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Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Rocky Neck Historic Art Trail Gloucester, Massachusetts
Rocky Neck Historic Art Trail Gloucester, Massachusetts Trail Site 1 Above 186 to 220 East Main St. Rocky Banner Hill Neck 1 Smith Banner The high ridge, or bluff, rising above the Smith Cove inlet on the east side of Cove Hill Gloucester Harbor, is called “Banner Hill.” So named after the Wonson brothers Stevens Lane raised a flag there at the outbreak of the Civil War, it commands a panoramic scene, with the jewel of Rocky Neck’s wharves and houses sitting in the center R a P c k l i of the harbor, framed by the buildings and steeples of the central city beyond. f f S During the second half of the 19th Century and the first decades of the 20th, t many of America’s most important artists journeyed to Gloucester to experience the amazing coastal scenery in this fishing port composed of high hills overlook - DIRECTIONS: ing a protected and deep harbor. Banner Hill afforded perhaps the most dramatic From the end of Rte. 128 (second traffic light) go straight up over hill. Follow East of these views. Main Street about 5/8 mile just past East Gloucester Square. Banner Hill rises up Attracted to Gloucester by its reputation for authentic New England beauty, as along the left side of the road for a few conveyed in the paintings of famed 19th century artists Fitz H. Lane and Winslow hundred yards along Smith Cove, above Homer, the preeminent landscape painters of the American Impressionist move - the section of 186 to 220 East Main Street, ment in the 1890s, including Childe Hassam, Willard Metcalf, Frank Duveneck, just across from Beacon Marine boat yard and extending southwest, topped by several and John Twachtman, created masterpieces from the perspective of Banner Hill. -
The Hudson River School at the New-York Historical Society: Nature and the American Vision
The Hudson River School at the New-York Historical Society: Nature and the American Vision Marie-François-Régis Gignoux (1814–1882) Mammoth Cave, Kentucky , ca. 1843 Oil on canvas Gift of an Anonymous Donor, X.21 After training at the French École des Beaux-Arts , Gignoux immigrated to the United States, where he soon established himself as a landscape specialist. He was drawn to a vast underground system of corridors and chambers in Kentucky known as Mammoth Cave. The site portrayed has been identified as the Rotunda—so named because its grand, uninterrupted interior space recalls that of the Pantheon in Rome. Gignoux created a romantic image rooted in fact and emotion. In contrast to the bright daylight glimpsed through the cavern mouth, the blazing fire impresses a hellish vision that contemporaneous viewers may have associated with the manufacture of gunpowder made from the bat guano harvested and rendered in vats in that very space since the War of 1812. William Trost Richards (1833–1905) June Woods (Germantown) , 1864 Oil on linen The Robert L. Stuart Collection, S–127 Richards followed the stylistic trajectory of the Hudson River School early in his career, except for a brief time in the early 1860s, when he altered his technique and compositional approach in response to the Pre-Raphaelite aesthetics of the English critic John Ruskin. Ruskin’s call for absolute fidelity to nature manifested itself in the United States in a radical 1 group of artists who formed the membership of the Association for the Advancement of Truth in Art, to which Richards was elected in 1863. -
Edgar Degas French, 1834–1917 Woman Arranging Her Hair Ca
Edgar Degas French, 1834–1917 Woman Arranging her Hair ca. 1892, cast 1924 Bronze McNay Art Museum, Mary and Sylvan Lang Collection, 1975.61 In this bronze sculpture, Edgar Degas presents a nude woman, her body leaned forward and face obscured as she styles her hair. The composition of the figure is similar to those found in his paintings of women bathing. The artist displays a greater interest in the curves of the body and actions of the model than in capturing her personality or identity. More so than his posed representations of dancers, the nude served throughout Degas’ life as a subject for exploring new ideas and styles. French Moderns McNay labels_separate format.indd 1 2/27/2017 11:18:51 AM Fernand Léger French, 1881–1955 The Orange Vase 1946 Oil on canvas McNay Art Museum, Gift of Mary and Sylvan Lang, 1972.43 Using bold colors and strong black outlines, Fernand Léger includes in this still life an orange vase and an abstracted bowl of fruit. A leaf floats between the two, but all other elements, including the background, are abstracted beyond recognition. Léger created the painting later in his life when his interests shifted toward more figurative and simplified forms. He abandoned Cubism as well as Tubism, his iconic style that explored cylindrical forms and mechanization, though strong shapes and a similar color palette remained. French Moderns McNay labels_separate format.indd 2 2/27/2017 11:18:51 AM Pablo Picasso Spanish, 1881–1973 Reclining Woman 1932 Oil on canvas McNay Art Museum, Jeanne and Irving Mathews Collection, 2011.181 The languid and curvaceous form of a nude woman painted in soft purples and greens dominates this canvas. -
