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Archeology in the Fontainebleau Forest François BEAUX
Archeology in the Fontainebleau Forest François BEAUX If you examine closely an archeological map showing all artifacts remaining from the ancient times in the South of the Seine-et-Marne department, you will see an « archeological hole » in the Fontainebleau Forest area. The dryness of the soil and the overall lack of water were in fact responsible for the very poor settlement rates of prehistorian and later humans in that area. Actually the late king Saint Louis (Louis the 9th), when speaking about this wood, said « my dear deserts ». Only some places nearby the Seine river, the Loing river and the water sources of the Ru de Changis were inhabitated. About the small hunting pavilion situated nerby the Fountain Belle Eau (or Belleau or Bliaud ?) we know nothing but that it was one of the ancient sites of settlement ; and that it gave birth to the future castle and later palace with the town around. However, the people dwelling around frequenly traveled through this area ; they left us many objects and traces on the stones proving their presence and showing that the forest (which was then called « Sylva Biera », i.e. « wood of Bière ») was not devoid of humans. PALEOLITHIC ERA (before 10,000 B.C.) Silex fragments and cut stones typical of the mousterian age with traces of cutting of the « Levallois » type have been found during a pedologic search in 1974 near the big cross of the Grand Veneur. Another fragment of the same type has been found at the Long Rocher site (figure 1). Those two artifacts are dated from the middle Paleolithic, i.e. -
Finding Aid for the John Sloan Manuscript Collection
John Sloan Manuscript Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum The John Sloan Manuscript Collection is made possible in part through funding of the Henry Luce Foundation, Inc., 1998 Acquisition Information Gift of Helen Farr Sloan, 1978 Extent 238 linear feet Access Restrictions Unrestricted Processed Sarena Deglin and Eileen Myer Sklar, 2002 Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum Related Materials Letters from John Sloan to Will and Selma Shuster, undated and 1921-1947 1 Table of Contents Chronology of John Sloan Scope and Contents Note Organization of the Collection Description of the Collection Chronology of John Sloan 1871 Born in Lock Haven, Pennsylvania on August 2nd to James Dixon and Henrietta Ireland Sloan. 1876 Family moved to Germantown, later to Philadelphia, Pennsylvania. 1884 Attended Philadelphia's Central High School where he was classmates with William Glackens and Albert C. Barnes. 1887 April: Left high school to work at Porter and Coates, dealer in books and fine prints. 1888 Taught himself to etch with The Etcher's Handbook by Philip Gilbert Hamerton. 1890 Began work for A. Edward Newton designing novelties, calendars, etc. Joined night freehand drawing class at the Spring Garden Institute. First painting, Self Portrait. 1891 Left Newton and began work as a free-lance artist doing novelties, advertisements, lettering certificates and diplomas. 1892 Began work in the art department of the Philadelphia Inquirer. -
Isles of Tranquility J Paintings of Bermuda by Clark Greenwood Voorhees
Isles of Tranquility J Paintings of Bermuda by Clark Greenwood Voorhees 1871-1933 i fig. 2. Looking Toward the Dockyard from Somerset, Oil on canvas, 28 x 36 inches, Estate stamp verso Isles of Tranquility J Paintings of Bermuda by Clark Greenwood Voorhees 1871-1933 December 8, 2012—January 18, 2013 introduction by jennifer c. krieger essay by caroline l. gillaspie Manhattan Showroom, 74 East 79th Street, Suite 9B, New York, NY 10075 (by appointment) P.O. Box 140, Irvington, NY 10533 (mailing address) 212.731.0550 * [email protected] * www.hawthornefineart.com 1 fig. 3. Church Bay, Oil on canvas, 28 x 36 /8 inches, Signed lower center Introduction J jennifer c. krieger HROUGH HIS ART, Clark Greenwood Voorhees fully celebrated the rich natural beauty of T Bermuda, as well as the graceful way it was inhabited by its citizens. Each painting in this exhi- bition instantly becomes a portal into the sub-tropic archipelago Voorhees encountered in the early twentieth century with an eye