DOCSLIB.ORG

The Pennsylvania Academy of the Fine Arts in Philadelphia, Met a British Man-O'-War, Was Confiscated and Tqken To· the Port of Halifax, Nova Scotia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Pennsylvania Academy of the Fine Arts in Philadelphia, Met a British Man-O'-War, Was Confiscated and Tqken To· the Port of Halifax, Nova Scotia THE PENNSYLVANIA ACADEMY OF THE FINE ARTS BROAD AND CHERRY SiS. 0 PHILADELPHIA 147th ANNUAL REPORT 1952 Cover: Apple Blossom Time by George Inness. Bequest of J. Mitchell Elliot. The One-Hundred and Forty-Seventh Annual Report of THE PENNSYLVANIA AC.ADEMY of the FINE ARTS FOR THE YEAR 1952 Presented to the Meeting of the Stockholders of the Academy on February 2, 1953 OFFICERS John F. lewis, Jr. President Henry S. Drinker Vice-President C. Newbold Taylor Treasurer Joseph T. Fraser, Jr. Secretary BOARD OF DIRECTORS Mrs. leonard T. Beale James P. Magill C. Alison Scully Henry S. Drinker Sydney E. Martin John Stewart Henry C. Gibson ,William Clarke Mason Robert Strausz-Hupe David M. Gwinn George P. Orr C. Newbold Taylor R. Sturgis Ingersoll Howard C. Petersen Sydney l. Wright Arthur C. Kaufmann George B. Roberts STANDING COMMITTEES COMMITTEE ON EXHIBITION George B. Roberts, Chairman Henry S. Drinker George P. Orr Sydney E. Martin Robert Strausz-Hupe Sydney l. Wright COMMITTEE ON FINANCE C. Newbold Taylor, Chairman James P. Magill C. Alison Scully Howard C. Petersen John Stewart 'COMMITTEE ON INSTRUCTION William Clarke Mason, Chairman Mrs. leonard T. Beale C. Newbold Taylor COMMITTEE ON CHESTER SPRINGS William Clarke Mason, Chairman Sydney E. Martin . George B. Roberts COMMITTEE ON COLLECTIONS George P. Orr, Chairman Mrs. leonard T. Beale Sydney E. Martin R. Sturgis Ingersoll George B. Roberts SOLICITOR Maurice B. Saul 2 WOMEN'S COMMITTEE Mrs. Leonard T. Beale, Chairman · Mrs. S. Laurence Bodine Mrs. Graeme Lorimer Mrs. Alfred G. B. Steel Mrs. Francis T. Chambers Mrs. Morton McMichael Mrs. John F. Steinman Mrs. Emlen P. Etting Mrs. George B. Roberts Mrs. Boudinot Stimson Mrs. David M. Gwinn Mrs. Julius Rosenwald, (( Mrs. Robert Strausz-Hupe Mrs. Horace B. Hare Mrs. Lawrence M. C. Smith Mrs. Franklin C. Watkins · Mrs. Arthur C. Kaufmann Mrs. John P. Wheeler Mrs. John F. Lewis, Jr. Mrs. Sydney L. Wright STAFF GENERAL Joseph T. Fraser, Jr. Director and Secretary Charles J. Marsh Assistant to the Secretary August Viilu . Bookkeeper Mabel L. Eiseley . Registrar and Research Frances M. Vanderpool Exhibition and Membership Clerk Elizabeth Z. Swenson . Director of Public Relations and Membership · SCHOOLS (day and evening) Vernon M. Dodge. Curator Catherine R. Newbold Secretary to the Curator Martha K. Schick . Librarian and Sales FACULTY George Harding Edward Shenton John F. Harbeson Roy C. Nuse *Franklin C. Watkins William M. Campbell Francis Speight John W. McCoy Philip Aliano Walker Hancock Julius Bloch Edmond J. Farris Roswell Weidner - . Walter Stuempfig Jack Bookbinder *Harry Rosin Hobson Pittman Theodor Siegl * *Charles Rudy Morris Blackburn • Leave-of-absence 1952-53 •• Season 1952-53 only (Summer) RoyC. Nuse Roswell Weidner Francis Speight Martin Jackson BUILDING Mayland T. McAvoy, Superintendent 3 REPORT OF ' THE OFFICERS AND BOARD OF DIRECTORS Weare pleased to report that the year 1952 was again a very active one, marked by changes and achievements which have great bearing on the present health of the institution and on its opportunities for the future. The records of the Academy make clear that over the many years of its existence, its progress has not always been smooth. The fire :which de­ stroyed our first building in 1845, the difficulties of financing before this conflagration, and then the tremendous undertaking of erecting our present building, and many more episodes, have presented grave proble~s. This yeqr must be recorded as another time when finances have been upper­ most in our minds. The Academy's endowment has received few major contributions duri~g the last fifty