DOCSLIB.ORG

Metropolitan Useum Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Metropolitan Useum Of THE ETROPOLITAN NEWS FOR MUSEUM OF ART RELEASE THURSDAY, JUNE 15, 1950 FIFTH AYE.at 82 STREET • NEW YORK PRESS VIEW: Tuesday, June 13 2 - 4:30 p.m. MAJOR EXHIBITION OF AMERICAN 20TH CENTURY APT OPENING AT METROPOLITAN MUSEUM A panorama of American art since the turn of the 20th century will open to the public at The Metropolitan Museum of Art tomorrow. Well over 200 oils, water- colors and drawings and more than 100 prints by artists whose work reflects the ma­ jor artistic trend3 of the past half-century in the United States are included in the exhibition. All works displayed are from the permanent collections of the Mu­ seum. Because it will be possible to show only a portion of the total number of American paintings*owned by the Museum at any one time in the exhibition 20TH CENTURY PALNTERS-U. S. A., substitutions will be made as the exhibition continues in order to give the fullest possible representation to the more than 500 artists of the period whose works are in the collections. The exhibition will be on view through the summer. Outstanding canvases by artists now recognized as being among the great­ est of the 19th century serve as an introduction to the exhibition, which follows a chronological pattern. Among these earlier paintings are The Gulf Stream by Winslow Homer, Max Schmitt in a Single Scull by Thomas Eakins and two famous marine sub­ jects by Albert Pinkham Ryder, Toilers of the Sea and Moonlight-Marine. Portraits of the period include Madame X and The Wyndham. Sisters by John Singer Sargent, Portrait of Theodore Duret by James A. McNeill Whistler and The Thinker, by Eakins. Story-telling pictures such as King Lear's Daughters by Edwin A. Abbey and The Muse of Painting by John LaFarge, which enjoyed great popularity as the cen­ tury began, are also to be found in the galleries of early paintings. American Impressionism is vividly portrayed in a gallery devoted to the works of Miry Cassatt, Childe Hassam, Julian Alder Weir, Gari Melchers, John Twachtman and others who drew inspiration from French Impressionists such as Degas, Monet, and Manet. Among the best-known canvases shown are Lady at the Tea Table by Cassatt, July 14th Rue Daunou by Hassam, The Green Bodice by Weir, Madonna by Melchers and Waterfall by Twachtman. Impressionistic paintings are succeeded by realistic works from the brushes of such men as John Sloan, Dust Storm, Fifth Avenue; Robert Henri, Dutch (more) 2-20th Century American Art Girl in White; George Luk3, Tho Old Duchess; and Arthur B. Davies, Unicorns. All were members of The Eight, a group of forthright artists who created the "Journal­ istic Revolution" of 1908 by abandoning academic subject matter and turning to the man in the street for inspiration. Here also is Up the Hudson by George Bellows, the outstanding student of Henri, one of the leaders of The Eight. Bellows was among the artists who carried on the movement with extraordinary sensitivity and vitality. Influence of the famed Armory Show of 1913 in New York, which featured "radical" European art of the day, and the impact of advanced painters then active on the continent, is to be seen in such paintings as Straggly Pines by Max Weber, Acrobat in Red and Green by Walt Kuhn, Lobster Fishermen by Marsden Hartley and Bazaar with Cocoanut Palms by Maurice Sterne. Regional painting is represented by the leading exponents of this trend in American art. Among them are John Steuart Curry, whose heroic John Brown is a recent acquisition being exhibited for the first time at the Metropolitan; Grant Wood, whose Midnight Ride of Paul Revere has also just been acquired, and Thomas Benton, who is represented by Roasting Ears. Other well-known interpreters of the American scene being shown include Edward Hopper, Guy Pene DuBois, Reginald Marsh, Peter Hurd, Jon Corbino and Raphael Soyer. Many other painters who came into prominence at this time are also repre­ sented. Among them are Eugene Speicher, George Biddle, Waldo Pelrce, Alexander Brook and Louis Bouche. Two galleries of the exhibition are devoted to oils, watercolors and draw­ ings from the Alfred Stieglitz Collection given to the Museum last year by Georgia O'Keeffe, executrix of the Stieglitz estate. Oils from the collection being shown for the_first time at the Metropolitan include the dramatic I Saw the Figure 5 in Gold by Charles Demuth and The Perk Mountain, No. 2 by Marsden Hartley. Among paint ings by Georgia