore Wendel (1857-1932) (Left)Rose Arbor, Circa 1905-1915 Oil on Canvas Mounted to Wood Panel 1 1 30 ⁄2 X 21 ⁄8 Inches Signed Lower Right: Theo
Bringing to Light Theodore Wendel (1857-1932) (left)Rose Arbor, circa 1905-1915 Oil on canvas mounted to wood panel 1 1 30 ⁄2 x 21 ⁄8 inches Signed lower right: Theo. Wendel (front cover, detail) Moonrise on the Farm, pg. 9 Bringing to Light: Theodore Wendel (1857-1932) October 19th - December 7th, 2019 V OSE G ALLER IES An Unsung Impressionist By Courtney S. Kopplin For generations, Vose Galleries has welcomed the opportunity to shine a light on the work of ‘unsung artists’ throughout art history, and in the sphere of American Impressionism there is perhaps no artist more deserving of this attention than Theodore Wendel. As part of the first wave of Americans to visit Giverny in the summer of 1887, joining John Leslie Breck, Willard Metcalf and Theodore Robinson, Wendel became one of the earliest painters to apply impressionist principles to his plein air interpretations of the French countryside; sources later reported that the master himself, Claude Monet, who limited his interactions with the Americans, thought highly of Wendel’s work. In March of 1889, short- ly after settling in Boston, Wendel organized a three-day viewing of his pastoral landscapes at a studio on Boylston Street, coinciding with Met- calf’s exhibition of foreign paintings held nearby at the St. Botolph Club. Theodore Wendel painting daughter Mary, Both artists garnered positive reviews from the local press, and over the Upper Farm, Ipswich, circa 1915 next several years Wendel maintained an active exhibition schedule, including a two-person show with Theodore Robinson in 1892, featu- provided, combined with his steady roster of exhibitions, allowed Wen- ring both oils and pastels; several solo and group shows with his fellow del to feel more financially secure in his profession and in 1897 he and Boston artists at the St. -
Art Masterpiece: Woman with Umbrella, 1875 by Claude Monet
Art Masterpiece: Woman With Umbrella, 1875 by Claude Monet Pronounced: Klodd Moe-Nay Keywords: Abstract, complementary colors, Impressionism, “en plein air” (outside) Abstract - Characteristic of art in which objects are not rendered in a naturalistic or representational way, but instead, are simplified or distorted to some extent, often in an attempt to con- vey the essence of form. Impressionism - An art style of the late nineteenth century, principally in France, in which artist tried to capture in paint the fleeting effects of light, shade and color in natural forms. en plein air: Out-of-doors or open air painting. Activity: Impressionist Pastel Drawing Meet the Artist: (5 min) (consider using powerpoint for meet the artist) • He was born in 1840 in Paris, France. His parents wanted him to grow up and work in their grocery store. He only wanted to paint, and eventually went to art school. Property of Knox Art Masterpiece Revised 7/31/13 • He was fascinated with what different light would do to colors. He noticed that the brighter the light, the more vibrant the color. He started to paint outdoors “en plein air” so that he could really see the vibrancy of the colors. At the time, artists always painted inside, in their studios. • He married twice (his first wife died) and had several children. • Most of his life, he lived in poverty. • It took him until he was 50 years old, to sell enough paintings to buy his first home. • The house he that bought was in Giverny (Zhee-vare-ney). • He started going blind in 1908 due to cataracts. -
Rocky Neck Historic Art Trail Gloucester, Massachusetts
Rocky Neck Historic Art Trail Gloucester, Massachusetts Trail Site 1 Above 186 to 220 East Main St. Rocky Banner Hill Neck 1 Smith Banner The high ridge, or bluff, rising above the Smith Cove inlet on the east side of Cove Hill Gloucester Harbor, is called “Banner Hill.” So named after the Wonson brothers Stevens Lane raised a flag there at the outbreak of the Civil War, it commands a panoramic scene, with the jewel of Rocky Neck’s wharves and houses sitting in the center R a P c k l i of the harbor, framed by the buildings and steeples of the central city beyond. f f S During the second half of the 19th Century and the first decades of the 20th, t many of America’s most important artists journeyed to Gloucester to experience the amazing coastal scenery in this fishing port composed of high hills overlook - DIRECTIONS: ing a protected and deep harbor. Banner Hill