years. Income from investments is lower, while every current expense has increased as the purchasing power of the dollar has de­ creased. These factors,combining with the smaller enrollment in our schools; which in turn was chiefly brought about through the expiration of many of the scholarships available through the G. I. Bill of Rights, all have presented us with serious problems. On the other hand, we feel that the Academy has surmounted this current series of problems with distinguished success, due to very generous financial backing of our work from a . num­ ber of new sources. In 1951 the 49th Annual Exhibition of Water Colors; Prints and Drawings was held, but on a very much curtailed scale. In' 1952 this exhibition, cele­ brating its 50th anniversary, once more returned to its former national and international scope and was held on the' scale of previous years. This was made possible through a generous contribution of $3500 from the Catherwood Foundation. Mr. Thornton Oakley, President of the Philadel­ phia Water Color Club (co-sponsor ~ith the Academy for these exhibiHons) made this grant possible through his enthusiastic and successful effort in support of the exhibition. A full report will record details of the 147th Annual Exhibition of Oil Painting and Sculpture, whieh each year is the major exhibition, and which opened our 1952 program. The mounting costs of holding this exhibition .4 foreshadowed its curtailment or suspension, but we are proud to· report that, through the generous gift of Mrs. Harrison S. Morris of the sum of $10,000 for each year, this venerable and distinguished annual exhibition will be held in traditional fashion during the next succeeding three years. Another major transaction is the sale of our property at Chester Springs, where we maintained a summer school from 1916 through 19~0. The sale was motivated by the fact that during the thirty-four years of operation of the school, the style and fashion of summer schools of art completely changed, in that the most successful and desirable of such schools were either summer sessions of the fine arts departments of major universities, or were studio classes given by leading teachers of art at their own summer homes, and that no institution endeavored to maintain a summer school on the style of a complete residential and recreational installation. From the sale we received $100,000, half of which was secured on a purchase money mortgage. Some of this money was spent on major repairs to the roof of our building. The greatest effort should be placed on increasing our student enrollment, but this task is made easier by the fact that our school is the best institution for training in the fine arts in the United States. As one very real evidence of the excellent training oui' students receive and the unique scholarship and prize opportunities they enjoy, we have compiled information and in­ cluded it with special emphasis in the ,school catalogue issued for the cur­ rent season. This record of prizes won and scholarships received by our students will be found repeated in this report under the heading of School. The second great painting by Benjamin West, this one titled Death on the Pale Horse, which had hung high over the stairs since 1894, has been handsomely conserved and installed upon the wall of Gallery B. Its setting, with draperies to cover it during transient exhibitions, and its lighting, now match its companion piece, Christ Reiected, which was similarly treated and installed last year. These improvements have been of vast importance to our building. The general richness of this front area of the Academy galleries has been further enhanced by the installation of a group of very beautiful pieces of antique furniture in Gallery N, as an indefinite loan from Mr. and Mrs. Alfred Bendiner. The large canvas Pat Lyon at the Forge by John Neagle also' had con­ servation attention and is now in splendid condition. 