O'Keeffe on permanent loan from the artist to the Stieglitz Col­ lection timt are to be soen are Cow's Skull, Red,White, and Blue and White Canadian Born. A group of John Marin's watercolors from the Stieglitz Collection are o; view, ranging in date from London Omnibus (lg08) to Bathers on Rocks (1943) and including many of his Maine seascapes. A. number of Demuth watercolors are also on display. Other watercolors and drawings from the Museum's collections by Americans outstanding in the field are shown in three additional galleries. Displayed for the first time at the Museum is Civil Prisoners by Boardman Robinson, one of sever­ al works by Robinson purchased by 134 of the artist's friends and presented earliest (more) 3"20th Century American Art this year to the Metropolitan. Charles Burchfield, Stuart Davis, Adolph. Dehn,. Dong Kingman and Jacob Lawrence are all represented by typical examples of their work. Works of the surrealists, the abstractionists anS others active in today's advanced schools of art are to be found in the remaining galleries of paintings. String Quartette by Jack Levine, Homeless by William Gropper, The Ambassador of Good Will by George Croaz and Muse of the Western World by Eugene Berman are shown with the abstractions Green Depth by I. Rice Pereira and Burial by Bradley Walker Tomlin. Recently acquired paintings in two galleries illustrate the complete sweep of contemporary art, from the most conservative to the most advanced. Here are works by Hobart Nichols, Andrew Wyeth, Walter Stuempfig, Ivan LeLorraine Albright, Charles Sheeler, Loren Maclver, Philip Evergood, Yasuo Kuniyoshi, Karl Khaths, Abraham Rattner, Ben Shahn, Mark Tobey, William Bar-,iotes, and Theodoros Stamos. In still another gallery modern works by such newcomers to the collections of the . Metropolitan as Pavel Tchelitchew and Karl Zerbe are hung with canvases by Julian Levi and Darrell Austin who have been represented for a number of years past. From the Museum's collection of several thousand American prints made be­ tween 1900 and 1950, more than one hundred examples have been selected for display in conjunction with the 20th century paintings. The prints parallel the oils, watercolors and drawings in illustrating the full range of artistic tendencies of the past fifty years. Included in the print exhibition is the famous illustrative work, Dempse.v and Firpo by Bellows, the ultra-realistic lithograph Into the World There Came A Soul Called Ida by Ivan LeLorraine Albright, and an abstract intaglio print, Five People by Stanley William Hayter. For the first time at the Museum, photographs are being shown alongside prints. Photographs by Alfred Stieglitz, Edward Steichen, Clarence White and Charles Sheeler, all from the Stieglitz Collection, are on view. Work by other photographers on display includes examples by George Piatt Lynes and Ansel Adams. Assembled by Robert Beverly Hale, Associate Curator of American Art, 20th Century Painters - U.S.A., is the first major exhibition to be held at the Metro­ politan Museum in accordance with its newly adopted policy on American art. It will be followed in December by American Painting Today - 1950, an $8,500 prize competition open to all painters in the nation. Concurrently with the present exhibition, the Museum is publishing a picture book titled 100 American Painters of the 20th Century containing repro­ ductions in color and black-and-white of many of the works from the Museum's col- (more) 4 - 20th Century American Art lections now being exhibited. Commenting on the relationship of art and history in his foreword to the book, Mr. Hale says that "if we understand history fully we should understand the art of our times, for it is still, as it always has been, the mirror of ourselves. "If our art seems violent," Mr. Hale continues, "it is because we have perpetrated more violence than any other generation. If it deals with weird dreams it is because we have opened up the caverns of the mind and let such phantoms loose. If it is filled with broken shapes it is because we have watched the order of our fathers break and fall to pieces at our feet. "We have seen, in our century, the development of fantastic scientific paraphernalia and much ill will. We live in the fear of some monstrous event which will bring, at best, a curious and distorted future; at worst, annihilation. The artist is in part a prophet. We should not complain if the shadows that have lately haunted us have for some time been visible upon his canvas." -000-.
