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Animal and Sporting Paintings in the Penkhus Collection: the Very English Ambience of It All
Animal and Sporting Paintings in the Penkhus Collection: The Very English Ambience of It All September 12 through November 6, 2016 Hillstrom Museum of Art SEE PAGE 14 Animal and Sporting Paintings in the Penkhus Collection: The Very English Ambience of It All September 12 through November 6, 2016 Opening Reception Monday, September 12, 2016, 7–9 p.m. Nobel Conference Reception Tuesday, September 27, 2016, 6–8 p.m. This exhibition is dedicated to the memory of Katie Penkhus, who was an art history major at Gustavus Adolphus College, was an accomplished rider and a lover of horses who served as co-president of the Minnesota Youth Quarter Horse Association, and was a dedicated Anglophile. Hillstrom Museum of Art HILLSTROM MUSEUM OF ART 3 DIRECTOR’S NOTES he Hillstrom Museum of Art welcomes this opportunity to present fine artworks from the remarkable and impressive collection of Dr. Stephen and Mrs. Martha (Steve and Marty) T Penkhus. Animal and Sporting Paintings in the Penkhus Collection: The Very English Ambience of It All includes sixty-one works that provide detailed glimpses into the English countryside, its occupants, and their activities, from around 1800 to the present. Thirty-six different artists, mostly British, are represented, among them key sporting and animal artists such as John Frederick Herring, Sr. (1795–1865) and Harry Hall (1814–1882), and Royal Academicians James Ward (1769–1859) and Sir Alfred Munnings (1878–1959), the latter who served as President of the Royal Academy. Works in the exhibit feature images of racing, pets, hunting, and prized livestock including cattle and, especially, horses. -
Michael Cowan Fitzgerald
1 Michael C. FitzGerald Office: 113 Hallden Hall tel. 860-297-2503 [email protected] [email protected] (home) EDUCATION 1976-1987 COLUMBIA UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES Ph.D., M.Phil., M.A. DISSERTATION: "Pablo Picasso's Monument to Guillaume Apollinaire: Surrealism and Monumental Sculpture in France, 1918-1959." 1984-1986 COLUMBIA UNIVERSITY GRADUATE SCHOOL OF BUSINESS M.B.A. 1972-1976 STANFORD UNIVERSITY B.A. EMPLOYMENT TRINITY COLLEGE (Hartford, CT) DEPARTMENT OF FINE ARTS 2007- Professor 2OO2-5 Director, Art History Program (first appointment) 1994-2007 Associate Professor, Department of Fine Arts 1996-1998 Chairman 1988-1994 Assistant Professor 1986-1988 CHRISTIE, MANSON AND WOODS INTERNATIONAL (New York, NY) Specialist-in-charge of Drawings, Department of Impressionist and Modern Art 1981-1983 COLUMBIA UNIVERSITY (New York, NY) Preceptor,Department of Art History and Archaeology CONSULTANCY Research Director, Fundación Almine y Bernard Ruiz- Picasso para el Arte (FABA), 2020- AWARDS American Academy in Rome, April 2020 (deferred due to Corona Virus) Terra Foundation, 2006 2 National Endowment for the Arts, 2005-06 Faculty Research Leave, Trinity College, 2001-2002 3-Year Expense Grant, Trinity College, 2001-2004 Archives Grant, New York State Council of the Arts, 1999-2000 (with Whitney Museum of American Art) Fellowship, National Endowment for the Humanities, 1994-95 Faculty Research Grant, Trinity College, Summer 1993 Travel to Collections Grant, National Endowment for the Humanities, Summer 1991 Faculty Research Grant, Trinity College, Summer l989 Rudolf Wittkower Fellowship, Columbia University, 1980-81 Travel Grant, Columbia University, Summer l982; President's Fellowship, Columbia University, l977-78 CURRENT PROJECT Curator, Picasso and Classcial Traditions, This exhibition is a collaboration between the Museo de Bellas Artes de Sevilla and the Museo Picasso Málaga. -
Lots of Fruit MEDIUM: Crayon BIG IDEA
TITLE of Gr 1 Project: Lots of Fruit Read and discuss the book Little Oink by Amy Krouse Rosenthal. MEDIUM: Crayon OBJECTIVES: The student Will Be Able To: BIG IDEA: Is Lots Better than One? 1. acknowledge that art can represent things in life ESSENTIAL QUESTION: Would you choose to eat 2. acknowledge that marks can define an object lots of fruit or just one piece? 3. identify and use light and shadow for 3D effect MATERIALS: 90 lb white cardstock 8.5X11” 4. create visual balance paper; pencils; crayons; pencils; lots of fruit 5. understand that art has significance 6. understand and use art vocabulary & concepts STUDIO PROCEDURES: 1. Look at the PPt about RELATED HISTORIC ARTWORK: Frans Snyders Frans Snyders pointing out the super realism of PPt the objects and the abundance of objects. 2. Have the discussion using the key questions. 3. If Still Life with available, read the book Little Oink by Amy Grapes and Krouse Rosenthal. 4. Place an arrangement of Game by Frans fruit in front of the students, preferable in a Snyders, c. 1630, bowl. Suggestion would be to make a central still Oil paint on life and arrange their tables/desks around the Panel arrangement. 5. Demonstrate how to draw the TEKS: Grades 1. 1. a. b. (info from environment; still life using basic shapes as a guide. Point out use element of line, color and shape; use to the students where the fruit is light and where principle of balance) it is dark. Also encourage the students to fill the 2. -
