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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. -
Galerie Karsten Greve Ag
GALERIE KARSTEN GREVE AG Louise Bourgeois, New Orleans, oil on cardboard, 1946, 66 x 55.2 cm / 26 x 21 1/4 in LOUISE BOURGEOIS December 19, 2020 – extended until March 30, 2021 Opening: Tuesday, December 29, 2020, 11 am – 7 pm Galerie Karsten Greve AG is delighted to present its third solo exhibition of works by Louise Bourgeois (1911-2010) in its St. Moritz gallery space. Twenty-three distinctive pieces created during a period of six decades (1946-2007) are on show. The exhibition pays homage to one of the most significant artists of our time, reflecting thirty years of close collaboration between Galerie Karsten Greve and Louise Bourgeois. Following the artist’s first retrospective in Europe, shown at Frankfurter Kunstverein in 1989, Karsten Greve organized his first solo show of works by Louise Bourgeois in his recently opened Paris exhibition space in 1990. On the occasion of the opening of his gallery in St. Moritz in 1999, Karsten Greve dedicated a comprehensive show to the artist, followed by presentations in Paris and Cologne. Born in Paris in 1911, Louise Bourgeois grew up in a bourgeois family in Choisy-le-Roi near Paris, where her parents ran a workshop for restoring tapestries; at an early age, she made the drawings for missing sections in tapestry designs. After dropping out of mathematics at the Sorbonne, she completed her art studies, between 1932 and 1938, at the École des Beaux-Arts and selected studios and academies in Paris, taking lessons with Fernand Léger, among others. In 1938, she was married to Robert Goldwater, the American art historian, and went with him to New York. -
Innovation and Color: the Reinterpretation of the Woodcut
Spyglass A LOOK AT THE CAHOON MUSEUM OF AMERICAN ART • FALL 2013 CURRENT EXHIBITIONS INSIDE Innovation and Color: The Reinterpretation of the Woodcut Marieluise Hutchinson, The Red Barn, oil on masonite, will be on veiw in the Small Works fundraiser exhibition from November 19 - December 22. 2 Upcoming Exhibits The Little Gallery 3 Annual Appeal Cahoon Society Purchase Ruth Dewitt Hogan, Homage to the Cahoon Museum, 2013, white-line wood block print 4 In recent years, especially on the Cape, Wendy Willard. From the President the technique of the white-line woodcut Ruth Dewitt Hogan’s “Homage to the has been rediscovered by many talented Matching Challenge Cahoon,” 2013, was specifi cally created artists. This exhibition presents important Grant for this exhibition and appears on the works by early innovators of white-line Exhibits Cont. postcard and other printed publicity for woodcuts on the Cape and illustrates how the exhibit. To emphasize innovation and current artists are learning from those 5 color, Ruth took four earlier artists and innovators and taking the form to new From the Director deliberately incorporated examples of their levels. style into her work. These artists are Arthur 6 Among the artists included in the Wesley Dow, Blanche Lazell, Seong Moy, Greeting Card Workshop exhibit are: Sally Brophy, Jean Carbonell, and B. J. O. Nordfeldt. Ada Gilmore Chaffee (1882-1955), Sailor’s Valentine Arthur Wesley Dow’s style appears on Oliver Chaffee (1881-1944), William Workshop the right, above the word “Woodcuts.” He Evaul, Ruth Dewitt Hogan, Lorraine was the central fi gure in American color Kujawa, Blanche Lazell (1878-1956), 7 woodcuts at the turn of the 19th to the Jane Lincoln, Jerre Moriarty, Angele Membership 20th century. -
Irving Sandler
FROM THE ARCHIVES: HANS HOFMANN: THE PEDAGOGICAL MASTER By Irving Sandler May 30, 1973 Irving Sandler died on June 2, 2018 at the age of 92. A frequent contributor to A.i.A., Sandler was best known for chronicling the rise and the aftermath of Abstract Expressionism. One of his most significant articles for A.i.A., the impact of Hans Hofmann, who taught such artists as Helen Frankenthaler and Allan Kaprow, thereby influencing not only second- and third-generation Ab Ex painters but other developments in American art after 1945. Sandler highlights Hofmann’s interest in the deep traditions of European art, and his belief that the best abstract painting continues its manner of modeling the world. “It was