Yasuo Kuniyoshi
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Hamilton Easter Fiel
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Edith Halpert & Her Artists
Telling Stories: Edith Halpert & Her Artists October 9 – December 18, 2020 Charles Sheeler (1883-1965), Home Sweet Home, 1931, conte crayon and watercolor on paper, 11 x 9 in. For Edith Halpert, no passion was merely a hobby. Inspired by the collections of artists like Elie Nadelman, Robert Laurent, and Hamilton Easter Field, Halpert’s interest in American folk art quickly became a part of the Downtown Gallery’s ethos. From the start, she furnished the gallery with folk art to highlight the “Americanness” of her artists. Halpert stated, “the fascinating thing is that folk art pulls in cultures from all over the world which we have utilized and made our own…the fascinating thing about America is that it’s the greatest conglomeration” (AAA interview, p. 172). Halpert shared her love of folk art with Charles Sheeler and curator Holger Cahill, who was the original owner of this watercolor, Home Sweet Home, 1931. The Sheelers filled their home with early American rugs and Shaker furniture, some of which are depicted in Home Sweet Home, and helped Halpert find a saltbox summer home nearby, which she also filled with folk art. As Halpert recalled years later, Sheeler joined her on trips to Bennington cemetery to look at tombstones she considered to be the “first folk art”: I used to die. I’d go to the Bennington Cemetery. Everybody thought I was a queer duck. People used to look at me. That didn’t bother me. I went to that goddamn cemetery, and I went to Bennington at least four times every summer…I’d go into that cemetery and go over those tombstones, and it’s great sculpture. -
Oral History Interview with Edith Gregor Halpert, 1965 Jan. 20
Oral history interview with Edith Gregor Halpert, 1965 Jan. 20 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview HP: HARLAN PHILLIPS EH: EDITH HALPERT HP: We're in business. EH: I have to get all those papers? HP: Let me turn her off. EH: Let met get a package of cigarettes, incidentally. [Looking over papers, correspondence, etc.] This was the same year, 1936. I quit in September. I was in Newtown; let's see, it must have been July. In those days, I had a four months vacation. It was before that. Well, in any event, sometime probably in late May, or early in June, Holger Cahill and Dorothy Miller, his wife -- they were married then, I think -- came to see me. She has a house. She inherited a house near Pittsfield, Massachusetts, and on the way back they stopped off and very excited that through Audrey McMahon he was offered a job to take charge of the WPA in Washington. He was quite scared because he had never been in charge of anything. He worked by himself as a PR for the Newark Museum for many years, and that's all he did. He sent out publicity releases that Dana gave him, or Miss Winsor, you know, told him what to say, and he was very good at it. He also got the press. -
Oral History Interview with Katherine Schmidt, 1969 December 8-15
Oral history interview with Katherine Schmidt, 1969 December 8-15 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Katherine Schmidt on December 8 & 16, 1969. The interview took place in New York City, and was conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. Interview DECEMBER 8, 1969 [session l] PAUL CUMMINGS: Okay. It's December 8, 1969. Paul Cummings talking to Katherine Schubert. KATHERINE SCHMIDT: Schmidt. That is my professional name. I've been married twice and I've never used the name of my husband in my professional work. I've always been Katherine Schmidt. PAUL CUMMINGS: Well, could we start in 0hio and tell me something about your family and how they got there? KATHERINE SCHMIDT: Certainly. My people on both sides were German refugees of a sort. I would think you would call them from the troubles in Germany in 1848. My mother's family went to Lancaster, Ohio. My father's family went to Xenia, Ohio. When my father as a young man first started out in business and was traveling he was asked to go to see an old friend of his father's in Lancaster. And there he met my mother, and they were married. My mother then returned with him to Xenia where my sister and I were born. -
The Finding Aid to the Alf Evers Archive