attuned to both science and beauty. Voorhees depicted the isles in a variety of moods and in an abundance of views. Some images allude to the presence of man (figural or architectural) and others are simple meditations on the interaction between the land and sea and the physical wonders they have produced over thousands of years. In each work, Voorhees delivers forth a felt sensation of the area, whether it is the soft whisper of a noc- turne with air perfumed by bougainvillea and enshrouded by dark cedars, or the calls of sea birds echo- ing over an extension of lush rocky cliffs and pink sand beach saturated by the brightest of sunlight. -
2010-2011 Newsletter
Newsletter WILLIAMS G RADUATE PROGRAM IN THE HISTORY OF A RT OFFERED IN COLLABORATION WITH THE CLARK ACADEMIC YEAR 2010–11 Newsletter ••••• 1 1 CLASS OF 1955 MEMORIAL PROFESSOR OF ART MARC GOTLIEB Letter from the Director Greetings from Williamstown! Our New features of the program this past year include an alumni now number well over 400 internship for a Williams graduate student at the High Mu- going back nearly 40 years, and we seum of Art. Many thanks to Michael Shapiro, Philip Verre, hope this newsletter both brings and all the High staff for partnering with us in what promises back memories and informs you to serve as a key plank in our effort to expand opportuni- of our recent efforts to keep the ties for our graduate students in the years to come. We had a thrilling study-trip to Greece last January with the kind program academically healthy and participation of Elizabeth McGowan; coming up we will be indeed second to none. To our substantial community of alumni heading to Paris, Rome, and Naples. An ambitious trajectory we must add the astonishingly rich constellation of art histori- to be sure, and in Rome and Naples in particular we will be ans, conservators, and professionals in related fields that, for a exploring 16th- and 17th-century art—and perhaps some brief period, a summer, or on a permanent basis, make William- sense of Rome from a 19th-century point of view, if I am al- stown and its vicinity their home. The atmosphere we cultivate is lowed to have my way. -
The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
2017 Fernald Caroline Dissert
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE VISUALIZATION OF THE AMERICAN SOUTHWEST: ETHNOGRAPHY, TOURISM, AND AMERICAN INDIAN SOUVENIR ARTS A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By CAROLINE JEAN FERNALD Norman, Oklahoma 2017 THE VISUALIZATION OF THE AMERICAN SOUTHWEST: ETHNOGRAPHY, TOURISM, AND AMERICAN INDIAN SOUVENIR ARTS A DISSERTATION APPROVED FOR THE SCHOOL OF VISUAL ARTS BY ______________________________ Dr. W. Jackson Rushing, III, Chair ______________________________ Mr. B. Byron Price ______________________________ Dr. Alison Fields ______________________________ Dr. Kenneth Haltman ______________________________ Dr. David Wrobel © Copyright by CAROLINE JEAN FERNALD 2017 All Rights Reserved. For James Hagerty Acknowledgements I wish to extend my most sincere appreciation to my dissertation committee. Your influence on my work is, perhaps, apparent, but I am truly grateful for the guidance you have provided over the years. Your patience and support while I balanced the weight of a museum career and the completion of my dissertation meant the world! I would certainly be remiss to not thank the staff, trustees, and volunteers at the Millicent Rogers Museum for bearing with me while I finalized my degree. Your kind words, enthusiasm, and encouragement were greatly appreciated. I know I looked dreadfully tired in the weeks prior to the completion of my dissertation and I thank you for not mentioning it. The Couse Foundation, the University of Oklahoma’s Charles M. Russell Center, and the School of Visual Arts, likewise, deserve a heartfelt thank you for introducing me to the wonderful world of Taos and supporting my research. A very special thank you is needed for Ginnie and Ernie Leavitt, Carl Jones, and Byron Price. -
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. -
National Register of Historic Places Inventory -- Nomination Form
