DOCSLIB.ORG

Are All Paintings

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Are All Paintings museummuseumVIEWSVIEWS A quarterly newsletter for small and mid-sized art museums New Year 2008 THE UPS AND DOWNS OF DEACCESSIONING A SUBJECT OF DISCUSSION THE DEFENSE NOT FOR $ALE While the events of October 1 attracted In response, my colleagues—the museum’s by Karol Lawson national, even international, attention and caused associate director and professors from the Art an uproar in the museum community, it should Department—and I launched an education cam- little before 5 p.m. on October 1, 2007, A be noted that the issue of selling art from the paign to better inform trustees and college lead- John Klein, the president of Randolph College (formerly Randolph-Macon Woman’s College) in Maier’s permanent collection had been a subject ers about the basic expectations of the museum Lynchburg, Virginia, arrived unannounced at the of discussion among Randolph College’s trustees community toward the issue of permanency and school’s Maier Museum of Art. He had just taken and senior staff since at least the spring of 2005. respect for donor intent. Indeed, the Maier’s own office in August, and was there to carry out Indeed, the trustees’ interest in the topic pre- collection management and ethics policies, instructions from the college’s board of trustees dated by more than a year and a half the 2006 approved by senior administrators just a few to remove four paintings from the museum’s gal- warning regarding college finances from SACS. years before, dictated that the museum staff and leries and storage: George Bellows’ Men of the In a message delivered by the dean of the college its advisers (among them the dean and the col- Docks, Edward Hicks’ to me in April 2005, the school’s strategic plan- lege president) be guided by the best practices Peaceable Kingdom, ning steering committee, a guidelines of the American Association of Ernest Martin Hennings’ body comprising trustees, Museums and its affiliated societies. In addition, Through the Arroyo, and senior administrators, profes- we sought to reinforce in their minds the remark- Rufino Tamayo’s sors, and students, had able history of the art collection, which was Troubadour. He was requested that I obtain fair emblematic of the school’s well-deserved reputa- accompanied by a coterie market value appraisals of tion for high standards and student achievement. of administrative staff, “the most significant” works The provenance of Men of the Docks, the master- personnel from a fine art in the collection. piece most at risk, was enunciated by museum shipping company, and Administrators and staff, docents, and professors whenever possible city police officers. At trustees suggested repeatedly and provided an inspiring back story for our edu- the time, I was the muse- that this was merely a fact- cational efforts: selected in 1920 by students and um’s director. As such, I finding exercise; that it was faculty from the 9th annual exhibition of con- refused to assist Klein necessary for them to assess temporary art on campus, it was bought directly but chose not to abandon the building. I learned all the college’s financial options as they from Bellows with contributions from students, later that telephone and computer lines had been explored strategic planning scenarios. Yet, my faculty, alumnae, and Lynchburg townspeople, disabled for the duration of the event and that the colleagues and I feared the worst. and became the cornerstone of Continued on page 4 museum’s driveway had been closed. The trustees had voted that day to sell the four paintings from the Maier’s permanent col- lection at Christie’s November auctions. In doing SYMPOSIUM SEEKS EVOLUTIONARY ANSWERS so, they sought to obtain an infusion of cash for means of flaunting one’s talented palette of the school’s operating endowment. Though that Natalie Angier, reporting for The New genes.” Maybe in contemporary Western cul- endowment is reported to be $153 million, the York Times, attended a symposium at the ture that theory could fly, says Dissanayake. school’s financial affairs had been under scrutiny University of Michigan on the evolutionary But in traditional cultures and throughout most from the Southern Association of Colleges and value of art, and why humans spend so much of human history “art has been a profoundly Schools (SACS) since December 2006 because time at it. communal affair, of harvest dances, religious of an unacceptably high spending rate from the The main speaker, Ellen Dissanayake, an pageants, quilting bees, the passionate town endowment and other issues having to do with independent scholar affiliated with the rivalries that gave us the spires of Chartres, financial management. University of Washington in Seattle, presented Rheims, and Amiens.” Alumnae, Lynchburg citizens, museum her thesis of the evolution of art: that the artis- Art, says Dissanayake and others, “did not professionals, and academics from across the tic impulse is so ingrained, so ancient, univer- arise to spotlight the few, but rather to summon country immediately protested