FINDING AID TO THE ALF EVERS’ ARCHIVE A Account books & Ledgers Ledger, dark brown with leather-bound spine, 13 ¼ x 8 ½”: in front, 15 pp. of minutes in pen & ink of meetings of officers of Oriental Manufacturing Co., Ltd., dating from 8/9/1898 to 9/15/1899, from its incorporation to the company’s sale; in back, 42 pp. in pencil, lists of proverbs; also 2 pages of proverbs in pencil following the minutes Notebook, 7 ½ x 6”, sold by C.W. & R.A. Chipp, Kingston, N.Y.: 20 pp. of charges & payments for goods, 1841-52 (fragile) 20 unbound pages, 6 x 4”, c. 1837, Bastion Place(?), listing of charges, payments by patrons (Jacob Bonesteel, William Britt, Andrew Britt, Nicolas Britt, George Eighmey, William H. Hendricks, Shultis mentioned) Ledger, tan leather- bound, 6 ¾ x 4”, labeled “Kingston Route”, c. 1866: misc. scattered notations Notebook with ledger entries, brown cardboard, 8 x 6 ¼”, missing back cover, names & charges throughout; page 1 has pasted illustration over entries, pp. 6-7 pasted paragraphs & poems, p. 6 from back, pasted prayer; p. 23 from back, pasted poems, pp. 34-35 from back, pasted story, “The Departed,” 1831-c.1842 Notebook, cat. no. 2004.001.0937/2036, 5 1/8 x 3 ¼”, inscr. back of front cover “March 13, 1885, Charles Hoyt’s book”(?) (only a few pages have entries; appear to be personal financial entries) Accounts – Shops & Stores – see file under Glass-making c. 1853 Adams, Arthur G., letter, 1973 Adirondack Mountains Advertisements Alderfer, Doug and Judy Alexander, William, 1726-1783 Altenau, H., see Saugerties, Population History files American Revolution Typescript by AE: list of Woodstock residents who served in armed forces during the Revolution & lived in Woodstock before and after the Revolution Photocopy, “Three Cemeteries of the Wynkoop Family,” N.Y. -
Cows in Pasture
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Yasuo Kuniyoshi American, born Japan, 1889 - 1953 Cows in Pasture 1923 oil on canvas overall: 51.12 × 76.52 cm (20 1/8 × 30 1/8 in.) framed: 24 × 33.94 × 2.19 cm (9 7/16 × 13 3/8 × 7/8 in.) Inscription: lower center right: Y.Kuniyoshi 23 Corcoran Collection (Gift of George Biddle) 2014.136.94 ENTRY Yasuo Kuniyoshi’s early paintings, prints, and drawings feature odd, humorous, and even disconcerting subjects: frightened-looking babies with animals and anthropomorphic vegetation, for example.[1] When he tackled more conventional motifs, such as still lifes, landscapes, or nudes, he depicted them in a quasi- surrealistic style, from dizzying perspectives, or in odd arrangements with curious props. Cows in Pasture, ostensibly a straightforward view of a coastal New England dairy farm, is a prime example of Kuniyoshi’s subtle “strangeness,” as a critic characterized the artist’s early work.[2] Kuniyoshi’s favorite early subject was the cow; the artist estimated he painted some 60 cow pictures during the mid-1920s.[3] His preoccupation with the animal and the gravity with which he treated it earned him the label of satirist, a charge he would later counter: I wasn’t trying to be funny but everyone thought I was. I was painting cows and cows at that time because somehow I felt very Cows in Pasture 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 near to the cow. -
Oral History Interview with Raphael Soyer, 1981 May 13-June 1
Oral history interview with Raphael Soyer, 1981 May 13-June 1 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Funding for this interview was provided by the Wyeth Endowment for American Art. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Raphael Soyer on May 13, 1981. The interview was conducted by Milton Brown for the Archives of American Art, Smithsonian Institution. Interview Tape 1, side A MILTON BROWN: This is an interview with Raphael Soyer with Milton Brown interviewing. Raphael, we’ve known each other for a very long time, and over the years you have written a great deal about your life, and I know you’ve given many interviews. I’m doing this especially because the Archives wants a kind of update. It likes to have important American artists interviewed at intervals, so that as time goes by we keep talking to America’s famous artists over the years. I don’t know that we’ll dig anything new out of your past, but let’s begin at the beginning. See if we can skim over the early years abroad and coming here in general. I’d just like you to reminisce about your early years, your birth, and how you came here. RAPHAEL SOYER: Well, of course I was born in Russia, in the Czarist Russia, and I came here in 1912 when I was twelve years old. -