Load more

Recommended publications
  • Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected]
    1 Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected] Education Feb. 1973 PhD., Institute of Fine Arts, New York University. Thesis: "The Genre Painting of Eastman Johnson: The Sources and Development of His Style and Themes," (Published by Garland, 1977). Adviser: Professor Robert Goldwater. Jan. 1968 M.A., Hunter College, City University of New York. Thesis: "The Portraits of Thomas Eakins: The Elements of Interpretation." Adviser: Professor Leo Steinberg. June 1957 B.A., Stanford University. Major: Modern European Literature Professional Positions 9/1978 – 7/2014 Department of History of Art & Architecture, Boston University: Acting Chair, Spring 2009; Spring 2012. Chair, 1995-97; Professor 1988-2014; Associate Professor, 1978-88 [retired 2014] Other assignments: Adviser to Graduate Students, Boston University Art Gallery, 2010-2011; Director of Graduate Studies, 1993-94; Director, BU Art Gallery, 1980-89; Director, Museum Studies Program, 1980-91 Affiliated Faculty Member: American and New England Studies Program; African American Studies Program April-July 2013 Terra Foundation Visiting Professor, J. F. Kennedy Institute for North American Studies, Freie Universität, Berlin 9/74 - 7/87 Adjunct Curator, 18th- & 19th-C Art, Whitney Museum of Am. Art, NY 6/81 C. V. Whitney Lectureship, Summer Institute of Western American Studies, Buffalo Bill Historical Center, Cody, Wyoming 9/74 - 8/78 Asso. Prof., Fine Arts/Performing Arts, York College, City University of New York, Queens, and PhD Program in Art History, Graduate Center. 1-6/75 Adjunct Asso. Prof. Grad. School of Arts & Science, Columbia Univ. 1/72-9/74 Asso.
    [Show full text]
  • Annual Report 2018
    2018 Annual Report 4 A Message from the Chair 5 A Message from the Director & President 6 Remembering Keith L. Sachs 10 Collecting 16 Exhibiting & Conserving 22 Learning & Interpreting 26 Connecting & Collaborating 30 Building 34 Supporting 38 Volunteering & Staffing 42 Report of the Chief Financial Officer Front cover: The Philadelphia Assembled exhibition joined art and civic engagement. Initiated by artist Jeanne van Heeswijk and shaped by hundreds of collaborators, it told a story of radical community building and active resistance; this spread, clockwise from top left: 6 Keith L. Sachs (photograph by Elizabeth Leitzell); Blocks, Strips, Strings, and Half Squares, 2005, by Mary Lee Bendolph (Purchased with the Phoebe W. Haas fund for Costume and Textiles, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017-229-23); Delphi Art Club students at Traction Company; Rubens Peale’s From Nature in the Garden (1856) was among the works displayed at the 2018 Philadelphia Antiques and Art Show; the North Vaulted Walkway will open in spring 2019 (architectural rendering by Gehry Partners, LLP and KXL); back cover: Schleissheim (detail), 1881, by J. Frank Currier (Purchased with funds contributed by Dr. Salvatore 10 22 M. Valenti, 2017-151-1) 30 34 A Message from the Chair A Message from the As I observe the progress of our Core Project, I am keenly aware of the enormity of the undertaking and its importance to the Museum’s future. Director & President It will be transformative. It will not only expand our exhibition space, but also enhance our opportunities for community outreach.