the action, and sal, and persistent that it is most surely innate. the many to come join the parade.” Through an injunction halting the sales was eventually In contrast, some researchers believe that the singing, dancing, painting, people can be drawn secured (it will expire February 15, 2008 unless human penchant for “artiness” came accidental- the outstanding balance on a $1 million bond is ly, as a “byproduct of large brains that evolved Continued on back page posted in Lynchburg Circuit Court). I resigned to solve problems and were easily bored.” my position as director of the Maier on October Dissanayake, on the other hand, argues 2, 2007, less than 24 hours after the paintings that the creative drive in humans has all were taken. Associate director Ellen Schall the characteristics of an adaptation on its Agnew and Associate Professor of Art Laura own. Art making, she opines, takes huge Katzman had resigned, in August 2007 and May amounts of time and resources that are 2007 respectively, over the trustees’ evolving consistent with evolution rather than acci- plans to sell art from the permanent collection. dent. It also gives pleasure, “and activities that feel good tend to be those that evolution Top: Rabbett Before Horses, Nanaboozho & Winoah. Oil on can- vas. In “From Dreams May We Learn,”Tweed Museum of Art, MN deems too important to leave to chance.” Middle: The Maier Museum facade. Geoffrey Miller, among other theorists, Right: Lydia Herrick Hodge. Bull, c. 1941. Ceramic. proposes that art serves as a sexual display, “a In “The Living Room,” Museum of Contemporary Craft, OR ART MUSEUM PARTNERSHIP HOLDS DIRECTORS’ FORUM mation-gathering exercise. Also explain the In late October, the Art Museum difference between individual and institutional LEADERSHIP & Partnership held its second annual Directors’ ethics. ORGANIZATIONAL STRUCTURE Forum in New York, gathering directors from 3. Have each participant prepare a summary of Make sure everyone is clear about who around the country to hear their colleagues and institutional ethics related to their own functions is doing what various specialists lend their expertise on a selec- at the museum (profession-specific codes enunci- The board knows it is governing tion of topics pertinent to directing and maintain- ated by the profession’s official organization). The director knows she is directing (and the ing museums. “Systems Thinking,” “Curatorial Collect internal documents relating to ethics board knows it too) Vision and the Art Museum’s Mission,” standards (the mission statement or other values The staff know they are doing everything else “Everyday Ethics,” and “Current Top Legal statements). And have it in writing Issues” were among the topics covered in the 4. Bring the participants together to present their two-day session. summaries. Discuss them thoroughly, exploring COLLECTIONS STEWARDSHIP what issues have not been addressed. Know what stuff you have ETHICS 5. Make a list of the issues that should be Know what stuff you need included in the code of ethics. Compare it with Know where it is A “Code of Ethics Exercise” was present- the existing or draft code. Record what it does Take good care of it ed on day two to help museums and their staffs not deal with and decide whether these issues Make sure someone gets some good out of it to identify ethics issues that should be addressed should be included. Especially people you care about in an institutional code. The institutional code of And your neighbors ethics generally specifies how a museum—an organization—will behave in certain circum- CHARACTERISTICS OF EDUCATION & INTERPRETATION stances and it also describes appropriate behavior EXELLENCE FOR U.S. Know who you are talking to for members of the staff, the governing authority, Ask them what they want to know and volunteers. For example: Should board mem- MUSEUMS– Know what you want to say bers or staff who are artists be able to exhibit IN PLAIN ENGLISH (and what you are talking about) work in the museum? Are board members who [For official “Characteristics” see AAM Use appropriate language (or images, or music) serve on boards of other museums subject to Standards and Best Practices for U.S. Museums Make sure people understood you problems of loyalty and conflict of interest? Do at www.aam-us.org. This “Plain English” version And ask them if they liked it museums that display religious or culturally sen- was presented at the Directors’ Forum by If not, change it sitive materials need to develop special policies Elizabeth Merritt during a panel discussion.] regarding access and use of the collection? FINANCIAL STABILITY An exercise presented by the speakers Put your money where your mission is focused on two common challenges museums PUBLIC TRUST Is it enough money? encounter in writing an institutional code of &ACCOUNTABILITY Will it be there next year, too? ethics: Identifying what issues should be Be good Know when you will need more $ addressed and determining which ethical issues No really–not only be legal, Know where you are going to get it from are relevant to the museum’s particular mission.