5 We want particularly to record the gratitude of the President and the Board concerning the many gifts which again are listed in this report. The permanent collection has been greatly enriched and once again certain important gaps in that collection have been filled. Mr. Arthur c._Kaufmann was elected on March 10, 1952, by unanimous vote, as a member of the Board of Directors; Mr. David M. Gwinn, also by unanimous vote, was elected to the Board at the meeting held on December 8, 1952. JOSEPH T. FRASER, JR., Director JOHN F. LEWIS, JR., President 6 EXHIBITIONS THE 147th ANNUAL EXHIBITION OF OIL PAINTING AND SCULPTURE The 147th Annual Exhibition of Oil Painting and Sculpture was held in the Galleries from January 20th through February 24th, with a Private View on Saturday, January 19th, from 9 to 11 P. M . P A INTIN G J U RY SCU LP T URE JURY leon , Kroll, Chairman Charles Rudy, Chairman Stuart Davis Koren der Harootian Arthur Osver Dorothea Greenbaum PRIZES A ND AWARD S The Painting Jury awarded the following: Temple Gold Medal-louis Guglielmi for New York 21 (painting) Jennie Sesnan Gold Medal-Joseph De Martini for Aqueduct (paint­ ing) Ca ~ ol H. Beck Gold Medal-Gladys Rockmore Davis for Study of an Old Woman (painting) J. Henry Schiedt Memorial Prize-Ben Benn for Sea Gulls (painting) The Sculpture Jury awarded the following: George D. Widener Memorial Gold Medal-Jacques lipchitz for Prometheus Strangling the Vulture (sculpture) Alfred G. B. Steel Memorial Prize-Saul Baizerman for Ugesie (sculpture) Garden Sculpture Prize-George Cerny for Sleeping Beauty (sculpture) Honorable Mention-Frank Vee for The Philosopher (sculpture) The Committee on Exhibition awarded the following: Walter Lippincott Prize-Andrew Wyeth for Man from Maine (painting) Mary Smith Prize-Alice T. Roberts for Ipswich Sand Dunes #2 (painting) A special Jury appointed by the President of the Academy's Fellowship awarded: The Fellowship Prize-Julian ' Levi for Promised Land (painting) Gallery Talks, sponsored by the Fellowship, were held at 2:30 P.M. as f ollows: January 24th, Dorothy Grafly; January 31 st, Hobson Pittman; February 7th, Jack Bookbinder; February 14th, Walker Hancock; February 21st, Walter E.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Milch Galleries
    THE MILCH GALLERIES YORK THE MILCH GALLERIES IMPORTANT WORKS IN PAINTINGS AND SCULPTURE BY LEADING AMERICAN ARTISTS 108 WEST 57TH STREET NEW YORK CITY Edition limited to One Thousand copies This copy is No 1 his Booklet is the second of a series we have published which deal only with a selected few of the many prominent American artists whose work is always on view in our Galleries. MILCH BUILDING I08 WEST 57TH STREET FOREWORD This little booklet, similar in character to the one we pub­ lished last year, deals with another group of painters and sculp­ tors, the excellence of whose work has placed them m the front rank of contemporary American art. They represent differen tendencies, every one of them accentuating some particular point of view and trying to find a personal expression for personal emotions. Emile Zola's definition of art as "nature seen through a temperament" may not be a complete and final answer to the age-old question "What is art?»-still it is one of the best definitions so far advanced. After all, the enchantment of art is, to a large extent, synonymous with the magnetism and charm of personality, and those who adorn their homes with paintings, etchings and sculptures of quality do more than beautify heir dwelling places. They surround themselves with manifestation of creative minds, with clarified and visualized emotions that tend to lift human life to a higher plane. _ Development of love for the beautiful enriches the resources of happiness of the individual. And the welfare of nations is built on no stronger foundation than on the happiness of its individual members.
    [Show full text]
  • Contemporary American Painting and Sculpture
    AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J.
