Library Associates Spring 2003 Newsletter
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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. -
Free Art and a Planned Giveaway
54 ARCHIVES of AMERICAN ART JOURNAL | 57.1 fig. 9 Letter from Henri Ehrsam to Gene Davis, June 29, 1965. Henri Gallery Records, Archives of American Art, Smithsonian Institution. first attempt to create the paintings, using local art students, so poor that he refused to put his name to them.40 McGowin ultimately enlisted Michael Clark (now known as Clark V. Fox), a recent graduate of the Corcoran School of Art and a skilled artist, to paint the fifty copies.41 The process of mass-reproducing Popsicle highlighted a hierarchy of labor in Giveaway, by which the physical production of the work was subordinate to its conception. Working on five canvases at a time, twelve to sixteen hours a day for nine days, and paid less than a skilled worker’s hourly wages plus meals, Clark painted all fifty works.42 Extant canvases bear the silkscreened names of the three event organizers followed by Clark’s original signature, with some—but not all—of the works also signed by Clark’s assistants ( fig. 10).43 In effect diminishing the painter and fabricators’ skill and artistic contributions, Douglas Davis declared “although his work is original and profound, in some ways Gene Davis is an easy copy.”44 Like Sturtevant’s repetitions, the copies of Popsicle were not exact.45 Mixing pigments to produce the exact hues of the original painting was challenging, given the brevity of Davis’s instructions.46 Moreover, at least one critic noted stylistic differences between Davis’s and Clark’s stripes; the older artist had been interested in how overlapping colors could produce faint effects of subtle vibration, but Clark did not have the luxury of letting one stripe dry before painting the next.47 Subtle aesthetic differences between the original and its reproductions produced fresh skepticism about a model of creative practice unable to see beyond the dichotomy of author and nonauthor. -
Ernst Ludwig Kirchner's Shadow 1 MUSEUM
1 MUSEUM DIGITAL ARCHIVE Loss and Restitution: The Story of the Grunwald Family Collection Ernst Ludwig Kirchner’s Shadow PETER H. FOX A major strength of the original Fred Grunwald collection is early twentieth-century German illustrated books. The resurgence of artistic interest in book design precipitated by Jugendstil is evident in Joseph Sattler’s vision of Germanic myth in Die Nibelunge (The Nibelunge, 1900) and Oskar Kokoschka’s fable Die Träumenden Knaben (The Dreaming Boys, 1908), while Expressionist impulses animate Wassily Kandinsky’s mystical Klänge (Sounds, 1913), Max Beckmann’s treatment of friend Kasimir Edschmid’s novel Die Fürstin (The Princess, 1918), and Ernst Ludwig Kirchner’s design for poet Georg Heym’s Umbra Vitae (The Shadow of Life, 1924) (fig. 1). Kirchner created numerous illustrations to literary texts throughout his career, starting with 1001 Nights in 1906–7, but his edition of Umbra Vitae is the most complete realization of his work in this genre. Unique to the Grunwald Center is a set of two bound volumes with 163 original woodcuts, drawings, and other illustrations by Kirchner, which were created from roughly 1919 to 1923 (figs. 2–3). Previously unaccounted for in the literature on the artist, these volumes present a new perspective on the significance of illustration for Kirchner’s artistic project. This essay explores Kirchner’s engagement with Umbra Vitae as a turning point in his oeuvre, a moment in which his desires to work through the trauma of World War I and control the reception of his art coalesced. Fig. 1. Ernst Ludwig Kirchner, Umbra Vitae (The Shadow of Life, 1924). -
The University Art Collection: Paintings, Sculpture, Fine Prints, and Other Graphic Arts A
Madonna and Child with Saints Catherine and Barbara, ca. 1525. Oil on panel, 21.75 x 16 inches. By the Master of Hoogstraeten (Netherlands; active first third of sixteenth century). This panel, painted in the tradition of Rogier van der Wyden and Gerard David, is probably related to a commission for the church of Saint Catherine in the Flemish town of Hoogstraeten near Antwerp. 144 The University Art Collection: Paintings, Sculpture, Fine Prints, and other Graphic Arts a Paintings........................................................................................................................... 145 Fine.Prints........................................................................................................................ 151 Editorial.Cartoons............................................................................................................. 157 Other.Graphics.Collections................................................................................................. 158 Sculpture........................................................................................................................... 160 Miscellaneous..................................................................................................................... 162 Archival.Resources............................................................................................................. 163 he University Art Collection is built largely on gifts from alumni and friends, and traces some important chapters in Georgetown’s history. Since it -