Load more

Recommended publications
  • George Bellows on Monhegan Island
    David Peters Corbett The World Is Terrible and It Is Not There at All: George Bellows on Monhegan Island Painted on Monhegan Island off the coast of Maine during the summer of 1913, George Bellows’s small oil on panel Churn and Break (fig. 1) depicts a shore and its surrounding sea. The observer’s gaze encounters a mound of dark, almost black, rocks, which glisten with trails of moisture and light. To the left, the sea, sweeping in a great wave up against the rocks, threatens to overtop the ridge. In the midground, further dramatic swells rise and fall, and overhead, in a dreary sky, Bellows’s paint describes the insistent perpendicular fall of rain. Above the rocks and to the right, a plume of spray, dense and gray and white, jets up in a balletic swirl of creamy pigment. Bellows’s painting uses dazzling mixed brushwork to portray the variety of forms and textures of this scene, from the fluid lines and sinuous handling of the fore- ground sea to the dragged marks that describe the descending curtain of rain and cast a shadowy veil across the distance. The world we are confronted by in Churn and Break seems to fall into two disparate levels of experience: on the one hand, a discrete, self-contained universe of vital but inhuman matter, formed by the crashing sea and mute shoreline; on the other, an intimately human domain, the gestural runs and virtuoso flourishes of Bellows’s hand and brush.1 Despite this apparently radical division, the two levels also merge fleetingly into a single identity.
    [Show full text]
  • New York Realists
    NEW YORK REALISTS 1 9 0 0 - 1 9 1 4 H U H ROBERT ENRI , GEORGE L KS , JO N SLOAN $ W I LL I A M G LACKEN S , ERN ES T L AWS ON V SHINN GEORGE BELLOWS , E ERETT f GLENN O AND GUY P DU . COLEMAN ENE BOIS FEBRU RY $I$ H TO R H 5TH 1 3 A Q MA C , 9 7 WH I TN EY MU SEU M O F AMER IC A N A RT TEN WES T E IG H T H S TREE T NEW YORK F O R E WO R D TH E title Realists is perhaps too confining a term under which to group such individualists as the nine artists whose work is represented in this exhibition . But considered in relation to the more academic school of the early years of si nifi the century , the word might justly claim a special g cance . All these men had this in common $ that they turned directly to nature and did not scorn any phase of the f r human scene as fit subjects o their art . Space does not allow the inclusion of other distinguished artists who also were associated with this group $ but the nine men in the present exhibition may be considered as representative of a Vital and significant phase of American art . INTRODU CTION E do not with sufficient plainness or sufficient profoundness address circum f ourselves to life , nor dare we chant our times and social a . ff M st nce Banks and tari s , the newspaper and the caucus , ethodism U $at foun f and nitarianism , are and dull to dull people , but rest on the same of of dations wonder as the town of Troy , and the temple Delphos , and are as swiftly passing away .
    [Show full text]
  • PIER 34 Something Possible Everywhere Something Possible
    NYC 1983–84 NYC PIER 34 Something Possible Everywhere Something Possible PIER 34 Something Possible Everywhere NYC 1983–84 PIER 34 Something Possible Everywhere NYC 1983–84 Jane Bauman PIER 34 Mike Bidlo Something Possible Everywhere Paolo Buggiani NYC 1983–84 Keith Davis Steve Doughton John Fekner David Finn Jean Foos Luis Frangella Valeriy Gerlovin Judy Glantzman Peter Hujar Alain Jacquet Kim Jones Rob Jones Stephen Lack September 30–November 20 Marisela La Grave Opening reception: September 29, 7–9pm Liz-N-Val Curated by Jonathan Weinberg Bill Mutter Featuring photographs by Andreas Sterzing Michael Ottersen Organized by the Hunter College Art Galleries Rick Prol Dirk Rowntree Russell Sharon Kiki Smith Huck Snyder 205 Hudson Street Andreas Sterzing New York, New York Betty Tompkins Hours: Wednesday–Sunday, 1–6pm Peter White David Wojnarowicz Teres Wylder Rhonda Zwillinger Andreas Sterzing, Pier 34 & Pier 32, View from Hudson River, 1983 FOREWORD This exhibition catalogue celebrates the moment, thirty-three This exhibition would not have been made possible without years ago, when a group of artists trespassed on a city-owned the generous support provided by Carol and Arthur Goldberg, Joan building on Pier 34 and turned it into an illicit museum and and Charles Lazarus, Dorothy Lichtenstein, and an anonymous incubator for new art. It is particularly fitting that the 205 donor. Furthermore, we could not have realized the show without Hudson Gallery hosts this show given its proximity to where the the collaboration of its many generous lenders: Allan Bealy and terminal building once stood, just four blocks from 205 Hudson Sheila Keenan of Benzene Magazine; Hal Bromm Gallery and Hal Street.