Three Centuries of British Art
Three Centuries of British Art Three Centuries of British Art Friday 30th September – Saturday 22nd October 2011 Shepherd & Derom Galleries in association with Nicholas Bagshawe Fine Art, London Campbell Wilson, Aberdeenshire, Scotland Moore-Gwyn Fine Art, London EIGHTEENTH CENTURY cat. 1 Francis Wheatley, ra (1747–1801) Going Milking Oil on Canvas; 14 × 12 inches Francis Wheatley was born in Covent Garden in London in 1747. His artistic training took place first at Shipley’s drawing classes and then at the newly formed Royal Academy Schools. He was a gifted draughtsman and won a number of prizes as a young man from the Society of Artists. His early work consists mainly of portraits and conversation pieces. These recall the work of Johann Zoffany (1733–1810) and Benjamin Wilson (1721–1788), under whom he is thought to have studied. John Hamilton Mortimer (1740–1779), his friend and occasional collaborator, was also a considerable influence on him in his early years. Despite some success at the outset, Wheatley’s fortunes began to suffer due to an excessively extravagant life-style and in 1779 he travelled to Ireland, mainly to escape his creditors. There he survived by painting portraits and local scenes for patrons and by 1784 was back in England. On his return his painting changed direction and he began to produce a type of painting best described as sentimental genre, whose guiding influence was the work of the French artist Jean-Baptiste Greuze (1725–1805). Wheatley’s new work in this style began to attract considerable notice and in the 1790’s he embarked upon his famous series of The Cries of London – scenes of street vendors selling their wares in the capital. -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W. -
Nohra Haime Gallery
NOHRA HAIME GALLERY LESLEY DILL Born 1950 Lives and works in Brooklyn, New York EDUCATION 1980 Maryland Institute College of Art, Baltimore, MD, M.F.A. 1974 Smith College, Northampton, MA, MAT 1972 Trinity College, Hartford, CT, B.A. AWARDS/GRANTS 2018 Lucie Foundation Grant Project on Shaker Art, Religion and Design, Fordham University, Bronx, NY 2017 John Simon Guggenheim Fellowship 2016 Artist-in-Residence, Fullerton College, CA 2014-15 Falk Visiting Artist Residency, University of North Carolina at Greensboro 2014 The McIlroy Family Visiting Professorship in the Performing and Visual Arts 2013 Milwaukee Institute of Art and Design, SGC International Lifetime Achievement in Printmaking Award 2010 Center for Book Arts Honoree 2008 Anonymous Was A Woman 2007 Rockefeller Foundation Multi Artists Production Award with Tom Morgan Maryland Institute of Art, Alumna Award 1996 Joan Mitchell Foundation Grant 1995 New York Foundation for the Arts, Drawing - Printmaking Category 1992 Project Residency Award, Hillwood Art Museum and New York State Council on Arts 1990 National Endowment for the Arts, Sculpture Fellowship 1984 Artist-in-Residence, Altos de Chavon, Dominican Republic 1983 Zaner Corporation Purchase Award from Small Works ‘83 SELECTED SOLO EXHIBITIONS 2021 “Wilderness: Words are where what I catch is me,” Figge Art Museum, Davenport, IA 2019 “Lesley Dill: Sculpture: 1994-2018,” Nohra Haime Gallery, New York “Lesley Dill: Wilderness,” Nohra Haime Gallery at ADAA The Art Show, New York 2018 “Wilderness: Words are where what I catch is me,” Nohra Haime Gallery, New York. Traveled to: Mattatuck Museum, Waterbury, CT, 2018; University Art Gallery, Central Michigan University, MI, 2018. -
Selected Works Selected Works Works Selected