in this cubic quality, this illusion of mass and space, that the man-centered humanist tradition—or what could be saved of it—was perpetuated,” Sandler wrote, summarizing a central tenet of Hofmann’s teachings. The full essay, from our May/June 1973 issue, is presented below. In June we re-published Sandler’s essay “The New Cool-Art,” on the rise of Minimalism. —Eds. As both a painter and a teacher Hans Hofmann played a germinal part in the development of advanced American art for more than thirty years. This article will deal only with his pedagogical role—a topic chosen with some trepidation, for to treat an artist as a teacher is often thought to demean his stature as an artist. The repute of Hofmann’s painting has suffered in the past because of this bias, but no longer, since he is now firmly and deservedly established as a pathfinding master of Abstract Expressionism. -
A Stellar Century of Cultivating Culture
COVERFEATURE THE PAAMPROVINCETOWN ART ASSOCIATION AND MUSEUM 2014 A Stellar Century of Cultivating Culture By Christopher Busa Certainly it is impossible to capture in a few pages a century of creative activity, with all the long hours in the studio, caught between doubt and decision, that hundreds of artists of the area have devoted to making art, but we can isolate some crucial directions, key figures, and salient issues that motivate artists to make art. We can also show why Provincetown has been sought out by so many of the nation’s notable artists, performers, and writers as a gathering place for creative activity. At the center of this activity, the Provincetown Art Associ- ation, before it became an accredited museum, orga- nized the solitary efforts of artists in their studios to share their work with an appreciative pub- lic, offering the dynamic back-and-forth that pushes achievement into social validation. Without this audience, artists suffer from lack of recognition. Perhaps personal stories are the best way to describe PAAM’s immense contribution, since people have always been the true life source of this iconic institution. 40 PROVINCETOWNARTS 2014 ABOVE: (LEFT) PAAM IN 2014 PHOTO BY JAMES ZIMMERMAN, (righT) PAA IN 1950 PHOTO BY GEORGE YATER OPPOSITE PAGE: (LEFT) LUCY L’ENGLE (1889–1978) AND AGNES WEINRICH (1873–1946), 1933 MODERN EXHIBITION CATALOGUE COVER (PAA), 8.5 BY 5.5 INCHES PAAM ARCHIVES (righT) CHARLES W. HAwtHORNE (1872–1930), THE ARTIST’S PALEttE GIFT OF ANTOINETTE SCUDDER The Armory Show, introducing Modernism to America, ignited an angry dialogue between conservatives and Modernists. -
LOT 1 Tod Lindenmuth (1885–1976) in the Weir, C. 1940S Linocut Print, 9" X 7" Est: $800–$1,200 Signed Lower Right LOT 2 A.P
LOT 1 Tod Lindenmuth (1885–1976) In the Weir, c. 1940s Linocut print, 9" x 7" Est: $800–$1,200 Signed lower right LOT 2 A.P. Todd (20th C) Provincetown from Webster's Hill, 1939 Oil on board, 16" x 20" Est: $800–$1,200 Signed on reverse LOT 3 (LOT OF 4) Albert Edel (1894–1970) Highland Light, c. 1940–60 The Three Towers, c. 1940–60 Drypoint, 3.75" x 4.75" Drypoint, 3.5" x 5.25" Railroad Wharf, c. 1940–60 Sand Dunes, c. 1940–60 Drypoint, 4" x 4.75" Drypoint, 4" x 4.5" Est: $800–$1,200 All signed lower right LOT 4 Agnes Weinrich (1873–1946) untitled (two women), n.d. Ink, graphite, pastel on paper, 5.5" x 8.75" Est: $400–$600 Signed lower left LOT 5 Herman Maril (1908–1986) Monhegan Island, Maine, 1962 Ink wash on paper, 23" x 29" Est: $2,000–$3,000 Signed lower left LOT 6 Dorothy Loeb (1887–1971) Fish Houses, Barnstable, c. 1929 Watercolor on paper, 15" x 21" Est: $600–$800 Signed lower right LOT 7 Chaim Gross (1904–1991) Mother and Child, 1974 Bronze with wooden base, 8.5" x 4.5" x 4.25" Est: $1,000–$1,500 Signed on reverse LOT 8 Lillian Orlowsky 1914 2004 Collage Abstraction, n.d. Oil and mixed media on board, 16" x 12" Est: $1,000–$1,500 Signed lower left LOT 9 Ada Gilmore (1882–1955) Floral Study, 1940 Watercolor on paper, 11" x 10" Est: $400–$600 Signed lower right LOT 10 Arthur Cohen (1928–2012) Terra Nova, Silver Mink, 2006 Oil on canvas, 30" x 40" Est: $2,000–$3,000 Signed lower right LOT 11 Selina Treiff (1934–2015) Dancer with White Bird, 2001 Oil on paper, 18" x 24" Est: $1,000–$1,500 Signed upper right LOT 12 Henry Hensche (1899–1992) Demonstration Still Life, c. -