    [Show full text]
  • Annual Review Are Intended Director on His fi Rst Visit to the Gallery
    THE April – March NATIONAL GALLEY TH E NATIONAL GALLEY April – March – Contents Introduction 5 In June , Dr Nicholas Penny announced During Nicholas Penny’s directorship, overall Director’s Foreword 8 his intention to retire as Director of the National visitor numbers have grown steadily, year on year; Gallery. The handover to his successor, Dr Gabriele in , they stood at some . million while in Acquisitions 10 Finaldi, will take place in August . The Board they reached over . million. Furthermore, Loans 17 looks forward to welcoming Dr Finaldi back to this remarkable increase has taken place during a Conservation 24 the Gallery, where he worked as a curator from period when our resource Grant in Aid has been Framing 28 to . falling. One of the key objectives of the Gallery Exhibitions 32 This, however, is the moment at which to over the last few years has been to improve the Displays 44 refl ect on the directorship of Nicholas Penny, experience for this growing group of visitors, Education 48 the eminent scholar who has led the Gallery so and to engage them more closely with the Scientifi c Research 52 successfully since February . As Director, Gallery and its collection. This year saw both Research and Publications 55 his fi rst priority has been the security, preservation the introduction of Wi-Fi and the relaxation Public and Private Support of the Gallery 60 and enhanced display of the Gallery’s pre-eminent of restrictions on photography, changes which Trustees and Committees of the National Gallery Board 66 collection of Old Master paintings for the benefi t of have been widely welcomed by our visitors.
    [Show full text]
  • Realist Art in 20Th Century America Illustrated Seminar by Barry Venning
    Realist Art in 20th Century America Background notes Barry Venning - 21 November 2018 Leon Golub,Vietnam II, 1973 Acrylic paint on canvas, 294 x 1151.1 cm. Tate Winchester Art History Group www.wahg.org.uk 1 Realism in 20th Century American Art For many critics and historians, especially those writing in the third quarter of the 20th century, the greatest achievements of American art appeared to be those of post-war Abstract Expressionist artists such as Jackson Pollock, Mark Rothko or Willem de Kooning. In his celebrated book, ‘The Triumph of American Painting’, (1976), the art historian Irving Sandler pictured the abstract art produced in New York after World War II as a US victory over an enfeebled and exhausted European visual culture. Sandler and others viewed Abstract Expressionism as a body of work that was both aesthetically radical and distinctively American. In comparison with the ‘heroic’ achievements of Pollock and his peers, however, the Realism that dominated pre-war American art appeared to be conservative in form, limited in ambition and parochial in outlook. The dominant post-war artistic theory, which was known as modernism, further marginalised those artists who attempted to render the world around them. According to the most influential proponent of modernist theory, Clement Greenberg, it was the purely aesthetic qualities of an art work – colour, line and form - that determined its value, not its subject matter or its social significance. Greenberg didn’t dismiss Realist art altogether; he acknowledged, for example, that Edward Hopper had a distinctive artistic vision, but he also said he “is not a painter in the full sense; his means are second-hand, shabby, and impersonal.” He was, in other words, an artist of the second rank.
