A Finding Aid to the Owen Gallery Records, 1929-2010, Bulk 1980-2010, in the Archives of American Art
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Modern Movement: Arthur Bowen Davies Figurative Works on Paper from the Randolph College and Mac Cosgrove-Davies Collections
AT MODERN MOVEMENT: Arthur Bowen Davies Figurative Works on Paper from the Randolph College and Mac Cosgrove-Davies Collections and ARTHUR B. DaVIES Paintings from the Randolph College Collection 1 2COVER: Arthur B. Davies, 1862-1928, Nixie, 1893, oil on canvas, 6 x 4 in. Gift of Mrs. Robert W. Macbeth, 1950 MODERN MOVEMENT: Arthur Bowen Davies Figurative Works on Paper from the Randolph College and Mac Cosgrove-Davies Collections January 18–April 14, 2013 Curated by Martha Kjeseth-Johnson and Mac Cosgrove-Davies Arthur B. Davies, ca. 1908. Gertrude Käsebier, photographer. AT 3 Introduction Martha Kjeseth-Johnson, Director Maier Museum of Art at Randolph College Arthur B. Davies (1862-1928) was an artist and primary curator of the groundbreaking Armory Show of 1913, credited with bringing modern art to American audiences. The Maier Museum of Art at Randolph College (formerly Randolph-Macon Woman’s College) is home to sixty-one works by Davies, many of which have never been exhibited. Malcolm Cosgrove-Davies, great-grandson of Arthur B. Davies and owner of over 300 Davies pieces, has contributed a selection of works from his collection which will also be on view to the public for the first time.Modern Movement: Arthur Bowen Davies Figurative Works on Paper from the Randolph College and Mac Cosgrove-Davies Collections focuses on figurative works, many depicting dancers in various poses. We are pleased to present this exhibition on the centennial anniversary year of what was officially billed asThe International Exhibition of Modern Art but commonly referred to as the Armory Show due to its location at New York’s 69th Regiment Armory on Lexington Avenue in Manhattan. -
Berthe Morisot
Calgary Sketch Club April and May 2021 Message from the President “It is important to express oneself ... provided the feelings are real and are taken from your own experience.” ~ Berthe Morisot And now warmer weather invites us outside, into the fields and gardens to experience nature, gain an impression, paint a record of our sensations. Welcome to a summer of painting. Whether you take your photos and paint in the studio or make the time to sit amidst the dynamic landscape, get out and experience the real colours, shapes, and shifting light. Your paintings will be the better for having authentic emotional content. This spring we were able to enjoy a club meeting dedicated to Plein Aire painting, a technical painting method that supported the development of the Impressionism move- ment. While some people may be familiar with the men who worked in impressionism, Monet, Manet, Gaugin, and so on, few dwell on the contribution of women painters to the development and furthering of painting your sensations, impressions, and expe- riences. After viewing work by Berthe Morisot, Mary Cassatt, Eva Gonzales, Marie Bracquemond and Lilly Cabot Perry, we see a sizable contribution to the oevre from the depths of meaning and exciting brushwork of these pioneering artists. The social cultural milleau of 1874 Paris, it was difficult for women to find equal footing or even acceptance as artists. And no matter that the art could stand beside that of any con- temporary man or woman, it was sometimes not enough. However, time has allowed a fuller examination of their work and its place in the impressionist canon. -
Pat Adams Selected Solo Exhibitions
PAT ADAMS Born: Stockton, California, July 8, 1928 Resides: Bennington, Vermont Education: 1949 University of California, Berkeley, BA, Painting, Phi Beta Kappa, Delta Epsilon 1945 California College of Arts and Crafts, summer session (Otis Oldfield and Lewis Miljarik) 1946 College of Pacific, summer session (Chiura Obata) 1948 Art Institute of Chicago, summer session (John Fabian and Elizabeth McKinnon) 1950 Brooklyn Museum Art School, summer session (Max Beckmann, Reuben Tam, John Ferren) SELECTED SOLO EXHIBITIONS 2017 Bennington Museum, Bennington, Vermont 2011 National Association of Women Artists, New York 2008 Zabriskie Gallery, New York 2005 Zabriskie Gallery, New York, 50th Anniversary Exhibition: 1954-2004 2004 Bennington Museum, Bennington, Vermont 2003 Zabriskie Gallery, New York, exhibited biennially since 1956 2001 Zabriskie Gallery, New York, Monotypes, exhibited in 1999, 1994, 1993 1999 Amy E. Tarrant Gallery, Flyn Performing Arts Center, Burlington, Vermont 1994 Jaffe/Friede/Strauss Gallery, Dartmouth College, Hanover, New Hampshire 1989 Anne Weber Gallery, Georgetown, Maine 1988 Berkshire Museum, Pittsfield, Massachusetts, Retrospective: 1968-1988 1988 Addison/Ripley Gallery, Washington, D.C. 1988 New York Academy of Sciences, New York 1988 American Association for the Advancement of Science, Washington, D.C. 1986 Haggin Museum, Stockton, California 1986 University of Virginia, Charlottesville, Virginia 1983 Image Gallery, Stockbridge, Massachusetts 1982 Columbia Museum of Art, University of South Carolina, Columbia, -