BOOKS ABOUT ARTISTS Catalogue 72 – January 2013
BOOKS ABOUT ARTISTS Catalogue 72 – January 2013 1. (Aaltonen, Waino). WAINO AALTONEN by Onni Okkonen. Finland, 1945. 4to., boards, DJ, 31pp. text, 96 illustrations of sculpture in photogravure. Text in Swedish and Finnish. VG/VG $12.50 2. (Adam, Robert). ROBERT ADAM & HIS BROTHERS - Their Lives, Work & Influence by John Swarbrick. Scribners, NY, 1915. 4to., 316pp., t.e.g., illustrated. An important reference on one the leading British architect/designers of the 18th Century. A near fine copy. $125.00 3. (Albers, Josef). THE PRINTS OF JOSEF ALBERS - A CATALOGUE RAISONNE1915-1976 by Brenda Danilowitz. Hudson Hills Press, NY, 2001. 4to., cloth, DJ, 215pp. illustrated. Fine in Fine DJ. $75.00 4. (Albright, Ivan). IVAN ALBRIGHT by Michael Croydon. Abbeville, NY, 1978. Folio, cloth, DJ, 308pp., 170 illustrations, 83 in color. F/F $100.00 5. Ali. BEYOND THE BIG TOP. Godine/Pucker Safrai, Boston, 1988. Obl. 4to., cloth, DJ, text and 97 works illustrated, mostly in color. Fine/Fine. $10.00 6. (Allemand, Louis-Hector). LOUIS-HECTOR ALLEMAND - PEINTRE GRAVEUR LYONNAIS 1809-1886 by Paul Proute et al. Paris, 1977. 4to., wraps, 82 prints pictured and described. Fine. $25.00 7. (Allori et al, Allessandro). FROM STUDIO TO STUDIOLO - FLORENTINE DRAFTSMANSHIP UNDER THE FIRST MEDICI GRAND DUKES by Larry J. Feinberg. Oberlin, 1991. 4to., wraps, 211pp, 60 items catalogued and illustrated. Fine. $17.50 8. (Allston, Washington). "A MAN OF GENIUS" - THE ART OF WASHINGTON ALLSTON by Gerdts and Stebbins. MFA< boston, 1979. 4to., cloth, DJ, 256pp., 24 color plates, 162 b/w illustrations. Fine, DJ has white spots on back panel. -
Memories & Inspiration
MEMORIES & INSPIRATION The Kerry and C. Betty Davis Collection of African American Art TRAVELING EXHIBITION SERVICE A PHILOSOPHY OF ART, COLLECTING, AND LIFE The traveling exhibition Memories & Inspiration: The Kerry and C. Betty Davis Collection of African American Art presents sixty-two selected works from a body of art amassed over thirty-five years by an ordinary working-class couple. Often choosing artworks over material items and other creature comforts, Kerry, a retired mailman, and Betty, a former television news producer, have opted instead to live with drawings, paintings, prints, and sculpture as their principal luxuries. While their stated intention to “preserve cultural memories and provide their community with a source of inspiration” are goals shared by most art enthusiasts, Kerry and Betty do not search exclusively for well-known and/or documented artists, keeping in mind “the importance of gathering and preserving a spectrum of approaches to the black image in order to console the psyche and contribute to a more authentic articulation of the self.” To this end, the Davises continue to be students of the visual arts through visits to galleries and museums and through their voracious reading of exhibition catalogues, artist monographs, books, and online data about artists, art genres, mediums, and history. The Davis Collection has evolved considerably over the years, as its owners went from sifting through entries posted on various auction sites to visiting artists in their studios, dropping by galleries, trading with other collectors, going to estate sales, and receiving artworks from artists as gifts. The result is an eclectic gathering of pieces crossing different mediums, subjects, and styles by a group of artists of the African Diaspora who—in terms of training, experience, and expression—are singularly diverse but unified in their use of cultural and historical narratives. -
The Barnett Aden Gallery: a Home For