    [Show full text]
  • Painting Civilization by Charles Raskob Robinson
    T O DAYT’ S MASTERS ™ Pamela Talese: Painting Civilization BY CHARLES RASKOB ROBINSON GH ast season, art lovers in Washington, D.C., New York City, and LLondon were treated to the superb touring retrospective of Pamela Talese’s bicycle with its trailer and the George Bellows (1882-1925), one of the American masters admired easel set-up it carries most by the contemporary artist Pamela Talese (b. 1964). Many Bellows paintings open a fascinating window on the dynamic growth that New York City experienced a century ago; indeed, many were conceived out- doors in some of the city’s roughest patches, most famously the deep pit that teemed with the men and machines constructing Pennsylvania Station between 1904 and 1910. Bellows documented the start of New York’s greatest building boom, while Talese keeps busy chronicling its denouement — the deterioration of what Bellows’s contemporaries built — or what Talese affectionately calls “Rust.” Thus she can often be found pedaling her bicycle — which tows a trailer loaded with painting equipment — around the city’s decaying waterfronts and other no-go zones. Talese is a highly observant plein air painter who requires many hours to capture what she is after. First, this means establishing legitimate and safe Talese particularly admires the loose brushwork in Bellows’s 1912 access to places where attractive women are not usually encountered, espe- painting Men of the Docks: “I am in awe of the way his bravura cap- cially alone — such as the dry docks of the 200-year-old Brooklyn Navy Yard, tured the tensions so evident in the building of early 20th-century or at the foot of crumbling power plants and sugar refineries.
    [Show full text]
  • Annual Year Dates Theme Painting Acquired Artists Exhbited Curator Location Media Used Misc
    Annual Year Dates Theme Painting acquired Artists Exhbited Curator Location Media Used Misc. Notes 1st 1911 Paintings by French and American Artists Loaned by Robert C Ogden of New York 2nd 1912 (1913 by LS) Paintings by French and American Artists Loaned by Robert C Ogden of New York 3rd 1913 (1914 by LS) 1914/ (1915 from Lake Bennet, Alaska, Louise Jordan 4th Alaskan Landscapes by Leonard Davis Leonard Davis Purchase made possible by the admission fees to 4th annual LS) M1915.1 Smith Fifth Exhbition Oil Paintings at Randolph-Macon Groge Bellows, Louis Betts, Irving E. Couse, Bruce Crane, Frank V. DuMonds, Ben Foster, Daniel Garber, Lillian Woman's College: Paintings by Contemporary Matilde Genth, Edmund Greacen, Haley Lever, Robert Henri, Clara MacChesney, William Ritschel, Walter Elmer March 9- 5th 1916 American Artists, Loaned by the National Art Club Schofield, Henry B. Snell, Gardner Symons, Douglas Folk, Guy C. Wiggins, Frederick J. Waugh, Frederick Ballard Loaned by the National Arts Club of New York from their permanent collection by Life Members. April 8 of New York from Their Permanent Collection by Williams Life Members Exhibition by:Jules Guerin, Childe Hassam, Robert Louise Jordan From catalogue: "Randolph-Macon feels that its annual Exhibition forms a valuable part of the cultural opportunities of college 6th 1917 March 2-28 Jules Guerin, Childe Hassam, Robert Henri, J. Alden Weir Henri, J. Alden Weir Smith life." Juliu Paul Junghanns, Sir Alfred East, Henri Martin, Jacques Emile Blanche, Emond Aman-Jean, Ludwig Dill, Louise Jordan 7th 1918 International Exhbition George Sauter, George Spencer Watson, Charles Cottet, Gaston LaTouche, S.J.