afforded perhaps the most dramatic From the end of Rte. 128 (second traffic light) go straight up over hill. Follow East of these views. Main Street about 5/8 mile just past East Gloucester Square. Banner Hill rises up Attracted to Gloucester by its reputation for authentic New England beauty, as along the left side of the road for a few conveyed in the paintings of famed 19th century artists Fitz H. Lane and Winslow hundred yards along Smith Cove, above Homer, the preeminent landscape painters of the American Impressionist move - the section of 186 to 220 East Main Street, ment in the 1890s, including Childe Hassam, Willard Metcalf, Frank Duveneck, just across from Beacon Marine boat yard and extending southwest, topped by several and John Twachtman, created masterpieces from the perspective of Banner Hill. -
In a New Light: American Impressionism 1870 – 1940 Works from the Bank of America Collection on View May 25 to August 18, 2019
The Heckscher Museum of Art Contact 2 Prime Avenue, Huntington, NY 11743 Deborah Johnson 631.351.3250 [email protected] www.Heckscher.org 631.351.3006 FOR IMMEDIATE RELEASE Jill Rowen February 2019 [email protected] 631.351.3006 Heckscher Museum of Art Presents In a New Light: American Impressionism 1870 – 1940 Works from the Bank of America Collection On View May 25 to August 18, 2019 Huntington NY --The Heckscher Museum of Art presents a sweeping survey of American Impressionism with its new exhibition, In a New Light: American Impressionism 1870-1940, Works from the Bank of American Collection. On view from May 25 to August 18, 2019. The exhibition traces the emergence of a truly American style of painting. In a New Light explores how artists interpreted American daily life in rural, maritime, and urban spaces using Impressionistic techniques: brisk brushstrokes, a vibrant palette, and atmospheric effects. In a New Light features works from more than 50 artists, many who depicted scenes of Long Island and New York City. Childe Hassam, Old House East Hampton, 1917, Bank of America Collection The artwork on view provides a historical context for the evolution of American Impressionism, beginning with majestic Hudson River School landscapes, to French-Impressionist-inspired subjects, and finally to 20th –Century modernist trends. The exhibition also acknowledges the many artist colonies and communities established throughout the country during this time, which gave artists a scenic place to work and share ideas. This exhibition is on loan through Bank of America’s Art in Our Communities® program. “Bank of America is pleased to support The Heckscher Museum of Art and Honored to share works from our art collection with the Long Island community,” said Bob Isaksen, Long Island Market President, Bank of America. -
Edgar Degas French, 1834–1917 Woman Arranging Her Hair Ca
Edgar Degas French, 1834–1917 Woman Arranging her Hair ca. 1892, cast 1924 Bronze McNay Art Museum, Mary and Sylvan Lang Collection, 1975.61 In this bronze sculpture, Edgar Degas presents a nude woman, her body leaned forward and face obscured as she styles her hair. The composition of the figure is similar to those found in his paintings of women bathing. The artist displays a greater interest in the curves of the body and actions of the model than in capturing her personality or identity. More so than his posed representations of dancers, the nude served throughout Degas’ life as a subject for exploring new ideas and styles. French Moderns McNay labels_separate format.indd 1 2/27/2017 11:18:51 AM Fernand Léger French, 1881–1955 The Orange Vase 1946 Oil on canvas McNay Art Museum, Gift of Mary and Sylvan Lang, 1972.43 Using bold colors and strong black outlines, Fernand Léger includes in this still life an orange vase and an abstracted bowl of fruit. A leaf floats between the two, but all other elements, including the background, are abstracted beyond recognition. Léger created the painting later in his life when his interests shifted toward more figurative and simplified forms. He abandoned Cubism as well as Tubism, his iconic style that explored cylindrical forms and mechanization, though strong shapes and a similar color palette remained. French Moderns McNay labels_separate format.indd 2 2/27/2017 11:18:51 AM Pablo Picasso Spanish, 1881–1973 Reclining Woman 1932 Oil on canvas McNay Art Museum, Jeanne and Irving Mathews Collection, 2011.181 The languid and curvaceous form of a nude woman painted in soft purples and greens dominates this canvas.