    [Show full text]
  • July 1, 2013–June 30, 2014 FY14: a LOOK BACK
    Georgia Museum of Art Annual Report July 1, 2013–June 30, 2014 FY14: A LOOK BACK This fiscal year, running from July 1, 2013, and get things back in order but returned to to June 30, 2014, was eventful, exciting, and business as usual until February, when more inspiring in many ways. Deaccessioning Bernard winter weather required us to close for several Smol, an exhibition of five works from our days and interfered with travel arrangements permanent collection organized by Lynn for the seventh Henry D. Green Symposium of Boland, served as a way to educate our audiences the Decorative Arts: “Connections: Georgia in about the process of removing works from a the World.” The Green Symposium was one of museum collection and resulted in enthusiastic four academic symposia on the calendar in FY14, and thoughtful participation by visitors, who along with “The Enlightened Gaze: Gender, voted with red and green stickers whether they Power and Visual Culture in Eighteenth-Century thought we should keep or sell each painting. It Russia” (devoted to Catherine the Great), “While was a great example of the power of transparency Silent, They Speak: Art and Diplomacy” (a and the importance of museum ethics. symposium for emerging scholars organized In the fall, two internationally focused with the Association of Graduate Art Students exhibitions—Exuberance of Meaning: The Art that focused on Art Interrupted: Advancing Patronage of Catherine the Great (1762–1796) and American Art and the Politics of Cultural Diplomacy), Cercle et Carré and the International Spirit of Abstract and a one-day mini-symposium connected to Art —both organized in house, attracted large Cercle et Carré and the International Spirit of Abstract audiences, produced new scholarly research, and Art .
    [Show full text]
  • Halpert & Marin
    Telling Stories: Edith Halpert & Her Artists October 9 – December 11, 2020 John Marin (1870-1953), Tree Forms, Autumn, 1915, watercolor on paper, 19 x 16 1/8 in. Edith Halpert had always had her eye on John Marin. In her days as a teenager studying art at The National Academy of Design and the Art Students League, she had visited Alfred Stieglitz’s groundbreaking “291” gallery to see works by Marin alongside the European avant-garde. However, despite Halpert’s persistent entreaties, Marin was in no rush to join the Downtown Gallery roster. After Stieglitz’s death in 1946, Marin, whose popularity was at its height, was quickly courted by many of Halpert’s competitors. By August 1949, her patience and restraint wore out, writing to Marin: I have always been hesitant, because of my admiration and awe of you, and my deep regard for Stieglitz, in pushing myself forward into your plans...I can say, without hesitation — and I am sure that you know it — that you are my favorite artist, American or otherwise, possibly more so because not otherwise. I can also say, with all due modesty, that I — or The Downtown Gallery — is the logical and only place for Marin...I want to be the agent for John Marin. (Downtown Gallery Records, AAA) In order to secure Marin, Halpert agreed to hire his son, John Jr., and provide a space for Downtown Gallery press release announcing representation of Marin. the year-round display of Marin’s work. Courtesy of the Archives of American Art. Constructed in the gallery’s backyard, the Marin room not only exhibited his paintings, but included a dedicated area for etchings and books on the artist.
    [Show full text]
  • Artists and Place
    ARTISTS AND PLACE Teacher Guide for the Addison Gallery of American Art Winter 2012 Exhibitions Phillips Academy, Andover, MA Education Department: Katherine Ziskin, Education Fellow for School & Community Collaborations John Marin: Modernism at Midcentury [email protected] or 978.749.4198 January 28 through April 1, 2012 Jamie Kaplowitz, Education Associate & Museum Learning Specialist Julie Bernson, Curator of Education Land, Sea, Sky: Contemporary Art in Maine FREE GROUP VISIT HOURS BY APPOINTMENT: Tuesday-Friday 8am-4pm January 28 through March 18, 2012 FREE PUBLIC MUSEUM HOURS: Tuesday-Saturday 10am-5pm & Sunday 1pm-5pm Paintings from the Addison Collection TEACHER RESOURCES, WORKSHOPS, January 14 through April 8, 2012 & EXHIBITION INFORMATION: www.addisongallery.org Addison Gallery of American Art Education Department, Winter 2012 Teacher Guide, p. 1 Artists and Place What connections can be made between John Marin’s paintings and the places that inspired them? John Marin (1870-1953), like many American artists of the early twentieth century, painted in the countrysides and cities of Europe, learning and honing his craft. It is his landscapes of the United States, however, for which the artist is best known. Marin’s dedicated study of his own environments - particularly New York City and the Maine coast - are inspirations for the exhibition John Marin: Modernism at Midcentury. Marin’s early paintings of structured and pointed Manhattan views reveal his cubist roots, while the fluidity of his coastal paintings reveal an ever-increasing tendency toward abstraction (figs. 1-3). Marin worked at various locations in Maine from 1914, but marked shifts in his paintings appeared in 1933 when fig.