1 Frederick Frieseke Cited in Clara T. Macchesney
FREDERICK CARL FRIESEKE (1874-1939) Summer Afternoon Oil on canvas 26 x 32 inches Signed lower left Provenance Esther Rosenbaum, New York, 1951-2005 It is sunshine, flowers in sunshine, girls in sunshine, the nude in sunshine, which I have been principally interested in for eight years….1 One should never forget that seeing and producing an effect of nature is not a matter of intellect, but of feeling.2 Frederick Carl Frieseke was perhaps the most internationally celebrated Impressionist of his time. He was born in Owosso, Michigan in 1874 and went to Chicago to study at the Art Institute of Chicago and then to New York for lessons at the Art Students League. It was not before long that he followed the expatriate trail to France and enrolled at the Académie Julian under Jean-Paul Laurens and Benjamin Constant. In Paris, he met Whistler, whose color harmonies the young artist quickly absorbed. Frieseke’s career was graced with countless honors. He won a Gold medal at the Pennsylvania Academy in 1913, a Gold medal in Munich in 1904, a Silver medal at the Corcoran Gallery in 1935, the Grand Prize at the Pan-Pacific Exposition in San Francisco in 1915, two Gold medals at the Art Institute of Chicago in 1920, and a Gold medal at the Philadelphia Art Club in 1922. Frieseke won notice in Italy as his work, Autumn was acquired by the Museo de Arte Moderna in Venice, and a 1 Frederick Frieseke cited in Clara T. MacChesney, “Frieseke Tells Some of the Secrets of his Art” New York Times, June 7, 1914, cited in Gerdts, William H., American Impressionism, New York: Artabras, 1984) 264. -
Twentieth Century Masters
TWENTIETH CENTURY MASTERS FINDLAY GALLERIES Gallery Collection on View Balthus (1908 - 2001) Braque (1882 - 1963) Camoin (1879 - 1965) Chagall (1887 - 1985) D'Espagnat (1870 - 1950) Degas (1834 - 1917) Friesz (1879 - 1949) Glackens (1870 - 1938) TWENTIETH Hassam (1859 - 1935) CENTURY Homer (1836 - 1910) Lachaise (1882 - 1935) Laurencin (1883 - 1956) Le Sidaner (1862 - 1939) Lebasque (1865 - 1937) Lebourg (1849 - 1928) Luce (1858 - 1941) Martin- Ferrieres (1893 - 1972) Matisse (1869 - 1954) Metzinger (1883 - 1956) Pissarro- (1830 - 1903) Prendergast (1858 - 1924) Renoir (1841 - 1919) Valtat (1869 - 1952) Van Dongen (1877 - 1968) Vlaminck (1876 - 1958) Vuillard (1868 - 1940) KEES VAN DONGEN (1877 - 1968) Portrait de jeune femme au petit chien, c. 1920 oil on canvas 59 x 59 inches Signed 'van Dongen' (middle right) 137616 3 // FINDLAY TWENTIETH CENTURY MASTERS Findlay Galleries continues its long tradition of presenting highly important paintings to fine art collectors throughout the world. The Masters' Collection offers a cross-section of highlights from our collection including recent acquisitions of Impressionist and Modern Masters. The Galleries' global position in the art market for nearly 148 years has distinguished it as a leader in providing unique opportunities for collectors. Many of the paintings in this exhibition have appeared in museums around the globe and in distinguished collectors' homes. Several of these works have been privately collected and quietly passed down from generation through generation. As always, our art consultants offer unparalleled excellence in assisting our clients as they enhance or begin their collections. As a dealer to individuals, institutions and corporate collectors alike, Findlay Galleries continues to celebrate its traditions of presenting exhibitions featuring collections of diverse, original, and outstanding works. -
Bringing to Light