    [Show full text]
  • Highlights from the William J. Glackens Collection in NSU Museum of Art Fort Lauderdale
    Highlights from The William J. Glackens Collection in NSU Museum of Art Fort Lauderdale By: Elizabeth Thompson Colleary Introduction to the Collection Every time a group of paintings by William Glackens is shown one gets from them much of the sensuous joy that the artist must evidently have had when he painted them. His are no perfunctory productions of a manufacturer of paintings. They are fragments of his life, of the pleasures he has felt at being in the sun in certain delightful places and above all of the pleasure derived from just painting’ 1 Written by an art critic reviewing an exhibition of paintings in 1931 by William J. Glackens (1870–1938), this statement aptly describes the experience that awaits visitors to the Glackens Wing at the Museum of Art | Fort Lauderdale. As the largest repository of resplendent works by the artist, recently described as a “master of delight” and praised in his lifetime for “his genius for transforming his inner joyousness to canvas,” 2 the collection includes painting spanning the years 1891 to 1938, thus from the defining phases of Glackens’s career—from his early days as an artist-reporter and illustrator, through his recognition as an urban realist aligned with the famed painter and teacher Robert Henri, to his brilliant flowering when he came into his own, inspired by the vivid colors of the French Impressionists and his American modernist contemporaries. Among the holdings are examples of his finest works as an illustrator, among them The Night after San Juan (1898), which depicts the aftermath of a battle in the Spanish-American War, Far from the Fresh Air Farm (1911), and Christmas Shoppers, Madison Square (1912), the latter two bustling New York City street scenes replete with lively vignettes and abundant period detail.
    [Show full text]
  • The Pennsylvania Academy of the Fine Arts
    THE PENNSYLVANIA ACADEMY OF THE FINE ARTS BROAD AND CHERRY 5T5. • PHILADELPHIA 153rd ANNUAL REPORT 1958 Cover: The Fish House Door by John F. Peto Collection Fund Purchase 1958 the One-Hundred and Fifty-third Annual Report of THE PENNSYLVANIA ACADEMY OF THE FINE ARTS FOR THE YEAR 1958 Presented to the Meeting of the Stockholders of the Academy on February 2, 1959 OFFICERS John F. Lewis, Jr. President, 1949-0ctober, 1958 Henry S. Drinker Vice-Pres., 1933-0ctober, 1958; President, October, 1958- C. Newbold Taylor . Treasurer Joseph T. Fraser, Jr. Director and Secretary BOARD OF DIRECTORS Mrs. Leonard T. Beale Arthur C. Kaufmann Howard C. Petersen Mrs. Richardson Dilworth* John F. Lewis, Jr. George B. Roberts Henry S. Drinker James P. Magill Raymond A. Speiser David Gwinn Fredric R. Mann* John Stewart George Harding* Sydney E. Martin C. Newbold Taylor Frank T. Howard Mrs. Herbert C. Morris Mrs. Elias Wolf* R. Sturgis Ingersoll George P. Orr** Sydney L. Wright * Ex-officio Alfred Zantzinger **Resigned Sept_ 1958 STANDING COMMITTEES COMM ITT EE ON COLL EC TI ONS AND EX HI BITIONS George B. Roberts, Chairman Mrs. Leonard T. Beale R. Sturgis Ingersoll Alfred Zantzinger CO MM ITTEE O N FIN AN CE C. Newbold Taylor Chairman James P. Magill John Stewart COMM ITTEE ON IN ST RU CTION James P. Magill, Chairman Mrs. Leonard T. Beale Mrs. Richardson Dilworth David Gwinn Mrs. Elias Wolf SOLICITOR Maurice B. Saul WOMEN'S COMMITTEE Mrs. Hart McMichael . Chairman to May, 1958 Mrs. Elias Wolf . Chairman, May, 1958- Mrs. George B. Roberts Corresponding Secretary-Treasurer Mrs.