    [Show full text]
  • ANNUAL REPORT 2013 BOARD of TRUSTEES 5 Letter from the Chair
    BOARD OF TRUSTEES 2 LETTER FROM THE CHAIR 4 A STRATEGIC VISION FOR THE 6 PHILADELPHIA MUSEUM OF ART A YEAR AT THE MUSEUM 8 Collecting 10 Exhibiting 20 Learning 30 Connecting and Collaborating 38 Building 48 Conserving 54 Supporting 60 Staffing and Volunteering 70 A CALENDAR OF EXHIBITIONS AND EVENTS 75 FINANCIAL STATEMENTS 80 COMMIttEES OF THE BOARD OF TRUSTEES 86 SUPPORT GROUPS 88 VOLUNTEERS 91 MUSEUM STAFF 94 BOARD OF TRUSTEES TRUSTEES EMERITI TRUSTEES EX OFFICIO OFFICERS Peter A. Benoliel Hon. Tom Corbett Constance H. Williams Jack R Bershad Governor, Commonwealth Chair, Board of Trustees Dr. Luther W. Brady, Jr. of Pennsylvania and Chair of the Executive Committee Helen McCloskey Carabasi Hon. Michael A. Nutter Mayor, City of Philadelphia H. F. (Gerry) Lenfest Hon. William T. Raymond G. Perelman Coleman, Jr. Hon. Darrell L. Clarke Chairs Emeriti Ruth M. Colket President, City Council Edith Robb Dixon Dennis Alter Hannah L. Henderson Timothy Rub Barbara B. Aronson Julian A. Brodsky B. Herbert Lee The George D. Widener Director and Chief David Haas H. F. (Gerry) Lenfest Executive Officer Lynne Honickman Charles E. Mather III TRUSTEES Victoria McNeil Le Vine Donald W. McPhail Gail Harrity Vice Chairs Marta Adelson Joan M. Johnson David William Seltzer Harvey S. Shipley Miller President and Chief Operating Officer Timothy Rub John R. Alchin Kenneth S. Kaiserman* Martha McGeary Snider Theodore T. Newbold The George D. Widener Dennis Alter James Nelson Kise* Marion Stroud Swingle Lisa S. Roberts Charles J. Ingersoll Director and Chief Barbara B. Aronson Berton E. Korman Joan F. Thalheimer Joan S.
    [Show full text]
  • Marin Biography.Indd
    John Marin (1870-1953) Menconi+ Schoelkopf John Marin (1870-1953) cover: John Marin, c. 1907 John Marin holds a special position in American art, having begun his art- Photographer unknown Gelatin silver print making under the spell of James Abbott McNeill Whistler and concluding as the Estate of John Marin godfather of Abstract Expressionism. Born in 1880 in Rutherford, New Jersey, Young American Artists of the Marin did not commit himself to art as a career until around age thirty. By 1910, Modern School, 1911 his association with Alfred Stieglitz propelled him to a Europe where the seeds of Photographer unknown his modernist conversion were planted. Marin, characteristically glib, wrote that Gelatin silver print Front (left to right): Jo Davidson, he “played some billiards, incidentally knocked out some batches of etchings.”1 Edward Steichen, Arthur B. But certainly the etcher also found time to absorb the proto-Cubist works of Paul Carles, John Marin; back: Marsden Hartley, Laurence Cézanne and Robert Delaunay. The following year, his work progressed rapidly Fellows from the hazy washes of a nineteenth-century graphic aesthetic to the semi-ab- Bates College Museum of Art stracted explosions of line, form, and color for which he would soon become John Marin and Alfred Stieglitz, famous. By the middle of that decade, he had established a lifestyle as well as an Magazine cover of 291 No. 4 (June 1915) with unique hand- artistic voice that he would explore, to great acclaim, for the rest of his long coloring by Marin career. His winters were spent either in New York City or in Cliffside, New Jersey, while summers were spent primarily in Maine.