Bringing to Light A Century of American Painting Brooklyn-born Guy Carleton Wiggins’ career flourished early, and at age 20 he became the youngest American to have a work accepted into the permanent col- lection of the Metropolitan Museum of Art. He painted numerous views of the city in winter from the windows of offic- es in Manhattan, and this blustery de- piction of a snow-covered Wall Street is typical of Wiggins’ oeuvre. The bright- ly-colored flags and bustling crowds lend the scene energy in the midst of a chilly day. (left) Guy Carleton Wiggins (1883-1962) Wall Street Winter 1 Oil on canvas on board, 12 x 9 ⁄8 inches Signed lower left:Guy Wiggins (front cover, detail) Newell Convers Wyeth (1882-1945), The Artist’s Studio, Chadds Ford, Pennsylvania, pg. 7 Bringing to Light: A Century of American Painting November 23rd, 2019 - January 25th, 2020 V OSE G ALLER IES The Isles of Shoals have inspired artists for generations. Warren Sheppard was also enamored with the area—this example, depicting White Island Light on the south- Warren W. Sheppard (1858-1937) A Schooner off White Island Light, Isles of Shoals, NH ernmost atoll, serves as one of his more tranquil renditions as he depicts a moored 1 1 vessel delivering supplies to the outpost. His dual background as mariner and artist Oil on canvas, 20 ⁄8 x 26 ⁄8 inches comes into full view through his careful delineation of the rigging and sails. Signed lower left:WARREN SHEPPARD 2 V OSE G ALLERIES B RIN G IN G TO L I G HT : Alvan Fisher was one of the earliest American pioneers of painting. -
Gallery, May 8, 2015.Qxp
THE GALLERY ț THE GALLERY ț THE GALLERY ț THE GALLERY ANTIQUES AND THE ARTS WEEKLY ț 5 CHURCH HILL RD ț BOX 5503 ț NEWTOWN, CONNECTICUT, 06470 ț SPRING 2015 2 - THE GALLERY May 8, 2015 — Antiques and The Arts Weekly THE GALLERY ț THE GALLERY ț THE GALLERY THE GALLERY R. Scudder Smith, Executive Publisher & Editor Carol Sims, Gallery Editor Pamela Ashbahian, Production Director Tel.203-426-8036 or 426-3141 or Fax. 203-426-1394 www.AntiquesandTheArts.com email - [email protected] THE GALLERY ț THE GALLERY ț THE GALLERY THE GALLERY Published by The Bee Publishing Company, Box 5503, Newtown Connecticut 06470 Historic WWI Illustrations At Schoonover Studios BY JOHN SCHOONOVER were selected for the American Expeditionary Force in years, American aviation quickly responded with the CURATOR, SCHOONOVER STUDIOS, LTD Europe: George Harding, Harry Townsend, William formation of the American Expeditionary Force ( AEF As we enter the centennial years of World War I, we Aylward and Harvey Dunn. Of these, Dunn produced ). Although urgent plans called for manufacture of are reminded that many of the pictorial narratives of some of the most compelling illustrations as an imme- several thousand planes, bureaucratic delays hampered the events in Europe, 1914 to 1919, including war- diate observer of combat in the trenches. Ironically, production, forcing many AEF pilots to fly British and fare, appeared in various publications as illustrations. many of his paintings didn’t even reach the War French planes in the face of well-trained and dogged Notable among these illustrators were six students of Department until after the Armistice and initially were German pilots (The Bosche). -
Kindred Spirits
Asher B. Durand • Kindred Spirits NATIONAL GALLERY OF ART, WASHINGTON On February , 848, ten days after his forty-seventh birthday, Thomas Cole— America’s first important landscape painter — died of pneumonia. At the time of his death, he was at the peak of his powers and the acknowledged leader of the loosely knit group of American landscape painters that would become known as the Hudson River School. Cole’s unexpected death was a shock to America’s artistic community. In New York he was honored with a memorial exhibition of his works and a commemorative service highlighted by a eulogy delivered by William Cullen Bryant, a successful American nature poet and one of Cole’s closest friends. Among the tributes Bryant offered, one was especially prescient: “I say within myself, this man will be reverenced in future years as a great master in art.” In appreciation of Bryant’s role in celebrating Cole’s memory and in recogni- tion of the friendship between the poet and the painter, the New York collector Jonathan Sturges commissioned Asher B. Durand to paint a work that would depict Cole and Bryant as “kindred spirits.” Durand, several years older than Cole and a successful engraver, had been inspired by Cole in the 830s to take up landscape painting and was soon a leading practitioner in his own right. Sturges’ request that the two men be shown as kindred spirits was inspired by the words of English poet John Keats, whose “Sonnet to Solitude” celebrates the ameliora- tive aspects of nature and concludes: Yet the sweet converse of an innocent mind, Whose words are images of thoughts refin’d, Is my soul’s pleasure; and sure it must be Almost the highest bliss of human-kind, When to thy haunts two kindred spirits flee. -
New York City Through the Eyes of Its Artists