Art in America
MAGAZINE NOV. 01, 2013 THE PARSONS EFFECT by Judith E. Stein, Helène Aylon Betty Bierne Pierson, the rebellious, selfassured offspring of an old New York family, was 13 when she visited the historic Armory Show in 1913 and set her course on becoming an artist. Her conservative parents acquiesced to art lessons but drew the line at higher education for women. At 20, she married Schuyler Livingston Parsons, a man of wealth and social standing. He proved to be as captivated by men Betty Parsons, 1963. as she was by women, and a gambler and an alcoholic to boot. The Photo Alexander Liberman. The Getty couple divorced amicably in Paris, where she spent the 1920s in Research Institute, Los comfort, sharing her life with Adge Baker, a British art student, and Angeles. © J. Paul Getty Trust. taking classes with Ossip Zadkine and Antoine Bourdelle, among others. Her friends included expatriate Americans Hart Crane, Man Ray, Alexander Calder, and Gerald and Sara Murphy, as well as lesbian literati Gertrude Stein, Natalie Barney and Janet Flanner. Disinherited after her divorce, Parsons also lost her alimony support when the stock market crashed. Generous girlhood friends aided her return to the U.S. in 1933, first to Hollywood, where her acquaintances numbered Greta Garbo, Marlene Dietrich, Tallulah Bankhead, Dorothy Parker and Robert Benchley. She then lived in Santa Barbara, teaching art, painting portraits and consulting on French wines at a liquor store. In 1935, she funded a move to New York by selling her engagement ring. Parsons's loyal circle supplemented the slender income she earned from sales of her own art and from commissions by dealers such as Mrs. -
Download Lot Listing
IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, May 10, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART 1-118 Elsie Adler European 1-66 The Eileen & Herbert C. Bernard Collection American 67-118 Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. POST-WAR & CONTEMPORARY ART 119-235 A Connecticut Collector Post-War 119-199 Claudia Cosla, New York Contemporary 200-235 Ronnie Cutrone EUROPEAN ART Mildred and Jack Feinblatt Glossary I Dr. Paul Hershenson Conditions of Sale II Myrtle Barnes Jones Terms of Guarantee IV Mary Kettaneh Information on Sales & Use Tax V The Collection of Willa Kim and William Pène du Bois Buying at Doyle VI Carol Mercer Selling at Doyle VIII A New Jersey Estate Auction Schedule IX A New York and Connecticut Estate Company Directory X A New York Estate Absentee Bid Form XII Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private -
American Prints 1860-1960
American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks Bennington College, Bennington, Vermont Introduction The 124 prints which make up this exhibition have been selected from my collection of published on the occasion over 800 prints. The works exhibited at Bennington have been confined to those made by ot an exhibitionat the American artists between 1860 and 1960. There are European and contemporary prints in my A catalogue suchasthis and the exhibitionwhich collection but its greatest strengths are in the area of American prints. The dates 1860 to Suzanne Lemberg Usdan Gallery accompaniesit.. is ot necessity a collaborativeeffortand 1960, to which I have chosen to confine myself, echo for the most part my collecting Bennington College would nothave been possible without thesupport and interests. They do, however, seem to me to be a logical choice for the exhibition. lt V.'CIS Bennington \'ermonr 05201 cooperation of many people. around 1860 that American painters first became incerested in making original prints and it April 9 to May9 1985 l am especially graceful to cbe Bennington College Art was about a century later, in the early 1960s, that several large printmaking workshops were Division for their encouragementand interestin this established. An enormous rise in the popularity of printmaking as an arcistic medium, which projectfrom thestart. In particular I wouldlike co we are still experiencing today, occurred at that cime. Copyright © 1985 by MatthewMarks thankRochelle Feinstein. GuyGood... in; andSidney The first American print to enter my collection, the Marsden Hartley lirhograph TilJim, who originally suggestedche topicof theexhibi- (Catalogue #36 was purchased nearly ten years ago. -
Center Bridge Burning