Celebrating Twenty-five Years in the Snite Museum of Art: 1980–2005 SELECTED WORKS SELECTED WORKS S Snite Museum of Art nite University of Notre Dame M useum of Art SELECTED WORKS SELECTED WORKS Celebrating Twenty-five Years in the Snite Museum of Art: 1980–2005 S nite M useum of Art Snite Museum of Art University of Notre Dame SELECTED WORKS Snite Museum of Art University of Notre Dame Published in commemoration of the 25th anniversary of the opening of the Snite Museum of Art building. Dedicated to Rev. Anthony J. Lauck, C.S.C., and Dean A. Porter Second Edition Copyright © 2005 University of Notre Dame ISBN 978-0-9753984-1-8 CONTENTS 5 Foreword 8 Benefactors 11 Authors 12 Pre-Columbian and Spanish Colonial Art 68 Native North American Art 86 African Art 100 Western Arts 264 Photography FOREWORD From its earliest years, the University of Notre Dame has understood the importance of the visual arts to the academy. In 1874 Notre Dame’s founder, Rev. Edward Sorin, C.S.C., brought Vatican artist Luigi Gregori to campus. For the next seventeen years, Gregori beautified the school’s interiors––painting scenes on the interior of the Golden Dome and the Columbus murals within the Main Building, as well as creating murals and the Stations of the Cross for the Basilica of the Sacred Heart. In 1875 the Bishops Gallery and the Museum of Indian Antiquities opened in the Main Building. The Bishops Gallery featured sixty portraits of bishops painted by Gregori. In 1899 Rev. Edward W. J. -
Lesley Dill Lesley Dill Is an American Artist Working at The
Lesley Dill Lesley Dill is an American artist working at the intersection of language and fine art in printmaking, sculpture, installation and performance, exploring the power of words to cloak and reveal the psyche. Dill transforms the emotions of the writings of Emily Dickinson, Salvador Espriu, Tom Sleigh, Franz Kafka, and Rainer Maria Rilke, among others, into works of paper, wire, horsehair, foil, bronze and music—works that awaken the viewer to the physical intimacy and power of language itself. Dill has had over one hundred solo exhibitions. Her artworks are in the collections of many major museums, including the Metropolitan Museum of Art, the Museum of Modern Art New York, and the Whitney Museum of American Art. In 2017 she was named a fellow of The John Simon Guggenheim Foundation and is a Joan Mitchell Foundation Creating A Living Legacy artist and grant recipient. Her opera, Divide Light, based on the poems of Emily Dickinson, was performed in San Jose in 2008. In April of 2018 the New Camerata Opera Company performed a re-staged version in New York City which was captured in a full-length film by Ed Robbins. In November 2019, Arthur Roger Gallery in New Orleans presented a collection of her work titled Drawings: Some Early Visionary Americans. In 2021, the Figge Art Museum in Davenport, Iowa will stage her exhibit Wilderness: Light Sizzles Around Me, which amplifies voices of the North American past as they wrestle with divinity, deviltry, and freedom. The artist is represented by Nohra Haime Gallery in New York and Arthur Roger Gallery in New Orleans. -
Painting the Femme Peintre “Genius Is Male,” Wrote the Goncourt Brothers in 1857
BRIDGET ALSDORF Painting the Femme Peintre “Genius is male,” wrote the Goncourt brothers in 1857. The splenetic pair, whose chronicle of the literary and artistic social life of Paris launched the modern genre of malicious celebrity gossip, go on to imagine the autopsies of writers Madame de Staël and George Sand. Suspecting a “hermaphrodite” biology, they assume a physiological foundation for the masculine traits exhibited in these women’s life and work.1 The Goncourts were similarly fascinated by the animal painter Rosa Bonheur, both for her fame and for her rejection of feminine conventions. (Bonheur lived with a woman and had an official permit from the Paris police to dress like a man, allowing her to sketch at the city’s slaughterhouses and horse markets without attracting atten- tion.) Desperate to meet her, they finagled an introduction through a mutual friend in 1859. Bonheur dreaded the meeting but felt obliged to do it as a favor. Expressing her dislike for the brothers, she knew “the ways of the world” well enough to be wary and fully on her guard.2 As expected, they studied her as if she were a circus curiosity, mercilessly dissecting her manners and appearance. They then described her in their Journal as a woman with “the head of a little humpbacked Polish Jew,” and proceeded to mock her “eternal friend” Nathalie Micas for looking like an old, exhausted mime.3 The Goncourts reserved their greatest bile for the artists they envied, those whose tal- ent and fame exceeded their own. They were all the more vicious if the artist seemed to them “effeminate” or, even worse, a woman. -
Why Have There Been No Great Women Artists? by LINDA NOCHLIN
