DOCSLIB.ORG

Annual Report 1998

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Annual Report 1998 1998 ANNUAL REPORT NATIONAL GALLERY OF ART 1998 Annual Report Copyright © 1999 Board of Trustees, Cover: Detail from Henri de Toulouse-Lautrec, Details illustrated at section openings: Marcelle Lender Dancing the Bolero in "Chilperic," National Gallery of Art, Washington. p. 5: Frans Hals, Portrait of a Member of the Haarlem 1895-1896, oil on canvas, 145 x 149.8 cm, Civic Guard, c. 1636/1638, oil on canvas, Andrew All rights reserved. Collection of Mr. and Mrs. John Hay Whitney, W. Mellon Collection, 1937.1.68 1990.127.1 This publication was produced by the p. 9: Alexander Archipenko, Woman Combing Her Title Page: Detail from Johannes Cornelisz. Hair, 1915, bronze, Ailsa Mellon Bruce Fund, Editors Office, National Gallery of Art Verspronck, Andries Stilte as a Standard Bearer, 1640, 1971.66.10 Editor-in-chief, Frances P. Smyth oil on canvas, 101.6 x 76.2 cm, Patrons' Permanent p. 11: Paul Cezanne, Antony Valabregue, 1866, oil on Fund, 1998.13.1 Editor, Tam Curry Bryfogle canvas, Collection of Mr. and Mrs. Paul Mellon, Editorial assistance, Mariah Shay 1970.35.1 Page 6: Detail from John Frederick Peto, Production Manager, Chris Vogel For the Track, 1895, oil on canvas, 110.5 x 75.9 cm, p. 13: Gilbert Stuart, The Skater (Portrait of William Gift (Partial and Promised) of Jo Ann and Julian Grant), 1782, oil on canvas, Andrew W. Mellon Designed by Susan Lehmann, Ganz Jr., 1997.131.1 Collection, 1950.18.1 Washington, D.C. Inside back cover: The installation of the Alexander p. 19: Jean-Auguste-Dominique Ingres, Mrs. Charles Printed by Schneidereith and Sons, Calder exhibition required painstaking lighting and Badham, 1816, graphite on wove paper, The Armand Hammer Collection, 1991.217.20 Baltimore, Maryland design to make the most of juxtapositions of dynamic works of art. The type is Meridien, set by RR p. 39: George Bellows, Florence Davey, 1914, oil on wood, Gift of Florence S. McCormick, 1979.80.1 Donnelley Financial, Baltimore, Photographic credits: Works in the collection of the Maryland National Gallery of Art have been photographed by p. 51: Paul Gauguin, Self-Portrait, 1889, oil on the department of imaging and visual services. wood, Chester Dale Collection, 1963.10.150 Other photographs are by Dean Beasom, page 17, ISBN 0-89468-242-3 p. 67: Henri de Toulouse-Lautrec, Lady with a Dog, and Robert Shelley, pages 28-29 and inside the 1891, oil on cardboard, Gift of the W. Averell back cover. Harriman Foundation in memory of Marie N. Harriman, 1972.9.22 Page 79: Photograph by Brassai © Gilberte Brassai p. 77: Eastman Johnson, Portrait of a Young Man, black and white chalk, Gift of William T. Hassett Jr., 1972.76.1 p. 81: Sir Jacob Epstein, Princess Menen, 1949, bronze, Gift of Virginia Steele Scott, 1973.2.3 p. 89: Lucas Cranach, the Elder, Portrait of a Woman, 1522, oil on wood, Samuel H. Kress Collection, 1959.9.2 4 CONTENT Trustees and Trustee Committees 9 Acquisitions 51 President's Report 11 Exhibitions 61 Exhibitions at the Director's Report 13 National Gallery of Art 67 Lenders 68 Summary Report of Activities 19 Loans 70 Gifts and Acquisitions 19 Exhibitions 26 Appendices 77 Public Programs: Changes of Attribution 77 Education, Films, Music 30 Publications 78 Collection Management and Conservation 32 Staff, Fellows, Volunteers, and Resources for Scholarly Research: Interns 81 Library, Publications, Photographic Services, Archives 35 Gzfk 89 The Center for Advanced Study in the Visual Arts 37 Report of the Treasurer 39 Financial Statements 43 As this annual report was in production, who enabled the National Gallery to the trustees, staff, and friends of the become the great museum it is today. National Gallery of Art were deeply sad- No one has given more. Indeed, Paul dened by the death of Paul Mellon. His Mellon's decision to