The Pennsylvania State University The Graduate School College of Arts and Architecture THE BARNETT ADEN GALLERY: A HOME FOR DIVERSITY IN A SEGREGATED CITY A Dissertation in Art History by Janet Gail Abbott Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2008 ii The dissertation of Janet Gail Abbott was reviewed and approved* by the following: Joyce Henri Robinson Associate Professor of Art History Dissertation Advisor Co-Chair of Committee Sarah K. Rich Associate Professor of Art History Co-Chair of Committee Charlotte Houghton Associate Professor of Art History Joan Landes Ferree Professor of History and Women’s Studies Craig Zabel Associate Professor of Art History Head of the Department of Art History *Signatures are on file in the Graduate School. iii ABSTRACT In 1943 Professor James V. Herring along with Alonzo J. Aden, his former student and colleague at Howard University, opened the Barnett Aden Gallery within the modest home they shared in Washington, D.C. As founders of one of the first black- owned galleries in the nation, their mission was to provide an exhibition space for talented artists without regard to ethnicity or national origin. During the next twenty-five years, the Barnett Aden Gallery became a unique site for cross-cultural exchange—where artists, writers, musicians, and politicians of all races met freely for social, professional, and aesthetic discourse—one of few such places in severely segregated Washington, D.C. The Barnett Aden performed the traditional gallery function of featuring talented emerging artists, but it provided a critical service for African American artists, who had few opportunities to show their work in parity with white artists or even to see evidence of their existence within established art institutions. -
A Finding Aid to the Jacob Kainen Papers, 1905-2009, Bulk 1940-2001, in the Archives of American Art
A Finding Aid to the Jacob Kainen Papers, 1905-2009, bulk 1940-2001, in the Archives of American Art Rachel Edford and Erin Kinhart September 2003 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 7 Series 1: Biographical Material, 1922-2009............................................................. 7 Series 2: Correspondence/Subject Files, 1936-2003............................................... 9 Series 3: Writings, circa 1920s-2002..................................................................... 30 Series 4: Diaries, circa 1952-2004........................................................................ -
Report 2, by Dr Jill Lloyd Assessment of the Collection As a Key Asset In
Report 2, by Dr Jill Lloyd Assessment of the collection as a key asset in the worldwide understanding of German Expressionism Introduction Leicester City’s collection of German Expressionist Art plays a unique role in promoting the worldwide understanding of German Expressionism. Not only does it feature outstanding individual examples of German Expressionist art; it also includes an impressive range of artworks, in particular works on paper, which illuminate the history, background and development of the Expressionist movement. Although certain artists (such as August Macke) and certain representative works, which are present in the most important international collections of German Expressionism (particularly in Germany and the United States), are missing from the Leicester collection, this weakness is compensated for by the inclusion of émigré artists and women artists whose works are difficult to find elsewhere. The so-called ‘lost generation’ of German and Austrian émigré artists - including Martin Bloch, Marie-Louise von Motesiczky, Ernst Neuschul and Margarete Klopfleisch - is particularly well represented in Leicester by works in the permanent collection and important loans that contribute to the collection’s unique character. Moreover, although there are several museums in the United States (listed in section B) that have benefited from donations by German émigré collectors, Leicester is the only museum in the United Kingdom that has such deep historical links with major émigré collectors of German Expressionism, such as Albert, Tekla and Hans Hess, and Dr Rosa Schapire. From an international perspective, Leicester’s collection of German Expressionist art tells the story of émigré culture in the United Kingdom in a unique fashion, playing a vital role in our understanding of the reception and dissemination of the Expressionist movement, and preserving many works for posterity that might otherwise have fallen victim to the violent upheavals of twentieth-century history. -
THE ART of PAUL REED: Color, Creativity, Curiosity