Why Have There Been No Great Women Artists? by LINDA NOCHLIN While the recent upsurge of feminist activity in this country has indeed been a liberating one, its force has been chiefly emotional--personal, psychological, and subjective--centered, like the other radical movements to which it is related, on the present and its immediate needs, rather than on historical analysis of the basic intellectual issues which the feminist attack on the status quo automatically raises. Like any revolution. however, the feminist one ultimately must come to grips with the intellectual and ideological basis of the various intellectual or scholarly disciplines--history, philosophy, sociology, psychology, etc.--in the same way that it questions the ideologies of present social institutions. If, as John Stuart Mill suggested, we tend to accept whatever is as natural, this is just as true in the realm of academic investigation as it is in our social arrangements. In the former, too, "natural" assumptions must be questioned and the mythic basis of much so-called fact brought to light. And it is here that the very position of woman as an acknowledged outsider, the maverick "she" instead of the presumably neutral "one"--in reality the white-male-position-accepted-as- natural, or the hidden "he" as the subject of all scholarly predicates--is a decided advantage, rather than merely a hindrance or a subjective distortion. In the field of art history, the white Western male viewpoint, unconsciously accepted as the viewpoint of the art historian, may--and does--prove to be inadequate not merely on moral and ethical grounds, or because it is elitist, but on purely intellectual ones. -
CAA News a Number of Artists Immerse Themselves in 21 Affiliated Society News Business Life to Revitalize the Idea of What Art Is and Might Be
NEWS Newsletter of the College Art Association Volume 30, Number 1 January 2005 What Business Table of Contents Are You In? 2 From the Executive Director 3 Willie Cole and Lesley Dill he 2005 CAA Members’ Exhibition, at ARTspace entitled What Business Are You In?, 4 Bruce Cole is 2005 T takes place January 29–March 26 at Convocation Speaker the Atlanta Contemporary Art Center, also 5 Richard Brilliant is 2005 known as the Contemporary. Organized by Distinguished Scholar Helena Reckitt, the exhibition explores the Annual Conference complex and contradictory relationships 6 Highlights between artists and the corporate and academ- ic worlds. Among the artists are: Michael 10 CAA Statement Regarding the Patriot Act and Threats Aurbach, Alex Bag, Andrea Fraser, Jason to Civil Liberties and Artistic Irwin, Gunilla Klingberg, Lucy Kimbell, Freedom Matthieu Laurette, Irene Moon, Christian Phillip Müller, Adrian Piper, John Salvest, and 12 Archiving Alternative Spaces Carey Young. 13 The Forgotten Era: Modern Despite the myth of the artist as romantic Art in Iraq outsider, artists often depend on the support of 14 Committee on Intellectual institutions and corporations, much as they Property Q&A once did on the aristocracy or church. As con- 16 Vote for 2005–9 Board temporary artists engage in self-promotion CAA Student Fellowships and branding and outsource the production of 17 Available their work, they redefine the ground shared by John Salvest, Paper Trail, 2002. Shredded Enron letterhead. 32 x 34 x art, higher education, and commerce. 78" 18 CAA News A number of artists immerse themselves in 21 Affiliated Society News business life to revitalize the idea of what art is and might be. -
La Femme À La Chasse
1 LA FEMME À LA CHASSE La femme à la chasse: Anne Vallayer-Coster’s Paintings of the Hunt by Kelsey Brosnan Still life painter Anne Vallayer-Coster (1744–1818) was one of four académici- ennes admitted to the French Royal Academy of Painting and Sculpture in the late eighteenth century (Fig. 1). Throughout her career, Vallayer-Coster painted a range of textures, alternately organic and artificial, luxuriant and quotidian. Though she is typically characterized as a painter of flowers and fruit, Vallayer-Coster also produced at least three representations of the hunt.1 However, these works have garnered little attention—perhaps because they constitute a rather small subsection of her œuvre, and they seem to adhere to the hunting trophy formula established by her academic forbears, François Desportes (1661–1743) and Jean-Baptiste Oudry (1686–1755): hunt- ing dog, gun, and thick piles of dead game, situated in landscape settings.2 Art historians have recently begun to consider the political and cultural dimensions of the hunt, and the implications of its representation in eighteenth-century French art.3 Amy Freund, for example, has explored the formation of masculine identities in eighteenth-century hunting portraits and animal paintings.4 Freund’s interpretation of these images requires that the viewer identify with the hunter; she explains, “We the viewers take the position of that man, surveying what we have killed, and what still remains to be killed.”5 The presumed complicity of the hunter, artist, and viewer is perhaps best illustrated by Desportes’s reception piece, Self-Portrait in Hunt- ing Dress (Fig.