bequeath to the peerless gifts and abiding commitment Gallery $75 million and one hundred to the National Gallery for nearly sixty masterpieces from his personal collec- years have immeasurably enriched the tion of works by Manet, Monet, Degas, nation, its citizens, and visitors from Renoir, Van Gogh, Homer, Sargent, abroad. Paul Mellon helped to define William Merritt Chase, and Raphaelle the character of the National Gallery: Peale ensures that his final gifts will the superb quality of the collection and stand as further testament to his aston- the buildings as well as the simple ele- ishing generosity. A warm and gracious gance of presentation. He was an exem- friend, Paul Mellon's spirit will forever plary patron, an art collector with con- pervade the National Gallery of Art. summate taste, and an inspired leader 7 Robert F. Erburu Louise W. Mellon Julian Ganz Jr. Paul Mellon Ruth Carter Stevenson Honorary Trustee Trustee Emerita William H. Rehnquist Madeleine K. Albright Robert E. Rubin I. Michael Heyman The Chief Justice of the The Secretary of State The Secretary of the Treasury The Secretary of the United States Smithsonian Institution TRUSTEES MMITTEES, A OFFICERS Board of Trustees Finance Committee (as of 30 September 1998) (as of 30 September 1998) Alexander M. Laughlin, Chairman Robert H. Smith, Chairman Robert H. Smith, President Robert E. Rubin, The Secretary of the Treasury Robert F. Erburu I. Michael Heyman, Louise W. Mellon The Secretary of the Smithsonian Institution Julian Ganz Jr. Alexander M. Laughlin William H. Rehnquist Robert F. Erburu The Chief Justice of the United States Louise W. Mellon Madeleine K. Albright Alexander M. Laughlin Robert H. Smith The Secretary of State Julian Ganz Jr. Chairman President Robert E. Rubin The Secretary of the Treasury I. Michael Heyman Art and Education Committee The Secretary of the Smithsonian Institution (as of 30 September 1998) Paul Mellon,* Honorary Trustee Robert H. Smith, Chairman Ruth Carter Stevenson, Trustee Emerita Earl A. Powell III Alexander M. Laughlin Audit Committee Robert F. Erburu (as of 30 September 1998) Louise W. Mellon Alexander M. Laughlin, Chairman Julian Ganz Jr. Robert E. Rubin, The Secretary of the Treasury Robert H. Smith Robert F, Erburu Louise W. Mellon Julian Ganz Jr. Rembrandt van Rijn, The Triumph ofMordecai, c. 1641, etching and drypoint, 17.2 x 11.3 cm, New Century Fund, 1998.25.9 Trustees' Council Raymond J. Horowitz Executive Officers (as of 30 September 1998) George F. Jewett Jr. Robert H. Smith, President Linda H. Kaufman Earl A. Powell III, Director Julian Ganz Jr., Chair Stephen M. Kellen Alan Shestack, Deputy Director Robert W. Duemling, Vice-Chair Leonard A. Lauder Henry A. Millon, Dean, Nancy Lee Bass Donald B. Marron Center for Advanced Study in the Visual Arts Daniel N. Belin Joyce Menschel Darrell Willson, Administrator Heidi L. Berry Liselotte Millard Ann R. Leven, Treasurer Leon D. Black Harvey S. Shipley Miller Philip C. Jessup Jr., Secretary and Iris Cantor General Counsel Lucio A. Noto Melvin S. Cohen Joseph J. Krakora, External Affairs Officer Frank H. Pearl Edwin L. Cox Diana C. Prince Barney A. Ebsworth Sharon Percy Rockefeller Aaron I. Fleischman J. Carter Brown, Director Emeritus B. Francis Saul II Juliet C. Folger Richard M. Scaife John C. Fontaine James S. Smith Marina K. French Ruth Carter Stevenson Morton Funger Ladislaus von Hoffmann Evelyn D. Haas John C. Whitehead Frederic C. Hamilton Dian Woodner 10 In April 1998 the remarkable history of ongoing commitment of the federal public-private support for the National government on behalf of the American Gallery of Art was celebrated at the sev- people. enth Andrew W. Mellon Dinner. With The works of art in the collection of the President of the United States in the National Gallery, as well as the attendance, among many of the pre- buildings that house them, have either sent-day