THE ART OF PAUL REED: Color, Creativity, Curiosity David Gariff Color thinks for itself, independently of the objects that it clothes. — Charles Baudelaire Paul Reed1 at the age of ninety-one continues to make art in the basement studio of his Arlington, Virginia home. The studio opens up to the light and colors of the landscape behind his house, a gentle descending slope through trees to a small tributary of the Potomac River. Reed spends as much time outdoors as weather permits. His most recent paintings, washes and drizzles of paint stained on unstretched, raw muslin, illuminate the rooms of his house. Attached to his windows, they create a vision of modernist stained glass that serves to unify and blur distinctions between interior and exterior, light and color, art and nature. As if in homage to Matisse and Rothko, light and color enliven this domestic space and present a personal microcosm of the defining nature of Paul Reed’s artistic world. There is no more revealing setting to illustrate the goals and ideas that have motivated Reed’s lifelong devotion to the art of painting and his endless exploration of the many and varied properties of color. This in no way diminishes Reed’s accomplishments in sculpture, photography, printmaking, graphic design, and computer-generated imagery—all of which are part of a continuity of thought and an endless curiosity about art. Paul Reed’s journey is a long one. A native of Washington, D.C. he is best known as one 1 For the Paul Allen Reed papers, 1952‐2008, see the Smithsonian Archives of American Art, http://www.aaa.si.edu/collections/collection/reedpaul.htm. -
Kirchner Expressionism and the City Dresden and Berlin 1905 –1918 Kirchner Expressionism and the City Dresden and Berlin 1905 –1918
KIRCHNER EXPRESSIONISM AND THE CITY DRESDEN AND BERLIN 1905 –1918 KIRCHNER EXPRESSIONISM AND THE CITY DRESDEN AND BERLIN 1905 –1918 Sackler Wing 28 June – 21 September 2003 Supported by the RA Exhibition Patrons Group An Introduction to the Exhibition for Teachers and Students Written by Nina Miall Education Department © Royal Academy of Arts 2003 Designed by Maggi Smith Printed by Burlington © for works by E.L. Kirchner by Ingeborg & Dr. Wolfgang Henze-Ketterer, Wichtrach/Bern On the cover: Ernst Ludwig Kirchner The Street, 1913 Oil on canvas 120.6 × 91.1 cm The Museum of Modern Art, New York, Purchase, 1939 Photo © 2002 The Museum of Modern Art, New York Cat. 1 It was lucky that our group was composed of genuinely talented Self-portrait with Pipe, 1905 people, whose characters and gifts, even in the context of human Woodcut, 9.7 × 18.5 cm Brücke-Museum, Berlin relations, left them with no other choice but the profession of Photo © Brücke-Museum, Berlin artist…The way this aspect of our everyday surroundings developed, from the first painted ceiling in the first Dresden studio to the total harmony of rooms in each of our studios in Berlin, was an uninterrupted logical progression, which went hand in hand with our artistic developments in paintings, print and sculpture… and the first thing for the artists was free drawing from the free human body in the freedom of nature. E. L. Kirchner, writing in his diary in 1923 INTRODUCTION Ernst Ludwig Kirchner (1880–1938) is widely acknowledged as the greatest artist of German Expressionism. -
Archived Press Release the Frick Collection
ARCHIVED PRESS RELEASE from THE FRICK COLLECTION 1 EAST 70TH STREET • NEW YORK • NEW YORK 10021 • TELEPHONE (212) 288-0700 • FAX (212) 628-4417 SUMMER EXHIBITION, THE UNFINISHED PRINT, ASKS THE QUESTION, “WHEN IS A WORK OF ART COMPLETE?” PRINTS BY REMBRANDT, PIRANESI, DEGAS, MUNCH, AND OTHERS June 2 through August 15, 2004 For the first time in its history, The Frick Collection will host a major special exhibition this summer that is devoted solely to prints and the process of printmaking. This special presentation poses questions that have preoccupied artists, critics, and collectors for centuries: “When is a work of art complete?” and “When do further additions detract from the desired result?” These issues have a particular history in the graphic arts, where images are developed in stages and often distributed at various points in their making. This exhibition will address the complex issue of “finish” in art through the presentation of more than sixty print impressions in varying degrees of completion. Featured artists, European masters from the fifteenth to the early twentieth century, include Albrecht Dürer, Hendrik Goltzius, Parmigianino, Anthony van Dyck, Rembrandt van Rijn, Giovanni Battista Piranesi, Édouard Manet, Edgar Degas, August Rodin, Félix Bracquemond, Paul Gauguin, Edvard Munch, and Jacques Villon. In the process of printmaking, an artist will normally take proof impressions as he makes changes to his plate. These proof states, as will be apparent through many groupings in the exhibition, can establish an exact record of the image in the process of its development. The exhibition is organized by Peter Parshall, Curator of Old Master Prints for the National Gallery of Art, Washington, D.C., for the National Lending Service of that institution, where a version was on view in 2001.