Form No. 10-300 (Rev. 10-74) UNITED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS ________TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS_____ INAME HISTORICI II W I V II V* 4^\ f Essex County Court >Bouse AND/OR COMMON LOCATION STREET & NUMBER _NOT FOR PUBLICATION CITY. TOWN CONGRESSIONAL DISTRICT Newark _ VICINITY OF 10th STATE CODE COUNTY CODE New Jersey 34 Essex 013 QCLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE V —DISTRICT 2lPUBLIC ilOCCUPIED —AGRICULTURE —MUSEUM X_BUILDING(S) —PRIVATE —UNOCCUPIED —COMMERCIAL —PARK —STRUCTURE —BOTH —WORK IN PROGRESS —EDUCATIONAL —PRIVATE RESIDENCE —SITE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT —RELIGIOUS —OBJECT _|N PROCESS —YES: RESTRICTED XGOVERNMENT —SCIENTIFIC —BEING CONSIDERED X.YES: UNRESTRICTED —INDUSTRIAL —TRANSPORTATION —NO —MILITARY —OTHER: OWNER OF PROPERTY NAME STREET & NUMBER CITY. TOWN STATE Newark VICINITY OF New Jersey [LOCATION OF LEGAL DESCRIPTION COURTHOUSE. REG.STRYOFDEEDS.ETC. Registry of Deeds, Hall of Records STREET & NUMBER High Street CITY. TOWN STATE New Jersey REPRESENTATION IN EXISTING SURVEYS TITLE New Jersey Historic Sites Inventory r#2186.491 DATE 1972 —FEDERAL -XSTATE —COUNTY —LOCAL DEPOSITORY FOR SURVEYRECORDS Historic Sites Section, Dept. of Environmental Protection CITY. TOWN STATE m- New Jersey DESCRIPTION CONDITION CHECK ONE CHECK ONE ^EXCELLENT _DETERIORATED —UNALTERED ^ORIGINAL SITE —GOOD _RUINS ^—ALTERED _MOVED DATE. .FAIR _UNEXPOSED DESCRIBE THE PRESENT AND ORIGINAL (IF KNOWN) PHYSICAL APPEARANCE Original "The Essex County Court House of Newark, New Jersey, completed in 1906, is located at the junction of Springfield Avenue and Market Street, occupying the entire block between Thirteenth Avenue and Market Street east of High Street. -
Conncensus Vol. 46 No. 11
Connecticut College Digital Commons @ Connecticut College 1960-1961 Student Newspapers 1-12-1961 ConnCensus Vol. 46 No. 11 Connecticut College Follow this and additional works at: https://digitalcommons.conncoll.edu/ccnews_1960_1961 Recommended Citation Connecticut College, "ConnCensus Vol. 46 No. 11" (1961). 1960-1961. 1. https://digitalcommons.conncoll.edu/ccnews_1960_1961/1 This Newspaper is brought to you for free and open access by the Student Newspapers at Digital Commons @ Connecticut College. It has been accepted for inclusion in 1960-1961 by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. Appearance of Opera Soprano Tuesday Night Roberta Peters, coloratura so- prano star of the Metropolitan (onn Census Opera, will appear in Palmer Auditorium on Tuesday, January 17, at 8:00 p.m. American-born and completely trained in Amer- Vol. 46--No. II New London, Connecticut, Thursday, January 12, 1961 Price 10 Cents ica, Miss Peters has been widely hailed both here and abroad, as the foremost coloratura soprano Foote, Pomeroy of our time. Robert Fulton Logan Etchings Born in New York City, the so- And McGilvra prano was privately educated Featured in Show at Library from her thirteenth year in order On Quiz Show that her voice be properly train- A display of etchings by Mr. tions of the British Museum, ed and her background in music, languages, and allied fields might Connecticut College has been Robert Fulton Logan will be Cambridge University, and sev- invited to participate in the pro- eral European museums. -
Art Handbook
OFFICIAL HANDBOOK of ARCHITECTURE and SCULPTURE and ART CATALOGUE TO THE Pan-American Exposition With Maps and Illustrations by permission of C. D. ARNOLD, Official Photographer BUFFALO, NEW YORK, U. S. A., MAY FIRST TO NOVEMBER FIRST, M. CM. & I. Published by DAVID GRAY, BUFFALO, N. Y. Entered according to Act of Congress In the year 1901, by DAVID GRAY, in the Office of the Librarian of Congress, at Washington, D. C. THE PURPOSES OF THE EXPOSITION By JOHN G. MILBURN, President THE act of Congress providing for a was the spirit of the corn-mission to the federal building and exhibit at the Pan- men intrusted with its creation in all of American Exposition states that it is its departments. They were left free to desirable to encourage the holding of the produce the best results, and it is under Exposition “ to fittingly illustrate the such conditions that they have produced marvelous development of the western them. They have received from the hemisphere during the nineteenth century management the fullest sympathy