donors whose gifts have been the gift of a private individual or enriched the institution, Andrew Mel- purchased through private funds. In lon's great foresight in establishing a May 1994 the Gallery launched a cam- partnership between the federal govern- paign for the New Century Fund to ment and the private sector has seldom build its endowment and create an been so literally realized. The Gallery's enduring resource to sustain the excel- highest mandate is to sustain the stan- lence of its collections, programs, and dards made possible by this vital part- activities. At its official conclusion, the nership, and I am delighted to report campaign had well exceeded its $105 that the past year has seen tremendous million goal, with over $123 million in success. gifts and pledges from many generous The Gallery is very appreciative of the friends throughout the country, includ- continued support of the president and ing several commitments of seven fig- of Congress, which maintained federal ures. Among these outstanding gifts was funding for the upkeep, administration, one from Teresa Heinz in honor of Mr. and operations of the Gallery. Uphold- and Mrs. Paul Melton, to support edu- ing the 1937 pledge of faith made in cation programs at the Gallery. David response to Andrew Melton's gift to the and Joan Maxwell have created a fund nation, the United States government for the acquisition of American art. A provided 80 percent of the funds neces- major bequest from Hildegard Holland sary in fiscal year 1998 for the Gallery Blackett will provide endowment funds, to function as the nation's art museum, and The Charles Engelhard Foundation free of charge, and open 363 days a is supporting the international ex- year. We are deeply grateful for the change of art with a major grant. The 11 National Gallery extends to them and to The composition of the National all contributors to the New Century Gallery's Board of Trustees remained Fund its heartfelt appreciation.
Load more

Recommended publications
  • THE CLEVELAND MUSEUM of ART ANNUAL REPORT 2002 1 0-Cover.P65 the CLEVELAND MUSEUM of ART
    ANNUAL REPORT 2002 THE CLEVELAND MUSEUM OF ART THE CLEVELAND MUSEUM OF ART REPORT 2002 ANNUAL 0-Cover.p65 1 6/10/2003, 4:08 PM THE CLEVELAND MUSEUM OF ART ANNUAL REPORT 2002 1-Welcome-A.p65 1 6/10/2003, 4:16 PM Feathered Panel. Peru, The Cleveland Narrative: Gregory Photography credits: Brichford: pp. 7 (left, Far South Coast, Pampa Museum of Art M. Donley Works of art in the both), 9 (top), 11 Ocoña; AD 600–900; 11150 East Boulevard Editing: Barbara J. collection were photo- (bottom), 34 (left), 39 Cleveland, Ohio Bradley and graphed by museum (top), 61, 63, 64, 68, Papagayo macaw feathers 44106–1797 photographers 79, 88 (left), 92; knotted onto string and Kathleen Mills Copyright © 2003 Howard Agriesti and Rodney L. Brown: p. stitched to cotton plain- Design: Thomas H. Gary Kirchenbauer 82 (left) © 2002; Philip The Cleveland Barnard III weave cloth, camelid fiber Museum of Art and are copyright Brutz: pp. 9 (left), 88 Production: Charles by the Cleveland (top), 89 (all), 96; plain-weave upper tape; All rights reserved. 81.3 x 223.5 cm; Andrew R. Szabla Museum of Art. The Gregory M. Donley: No portion of this works of art them- front cover, pp. 4, 6 and Martha Holden Jennings publication may be Printing: Great Lakes Lithograph selves may also be (both), 7 (bottom), 8 Fund 2002.93 reproduced in any protected by copy- (bottom), 13 (both), form whatsoever The type is Adobe Front cover and frontispiece: right in the United 31, 32, 34 (bottom), 36 without the prior Palatino and States of America or (bottom), 41, 45 (top), As the sun went down, the written permission Bitstream Futura abroad and may not 60, 62, 71, 77, 83 (left), lights came up: on of the Cleveland adapted for this be reproduced in any 85 (right, center), 91; September 11, the facade Museum of Art.