Faces of the League Portraits from the Permanent Collection
THE ART STUDENTS LEAGUE PRESENTS Faces of the League Portraits from the Permanent Collection Peggy Bacon Laurent Charcoal on paper, 16 ¾” x 13 ¾” Margaret Frances "Peggy" Bacon (b. 1895-d. 1987), an American artist specializing in illustration, painting, and writing. Born in Ridgefield, Connecticut, she began drawing as a toddler (around eighteen months), and by the age of 10 she was writing and illustrating her own books. Bacon studied at the Art Students League from 1915-1920, where her artistic talents truly blossomed under the tutelage of her teacher John Sloan. Artists Reginald Marsh and Alexander Brook (whom she would go on to marry) were part of her artistic circle during her time at the League. Bacon was famous for her humorous caricatures and ironic etchings and drawings of celebrities of the 1920s and 1930s. She both wrote and illustrated many books, and provided artworks for many other people’s publications, in addition to regularly exhibiting her drawings, paintings, prints, and pastels. In addition to her work as a graphic designer, Bacon was a highly accomplished teacher for over thirty years. Her works appeared in numerous magazine publications including Vanity Fair, Mademoiselle, Harper’s Bazaar, Vogue, Dial, the Yale Review, and the New Yorker. Her vast output of work included etchings, lithographs, and her favorite printmaking technique, drypoint. Bacon’s illustrations have been included in more than 64 children books, including The Lionhearted Kitten. Bacon’s prints are in the collections of the Whitney Museum of American Art, the Brooklyn Museum, and the Museum of Modern Art, all in New York. -
From Theleague
LINES from the League The Student and Alumni Magazine of the Art Students League of New York Spring 2014 Letter from the Executive Director here has always been a welcoming spirit at the League. Those with an affinity for art know that they are with like-minded people who share T their goals and desires to master their mediums. In such a supportive environment, many of our students choose to remain and study years after first enrolling. In this regard, we are as much a community as we are a school. This is the nature of the League: there are as many reasons to attend the League as there are attending students. The Board and administration recognize the League’s primary mission of providing a program and setting that supports the individual pursuit of art. The outgrowth of our 140-year history is nothing short of staggering; more promi- nent artists studied at the League than in any other institution. The same holds true for our illustrious faculty. League members who credit the League with providing them the most rewarding time of their lives continue to support us through gifts and bequests. We continue to be a sanctuary for artistic discourse and discovery where students learn that there are no limits to what they can achieve through dedication and the practice of making art. We honor those who have shown such dedication. In this issue of Lines, we profile individuals such as instructor Bruce Dorfman, celebrating fifty years of teaching at the League, and artist Eleanor Adam, who came to the League after the death of her son Alex to learn art and rediscover her place in the world. -
Post Sale Results for 684 - Palm Beach Single Owner Fine Art Online May 14, 2019
Post Sale Results for 684 - Palm Beach Single Owner Fine Art Online May 14, 2019 Lot and Description Low High Price Realized 1 - Jack Levine, (American, 1915-2010) etching and drypoint signed and $300 $500 $187 numbered 82/100 2 - Walt Francis Kuhn, (American, 1877-1949) lithograph signed in pencil $200 $300 $125 (lower left) 3 - Isabel Bishop, (American, 1902-1988) etching signed in pencil (lower $600 $900 $406 right) 5 - Robert Kushner, (American, born 1949) oil on canvas $1,000 $1,500 $1,062 6 - Hal Larsen, (American, born 1935) watercolor, collage on board signed $600 $800 Unsold (lower right) 7 - Leo Meisser, (Swiss, 1902-1977) etching signed and numbered 26/55 $100 $150 $62 8 - Victoria Ebbels Hutson