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Glackens, William Illustration Collection
William Glackens Illustration Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Gift of Ira Glackens, 1989 Extent 2 linear feet Abstract The collection contains tear sheets and proofs of illustrations by the artist from a variety of magazines, including Century Magazine, McClure’s Magazine, and The Saturday Evening Post. Access Restrictions Unrestricted Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation William Glackens Illustration Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum 1 Chronology of William Glackens 1870 – Born March 13 in Philadelphia to Samuel Glackens and Elizabeth Finn Glackens. William was the youngest of three children. His brother Louis became a well-known cartoonist and illustrator. 1889 – Graduated from Central High School in Philadelphia, where he met John Sloan and Albert C. Barnes. 1891-1894 – Worked as newspaper artist on the Philadelphia newspapers the Record, the Press, and the Public Ledger. Moving between papers he renewed acquaintance with John Sloan and met Everett Shinn, George Luks, James Preston, and Frederic Gruger. Attended evening classes at the Pennsylvania Academy of the Fine Arts, where he met Robert Henri. Was part of the short-lived Charcoal Club. In 1894, shared a studio with Robert Henri. 1895 – First published book illustrations appeared in Through the Great Campaign with Hastings and his Spellbinders by George Nox McCain. 1895-1896 – Traveled to Paris, and with Robert Henri and James Wilson Morrice made sketching trips outside the city. -
APRIL 2006 Charles Seliger with Phong Bui and John Yau by John
APRIL 2006 Charles Seliger with Phong Bui and John Yau by John Yau and Phong Bui On a sunny afternoon of last month, Rail publisher Phong Bui and art editor John Yau drove up to Mount Vernon to visit the home/studio of the painter Charles Seliger to talk about his life and work in conjunction with the current exhibit of his new paintings at Michael Rosenfeld Gallery (on view until May 13). While the three of us were sitting down for lunch after our conversation with his wife, Lenore, Seliger, in his casual and genteel manner, demonstrated an unusual gift—in a matter of less than five minutes, he duplicated all the American Presidents’ signatures nearly in order from memory. The list is included here in these pages. John Yau: The first observation I want to make is how much your work has changed. As far back as I can remember, paint has been your central medium, but you’ve recently been using colored pencils. Charles Seliger: It’s something I’ve wanted to try for a long time, to experiment and see what the results would be. I managed to prepare a surface with various mattegels and modeling paste, so that I could draw on it with colored pencils. There were limitations with pencils; you’re locked into their colors and can’t do very much blending. I explored it as far as I think I can go. But what I’ve accomplished satisfied me enough. Actually, three works in the show are made with this technique. Yau: You’ve gone as far as you can with colored pencils? Seliger: Yes, I think so. -
Marsden Hartley (American, 1877-1943), Still Life, No
THE ARMORY SHOW AT 100 October 18, 2013 - February 23, 2014 Marsden Hartley (American, 1877-1943), Still Life, No. 1, 1912. Oil on canvas, 31 ½ x 25 5/8 in. Columbus Museum of Art, Ohio: Gift of Ferdinand Howald, 1931.184. Vincent van Gogh (Dutch, 1853-1890), Mountains at Saint Rémy (Montagnes à Saint- Rémy), 1889. Oil on canvas, 28 ¼ x 35 ¾ in. Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Justin K. Thannhauser, 1978, 78.2514.24 Maurice Prendergast (American, 1859-1924), Landscape with Figures, ca. 1910-12. Oil on canvas, 38 ½ x 52 ¾ in. Edward W. Root Bequest, 57.212, Munson-Williams-Proctor Arts Institute, Utica, New York. Image, Art Resource, NY Henri Matisse (French, 1869-1954), Blue Nude, 1907. Oil on canvas, 36 ¼ x 55 ¼ in. The Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland, BMA 1950.228. © 2013 Succession H. Matisse / Artists Rights Society (ARS), New York. Photography by Mitro Hood. John Sloan (American, 1871-1951), Sunday, Women Drying Their Hair, 1912. Oil on canvas, 26 1/8 x 32 1/8 in. Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts, Museum Purchase, 1938.67. © 2013 Delaware Art Museum / Artists Rights Society (ARS), New York Paul Gauguin (French, 1848-1903), Parau na te Varua ino (Words of the Devil), 1892. Oil on canvas, 36 1/8 x 26 15/16 in. National Gallery of Art, Washington, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman. Courtesy of the National Gallery of Art, Washington John Marin (American, 1870-1953), Woolworth Building, No. -