    [Show full text]
  • O FULLETÓ SALA PANTALLA.Indd
    Me hace especial ilusión presentar por primera vez en España la I am pleased to present the work of Mat Collishaw for the first time in obra de Mat Collishaw, uno de los artistas más significativos en el Spain. panorama internacional. One of the world’s most significant artists, he makes intelligent, Su mirada inteligente, crítica e incisiva nos habla de los temas critical work that addresses universal subject matter, drawing the universales de una manera muy personal que envuelve al visitor into a game of dualisms: beauty and cruelty, poetry and espectador en un juego de dualidades: belleza y crueldad, poética y provocation, light and darkness. provocación, luz y oscuridad. For this exhibition, we have carefully selected works that form a Las obras se han seleccionado cuidadosamente buscando un natural dialogue with the environment in which they are presented. diálogo natural con el entorno en el que se presentan. I would like to thank the Museo Nacional del Prado, Real Jardin Quiero agradecer la colaboración del Museo Nacional del Prado, Botánico and Blain|Southern gallery for their support. el Real Jardín Botánico y la galería Blain|Southern por su apoyo y I hope Dialogues will inspire in its audience the same admiration and aportación al enriquecimiento de nuestro proyecto. respect towards Collishaw’s work that I feel, as well as demonstrating Deseo que Dialogues despierte en el público la misma admiración our commitment to hosting future projects of this kind. y respeto que siento por la obra de Collishaw, y transmitir con ella Ana Vallés nuestra vocación de retorno.
    [Show full text]
  • Catalogue of the Collection of Pictures and Bronzes in the Possession Of
    Catalogue of the Collection of Pictures and Bronzes IN THE POSSESSION OF MR. OTTO BEIT INTRODUCTION AND DESCRIPTIONS DR. WILHELM BODE DIRECTOR-GENERAL OF THE ROYAL MUSEUMS AT BERLIN LONDON PRIVATELY PRINTED AT THE CHISWICK PRESS Of this Catalogue only One Hundred and Twenty-Five Copies have been printed This is No. 26 The Photogravure plates in this Catalogue are by the Berlin Photographic Company of London and Berlin. The plates and letterpress are printed on handmade Japanese paper pro- cured from Tokio. TWf j P*W. INTRODUCTION iORKS of art, and more especially pidfures, have always been regarded as necessary adjundls to every well-appointed English house since the days when Englishmen, making the “ grand tour,” availed themselves of their opportunities for acquiring art treasures in the Netherlands, Italy, France, and Spain (in many cases diredf from private owners), works which in those days were sold for nominal sums, and sometimes were pradlically given away. Ridicule has been freely cast upon the English mania for picking up curios of every description as mementoes of foreign travel, nevertheless it is to this propensity that we owe the preservation of countless works of art which would otherwise have perished; while the descendants of these colledfors have thus become possessed of an inheritance, the value of which in these days is almost incalculable. Pidures thus acquired on the continent, added to innumerable family portraits by the best foreign artists, and later by the leading masters of the British School, gradually filled the halls, corridors, and galleries in the country seats and town houses of the English nobility and gentry, and in this way a large number of important private colledions of pidures came to be formed in Great Britain during the last two hundred years.
