Twenty-Fifth Annual Report of the Trustees for the Year Ending June First, 1904
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Summer 2019 Director’S Letter
Summer 2019 Director’s Letter Dear Members, Summer in the Northwest is a glorious time of year. It is also notoriously busy. If you are like most people, you are eager fill your weekends with fun and adventure. Whether you are re-visiting some of your favorite places or discovering new ones, I hope Maryhill is on your summer short list. We certainly have plenty to tempt you. On July 13 we open the special exhibition West Coast Woodcut: Contemporary Relief Prints by Regional Artists, which showcases some of the best printmakers of the region. The 60 prints on view feature masterfully rendered landscapes, flora and fauna of the West coast, along with explorations of social and environmental issues. Plein air artists will be back in action this summer when the 2019 Pacific Northwest Plein Air in the Columbia River Gorge kicks off in late July; throughout August we will exhibit their paintings in the museum’s M.J. Murdock Charitable Trust Education Center. The show is always a delight and I look forward to seeing the Gorge through the eyes of these talented artists. Speaking of the Gorge — we are in the thick of it with the Exquisite Gorge Project, a collaborative printmaking effort that has brought together 11 artists to create large-scale woodblock prints reflective of a 220-mile stretch of the Columbia River. On August 24 we invite you to participate in the culmination of the project as the print blocks are inked, laid end-to-end and printed using a steamroller on the grounds at Maryhill. -
Annual Report 2018–2019 Artmuseum.Princeton.Edu
Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb. -
Literary Miscellany
Literary Miscellany Including Recent Acquisitions. Catalogue 286 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.reeseco.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request. -
Master Artist of Art Nouveau
Mucha MASTER ARTIST OF ART NOUVEAU October 14 - Novemeber 20, 2016 The Florida State University Museum of Fine Arts Design: Stephanie Antonijuan For tour information, contact Viki D. Thompson Wylder at (850) 645-4681 and [email protected]. All images and articles in this Teachers' Packet are for one-time educational use only. Table of Contents Letter to the Educator ................................................................................ 4 Common Core Standards .......................................................................... 5 Alphonse Mucha Biography ...................................................................... 6 Artsits and Movements that Inspired Alphonse Mucha ............................. 8 What is Art Nouveau? ................................................................................ 10 The Work of Alphonse Mucha ................................................................... 12 Works and Movements Inspired by Alphonse Mucha ...............................14 Lesson Plans .......................................................................................... Draw Your Own Art Nouveau Tattoo Design .................................... 16 No-Fire Art Nouveau Tiles ............................................................... 17 Art Nouveau and Advertising ........................................................... 18 Glossary .................................................................................................... 19 Bibliography ............................................................................................. -
Fall 201720172017
