The Fine White Line – Faces Behind the Prints an Homage on the 100Th
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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. -
PAAM Collection Oct 18.Pdf
First Middle Last Birth Death Sex Accession Acc ext Media code Title Date Medium H W D Finished size Credit Jules Aarons 1921 2008 m 1828 Ph06 Jules Aarons Portfolio: In the Jewish Neighborhoods 1946-76 box, 100 silver gelatin prints, signed verso 15.5 12 3 Gift of David Murphy, 2006 Jules Aarons 1921 2008 m 1928 001 Ph08 untitled (Weldon Kees speaking to assembly of artists) c.1949-50 silver gelatin photograph 8 10 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 002 Ph08 Sunday (The fishermen's children playing on the loading wharf.) c.1949-50 silver gelatin photograph 8 9.5 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 003 Ph08 untitled (Sunday II, fishermen's children playing on loading wharf.) c.1949-50 silver gelatin photograph 8 10 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 004 Ph08 untitled (the flag bearers) c.1949-50 silver gelatin photograph 8 10 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 005 Ph08 Parting c.1949-50 silver gelatin photograph 9 7 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 006 Ph08 untitled (2 ladies at an exhibition) c.1949-50 silver gelatin photograph 7.5 9.5 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 007 Ph08 Dante (I, Giglio Raphael Dante sitting on floor, ptg. behind) c.1949-50 silver gelatin photograph 10 8 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 008 Ph08 Lawrence Kupferman, a Prominent Modern American Artist (etc.) c.1949-50 silver gelatin photograph 7.5 9.5 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 009 Ph08 Kahlil (Gibran, playing music on bed) c.1949-50 silver gelatin photograph 7 7.5 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 010 Ph08 Kahlil & Ellie G. -
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. -
Press Release
BERTA WALKER GALLERIES Provincetown & Wellfleet You are invited OPENING in Wellfleet Saturday, June 17, 4 - 6 PM continuing through July 15, 2017 WELLFLEET ARTISTS of the Berta Walker Galleries Currently living and working in Wellfleet Robert Henry Grace Hopkins Sidney Hurwitz Penelope Jencks Gloria Nardin Pe ter Watts Wellfleet artists years past Elizabeth Blair (1908-1995) Edwin Dickinson (1891-1978) Gilbert Franklin (1919- 2004) Budd Hopkins (1931-2011) James Lechay (1907-2001) John C. Phillips (1908- 2003) Selina Trieff (1934-2015) (AND) Opening the following week in Provincetown FRIDAY, June 30 JOSEPH DIGGS "Life's Layers" Abstract and Figurative Paintings The Many Languages of Landscape VARUJAN BOGHOSIAN, BRENDA HOROWITZ, SKY POWER, MURRAY ZIMILES WELLFLEET ARTISTS of the Berta Walker Galleries JUNE 17 - JULY 15 Reception Saturday, June 17, 4 - 6 PM 40 Main Street, Wellfleet, MA In this exhibition, we hope you'll enjoy discovering and celebrating the work of artists from Wellfleet's past as well as those who continue to live and work here. These artists had, or continue to have, studios in Wellfleet and the exhibition includes work from as early as 1924 through to today. These artists are now part of the Berta Walker Galleries' ongoing effort to celebrate the history of American art through the lens of the Outer Cape's historic art colony, founded in 1899, and which encompasses the towns of Provincetown, Truro and Wellfleet. We are delighted to now have a presence in Wellfleet, thanks to the help of The Wicked Oyster Restaurant who made their building available, affording us the opportunity to expand on presenting the art colony's major and important American art contributions. -
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. -
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. -
The Federal Art Project in Provincetown, Massachusetts: the Impact of a Relief Program on an Established Art Colony