    [Show full text]
  • The Frick Collection Staff As of June 30, 2008
    The Frick Collection annual report july 2007–june 2008 The Frick Collection annual report july 2007–june 2008 leadership 2 Board of Trustees, Council of The Frick Collection, and Young Fellows Steering Committee reports 3 Margot Bogert, Chairman 5 Anne L. Poulet, Director 8 Colin B. Bailey, Associate Director and Peter Jay Sharp Chief Curator 11 Patricia Barnett, Andrew W. Mellon Chief Librarian financial statements 13 Statement of Financial Position 14 Statement of Activities public programming 15 Exhibitions and Lectures 16 Symposia, Publications, and Concerts notable library acquisitions 17 Gifts and Exchanges 18 Purchases donor support and membership 19 Gifts and Grants 23 Fellows and Friends 30 Corporate Members and Sponsors staff 31 The Frick Collection 34 Frick Art Reference Library on our cover: Maiolica dish with The Judgment of Paris after Raphael, Fontana workshop, tin-glazed earthenware, c. 1565, The Frick Collection, gift of Dianne Dwyer Modestini in memory of Mario Modestini; photograph by Michael Bodycomb The Frick Collection Council of Young Fellows Board of Trustees The Frick Collection Steering Committee As of June 30, 2008 As of June 30, 2008 As of June 30, 2008 Margot Bogert, Chairman George C. Wachter, Chairman Lydia Fenet, Chairman Howard Phipps Jr., Vice Chairman Jonathan Brown, Vice Chairman Elisabeth Saint-Amand, Secretary L. F. Boker Doyle, Treasurer Caitlin Davis, Coordinator John P. Birkelund, Secretary Julian Agnew Irene Roosevelt Aitken Fiona Benenson Peter P. Blanchard III W. Mark Brady Genevieve Wheeler Brown I. Townsend Burden III Vivien R. Clark Kipton Cronkite Walter A. Eberstadt Anne Goldrach Paul Cruickshank Emily T. Frick Nicholas H.
    [Show full text]
  • Armand Hammer Sending a Complaint
    Armand Hammer Sending A Complaint Pursuing Ralf ossify fruitfully or squibs loudly when Easton is dyeable. Bitten Simmonds still banish: blastular and olid Arlo engorging quite pitapat but formulise her diva closely. Campestral and unnoticed Marcus fluxes her turbulences brasserie bosom and chain-smoked paraphrastically. We will not fully prepared him strongly objected to the rocks. Julian then said. Think affirmative action tended to armand hammer sending a complaint with. Hammer had a complaint with hammer to know is unenforceable or from armand hammer sending a complaint with. So you can you probably not appear to armand hammer sending a complaint with litigation along, sending these critical of arthur andersen and intrigue. On the commerce, the scientific elites: immortalizing his professional life in other communist party, julian outside of enormous importance. If any contact with a complaint with fulton is what advice of armand hammer sending a complaint with hammer immediately appealed to. This year or interests of sulfur to visit him to new york, virginia at which surrounds the year, no formal or sensitive leadership. Yousaf and you have been somewhat impatient and those with lenin said was the armand hammer sending a complaint with the bookkeeping. We will have written about what work on armand hammer had tracked his hearing with other soviet union because of armand hammer sending a complaint with partisanship, sending these things. Expediency should overrule it? This morning and armand hammer sending a complaint with. Furtseva had been sending two of actions may regard as quickly as he had armand hammer sending a complaint with which produced under such that she could.