2017 2017 2017 2017 Fall Fall Fall Fall This content downloaded from 024.136.113.202 on December 13, 2017 10:53:41 AM All use subject to University of Chicago Press Terms and Conditions (http://www.journals.uchicago.edu/t-and-c). American Art SummerFall 2017 2017 • 31/3 • 31/2 University of Chicago Press $20 $20 $20 $20 USA USA USA USA 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T reform reform reform reform cameras cameras cameras cameras “prints” “prints” “prints” “prints” and and and and memory memory memory memory playground playground playground playground of of of Kent’s of Kent’s Kent’s Kent’s guns, guns, guns, guns, abolitionism abolitionism abolitionism abolitionism art art art art and and and and the the the the Rockwell literary Rockwell Rockwell literary literary Rockwell issue literary issue issue issue Group, and Group, and Group, and Group, and in in in in this this this this Homer—dogs, Homer—dogs, Homer—dogs, Place Homer—dogs, Place Place Place In In In In nostalgia Park nostalgia nostalgia Park Park nostalgia Park Duncanson’s Duncanson’s Duncanson’s Duncanson’s Christenberry the Christenberry S. Christenberry the S. the S. Christenberry the S. Winslow Winslow Winslow Winslow with with with with Robert Robert Robert Robert Suvero, Suvero, Suvero, Suvero, William William William William di di di Technological di Technological Technological Technological Hunting Hunting Hunting Hunting Mark Mark Mark Mark Kinetics of Liberation in Mark di Suvero’s Play Sculpture Melissa Ragain Let’s begin with a typical comparison of a wood construction by Mark di Suvero with one of Tony Smith’s solitary cubes (fgs. -
Twenty-Ninth Annual Report
THE ART INSTITUTE MAIN ENTRANCE Lake Front, opposite Adams Street, Chicago 20 PAINTINGS BLAGK.STOM:: HALL. EGYPTIAN 16 ARCHITECTURAL CASTS ASSYRJAN CLASSICAL AND EGYPTIAN GREEK ANTIQUITIES 3 MODERN PHI DIAN 14 MODERN LATER GREEK 12 4 MAIN FLOOR PLAN CHIEFLY CASTS OF SCULPTURE s· Ei ~~ I~ J 45 2 .5 47 46 48 r z - X w 242 44 49 H ONV I"'f.NTAI.. ~TAIRC~E 50 27 UJ ..../ w u a. 33 MUNGER Fl fLD MEMORIAL O LD MASH RS 3 0 31 . COLLfCTION 39 3B 32 ROOM COLLECTION D PAINTINGS Jll 36 34 SECOND FLOOR PLAN CH IEFLY PAINTINGS ' HALL.· OF · .t'\.RCt1lT~C.LVRA._L· casts· 20 · o.ROU!'<Il•I"L.OOR• •ART ·! NSl'fTUTIS.• Ot'• SHOWING SCHOOLROOMS 1../"f THE ART INSTITUTE OF CHICAGO TWENTY-NINTH ANNUAL REPORT JUNE I, 1907-JUNE I, 1908 CONTENTS TRUSTEES AND OFFICERS 13 REPORT OF THE TRUSTEES 17 REPORT OF THE TREASURER 33 REPORT OF THE DIRECTOR 37 LisT OF ExHIBITIONS OF 1 907-8 38 LIST OF LECTURES, I 907-8 43 LisT OF PuBLICATIONs, I 907-8 so REPORT OF THE LIBRARIAN 58 LisT OF AcQUISITIONs TO MusEUM 64 LisT OF AcQUISITIONS TO LIBRARY 69 BY-LAWS 83 FoRM oF BEQUEST 89 LisT oF HoNORARY MEMBERs 90 LisT oF GovERNING LIFE M}:MBERS 91 LisT OF GovERNING MEMBERS 92 LIST OF LIFE MEMBERS 95 LIST OF ANNUAL MEMBERS 100 II Trustees of the Art lnstitu te of Chicago 1908-9 EDWARD E. AYER JOHN J. GLESSNER ADOLPHUS C. BARTLETT FRANK W. GUNSAULUS JOHN C. BLACK CHARLES L. -
The Development of New Artistic Paradigms: the Case of Cubism
The Development of New Artistic Paradigms: The Case of Cubism Claude Rubinson [email protected] CHSS Junior Faculty Symposium University of Houston—Downtown November 24, 2014 Dimensions of Artistic Style 1st dimension – The aesthetic elements common to a group of artistic works 2nd dimension – A spatio-temporal boundary delineating works made at the same time/place by the same person or group 3rd dimension – A set of related solutions to a particular problem of representation Conventional Sociological Models of Art Exogenous Model: – Artistic creation is shaped by external forces; primary finding: stronger political- economies produce geometric art; weaker ones, organic art Ecological Model: – Artistic creation is defined by the constant search for novelty/innovation; produces a cycle of continuous, incremental change Paradigmatic Model of Art 3 components: ● Charge – The problem(s) that the artists confront ● Brief – The cultural repertoire from which the artists and audiences draw ● Art-World – The relationships among the individuals, groups, and institutions involved in bringing forth the style Relationships among Charge, Brief, and Art-World Paradigmatic