Robert Rauschenberg Selected One-Artist
ROBERT RAUSCHENBERG SELECTED ONE-ARTIST EXHIBITIONS DATES Born 1925, Port Arthur, Texas Died 2008, Captiva, Florida EDUCATION 1947–1948, Kansas City Art Institute 1947, Academie Julien, Paris 1948–1949, Black Mountain College, North Carolina (with Josef Albers) 1949–1952, Art Students League, New York (with Vaclav Vytlacil and Morris Kantor) 2018 Robert Rauschenberg: Spreads, Galerie Thaddaeus Ropac, Ely House, London, November 28, 2018– January 26, 2019. Rauschenberg: The 1/4 Mile, Los Angeles County Museum of Art, October 28, 2018–June 9, 2019. Robert Rauschenberg: Vydocks, Pace Gallery, 12/F, H Queen’s, 80 Queen’s Road Central, Hong Kong, September 19–November 2, 2018. (Catalogue) Robert Rauschenberg: In and About L.A, Los Angeles County Museum of Art, August 11, 2018–February 10, 2019. Robert Rauschenberg: Features, Krakow Witkin Gallery, Boston, May 12–June 23, 2018. Robert Rauschenberg: Selected One–Artist Exhibitions 2 Robert Rauschenberg: Paintings Objects Sculptures, Galerie Bastian, Berlin, April 28–July 28, 2018. 2017 Robert Rauschenberg: A Quake in Paradise (Labyrinth), Massachusetts Museum of Contemporary Art, North Adams, May 28, 2017–Fall 2018. Robert Rauschenberg: Late Series, Faurschou Foundation Venice, May 12–August 27, 2017. (Catalogue) 2016 Robert Rauschenberg, Transfer Drawings from the 1950s and 1960s, Offer Waterman, London, December 2, 2016–January 13, 2017. (Catalogue) Robert Rauschenberg, Tate Modern, London, December 1, 2016–April 2, 2017. Traveled to: as Robert Rauschenberg: Among Friends, The Museum of Modern Art, New York, May 21, 2017–September 17, 2017; as Robert Rauschenberg: Erasing the Rules, San Francisco Museum of Modern Art, November 18, 2017– March 25, 2018. (Catalogue) Robert Rauschenberg: Salvage, Galerie Thaddaeus Ropac, Paris, October 20, 2016–January 14, 2017. -
The Art Digest 1945-10-15: Vol 20 Iss 2
THE offs (=S5 am Sentimental Awarded Moment First Prize ’ by Philip Guston - of $1,000 at | " (Oil on Canvas, 1945 Carnegie : 1943) American Show i See Article on Page §& THE NEWS MAGAZINE OF ART eS ae ee WILDENSTEIN and co... MAU SEUM INC. | OF NON-OBJECTIVE PAINTING 24 EAST 54TH STREET NEW YORK CITY EXHIBITION OF CAMILLE PISSARRO HIS PLACE IN ART ror the Beet of MATTERN THE GODDARD NEIGHBORHOOD CENTER | Ky E AY SS 2 tf £ tt October 24 to November 24 19 East 64th Street, New York City Paris London | SOLOMON R. GUGGENHEIM FOUNDATION OPEN SUNDAYS 12-6 DAILY EXCEPT MONDAYS 10-6 WO ENTRANCE FEE DUVEEN BROTHERS, Inc. MASTERPIECES — OF PAINTING SCULPTURE PORCELAIN FURNITURE TAPESTRIES GOTHIC - RENAISSANCE EIGHTEENTH CENTURY New York - 720 Fifth Avenue the Salmagundi Club at which prizes are awarded those who PEYTON BOSWELL make the best record during American Art Week. I have attended several of these dinners, and have always come away Comments: with the feeling there should be prizes for everyone who has contributed time and thought to this worthy cause. This department expresses the personal opinion of Peyton Boswell, Jr., writing as an individual. Philadelphia’s Record Any reader is invited to take issue with what Oo" OF OUR MOST HUMAN TRAITS, perhaps sired of mental he says. Controversy revitalizes the spirit of art. laziness, is the tendency to judge groups by individuals. For example, because a certain museum finds it more con- Television in Color venient to dwell in the past, some of us fall into the habit i ans New York TiMEs on the morning of October 11 of using the words museum and mausoleum interchange- termed it a radio “miracle.” It did so advisedly, for the ably. -
Blanche Lazzell
ESTABLISHED OVER FIFTY years Newcomb-Macklin co. Picture Frame Makers 45 WEST 27th STREET Sailing from Long Wharf NEW YORK STOCK FRAMES change without notice FOR IMMEDIATE DELIVERY inall wn to Boston Regular Sizes at Lowest Prices at 7:30 p. m. Due in boson RELIABLE QUALITY-VALUE-SERVICE DANCING R COMPARE! ONE WAY FARE $1.75 EXCURSION ROUND T MAIL ORDERS Receive Careful, Prompt, Individual Attention Boston Tel. Hubbard 9392 GEORGE A. McCoy, Manager Catalog sent to artists and deaJers on request REMBRANDT BEHRENDT COLORS Oil Colors PFEIFFERS' PROVINCETOWN, MASS. Distributors for U. S. J. S. distributing office at TALENS & SON irvington N. J. APELDOORN, HOLLAND ARTISTS' SUPPLIES books