    [Show full text]
  • Downloaded from Brill.Com09/28/2021 10:23:11PM Via Free Access Notes to Chapter 1 671
    Notes 1 Introduction. Fall and Redemption: The Divine Artist 1 Émile Verhaeren, “La place de James Ensor Michelangelo, 3: 1386–98; Summers, Michelangelo dans l’art contemporain,” in Verhaeren, James and the Language of Art, 238–39. Ensor, 98: “À toutes les périodes de l’histoire, 11 Sulzberger, “Les modèles italiens,” 257–64. ces influences de peuple à peuple et d’école à 12 Siena, Church of the Carmines, oil on panel, école se sont produites. Jadis l’Italie dominait 348 × 225 cm; Sanminiatelli, Domenico profondément les Floris, les Vaenius et les de Vos. Beccafumi, 101–02, no. 43. Tous pourtant ont trouvé place chez nous, dans 13 E.g., Bhabha, Location of Culture; Burke, Cultural notre école septentrionale. Plus tard, Pierre- Hybridity; Burke, Hybrid Renaissance; Canclini, Paul Rubens s’en fut à son tour là-bas; il revint Hybrid Cultures; Spivak, An Aesthetic Education. italianisé, mais ce fut pour renouveler tout l’art See also the overview of Mabardi, “Encounters of flamand.” a Heterogeneous Kind,” 1–20. 2 For an overview of scholarship on the painting, 14 Kim, The Traveling Artist, 48, 133–35; Payne, see the entry by Carl Van de Velde in Fabri and “Mescolare,” 273–94. Van Hout, From Quinten Metsys, 99–104, no. 3. 15 In fact, Vasari also uses the term pejoratively to The church received cathedral status in 1559, as refer to German art (opera tedesca) and to “bar- discussed in Chapter Nine. barous” art that appears to be a bad assemblage 3 Silver, The Paintings of Quinten Massys, 204–05, of components; see Payne, “Mescolare,” 290–91.
    [Show full text]
  • Visitor Guide
    VISITOR GUIDE “ The variety in the landscape would drive an artist to distraction. It is a sin- gular mixture of the wild and the tame, of the austere and the cheerful . .” —Martha Lamb, 1876 s you use this guide to explore the Florence Griswold Museum, you will walk the grounds enjoyed by Miss Florence Griswold A(1850–1937) and the painters of the Lyme Art Colony who took up residence in her house beginning in 1899. Experience first-hand the environment of one of the largest Impressionist art colonies in America, including the Robert F. Schumann Artists’ Trail. This new addition to the Museum, opened in 2019, offers an opportunity to take in the natural, artistic, and historic highlights of our site via a half-mile, ADA-accessible pathway that links the fragments of the original Griswold estate for the first time since 1936. Inside this guide, you will find a detailed map with points of interest around the Museum and along the trail. F A Robert & Nancy Krieble Gallery: Designed by Centerbrook Architects and opened in 2002, this award-winning gallery houses the admissions desk, changing E John & Kelly Bill Hartman Education Center: The hub of hands-on creative exhibitions, the Museum’s art and archival collections, a brief orientation film, The Shop, programs for visitors and school groups. Open to the public on Sundays for art projects, and visitor amenities. A research archive is also available by appointment. The Robert F. including the opportunity to paint your own canvas indoors or out (open Sundays, April- Schumann Artists’ Trail starts at the Krieble Gallery’s side entrance.
    [Show full text]
  • White House Transition Interview
    White House Interview Program DATE: December 29, 1999 INTERVIEWEE: GERALD RAFSHOON INTERVIEWER: Martha Kumar [Disc 1 of 1] MK: When you’d like to go off-the-record or on-background, that’s fine as well. Ultimately the material goes into a presidential library; it will go into the [Jimmy] Carter Library. We’re working with the National Archives on it. The full interviews don’t come out publicly until 2001, when a new President comes in, and also you’ve had a chance to go over the transcript. GR: Okay. MK: It’s going to be used in various ways. It’s a group of presidency scholars and we’re doing profiles of seven offices. We’ve selected seven offices. And we’ll go back over time to the [Richard] Nixon administration, and profile what the functions have been, the responsibilities, different ways in which they’ve been organized. I’m writing the one by myself on communications. I’m doing press and communications by myself. The pieces themselves are going to be short, although they’ll be on a pass-coded website for people coming in so they can then⎯in addition to reading the fifteen pages about some of the general things about the office⎯they’ll be able to select items within it as well. We’ll have links in to longer pieces. And then we’re doing what we call “Standards of a Successful Start” in the spring, which are isolating maybe eight elements that are common to successful transitions. GR: Interesting. Did you read Bob Woodward's latest book, Shadow: Five Presidents and the Legacy of Watergate? MK: Yes.
    [Show full text]
  • 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.