    [Show full text]
  • Contemporary American Painting and Sculpture
    ILLINOIS Liahy^BY AT URBANA-CHAMPAIGN AnoMiTEGTURE t/livMwir Of kill NOTICE: Return or renew all Library Materialsl The Minimum Fee for each Lost BooK is $50.00. The person charging this material is responsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for discipli- nary action and may result in dismissal from the University. To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN ^^ RPR^ ^ a:C 2 1998 L161—O-1096 LJj^«-*v Umermfi Paintm^ UNIVERSITY OF ILLINOIS / 1^ m II IK WA.NUKRKKS Jovii- 1 iciin.m UNIVERSITY OF ILLINOIS EXHIBITION OF CONTEMPORARY AMERICAN PAINTING College of Fine and Applied Arts Architecture Building Sunday, March 4, through Sunday, April 15, 1951 UNIVERSITY OF ILLINOIS PRESS, URBANA IHtUSRARYOfTHt MAn G .j51 OHivERSirr OF laiNois COPYRIGHT 1951 BY THE UNIVERSITY OF ILLINOIS PRESS MANUFACTURED IN 1 UK UNITED STATES ( )l AMIRKA (jV-/vtXv RICKER LIBRARY ARCHITECTURE is, L>- UNIVERSJT^ OF lUINfUS -t-^ UNIVERSITY OF ILLINOIS EXHIBITION OF CONTEMPORARY AMERICAN PAINTING GEORGE D. STODDARD President of the University DEAN REXFORD NEWCOMB Chairman, Festival of Contemporary Arts OPERATING COMMITTEE N. Britsky H. A. Schultz J. D. Hogan A. S. Weller J. W. Kennedy N. V. Ziroli E. C. Rae C. \'. Dono\an, Chairman STAFF COMMITTEE MEMBERS L. F, Bailey J. H. G. Lynch E. H. Betts M. B. Martin C. E. Bradbury R. Perlman E. J. Bransby A. J. Pulos C. W. Briggs J. W. Raushenberger L. R.
    [Show full text]
  • Catalogue of the ... Annual Exhibition
    Established 1846 M. Knoedler & Co. Publishers and Dealers in WORKS OF ART PAINTINGS ENGRAVINGS ETCHINGS, ETC 556 Fifth Avenue New Yorfc Paris London J7 Place Vendome J5 Old Bond Street The One Hundred and Fifteenth Annual Exhibition of the Academy will be open to the public from Sunday, February 8, to Sunday, March 28, 1920, inclusive. ' Sundays, from i to 5 P. M. Week-days, from 9 A. M. to 5 P. M. MAN Y OF THE WORKS IN THIS EXHIBI- TION ARE FOR SALE AT STUDIO PRICES. INFORMATION IN REGARD THERETO MAY BE HAD FROM THE SALES- MAN OR FROM ANY ATTENDANT IN THE GALLERIES OR AT THE OFFICE THERE AREIN THE EXHIBITION 360 PAINTINGS AND 158 EXHIBITS OF SCULP- TURE. 333 ARTISTS ARE REPRESENTED The Schools of The Pennsylvania Academy of the Fine Arts train students in painting, sculpture and Ulustration. The success achieved by the schools is testified to by the number of artists of great reputation who received their training in them. The present instructors are; Hugh H. Breckenridge, Charles Grafly, Henry McCarter, Joseph T. Pearson, Jr., Daniel Garber, Philip L. Hale, Robert Vonnoh, Arthur B. Carles, John F. Harbeson and Charles de Geer, Detailed information in regard to the Schools will gladly be furnished to any one interested in the subject. The second term of the present school year begins February 2, 1920, but students may enter at any time. Summer School at Chester Springs, Chester County, Pennsylvania. THE PENNSYLVANIA academy of the fine arts FOUNDED 1805 CATALOGUE OF THE ll^TH ANNUAL EX- HIBITION, FEBRUARY 8 TO MARCH 28, 1920 SECOND EDITION PHILADtLPHlA 1920 MANAGEMENT OF THE PENNSYLVANIA ACADEMY OF THE FINE ARTS PRESIDENT, JOHN FREDERICK LEWIS.