    [Show full text]
  • Mrs. John Marin) C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 John Marin American, 1870 - 1953 Marie Jane Hughes Marin (Mrs. John Marin) c. 1944 oil on canvas overall: 71.1 x 55.8 cm (28 x 21 15/16 in.) Inscription: upper center on canvas over top stretcher bar reverse: SR 44.15 Mrs. John Marin - ca. 1944; upper right on canvas over top stretcher bar reverse: NBM 1/13/84; center of canvas reverse: Property of / John Marin / Jr. Gift of John Marin, Jr. 1986.54.8 ENTRY Following their marriage in 1912, Marie Jane Hughes Marin often accompanied her husband on his painting trips but was rarely the subject of his work. John Marin produced portraits of friends and family members only sporadically until the mid- 1940s, when he began to take portraiture more seriously. This portrait was painted approximately one year before Marie died in February 1945. In the last year of his own life, Marin, in remembrance, included her in A Looking Back: The Marin Family (1953, private collection), a family portrait after a 1921 photograph by Alfred Stieglitz (American, 1864 - 1946), and painted Untitled (Mrs. Marin) (1953, private collection), a portrait of his wife that was based on a photograph by Dorothy Norman. [1] The calligraphic line and brushy technique of Mrs. John Marin are characteristic of Marin’s late series of oil portraits, which also includes Portrait of Roy Wass with Apologies (1949, private collection) and The Spirit of the Cape: Susie Thompson (1949, private collection). [2] In these works Marin, as he had since the late 1920s, continued to apply his mastery of watercolor, the medium for which he is best Marie Jane Hughes Marin (Mrs.
    [Show full text]
  • Oral History Interview with Raphael Soyer, 1981 May 13-June 1
    Oral history interview with Raphael Soyer, 1981 May 13-June 1 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Funding for this interview was provided by the Wyeth Endowment for American Art. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Raphael Soyer on May 13, 1981. The interview was conducted by Milton Brown for the Archives of American Art, Smithsonian Institution. Interview Tape 1, side A MILTON BROWN: This is an interview with Raphael Soyer with Milton Brown interviewing. Raphael, we’ve known each other for a very long time, and over the years you have written a great deal about your life, and I know you’ve given many interviews. I’m doing this especially because the Archives wants a kind of update. It likes to have important American artists interviewed at intervals, so that as time goes by we keep talking to America’s famous artists over the years. I don’t know that we’ll dig anything new out of your past, but let’s begin at the beginning. See if we can skim over the early years abroad and coming here in general. I’d just like you to reminisce about your early years, your birth, and how you came here. RAPHAEL SOYER: Well, of course I was born in Russia, in the Czarist Russia, and I came here in 1912 when I was twelve years old.