    [Show full text]
  • Spring 2015 University of Pennsylvania Press Author/Title Index Contents
    UNIVERSITY OF PENNSYLVANIA PRESS Nonprofit Org. U.S. Postage PAID Permit No. 185 Philadelphia, PA 3905 Spruce Street Philadelphia, PA 19104 www.pennpress.org Help us go green! Subscribe to receive electronic catalogs instead: http://www.upenn.edu/pennpress/mailinglist.html Spring 2015 University of Pennsylvania Press Author/Title Index Contents General Interest 1 Adam Usk’s Secret 17 Fleegler, Robert L. 15 Rituals of Ethnicity 26 Against Self-Reliance 13 Framing Fraktur 5 Robben, Antonius C. G. M. 29 Art and Landscape Design 3 American Justice 2014 6 From Main Street to Mall 1 Roman Inquisition 20 Impact Books 6 American Marriage 31 Gallup-Diaz, Ignacio 12 Sabermetric Revolution 15 Anglicizing America 12 GarvÍa, Roberto 30 Schmidt, Benjamin 19 Urban Studies 7 Artist’s Garden 3 Geary, Daniel 9 Schulman, Bruce J. 14 American History 8 Associational State 9 Globalization 34 Shakespeare’s Shrine 23 Bailey, Wayne 35 Holy War, Martyrdom, and Terror 32 Shankman, Andrew 12 Medieval and Early Modern Studies 16 Balken, Debra Bricker 5 Howard, Vicki 1 Shneiderman, Sara 26 Literature 22 Balogh, Brian 9 Howard-Hassmann, Rhoda E. 26 Silverman, David J. 12 Barton, Simon 18 Howell, William Huntting 13 Sluga, Glenda 31 Politics and Human Rights 24 Baumer, Benjamin 15 How Real Estate Developers Think 7 Social Lives of Poems in Nineteenth-Century Religious Studies 32 Becoming Penn 7 Hromadžić, Azra 25 America 22 Bertram, Eva 24 Human Right to Citizenship 26 Spooner, Brian 34 University of Pennsylvania Museum of Archaeology Beyond Civil Rights 9 Ingham, Patricia Clare 19 State Theory and Andean Politics 28 and Anthropology 34 Billaud, Julie 27 Internationalism in the Age of Stein, Jordan Alexander 23 Academic Life 35 Biow, Douglas 20 Nationalism 31 Strange Case of Ermine de Reims 17 Blumenfeld-Kosinski, Renate 17 Inventing Exoticism 19 Tannenbaum, Judith 5 Journals 36 Bonnette, Lakeyta M.
    [Show full text]
  • George Bellows in Great Britain.Docx
    George Bellows in Great Britain George Bellows (1882-1925) produced the most innovative and forceful realist paintings in America during the first quarter of the 20th Century, following the bold creations of Winslow Homer and leading to the hallowed images of Edward Hopper. All three of these giants of American art painted figure and genre subjects as well as landscapes and have by now achieved international renown, in the case of Bellows quite recently, with two major museum acquisitions. Pursuant to a small focused exhibition of Bellows and his progressive colleagues at the National Gallery in London and the Bellows retrospective presented at the Royal Academy of Arts, the National Gallery made the very notable purchase in 2014 of Bellows’s 1912 masterpiece Men of the Docks. A year later the Barber Institute of Fine Arts of the University of Birmingham acquired Bellows’s rare and striking Early Standing Nude of 1906 that had been the centerpiece of Collisart’s selection at the Masterpiece fair in 2015. Thus, there are two major examples by George Bellows in two distinguished British museum collections, in each case the first acquisition of a traditional American painting. Indeed Bellows is a quintessential American artist; while his esthetic in many ways echoes European precedents – from such Old Masters as Velazquez, Goya and Rembrandt to such 19th-Century masters as Courbet and Manet – whose work he studied with great enthusiasm in the Metropolitan and other New York museums, Bellows was intent on creating as purely an American canon of canvases as he could. Collisart has two impressive Bellows landscapes at Masterpiece this year: Clouds and Hills of 1909 and Village on the Green of 1916.