Hartley, (American, 1900-1971) pencil on paper $200 $300 $125 signed, dedicated and dated (lower margin) 9 - Walt Francis Kuhn, (American, 1877-1949) ink and wash on paper $500 $700 $625 10 - Jack Levine, (American, 1915-2010) mezzotint signed and numbered $200 $300 $125 69/100 11 - Peggy Bacon, (American, 1895-1987) lithograph signed and titled in $150 $200 $281 pencil (lower margin) 12 - Isabel Bishop, (American, 1902-1988) ink on paper signed (lower left) $300 $500 $625 13 - Jack Levine, (American, 1915-2010) brown wash on paper signed $600 $800 Unsold (lower right) 14 - Walt Francis Kuhn, (American, 1877-1949) ink on paper $500 $700 Unsold 15 - Isabel Bishop, (American, 1902-1988) oil and watercolor on panel $8,000 $10,000 $13,750 signed (upper right) 16 - Walt Francis Kuhn, (American, 1877-1949) lithograph signed and titled $150 $200 $162 (lower margin 17 - Robert Kushner, (American, born 1949) acrylic, metal leaf and glitter $800 $1,000 $1,000 signed, titled and dated (lower left) 18 - Mary Frank, (English/American, b. -
Metropolitan Useum Of
THE ETROPOLITAN N EWS pM Saturday, March 10, 1951 FOR AM Sunday, March 11, 1951 M USEUM OF ART RELEASE FIFTH AYE.at 82 STREET • NEW YORK PRESS VIEW: Friday, Mar. £, 1951 - 2 to 4:30 PM ART STUDENTS LEAGUE 75TH ANNIVERSARY EXHIBITION OPENS MARCH 16 AT METROPOLITAN MUSEUM Constituting "an extraordinary record of achievement by an extraordinary school," an exhibition of paintings, drawings and sculpture by seventy-five artists asso ciated with the Art Students League of New York from its early days to the present opens this Friday (March 16) at The Metropolitan Museum of Art. The exhibition Is presented by the Art Students League through the courtesy of the Trustees of The Metropolitan Museum of Art. The pictures were selected and hung by a Committee of the League. Leading museums throughout the country have lent works to the League for this Diamond Jubilee exhibition. Included will be The Concert S,inger by Thomas Eakins from the Philadelphia Museum of Art; The_ Young Woman in White by Rbbert Henri from the National Gallery of Art, Washington, DkC»} Emma and her Children by George Bellows from the Boston Museum of Fine Arts; Hogs Killing a Rattlesnake by John Steuart Curry from the Art Institute of Chicago; Otis Skinner by George Luks from the Phillips Gallery, Washington, D.C.; and Trio by Walt Kuhn from the Colorado Springs Fine Arts Center. Other museums, organizations, galleries and private collectors have lent work by George Inness, Augustus Saint-Gaudens, John Sloan, Jacob Epstein, Yasuo Kuniyoshi, Reginald Marsh, Georgia O'Keeffe, Alexander Calder and many other. -
Faces of the League Portraits from the Permanent Collection
THE ART STUDENTS LEAGUE PRESENTS Faces of the League Portraits from the Permanent Collection Peggy Bacon Laurent Charcoal on paper, 16 ¾” x 13 ¾” Margaret Frances "Peggy" Bacon (b. 1895-d. 1987), an American artist specializing in illustration, painting, and writing. Born in Ridgefield, Connecticut, she began drawing as a toddler (around eighteen months), and by the age of 10 she was writing and illustrating her own books. Bacon studied at the Art Students League from 1915-1920, where her artistic talents truly blossomed under the tutelage of her teacher John Sloan. Artists Reginald Marsh and Alexander Brook (whom she would go on to marry) were part of her artistic circle during her time at the League. Bacon was famous for her humorous caricatures and ironic etchings and drawings of celebrities of the 1920s and 1930s. She both wrote and illustrated many books, and provided artworks for many other people’s publications, in addition to regularly exhibiting her drawings, paintings, prints, and pastels. In addition to her work as a graphic designer, Bacon was a highly accomplished teacher for over thirty years. Her works appeared in numerous magazine publications including Vanity Fair, Mademoiselle, Harper’s Bazaar, Vogue, Dial, the Yale Review, and the New Yorker. Her vast output of work included etchings, lithographs, and her favorite printmaking technique, drypoint. Bacon’s illustrations have been included in more than 64 children books, including The Lionhearted Kitten. Bacon’s prints are in the collections of the Whitney Museum of American Art, the Brooklyn Museum, and the Museum of Modern Art, all in New York.