    [Show full text]
  • Art from Europe and America, 1850-1950
    Art from Europe and America, 1850-1950 Gallery 14 QUESTIONS? Contact us at [email protected] ACKLAND ART MUSEUM The University of North Carolina at Chapel Hill 101 S. Columbia Street Chapel Hill, NC 27514 Phone: 919-966-5736 MUSEUM HOURS Wed - Sat 10 AM - 5 PM Sun 1 PM - 5 PM 2nd Fridays 10 AM – 9 PM Closed Mondays & Tuesdays. Closed July 4th, Thanksgiving, Christmas Eve Christmas Day, & New Year’s Day. 1 Auguste Rodin French, 1840 – 1917 Head of Balzac, 1897 bronze Ackland Fund, 63.27.1 About the Art • Nothing is subtle about this small head of the French author Honoré de Balzac. The profile view shows a protruding brow, nose, and mouth, and the hair falls in heavy masses. • Auguste Rodin made this sculpture as part of a major commission for a monument to Balzac. He began working on the commission in 1891 and spent seven more years on it. Neither the head nor the body of Rodin’s sculpture conformed to critical or public expectations for a commemorative monument, including a realistic portrait likeness. Consequently, another artist ultimately got the commission. About the Artist 1840: Born November 12 in Paris 1854: Began training as an artist 1871-76: Worked in Belgium 1876: Traveled to Italy 1880: Worked for the Sèvres Porcelain Manufactory; received the commission for one of his most famous works, monumental bronze doors called The Gates of Hell 1896: His nude sculpture of the French author Victor Hugo created a scandal 1897: Made the Ackland’s Head of Balzac 1898: Exhibited his monument to Balzac and created another scandal 1917: Died November 17 in Meudon 2 Edgar Degas French, 1834 – 1917 Spanish Dance, c.
    [Show full text]
  • Oral History Interview with F. Wynn Graham, 1965 July 22
    Oral history interview with F. Wynn Graham, 1965 July 22 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with F. Wynn Graham on July 22, 1965. The interview took place at Plaza Escalante in Albuquerque, NM, and was conducted by Sylvia Loomis as part of the New Deal and the Art's project for the Archives of American Art, Smithsonian Institution. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview SYLVIA LOOMIS: This is an interview with Miss F. Wynn Graham, Plaza Escalante, 414 1/2 Central, S.E., Albuquerque, on July 22, 1965. The interviewer is Mrs. Sylvia Loomis of the Santa Fe office of the Archives of American Art, and the subject to be discussed is Miss Graham's participation in the Federal Art Project in New York City during the 1930's and 40's. But first, Miss Graham, would you tell us something about your background, where you were born and where you received your art education? F. WYNN GRAHAM: I was born in Sault Ste. Marie, Michigan. My art education began in Detroit, Michigan at the Wicker Art School. And from there I went to New York and to the Art Students League. MS. LOOMIS: When did you go? MS. GRAHAM: Oh, it was the early 30's when I went to New York. And I later studied lithography at the Harlem Art Center- MS.
    [Show full text]
  • John Marin: Modernism at Midcentury” Features in Winter 2012 Exhibitions at the Addison Gallery of American Art
    Contact: Ariane Doud Matter Communications 978-499-9250 x239 [email protected] “JOHN MARIN: MODERNISM AT MIDCENTURY” FEATURES IN WINTER 2012 EXHIBITIONS AT THE ADDISON GALLERY OF AMERICAN ART Join the Addison on January 27 for a festive evening to celebrate our winter exhibitions Andover, Mass. (January 9, 2012) -- On January 14, the Addison Gallery of American Art, located on the campus of Phillips Academy in Andover, Mass., welcomes the first of three new exhibitions. Open Windows: Keltie Ferris, Jackie Saccoccio, Billy Sullivan, and Alexi Worth kicks off an exciting winter season, followed by John Marin: Modernism at Midcentury and Land, Sea and Sky: Contemporary Art in Maine on January 28th. In celebration of the new season, the Addison is holding an opening reception on Friday, January 27, from 6:00-8:00pm at the museum, free and open to the public. For additional information, please visit addisongallery.org or call 978-749-4015. “This season’s line up of exhibitions are all of note – in particular, we are thrilled to welcome the John Marin exhibition to the Addison following its successful run at the Portland Museum of Art and the Amon Carter Museum of American Art in Fort Worth,” said Brian T. Allen, the Mary Stripp & R. Crosby Kemper Director of the Addison. “As is often the case with Addison exhibitions of well-known artists, this show has a unique aspect: it is the first to focus on the late phase of Marin’s work, in its evolution from 1933 until his death in 1953. As curator Debra Bricker Balken notes in her catalogue, Marin’s work during this 20-year period foreshadows aspects of Abstract Expressionism.
    [Show full text]