John A. matheson Pres. H. F. Hallett, Vice Pres and Cashier I. A. Small, Asst. Cashier W. T. Mayo, Asst. Cashier WILLIAM H. YOUNG THE FIRST NATIONAL BANK INSURANCE OF EVERY DESCRIPTION of Provincetown Capital Stock, Surplus and Profits, $125,457 representing the leading companies of the World Money deposited in our Savings Department placed on interest the first of each month losses Adjusted promptly Checking Accounts Savings Accounts Safe Deposit Boxes Foreign Exchange provincetown massachusetts Travelers’ Checks SEAMEN’S SAVINGS BANK THE exhibition IS OPEN DAILY FROM Provincetown Mass. A. M. to P. M. ADMISSION CENTS. SUNDAYS, FREE FROM to P. M. Money Goes on Interest the First of Each Month Join the Provincetown Art Association Not only because it is an association of artists and lovers of art, but also because it offers its members (and often ita friends), dances, lectures, music recitals, and a won- derful Costume Ball, which latter will come this year EITHER THE ATTENDANT AT THE DESK at Hall in August. -
A Finding Aid to the Vaclav Vytlacil Papers, 1885-1990,In the Archives of American Art
A Finding Aid to the Vaclav Vytlacil Papers, 1885-1990,in the Archives of American Art Jean Fitzgerald June 2007 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 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1885, 1933-1981................................................... 5 Series 2: Correspondence, 1911-1985.................................................................... 6 Series 3: Business Records, 1912-1982.................................................................. 9 Series 4: Notes and Writings, 1928-1978............................................................. -
The Monongalia County Court House Mural: Blanche Lazzell and the Public Works of Art Project in Morgantown, West Virginia
Graduate Theses, Dissertations, and Problem Reports 2012 The Monongalia County Court House Mural: Blanche Lazzell and the Public Works of Art Project in Morgantown, West Virginia Kendall Joy Martin Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Art and Materials Conservation Commons Recommended Citation Martin, Kendall Joy, "The Monongalia County Court House Mural: Blanche Lazzell and the Public Works of Art Project in Morgantown, West Virginia" (2012). Graduate Theses, Dissertations, and Problem Reports. 7803. https://researchrepository.wvu.edu/etd/7803 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Monongalia County Courthouse Mural: Blanche Lazzell and the Public Works of Art Project in Morgantown, West Virginia. Kendall Joy Martin Thesis Submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Art History Examining Committee Rhonda Reymond, Ph.D., Chair School of Art and Design Janet Snyder, Ph.D. -
Wood Block Prints, 1940
WOOD BLOCK PRINTS~ BLANCH E. LAZZELL, Artist Provincetown Massachusetts Blanche Lazzell in her Studio, Provincetown, Massachusetts N Blanche Lazzell' s color wood block "A very remarkable quality in wood block print- prints, the one-block method is em- ing is its lasting interest. It has endured for seven ployed. The design is carved in the centuries and has never aroused such interest as at wood and each shape on the block is the present moment. The reason is similar' to that covered with color and printed one which keeps each eternally fresh in interest and shape at a time until the print is com- message; it is autographic. The artist is responsible plete. Each shape being treated accord- for every line and effect and so very quaint and ing to its needs, in relation to the whole, gives the personal things happen. A group of color block finished work the quality of painting. printers has developed at Provincetown, Mass. These "Wood Block printing in color, by its resources artists have created a genuine impression through and its limitations, is a beautiful medium to which the their honesty and originality of viewpoint."2 true artist responds with the best that is in him. The 1Ciyde H . Burroug~s in "Th~ Bulletin of The D :troi t Insti tute of Arts:· peculiar pleasure of seeing the same design take on a 10r. Ellsworth Woodward in Th e Tim!u-Pic:Jy une. N ew Orleans. different character with each printing must ever be a source of fascination to the artist. No two prints need ever be exactly alike.