Please Confirm Dates and Titles with the Information Office (202) 842-6353
NOTE TO EDITORS: Information listed below is subject to change. Please confirm dates and titles with the Information Office (202) 842-6353. ADVANCE EXHIBITION SCHEDULE August 1986 - September 1987 CONTINUING EXHIBITIONS GEORGE INNESS Through Sept. 7, 1986 Uest Building, Ground Floor Seen in four other cities across the U.S. during the past two years, George Inness represents the first national retrospective of this widely influential late 19th century American landscape artist. The exhibition traces Inness' artistic output from his early assimilation of French Barbizon landscape art through his development of an individually expressive artistic language. The exhibition was organized by Michael Quick, curator of American art, Los Angeles County Museum of Art and coordinated in its Washington showing by Nicolai Cikovsky, Jr., curator of American art, National Gallery of Art. George Inness is accompanied by a fully illustrated, scholarly catalogue. GIFTS TO THE NATION: SELECTED ACQUISITIONS FROM THE COLLECTIONS OF MR. AND MRS. PAUL MELLON Through Oct. 19, 1986 West Building, Main Floor This exhibition of more than 85 works of art by French, British and American masters spanning the 18th - 20th centuries has been selected from the 822 works given to the National Gallery by Mr. and Mrs. Paul Mellon since 1964. Gifts to the Nation features outstanding paintings and works on paper by American artists Winslow Homer, George Bellows, Thomas Eakins and Maurice Prendergast, as well as European masters Paul Cezanne, Henri Matisse, Edgar Degas, Georges Seurat, Claude Monet, William Hogarth, John Crome and Richard Wilson. The exhibition includes selections from the most recent gift made by the Me!Ions in 1985, some of which are on view at the Gallery for the first time. -
American Modernists University of Wyoming Art Museum, 2007 Educational Packet Developed for Grades K-12 Introduction in This
American Modernists University of Wyoming Art Museum, 2007 Educational Packet developed for grades K-12 Introduction In this museum visit students will view the work of the American Modernists from the late 19th and early 20th Centuries, American artists who began discarding the conventions and traditions of the past in search of something “new.” Personal expression and individualism were embraced as artists forged new visual vocabularies. American Modernists explores the stylistic developments and diverse approaches to the image- making process as American artists undertook to create new art during the 20th Century. History Modernism: Making a Sharp Break with the Old For artists in America before World War II, Europe was considered the center of the art world and it was essential that artists live and study there in order to be successful. In the Post-War years, New York became the recognized art world center. While European art continued to inspire, emulating or copying it and not seeking your own personal voice in your creative process was considered taboo. In 1908, an exhibition in New York would change art in America. Frustrated by the lack of recognition for artists who were working outside the mainstream of the acceptable traditions that dominated the National Academy, eight artists banded together to present their work to the world. Under the leadership of artist and educator Robert Henri; Arthur B. Davies, William Glackens, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan organized their only exhibition together. The Eight was shown in the Macbeth Gallery, drawing 7,000 visitors. The experimental work being created in Paris found its way to the US through these inventive and John Sloan, Burglars, 1903, etching, 4-1/8 x5-3/4 cm, Gift of Mr. -
Williams College Museum of Art Opens Major Exhibition About American Artist Maurice Prendergast