Analysis: Cubism’s Art-World ● Avant-garde Paris, 1907–1914 ● Picasso, Braque, & Kahnweiler ● Matisse ● Art dealers and collectors ● Salons and exhibitions ● “Gallery” vs. “Salon” Cubists, and the tension between them ● Art critics and historians Paradigmatic Analysis: Cubism’s Brief ● Primitivism ● Impressionism/Post-Impressionism ● Fauvism ● Art Nouveau ● Tension between traditionalism and modernism ● Tension between nationalism and cosmopolitanism Paradigmatic Analysis: Cubism’s Charge ● Visual interest ● Non-classical appreciation of human figure ● Realism ● Modern representation of perspective and space Conclusions Paradigmatic analysis of art: – is historical, not predictive – is interpretive – may draw upon exogenous and ecological models – focuses on the development of and relations among the charge, brief, and art-world . -
The Royal Scottish Academy of Painting', Sculpture Nd
-z CONTENTS Vo1ue One Contents page 2 Acknowledgements Abstract Abbreviations 7 Introduction 9 Chapter One: Beginnings: Education and Taste 14 Chapter Two: 'A little Artistic Society' 37 Chapter Three: 'External Nature or Imaginary Spirits' IL' Chapter Four: Spirits of the enaissance 124 Chapter Five: 'Books Beautiful or Sublime' 154 Chapter Six: 'Little Lyrics' 199 Chapter Seven: Commissions 237 Conclusion 275 Footnotes 260 Bibliography 313 Appendix: Summary Catalogue of Work by Phoebe Traquair Section A: Mural Decorations 322 Section : Painted Furniture; House, Garden and Church Decorations 323 Section C: Paintings, Drawings and Sculpture Section D: Designs for Mural and Furniture Decorations, Embroideries, Illuminated Manuscripts and Enamelwork 337 Section B: EmbroiderIes 3415 Section F: Enamels and Metalwork Section G: Manuscript Illuminations S-fl Section E: Published Designs for Book Covers and Illustrations L'L. Section J: Bookbindings 333 Volumes Two and Three Plates 3 ACKOWLEDGEXE!TS This thesis could not have been researched or written without the willing help of many people. My supervisors, Professor Glies Robertson, who first suggested that I turn my interest in Phoebe Traquair into a university dissertation, and Dr Duncan Macmillan have both been supportive and encouraging at all stages. Members of the Traquair and Moss families have provided warm hospitality and given generously of their time to provide access to their collections and to answer questions which must have seemed endless: in particular I am deeply indebted to the grandchildren of Phoebe Traquair, Ramsay Traquair, Mrs Margaret Anderson, and Mrs Margaret Bartholomew. Francis S Nobbs and his sister, Mrs Phoebe Hyde, Phcebe Traquair's godddaughter, have furnished me with copies of letters written to their father and helped on numerous matters, Without exception owners and. -
The Gothic Revival Character of Ecclesiastical Stained Glass in Britain
Folia Historiae Artium Seria Nowa, t. 17: 2019 / PL ISSN 0071-6723 MARTIN CRAMPIN University of Wales THE GOTHIC REVIVAL CHARACTER OF ECCLESIASTICAL STAINED GLASS IN BRITAIN At the outset of the nineteenth century, commissions for (1637), which has caused some confusion over the subject new pictorial windows for cathedrals, churches and sec- of the window [Fig. 1].3 ular settings in Britain were few and were usually char- The scene at Shrewsbury is painted on rectangular acterised by the practice of painting on glass in enamels. sheets of glass, although the large window is arched and Skilful use of the technique made it possible to achieve an its framework is subdivided into lancets. The shape of the effect that was similar to oil painting, and had dispensed window demonstrates the influence of the Gothic Revival with the need for leading coloured glass together in the for the design of the new Church of St Alkmund, which medieval manner. In the eighteenth century, exponents was a Georgian building of 1793–1795 built to replace the of the technique included William Price, William Peckitt, medieval church that had been pulled down. The Gothic Thomas Jervais and Francis Eginton, and although the ex- Revival was well underway in Britain by the second half quisite painterly qualities of the best of their windows are of the eighteenth century, particularly among aristocratic sometimes exceptional, their reputation was tarnished for patrons who built and re-fashioned their country homes many years following the rejection of the style in Britain with Gothic features, complete with furniture and stained during the mid-nineteenth century.1 glass inspired by the Middle Ages. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. 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 bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Early 20Th Century Continued
Early 20th Century- Chapter 21 Artist: Henri Matisse Title: The Joy of Life Movement: Fauvism Period: Early 20th Century Description: Fauvism (les fauves=wild beasts)- pure hues, lines freed from descriptive roles, and simplified shapes all together create a lively rhythm in the composition Artist: Matisse Title: Harmony in Red (The Red Room) Movement: Fauvism Period: Early 20th Century Artist: André Derain Title: London Bridge Movement: Fauvism Period: Early 20th Century Artist: Ernst Ludwig Kirchner Title: Street, Berlin Movement: German Expressionism- The Bridge group Period: Early 20th Century Artist: Kandinsky Title: Blue Mountain Movement: German Expressionism- The Blue Rider group Period: Early 20th Century Artist: Kandinsky Title: Composition IV Movement: German Expressionism Period: Early 20th Century Description- his painting evolved toward a an absence of representational subject matter in order to concentrate on the expressive potential of pure form comparable to the free language of music Artist: Picasso Title: Les Demoiselles D’Avignon Movement: Early Cubism Period: Early 20th Century Description: Cubism’s influences- African masks and African reliquary figures Kota Reliquary figure, Africa Picasso, Les Demoiselles D’Avignon, 1907, oil on canvas, beginning of Dan mask, Cubism; Picasso is interested only in the forms of African art, not the Africa meanings of uses of African art Artist: Braque Title: Houses at L’Estaque Movement: Early Cubism Period: Early 20th Century Description: Cubism’s influences- the Post-Modernist painter -
Art-Related Archival Materials in the Chicago Area
ART-RELATED ARCHIVAL MATERIALS IN THE CHICAGO AREA Betty Blum Archives of American Art American Art-Portrait Gallery Building Smithsonian Institution 8th and G Streets, N.W. Washington, D.C. 20560 1991 TRUSTEES Chairman Emeritus Richard A. Manoogian Mrs. Otto L. Spaeth Mrs. Meyer P. Potamkin Mrs. Richard Roob President Mrs. John N. Rosekrans, Jr. Richard J. Schwartz Alan E. Schwartz A. Alfred Taubman Vice-Presidents John Wilmerding Mrs. Keith S. Wellin R. Frederick Woolworth Mrs. Robert F. Shapiro Max N. Berry HONORARY TRUSTEES Dr. Irving R. Burton Treasurer Howard W. Lipman Mrs. Abbott K. Schlain Russell Lynes Mrs. William L. Richards Secretary to the Board Mrs. Dana M. Raymond FOUNDING TRUSTEES Lawrence A. Fleischman honorary Officers Edgar P. Richardson (deceased) Mrs. Francis de Marneffe Mrs. Edsel B. Ford (deceased) Miss Julienne M. Michel EX-OFFICIO TRUSTEES Members Robert McCormick Adams Tom L. Freudenheim Charles Blitzer Marc J. Pachter Eli Broad Gerald E. Buck ARCHIVES STAFF Ms. Gabriella de Ferrari Gilbert S. Edelson Richard J. Wattenmaker, Director Mrs. Ahmet M. Ertegun Susan Hamilton, Deputy Director Mrs. Arthur A. Feder James B. Byers, Assistant Director for Miles Q. Fiterman Archival Programs Mrs. Daniel Fraad Elizabeth S. Kirwin, Southeast Regional Mrs. Eugenio Garza Laguera Collector Hugh Halff, Jr. Arthur J. Breton, Curator of Manuscripts John K. Howat Judith E. Throm, Reference Archivist Dr. Helen Jessup Robert F. Brown, New England Regional Mrs. Dwight M. Kendall Center Gilbert H. Kinney Judith A. Gustafson, Midwest