    [Show full text]
  • Finding Aid for the Charles W. Hawthorne Papers, 1904-1947
    TABLE OF CONTENTS Finding Aid for the Charles W. Hawthorne Papers, 1904-1947 Summary Information Biographical Note SUMMARY INFORMATION Scope and Content Note Arrangement Repository The Frick Collection/Frick Art Reference Library Archives Administrative Information 10 East 71st Street Related Materials New York, NY, 10021 [email protected] Controlled Access Headings © 2010 The Frick Collection. All rights reserved. Collection Inventory Creator Hawthorne, Charles Webster, 1872-1930 Find Title Charles W. Hawthorne Papers ID MS.05 Date 1904-1947 Extent 0.5 Linear feet (1 box) Abstract Correspondence, newspaper clippings, photographs, and research material regarding the work of American painter and founder of the Cape Cod School of Art, Charles W. Hawthorne. Preferred Citation Charles W. Hawthorne Papers. The Frick Collection/Frick Art Reference Library Archives. Return to Top » BIOGRAPHICAL NOTE Charles Webster Hawthorne (1872-1930), an American portrait and genre painter and teacher, founded the Cape Cod School of Art in 1899. The son of a sea captain, he was born in Illinois on January 8, 1872 and grew up in Maine. Hawthorne moved to New York in 1894 to attend the Art Students League as a night student. He began studying under William Merritt Chase in 1896 and attended his outdoor painting classes at Shinnecock, Long Island. Hawthorne spent a year abroad in 1898, traveling to Holland and Italy. His time there inspired him to open his own school. He founded the Cape Cod School of Art in Provincetown, Massachusetts in 1899. The school, dedicated to outdoor figure painting, proved very successful and influential, attracting many well-known artists.
    [Show full text]
  • Contents Preface
    Contents Preface 1 Preface by Louis M. Salerno In 2007, Questroyal Fine Art published a report that explored the Second, because this report relies on verifiable repeat sale pairs, only potential and qualities of American art as an asset. In this expanded public auction records have been used. Private market activity — which 2 Acknowledgments & About the Author edition we have refined and updated our previous analysis. Our gal- may equal or exceed that of the public market — is not included, and lery’s sole purpose is to demonstrate that American art deserves its impact on the returns is not known. This second factor under- 3 Introduction: American Art as an Asset recognition as an investment. Its merit as an object that rouses your scores a third aspect of this analysis that requires consideration: this emotions or inspires your imagination should be the primary reason study’s focus is only on paintings that have sold more than once, and 6 The Strength of the American Art Market for acquisition; however, because important art requires a substantial no consideration is given to quality or potential, which limits possible commitment of capital, it is wise to understand its characteristics as returns. How much might the results be improved upon if expertise 10 American Art as a Means of Portfolio Diversification an asset class as well. were a quantifiable variable? (This question is addressed in the section How Expertise Can Enhance Investment Results.) The distinguished professors Dr. Jianping Mei and Dr. Michael Moses 16 How Expertise Can Enhance Investment Results of New York University’s Stern School of Business provided the data If you are considering venturing into the world of American art, then used to compile this report, and readers should have confidence in you may appreciate the nature of my gallery.