PRESS RELEASE FOR IMMEDIATE RELEASE March 2009 Press Contact: Suzanne Silitch, (413) 597-3178, [email protected] Aimee Hirz, (413) 597-2037, [email protected] WILLIAMS COLLEGE MUSEUM OF ART OPENS MAJOR EXHIBITION ABOUT AMERICAN ARTIST MAURICE PRENDERGAST Williamstown, Mass.– In partnership with the Terra Foundation for American Art, the Williams College Museum of Art (WCMA) presents Prendergast in Italy, the first exhibition devoted entirely to the watercolors, monotypes, and oil paintings by American artist Maurice Prendergast. Featuring over sixty views of Venice, Rome, Siena, and Capri, Prendergast in Italy also includes the artist’s personal sketchbooks, letters, photographs, and guidebooks from his two trips to Italy in 1898 and 1911. Prendergast presented a view of Italy that was informed by European trends but did not disguise his strong American accent—an accent that would come to dominate international discourse in the twentieth century. This interdisciplinary exhibition demonstrates the advances of abstract color and form that put Prendergast on the cutting edge of American modernism. Since the majority of the works are of Venice, the armchair traveler will come away from this exhibition with a vivid sense of that unique city, its canals, and famous monuments as seen though the eyes of an American on the forefront of 20th-century modernism. Five different works, including Rialto, Venice from WCMA’s collection, are displayed so that both sides are visible. These double-sided watercolors, in addition to many sketches and unfinished works, provide a special glimpse into the artist’s creative process. A large group of color monotypes showcase Prendergast’s daring approach and experimentation with the medium. -
20Th Century Painters
20TH CENTURY PAINTERS A Special Exhibition of Oils, Water Colors and Drawings Selected from the Collections of American Art in the Metropolitan Museum JUNE 16,1950 THE METROPOLITAN MUSEUM OF ART In this exhibition of works by twentieth century American painters drawn from its own collections, the Metropolitan Museum presents for the first time an extensive selection from the Alfred Stieglitz Collection, given to the Museum in 1949 by his executrix, Georgia O'Keeffe. 20TH CENTURY PAINTERS PAINTINGS IN OIL, UNLESS OTHERWISE NOTED EDWIN AUSTIN ABBEY. 1852-1911 King Lear's Daughters. Dated 1898. Gift of George A. Hearn, 1913 IVAN LE LORRAINE ALBRIGHT. 1897- Fleeting Time, Thou Hast Left Me Old. Painted in 1929-1930. George A. Hearn Fund, 1950 JOHN WHITE ALEXANDER. 1856-1915 Study in Black and Green. Painted about 1900. George A. Hearn Fund, 1908 DARREL AUSTIN. 1907- The Tightrope. Painted in 1941. George A. Hearn Fund, 1941 WILLIAM BAZIOTES. 1912- Dragon. Dated 1950. Arthur H. Hearn Fund, 1950 GIFFORD BEAL. 1879- The Albany Boat. Dated 1915. George A. Hearn Fund, 1917 GEORGE WESLEY BELLOWS. 1882-1925 Up the Hudson. Painted in 1908. Gift of Hugo Reisinger, 1911 THOMAS HART BENTON. 1889- Roasting Ears. Egg tempera and oil. Painted in 1938-1939. Arthur H. Hearn Fund, 1939 July Hay. Egg tempera on masonite. Dated 1943. George A. Hearn Fund, 1943 EUGENE BERMAN. 1899- The Muse of the Western World. Dated 1942. George A. Hearn Fund, 1943 GEORGE BIDDLE. 1885- A Woman with a Letter. Painted in 1933. Arthur H. Hearn Fund, 1937 ISABEL BISHOP. 1902- Tvoo Girls. -
Memorial Exhibition : the Collection of the Late Miss Lizzie P. Bliss, Vice- President of the Museum May 17- September 27, 1931, Museum of Modern Art, New York
Memorial exhibition : the collection of the late Miss Lizzie P. Bliss, vice- president of the museum May 17- September 27, 1931, Museum of Modern Art, New York Author Bliss, Lizzie P. (Lizzie Plummer), 1864- 1931 Date 1931 Publisher The Plandome Press Exhibition URL www.moma.org/calendar/exhibitions/1707 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art MEMORIAL EXHIBITION THE COLLECTION OF MISS LIZZIE P. BLISS THE MUSEUM OF MODERN ART LIBRARY THE MUSEUM OF MODERN ART Received: - MEMORIAL EXHIBITION THE COLLECTION OF MISS LIZZIE P. BLISS MISS LIZZIE P. BLISS 1864-1931 MEMORIAL EXHIBITION THE COLLECTION OF THE LATE MISS LIZZIE P. BLISS VICE ' PRESIDENT OF THE MUSEUM MAY 17 — SEPTEMBER 27 — 1931 MUSEUM OF MODERN ART NEW YORK 1 r\nA IM MEMORIAL TO LIZZIE P. BLISS The life of Lizzie P. Bliss was one of service and of joy in that service. To indi viduals and to public movements she gave continually of her support and aid. In this city she held a unique place, enjoying the affection and devotion of all who knew her and of many who knew only her name. It was her delight and privilege to give to the artist and musician of promise the support that their ultimate success so generally justified. Many public enterprises owed much to her leadership and devotion. The Kneisel Quartet, the Juilliard Foundation, the great Armory Exhibition of 1913, were among the undertakings which profited by her direction and support. -
JAMES WILSON MORRICE W (] ~