Burning of Center Bridge, 1923 Edward W. Redfield (1869-1965 oil on canvas H. 50.25 x W 56.25 inches James A. Michener Art Museum, acquired with funds secured by State Senator Joe Conti, and gifts from Joseph and Anne Gardocki, and the Laurent Redfield Family Biography The Pennsylvania school born in the Academy at Philadelphia or in the person of Edward W. Redfield is a very concise expression of the simplicity of our language and of the prosaic nature of our sight. It is democratic painting—broad, without subtlety, vigorous in language if not absolutely in heart, blatantly obvious or honest in feeling. It is an unbiased, which means, inartistic, record of nature. —Guy Pene du Bois Among the New Hope impressionists, Edward Willis Redfield was the most decorated, winning more awards than any other American artist except John Singer Sargent. Primarily a landscape painter, Redfield was acclaimed as the most “American” artist of the New Hope school because of his vigor and individualism. Redfield favored the technique of painting en plein air, that is, outdoors amid nature. Tying his canvas to a tree, Redfield worked in even the most brutal weather. Painting rapidly, in thick, broad brushstrokes, and without attempting preliminary sketches, Redfield typically completed his paintings in one sitting. Although Redfield is best known for his snow scenes, he painted several spring and summer landscapes, often set in Maine, where he spent his summers. He also painted cityscapes, including, most notably, Between Daylight and Darkness (1909), an almost surreal, tonalist painting of the New York skyline in twilight. -
Glackens, William Illustration Collection
William Glackens Illustration Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Gift of Ira Glackens, 1989 Extent 2 linear feet Abstract The collection contains tear sheets and proofs of illustrations by the artist from a variety of magazines, including Century Magazine, McClure’s Magazine, and The Saturday Evening Post. Access Restrictions Unrestricted Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation William Glackens Illustration Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum 1 Chronology of William Glackens 1870 – Born March 13 in Philadelphia to Samuel Glackens and Elizabeth Finn Glackens. William was the youngest of three children. His brother Louis became a well-known cartoonist and illustrator. 1889 – Graduated from Central High School in Philadelphia, where he met John Sloan and Albert C. Barnes. 1891-1894 – Worked as newspaper artist on the Philadelphia newspapers the Record, the Press, and the Public Ledger. Moving between papers he renewed acquaintance with John Sloan and met Everett Shinn, George Luks, James Preston, and Frederic Gruger. Attended evening classes at the Pennsylvania Academy of the Fine Arts, where he met Robert Henri. Was part of the short-lived Charcoal Club. In 1894, shared a studio with Robert Henri. 1895 – First published book illustrations appeared in Through the Great Campaign with Hastings and his Spellbinders by George Nox McCain. 1895-1896 – Traveled to Paris, and with Robert Henri and James Wilson Morrice made sketching trips outside the city. -
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. -
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. -
A Lasting Impression
1 A Lasting Impression An Introduction to Pennsylvania Impressionism James A. Michener Art Museum’s Traveling Trunk James A. Michener Art Museum • 138 South Pine Street • Doylestown, PA 18901 MichenerArtMuseum.org • 215-340-9800 2 A Lasting Impression James A. Michener Art Museum’s Traveling Trunk Table of Contents Lessons Lesson 1: First Impressions pages 3-4 Lesson 2: Improvisational Theater pages 5-6 Lesson 3: Journals and Boxes page 7 Lesson 4: Contemporary Connections pages 8-9 Lesson 5: The Arts and Media pages 10 Lesson 6: Painting Impressions page 11 Lesson 7: Michener Museum Impressions pages 12-13 Lesson 8: Women in the Arts pages 14-15 Lesson 9: Impressionism and the Environment page 16 Lesson 10: Your Last Impression page 17 Appendix 1: Vocabulary pages 18-24 Appendix 2: Standards pages 25-40 Appendix 3: Biographies and Visuals pages 41-102 Appendix 4: Bibliography pages 103-104 James A. Michener Art Museum • 138 South Pine Street • Doylestown, PA 18901 MichenerArtMuseum.org • 215-340-9800 3 A Lasting Impression James A. Michener Art Museum’s Traveling Trunk Lesson 1: First Impressions Social Studies, Studio Art, Language Arts, Art History Connections Objectives: Students will be introduced to the themes and materials in the James A. Michener Art Museum Culture Kit, A Lasting Impression. Students will demonstrate an understanding of the vocabulary presented in the Lasting Impressions Culture Kit Students will become familiar with the distinctive style in Pennsylvania Impressionist paintings, through the works of Lathrop, Redfield, and Sotter Students will use original documentation to learn about the history of Pennsylvania Impressionism Students will understand the importance of Bucks County heritage as it relates to Pennsylvania, American, and French Impressionism Lesson Ideas Explore the Culture Kit Display the contents of the Culture Kit in your classroom or school library.