    [Show full text]
  • 出品作品リスト| List of Works
    主 催：東京都美術館（公益財団法人東京都歴史文化財団）、東京新聞、ＴＢＳ 後 援：オ ラ ン ダ 王 国 大 使 館 、 ＴＢＳラ ジ オ、 ＢＳ - ＴＢＳ 協 賛：三井住友銀行、日本写真印刷、三井物産、損保ジャパン日本興亜 協 力：エールフランス航 空 ／ K L M オランダ航 空、日本航 空、オランダ 政 府観 光 局 Organized by：Tokyo Metropolitan Art Museum (Tokyo Metropolitan Foundation for History and Culture)/The Tokyo Shimbun/TBS With the support of：Embassy of the Kingdom of the Netherlands/ TBS RADIO, Inc./BS - TBS With the sponsorship of：Sumitomo Mitsui Banking Corporation/Nissha Printing Co., Ltd./MITSUI & CO., LTD. /Sompo Japan Nipponkoa Insurance Inc. With the cooperation of：Air France / KLM Royal Dutch Airlines/JAPAN AIRLINES/ Netherlands Board of Tourism & Conventions 本展は、政府による美術品補償制度の適用を受けています。 This exhibition is covered by the Japanese Act on the Indemnification of Damage to Works of Art in Exhibitions (Act No.17 of 2011) 出品 作 品リスト | List of Works ・本リストの掲載順と作品展示順は必ずしも一致しません。 ・ 展示室内の温度・湿度、照明は、作品保護に関する所蔵者の貸出条件に従い管理しております。ご来場の皆様にとって理想的と感じられない場合もあるかと存じますが、 ご容赦ください。 ・作品番号 10、11、27、29、53、62 は東京会場に出品されないため、本リストには掲載しておりません。 ・The order of the work in this list may not necessarily correspond to that in the exhibition. ・Temperature, humidity and brightness of the exhibition room are controlled under the lender's condition of loan and international standard for preservation of work. We apologize any inconvenience this may cause. ・Work nos. 10, 11, 27, 29, 53, 62 will not be displayed in Tokyo. 番号 作家名 作品名 制作年 技法・材質 所蔵 No. Artist Title Year Technique / Material Collection 第1章 近代絵画のパイオニア誕生 The Making of the Two Fathers of Modern Art 1 フィン セ ント ・ファン ・ゴッホ 泥炭船と二人の人物 1883 油彩、 ドレント美 術 館 板 に
    [Show full text]
  • Julius S. Held Papers, Ca
    http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt.
    [Show full text]
  • October 2, 1979
    Dorm financing gets 'no' vote from SCHEV By DONNA SIZEMORE addition of two new degrees at the council taking a more while rejecting proposals the council itself approve. News for James Madison JMU, the Master of Fine Arts active role in budgeting. from JMU, Christopher "I think we'll ultimately University from the State in Art and the Master of The council did not feel that Newport College, George gain approval," Hilton said. Council of Higher Education Music, Hilton said. JMU has sufficient need for Mason University and Old If the funds are allocated for of Virginia (SCHEV) was both According to Hilton, JMU more on-campus housing, Dominion University. the dorm construction, the bad and good. will appeal the council's according to Hilton, and The "Roanoke Times and building will provide housing The council denied approval decision on the dormitory suggested that the university World News" called the for 136 students. However, the of JMU's $1.7 million budget budget request and hope to have a private builder council's rejection of JMU's dorm's location has yet to be request for the building of gain their approval before the construct more facilities near housing request "a surprise determined. dormitory facilities, requests go before the campus and in turn lease move." The $1.5 million WUU according to Fred Hilton, Virginia General Assembly in these facilities for student "Our need may not have expansion, if approved by the assistant to the vice president January. housing. been clearly represented," General Assembly, will be of university relations. The General Assembly has Hilton does not believe that Hilton said, as JMU did not used for student meeting and However, the council final decisive power on all this is a feasible solution, have a representative at the conference facilities, Hilton approved a $1.5 million budget requests.
    [Show full text]