JAMES WILSON MORRICE w (] ~ ......) ......) >- u w co w a~ ~ ~ w zu ~ ~ ~ LLl 'I JAMES WILSON MORRICE 7? ByDONALD W.BUCHANAN THE RYERSON PRESS TORONTO MOUNTAIN HILL, QUEBEC Collection: Mrs. Howard Pillow, Montreal JAMES WILSON MORRICE HE first Canadian painter to plunge into the clear stream of T the living art of our day was) ames Wilson Morrice. A gener ation in advance of his contemporaries in Canada, he possessed during his lifetime no immediate followers. Yet to-day his memory is revered by all those Canadian painters who asp1re both to sound and original expression. His birthplace was MontreaL the year 1865. He died in Tunis, N orth Africa, in 1924, Forever a wanderer, from the days when he first deserted law school in Toronto to take up art studies in Paris, he seemed continually to be moved by some inner compulsion, which drove him in progression from Canada to France, from Paris to Venice, from the Mediterranean to the West Indies. This was something which he himself never attempted to explain. Yet, despite his many reticences, he should not be regarded either as a man of mystery or as a recluse. On the contrary, he was a wit and a cultured conversationalist, a lover of good music, of fine food, of gay company. During his frequent sojourns in Paris, where he maintained a studio, he mingled in some of the most cosmopolitan society of his day. His range of acquaintanceship was wide. Somerset Maugham and Arnold Bennett, for example, both knew him well an d have recorded their memories of him in several novels. -
The Brooklyn Rail
ArtSeen November 5th, 2010 by James Kalm With the harmonies of Jan and Dean and the Beach Boys pouring out of every car radio, as a kid growing up in the West during the ’60s, I didn’t have to be reminded that California was where it was happening. I ran away from home the day summer vacation started after my junior year of high school, and hitched to San Francisco’s Haight-Ashbury district to spend a month getting a firsthand introduction to West Coast hipness. To us back then, the Continental Divide wasn’t just a ridge that dictated whether a river would run east or west but was also an aesthetic division. A rock ’n’ roll analogy would be West Coast bands like Jefferson Airplane, Big Brother and the Holding Company, and the Doors versus New York’s doo-wop-derived Frankie Valli and the Four Seasons or folk-based performers like Bob Dylan or Simon and Garfunkel. However, when it came time to fly the coop and pick a coast to pursue an artistic “career,” even though Bay Area Funk Art and Finish Fetish seemed more approachable, sexy, and fun than the buttoned-down formalism of Minimalism and Conceptual Art that we were reading about in Artforum and Art in America, New York seemed the only logical choice. Memories of this long ago decision came surging back during a recent visit to Los Angeles. Art history geek that I am, I dragged Kate and our son Mac on a pilgrimage to 723 North La Cienega Boulevard, the location of the legendary Ferus Gallery. -
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 -
The Whitney to Present Signs & Symbols, Third in Series Of
THE WHITNEY TO PRESENT SIGNS & SYMBOLS, THIRD IN SERIES OF SIX SHOWS REASSESSING THE COLLECTION June 28-October 28, 2012 Theodoros Stamos (b. 1922), Ancestral Worship, 1947. © Estate of Theodoros Stamos NEW YORK, May 14, 2012 -- Signs & Symbols, the third in a series of six exhibitions focused on the Whitney’s collection, takes stock of the period from the mid-1940s to the end of the 1950s, drawing upon the Museum’s deep collection of paintings, sculpture, drawings, prints, and photographs. This exhibition reconsiders this critical postwar moment—a time perhaps most frequently associated with a select group of Abstract Expressionists and their large-scale, highly abstract canvases and gestural brushwork. By contrast and through a more textured narrative, Signs & Symbols highlights primarily abstract work completed on diverse scales, engaged with more figurative signs and symbols, and by a larger group of artists, many of whom are lesser known and rarely exhibited. The exhibition, curated by Donna De Salvo, the Whitney’s Chief Curator and Deputy Director for Programs, in collaboration with Jane Panetta, opens on June 28 and remains on view through October 28 in the Mildred & Herbert Lee Galleries on the Whitney’s second floor. Donna De Salvo comments: “The postwar period that Signs & Symbols makes its subject has become so identified with the heroic abstraction of New York School painting that it's easy to overlook the broader, more nuanced investigations into representation and abstraction that occupied artists throughout the country at the time. The Whitney's collection is wonderfully rich in these experiments as they play out nationally.