and by a display of the arts, industries, support at every turn. As a consequence manufactures, and products of the soil, there has been thorough cooperation and mines, and sea.” The joint resolution of harmony in the elaboration and execution Congress previously adopted declared of the scheme of the Exposition - a that this development was to be scheme of impressive originality, beauty, illustrated by a “demonstration of the and completeness, probably unexcelled reciprocal relations existing between the in the history of expositions. American Republics and Colonies.” In So much could not have been ac- these declarations the real object of the complished but for the association of the Exposition was comprehensively ex- Exposition with a grand idea - the pressed at the outset, and it has been kept bringing closer together of the peoples of steadily in view. -
Colby Virginia Reed Atkinson James B. Footprints of the Past
Author 1 last name Colby Author 1 first name: Picture Virginia Reed Author 2 last name: Atkinson Author 2 first name James B. title Footprints of the past: images of Cornish,New Hampshire and the Cornish Colony place of publication Concord, New Hampshire publisher New Hampshire Historical Society publication date 1996 donor authors donation date 1996 content Cornish related people, places, and things not in either Child or Rawson;Cornish Colony members;people connected with the Cornish Colony Location Reference Author 1 last name Child Author 1 first name Picture Williiam H. Author 2 last name Author 2 first name title History of the Town of Cornish, New Hampshire, with genealogical record, 1763-1910 in 2 volumes(1975); also reprint in one volume (2004) place of publication nation date Original town history plus genealogy content comments Location Genealogy Corner v. one and Reference Author 1 last name Rawson Author 1 first name Barbara Picture Eastman Author 2 last name Author 2 first name title History of the town of Cornish, New Hampshire, with genealogical record, 1910-1960; two copies place of publication Littleton, New Hampshire publisher The Courier Printing Company publication date 1963 donor contents: updates Child Location Reference and Genealogy Corner Author 1 last name Wade Author 1 first name Hugh Mason Picture Author 2 last name Author 2 first name title Brief History of Cornish, 1763-1974; two copies place of publication Hanover, New Hampshire publisher The University Press of New England publication date 1976; reprinted:1992 donor donation date retells Child more succinctly; updates Cornish Colony section of Child; additional genealogical material by Stephen P. -
Brochure Anglais
EXCEPTIONAL STAYS IN FONTAINEBLEAU 5 GOOD REASONS TO DISCOVER THE FONTAINEBLEAU REGION An Exceptional Forest® The Fontainebleau forest is recognized by UNESCO as a World Biosphere Reserve, unique in its kind and is a source of endless joy for nature lovers and a home to over 1,200 animal species and a variety of splendid landscapes. True home of kings & Emperors Listed as World Heritage Site by UNESCO, the Chäteau de Fontainebleau is the only palace to have been occupied by all French sovereigns from the 12th to 19th Centuries : 34 kings, 2 emperors, 1 500 rooms, 8 centuries of French history. The imperial Héritage With its palace, squares and church, Fontainebleau remains a timeless vacation destination. The French 'Art de Vivre' Refined gastronomy, outstanding craftmanship, elegant tableware and cultural liveliness are just some of the qualities that bring such prestige to our region. The Birthplace of Impressionism Barbizon, Bourron-Marlotte, Samois sur Seine : you're in the right place to discover the world of painters from the Barbizon school, the precursors of Impressionism. F O N T A I N E B L E A U T O U R I S M E | 2 0 1 9 DESTINATION CULTURE Discover the Chateau de Fontainebleau and the history of France Guided Tour of the Grand Appartements The tour leads you through the Renaissance rooms of the Grands Appartements where the visitors can see the sumptuous lifestyle of the great sovereigns of France as Fontainebleau was their favorite holiday residence ! Price: from €18,50 per person (groups of 30) Guided tour in English - 1h30 - 1 guide for 30 persons - Daily tours except Tuesdays.