University of New Hampshire University of New Hampshire Scholars' Repository Master's Theses and Capstones Student Scholarship Spring 2009 The Federal Art Project in Provincetown, Massachusetts: The impact of a relief program on an established art colony Whitney E. Smith University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/thesis Recommended Citation Smith, Whitney E., "The Federal Art Project in Provincetown, Massachusetts: The impact of a relief program on an established art colony" (2009). Master's Theses and Capstones. 113. https://scholars.unh.edu/thesis/113 This Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Master's Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. THE FEDERAL ART PROJECT IN PROVINCETOWN, MASSACHUSETTS THE IMPACT OF A RELIEF PROGRAM ON AN ESTABLISHED ART COLONY BY WHITNEY E. SMITH BA, University of New Hampshire, 2007 THESIS Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Masters of Liberal Studies in History May 6, 2009 UMI Number: 1466954 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. -
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. -
Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia americká architektúra - pozri chicagská škola, prériová škola, organická architektúra, Queen Anne style v Spojených štátoch, Usonia americká ilustrácia - pozri zlatý vek americkej ilustrácie americká retuš - retuš americká americká ruleta/americké zrnidlo - oceľové ozubené koliesko na zahnutej ose, užívané na zazrnenie plochy kovového štočku; plocha spracovaná do čiarok, pravidelných aj nepravidelných zŕn nedosahuje kvality plochy spracovanej kolískou americká scéna - american scene americké architektky - pozri americkí architekti http://en.wikipedia.org/wiki/Category:American_women_architects americké sklo - secesné výrobky z krištáľového skla od Luisa Comforta Tiffaniho, ktoré silno ovplyvnili európsku sklársku produkciu; vyznačujú sa jemnou farebnou škálou a novými tvarmi americké litografky - pozri americkí litografi http://en.wikipedia.org/wiki/Category:American_women_printmakers A Anne Appleby Dotty Atti Alicia Austin B Peggy Bacon Belle Baranceanu Santa Barraza Jennifer Bartlett Virginia Berresford Camille Billops Isabel Bishop Lee Bontec Kate Borcherding Hilary Brace C Allie máj "AM" Carpenter Mary Cassatt Vija Celminš Irene Chan Amelia R. Coats Susan Crile D Janet Doubí Erickson Dale DeArmond Margaret Dobson E Ronnie Elliott Maria Epes F Frances Foy Juliette mája Fraser Edith Frohock G Wanda Gag Esther Gentle Heslo AMERICKÁ - AMES Strana 1 z 152 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Charlotte Gilbertson Anne Goldthwaite Blanche Grambs H Ellen Day -
WVRHC Newsletter, Spring 1989 West Virginia & Regional History Center
West Virginia & Regional History Center University Libraries Newsletters Spring 1989 WVRHC Newsletter, Spring 1989 West Virginia & Regional History Center Follow this and additional works at: https://researchrepository.wvu.edu/wvrhc-newsletters Part of the History Commons West Virginia and Regional History Collection NEWSLETTER Volume 5, No.1 West Virginia University Library Spring/1989 Blanche Lazzell Papers Document Artist's Career Blanche Lazzell must have seemed an unlikely revolu- tionary to her professors at WVU around the turn of the century. The daughter of a local farmer of modest means, she was a petite and quiet young woman, and quite conservative in her tastes. Yet, within a few years of her graduation in 1905 she was mingling with the avant garde leaders of modern art. A recent donation of Lazzell papers to the Regional History Collection sheds considerable light upon the artist's early life. Included is a series of sketches stemming from Lazzell's studies at WVU nearly a century ago. Born in Maidsville, Monongalia County, on 10 October 1878, Neta Blanche Lazzelle (she later dropped her first name as well as the final "e" in her last name) was the ninth of ten children. Family tradition holds that it was almost by chance that she embarked upon a road that would eventually lead her into the highest circles of inter- national art. Her parents, Cornelius and Mary Lazzelle, were determined to see that at least one of their ten children received a college education. Blanche happened to be the one. Her education began at West Virginia Wesleyan College (then West VIrginia Conference Seminary) from which she received a diploma in 1898.