New York City through the Eyes of Its Artists In the nineteenth century, American Impressionist artist Childe Hassam described New York City as “the most wonderful and most beautiful city in the world. All life is in it . No street, no section of Paris or any other city I have seen equal to New York.” His artwork was inspired by parks, pristine residential districts and genteel strolling pedestrians. Yet the dawn of the twentieth century would bring a deluge of European immigrants to the shores of New York City and a plethora of rapidly advancing technology, creating a new modern metropolis unlike anything that had been seen before. Gone was the picturesque city of the nineteenth century Hassam adored; a city made of brick and timber, its streets filled with horse drawn carriages. These remnants of a by-gone century had been replaced with soaring towers of glass and steel, streets teeming with noisy streetcars, electrified subways and elevated railroads, motor buses and electric streetlights. Advances in technology had revolutionized the look and feel of the city. The skyscraper towered above it all, its verticality an emblem for urban innovation. For Hassam, a stalwart proponent of the picturesque nineteenth century New York, these new tall buildings were, “wildly formed architectural freak[s]” and not “marvel[s] of art.” The more progressive looking the building, the less appealing it was for Hassam to represent it in his artwork. When he did include modern buildings in his artwork, they were often anonymous and generic, blending in with the older buildings he favored. -
Childe Hassam (1859-1935)
CHILDE HASSAM (1859-1935) Twilight After Rain, c. 1887-89 Oil on board 8 x 6 inches Signed lower left Inscribed in the artist’s hand Twilight after Rain / (The rue Royal and the Church of the Madeleine Paris) / Childe Hassam / 95 5th Ave New York on paper affixed to the reverse Note: This painting will be included in Kathleen M. Burnside's and Stuart P. Feld's forthcoming catalogue raisonné of the artist's work. PROVENANCE Richard Harding Davis, Mount Kisco, New York Mrs. Cecil Clark Davis, Marion, Massachusetts Miss M. Campbell-Hutchinson, New York (sold: Parke-Bernet Galleries, New York, November 13, 1957, lot 4) Estate of Joseph Katz, Baltimore, Maryland, until 1959 Babcock Galleries, New York Acquired by the prior owner from the above, 1959 Private Collection, CT (Frederick) Childe Hassam (1859-1935) was a pioneer of the American Impressionist movement. His body of work comprises over 2,000 oils, watercolors, pastels and illustrations and after 1912, over 400 etchings and prints. Today, he is perhaps best known for his paintings that capture the excitement of New York City at the turn of century, such as his famous depictions of flag-studded Fifth Avenue during World War I, but his unparalleled skill at portraying the tranquility and beauty of the countryside with his bright, tonal palette and descriptive brushwork are considered to be some of his most sophisticated work. Hassam was born in Dorchester, Massachusetts (now a part of Boston) to a prominent merchant family descended from the settlers of the Massachusetts Bay Colony. He initially trained as an apprentice to a wood engraver, and from the late 1870s to the mid-1880s created drawings for book illustrations—largely children’s stories—as well as illustrations for periodicals such as Century and Harper’s magazines. -
Annual Report 2000
2000 ANNUAL REPORT NATIONAL GALLERY OF ART 2000 ylMMwa/ Copyright © 2001 Board of Trustees, Cover: Rotunda of the West Building. Photograph Details illustrated at section openings: by Robert Shelley National Gallery of Art, Washington. p. 5: Attributed to Jacques Androet Ducerceau I, All rights reserved. The 'Palais Tutelle' near Bordeaux, unknown date, pen Title Page: Charles Sheeler, Classic Landscape, 1931, and brown ink with brown wash, Ailsa Mellon oil on canvas, 63.5 x 81.9 cm, Collection of Mr. and Bruce Fund, 1971.46.1 This publication was produced by the Mrs. Barney A. Ebsworth, 2000.39.2 p. 7: Thomas Cole, Temple of Juno, Argrigentum, 1842, Editors Office, National Gallery of Art Photographic credits: Works in the collection of the graphite and white chalk on gray paper, John Davis Editor-in-Chief, Judy Metro National Gallery of Art have been photographed by Hatch Collection, Avalon Fund, 1981.4.3 Production Manager, Chris Vogel the department of photography and digital imaging. p. 9: Giovanni Paolo Panini, Interior of Saint Peter's Managing Editor, Tarn Curry Bryfogle Other photographs are by Robert Shelley (pages 12, Rome, c. 1754, oil on canvas, Ailsa Mellon Bruce 18, 22-23, 26, 70, 86, and 96). Fund, 1968.13.2 Editorial Assistant, Mariah Shay p. 13: Thomas Malton, Milsom Street in Bath, 1784, pen and gray and black ink with gray wash and Designed by Susan Lehmann, watercolor over graphite, Ailsa Mellon Bruce Fund, Washington, DC 1992.96.1 Printed by Schneidereith and Sons, p. 17: Christoffel Jegher after Sir Peter Paul Rubens, Baltimore, Maryland The Garden of Love, c.