    [Show full text]
  • Contemporary American Painting and Sculpture
    jLLINGiS LIBRARY AT URBAI-JA-CHAf'iSPAlGN ARCHITECTURE RIOHER LWHARY AW;HITKTU«t UNIVERSITY OF ILUNOS MlnlnHim Fee lor NOnce: Return or renew all Ubrary Meterieltl The each Lost Book Is $50.00. The person charging this material is responsible for withdrawn its return to the library from which it was on or before the Latest Date stamped below. reasons for discipli- Theft, mutilation, and underlining ol books are University. nary action and may result in dismissal from the To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN OCT f f f\UGZ jy^ 33? University of Illinois 7f'-^S^C^i^^t^ SECOND ALLEGORY -ri:'HC&IK/Cx,^*,' CONTEMPORARY University of Illinois, Urbana Sunday, March 1, through Sunday, April 12, 1953 Galleries, Architecture Building College of Fine and Applied Arts THE LiSrARY OF THE RltAtfi 1,\mA.J AhChllLCTURE MAR ^ 1953 uiiiVERSiTY OF ;m;;;c!3 Copyright 1 953 by the University of Illinois Manufactured in the United States of America RICHER LIBRARY ARCHITECTURE umvERSin OF iuinois CONTEMPORARY AMERICAN PAINTING AND SCULPTURE GEORGE D. STODDARD President of the University REXFORD NEWCOMB Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rac OPERATING COMMITTEE C. A. Dietemann A. S. Weller W. F. Doolittle L. M. Woodroofe J. D. Hogan C. V. Donovan, Chairman L. F. Bailey J. \V. Kennedy E. H. Betts J. H. G. Lynch A. A. Boatright M. B. Martin STAFF COMMITTEE MEMBERS C. E. Bradbury R. Perlman G. R. Bradshaw J. W. Raushenberger C. \V.
    [Show full text]
  • The Eight and American Modernisms
    TWO MUST–SEE EXHIBITIONS | JUNE 6–AUG 23 THE EIGHT AND AMERICAN MODERNISMS Chronology 1907–57 INSTITUTIONS (ABBREViaTIONS IN TEXT) AAPS– American Association of CI– Carnegie Institute, MoMA– Museum of Modern Art, PMA– Philadelphia Museum of Art Painters and Sculptors Pittsburgh New York PC– Phillips Memorial Gallery, AIC– Art Institute of Chicago CGA– Corcoran Gallery of Art, NAD– National Academy of later The Phillips Collection, Washington, DC BF– Barnes Foundation, Washington, DC Design, New York Merion, Pennsylvania MMA– Metropolitan Museum of PAFA– Pennsylvania Academy of WMAA– Whitney Museum of American Art, New York BM– Brooklyn Museum Art, New York the Fine Arts, Philadelphia 1907 1911 March December Robert Henri withdraws from NAD spring show after Davies, Glackens, Lawson, and George Luks present at colleagues’ works are rejected the first meeting of the AAPS; instrumental in organizing April International Exhibition of Modern Art, known as the Henri and friends first meet to plan independent show Armory Show May 1912 “The Eight” first appears in New York Sun article Modern art collector Duncan Phillips acquires first Lawson painting, High Bridge—Early Moon (1910), and Albert C. 1908 Barnes purchases several of Lawson’s paintings February 3–17 The Eight show at Macbeth Galleries: 63 paintings, January 7,000 visitors Davies elected AAPS president March 7–19 September The Eight show travels to PAFA Henri visits the Salon d’Automne and Gertrude Stein in Paris Spring 1913 The artworks of The Eight and of Henri’s students hang February
    [Show full text]
  • A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
    This page intentionally left blank This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 by Dorothy W. Phillips Curator of Collections The Corcoran Gallery of Art, Washington D.G. 1973 Library of Congress Catalogue Card Number N 850. A 617 Designed by Graham Johnson/Lund Humphries Printed in Great Britain by Lund Humphries Contents Foreword by Roy Slade, Director vi Introduction by Hermann Warner Williams, Jr., Director Emeritus vii Acknowledgments ix Notes on the Catalogue x Catalogue i Index of titles and artists 199 This page intentionally left blank Foreword As Director of the Corcoran Gallery of Art, I am pleased that Volume II of the Catalogue of the American Paintings in the Corcoran Gallery of Art, which has been in preparation for some five years, has come to fruition in my tenure. The second volume deals with the paintings of artists born between 1850 and 1910. The documented catalogue of the Corcoran's American paintings carries forward the project, initiated by former Director Hermann Warner Williams, Jr., of providing a series of defini• tive publications of the Gallery's considerable collection of American art. The Gallery intends to continue with other volumes devoted to contemporary American painting, sculpture, drawings, watercolors and prints. In recent years the growing interest in and concern for American paint• ing has become apparent.
    [Show full text]