    [Show full text]
  • Art Museum Deaccessioning : Conflict Between Museum Professionals, Donor Intent, the Public, and Living Artists
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2013 Art museum deaccessioning : conflict between museum professionals, donor intent, the public, and living artists. Megan Elizabeth Kociscak 1987- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Kociscak, Megan Elizabeth 1987-, "Art museum deaccessioning : conflict between museum professionals, donor intent, the public, and living artists." (2013). Electronic Theses and Dissertations. Paper 769. https://doi.org/10.18297/etd/769 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. ART MUSEUM DEACCESSIONING: CONFLICT BETWEEN MUSEUM PROFESSIONALS, DONOR INTENT, THE PUBLIC, AND LIVING ARTISTS By Megan Elizabeth Kociscak B.F.A., College of Visual Arts, 2009 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville In Partial Fulfillment of the Requirements For the Degree of Master of Arts Department of Art History University of Louisville Louisville, Kentucky May 2013 Copyright 2013 by Megan Elizabeth Kociscak
    [Show full text]
  • I N D U S T R I a L S U B L I
    Art/New York/History Billowing smoke, booming industry, noble bridges, and an epic waterfront are the landscape of a transforming New I York from 1900 to 1940. The convulsive changes in the N metropolis and its rivers are embraced in modern paintings from Robert Henri to Georgia O’Keeffe. D I U S N T S R I D A U L U B s S u L b l T i I m R e M The book is the companion catalogue to the exhibition Industrial Sublime: Modernism and the Transformation of New York’s Rivers, 1900 to 1940. fordham university press hudson river museum I The project is organized by Kirsten M. Jensen and Bartholomew F. Bland. COVER DETAILS E FRONT: George Ault. From Brooklyn Heights, 1925. Collection of the Newark Museum BACK: John Noble. The Building of Tidewater, c.1937, The Noble Maritime Collection; George Parker. East River, N.Y.C., 1939. Collection of the New-York Historical Society; Everett Longley Warner. Peck Slip, N.Y.C., n.d. Collection of the New-York Historical Society; Ernest A Lawson. Hoboken Waterfront, c. 1930. Collection of the Norton Museum of Art A COPUBLICATION OF L Empire State Editions An imprint of Fordham University Press New York www.hrm.org www.fordhampress.com INDUSTRIAL SUBLIME INDUSTRIAL SUBLIME Modernism and the Transformation of New York’s Rivers, 1900-1940 Empire State Editions An imprint of Fordham University Press New York Hudson River Museum www.hrm.org www.fordhampress.com I know it’s unusual for an artist to want to work way up near the roof of a big hotel, in the heart of a roaring city, but I think that’s just what the artist of today needs for stimulus..
    [Show full text]
  • Questroyal Fine Art
    LLC RT, A INE F Now UESTROYAL UESTROYAL Q Q UESTROYAL F INE A RT, LLC Important American Paintings X V Important American Paintings Now Louis M. Salerno, Owner Brent L. Salerno, Co-Owner Chloe Heins, Director Angela Scerbo, Manager Nina Sangimino, Senior Researcher Chelsea DeLay, Coordinator Shannon Cassell, Administrator Alison Kowalski, Research Associate Rita J. Walker, Controller Q UESTROYAL F INE A RT, LLC 903 Park Avenue (at 79th Street), Third Floor, New York, NY 10075 :(212) 744-3586 :(212) 585-3828 : Monday–Friday 10–6, Saturday 10–5 and by appointment : gallery@questroyalfineart.com www.questroyalfineart.com Contents It’s a Mad, Mad World — Thankfully . A Letter to Our Clients . The Value of Contemporary Art vs. American Paintings Milestones in American Art, 2013–2014 Lou-isms Paintings under $100,000 Paintings from $100,000 to $195,000 Paintings from $200,000 to $500,000 Paintings above $500,000 DESIGN : Malcolm Grear Designers 1 Ault, George 12 Kroll, Leon 20 Blakelock, Ralph Albert 32 Bierstadt, Albert 44 Coleman, Charles Caryl PRINTING : Meridian Printing 2 Avery, Milton 13 Kuehne, Max 21 Breck, John Leslie 33 Bierstadt, Albert 45 Cropsey, Jasper Francis PHOTOGRAPHY : Timothy Pyle, Light Blue Studio; 3 Benson, Frank Weston 14 Leith-Ross, Harry 22 Bricher, Alfred Thompson 34 Cropsey, Jasper Francis 46 Gifford, Sanford Robinson Jude Domski EDITING : Amanda Sparrow 4 Brevoort, James Renwick 15 Porter, Fairfield 23 Carlson, John Fabian 35 Gifford, Sanford Robinson 47 Kensett, John Frederick INSIDE FRONT COVER ( DETAIL ) 5 Burchfield, Charles 16 Potthast, Edward Henry 24 Cornoyer, Paul 36 Kensett, John Frederick 48 Moran, Thomas Sanford Robinson Gifford (1823–1880) Sunset Over the Shawangunks, 46 6 Butler, Howard Russell 17 Prentice, Levi Wells 25 Hoffbauer, Charles 37 Marin, John 49 Potthast, Edward Henry INSIDE BACK COVER ( DETAIL ) 7 Buttersworth, James E.
    [Show full text]