Metropolitan Useum Of
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Henry Varnum Poor: Commemorating 125 Years
Henry Varnum Poor: Commemorating 125 Years by Ron Michael, Curator, Birger Sandzén Memorial Gallery Extended Essay - August 2012 Seeking Beauty Henry Varnum Poor is an important name not only for those interested in the history of Kansas or American art, but for Angular detail of Self Portrait, circa those who celebrate bountiful lives. Determined to follow his own 1917, lithograph, size unknown. path, he was committed to a life based on unadorned pursuits and a constant search for beauty. He once wrote to friend and fellow artist Birger Sandzén, “I want to make beautiful things so as to make our living as beautiful as possible.”1 Developing and using his multi-faceted talents, he also lived a life of great variety. At various times in his life he combined one or more professions as an artist, craftsman, builder, writer, teacher, organizer, administrator, evaluator and more. He was the perennial “jack-of-all-trades,” or perhaps more appropriately, a “renaissance man.” Just within the arts he explored a vast array of differing media – oils, watercolors, ceramics, pastels, drawings, frescos, etchings, lithography, woodworking, textiles, and illustration. He seemed to turn everything he touched into art. Perhaps nowhere is this better evident than the house he designed and constructed near New City, New York. Dubbed Crow House it was conceived as a place of comfort for his family – away from, but still accessible to, the bustling metropolis of New York and other Eastern cities. As he continued to write in his letter to Birger Sandzén, “The joy and satisfaction in making the house has been tremendous, and the future work of carving and painting our huge beams and stones will be great. -
Newsletter 2009
NEWSLETTER 2009 NEWSLETTER CONTENTS 2 Letter from the Chair and President, Board of Trustees Skowhegan, an intensive 3 Letter from the Chair, Board of Governors nine-week summer 4 Trustee Spotlight: Ann Gund residency program for 7 Governor Spotlight: David Reed 11 Alumni Remember Skowhegan emerging visual artists, 14 Letters from the Executive Directors seeks each year to bring 16 Campus Connection 18 2009 Awards Dinner together a gifted and 20 2010 Faculty diverse group of individuals 26 Skowhegan Council & Alliance 28 Alumni News to create the most stimulating and rigorous environment possible for a concentrated period of artistic creation, interaction, and growth. FROM THE CHAIR & PRESIDENT OF THE BOARD OF TRUSTEES FROM THE CHAIR OF THE BOARD OF GOVERNORS ANN L. GUND Chair / GREGORY K. PALM President BYRON KIM (’86) We write to you following another wonderful Trustees’/ featuring a talk by the artist and in June for a visit leadership. We will miss her, but know she will bring Many years ago, the founders of the Skowhegan great food for thought as we think about the shape a Governors’ Weekend on Skowhegan’s Maine campus, to Skowhegan Trustee George Ahl’s eclectic and her wisdom and experience to bear in the New York School of Painting & Sculpture formed two distinct new media lab should take. where we always welcome the opportunity to see beautiful collection which includes several Skowhegan Arts Program of Ohio Wesleyan University, where governing bodies that have worked strongly together to As with our participants, we are committed to diversity the School’s program in action and to meet the artists. -
A Finding Aid to the Henry Varnum Poor Papers, 1873-2001, Bulk 1904-1970, in the Archives of American Art
A Finding Aid to the Henry Varnum Poor Papers, 1873-2001, bulk 1904-1970, in the Archives of American Art Catherine S. Gaines; revised by Jayna M. Josefson Funding for the digitization of this collection was provided by the Terra Foundation for American Art 2008 May 30 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................................................................................................. 4 Arrangement..................................................................................................................... 5 Names and Subjects ...................................................................................................... 5 Container Listing ............................................................................................................. 7 Series 1: Biographical Materials, 1919-1987........................................................... 7 Series 2: Correspondence, 1873-1985.................................................................... 8 Series 3: Writings -
Connoisseurs Comes Into Renewed Durkheim, Weber, and Garfinkel, Chapel Hill, North Focus
FOCUSINON Fahlman aptly compares the tone of Pène du Bois’ paintings SUGGESTIONS FOR FURTHER READING and commentary—“ironically humorous rather than bitingly sarcastic”—to the tone of The New Yorker magazine. That The Cortissoz, Royal, Guy Pène du Bois, New York, 1931. New Yorker caters to the economic elite can be discerned just from perusing the gift suggestions and ads for $20,000 bracelets. Fahlman, Betsy, Guy Pène du Bois, Artist About Town, exhibition It also caters to the well-educated, as indexed by literary catalogue, Corcoran Gallery of Art, Washington, D.C., 1980. references, and even cartoons that are occasionally impossible to Fahlman, Betsy, Guy Pène du Bois, Painter of Modern Life, New decipher without insider knowledge. Yet the magazine is directed York, 2004. to general audiences and seems to make well-targeted fun of the Fahlman, Betsy, “Imaging the Twenties: The Work of Guy Pène very culture in which it travels. It is a well-intentioned, self- du Bois,” Guy Pène du Bois: The Twenties at Home and denigrating fun, and it is the kind of fun general audiences like to Abroad, exhibition catalogue, Sordoni Gallery, Wilkes see being made of the cultural elite. Tending to the left of the University, Wilkes-Barre, Pennsylvania, 1995. political spectrum it is a “people’s magazine,” but it is also an Garfinkel, Harold, Studies in Ethnomethodology, Cambridge, artifact of privilege to which most of its readership could not England, 1984. possibly aspire. Occasionally it publishes articles explaining previously indecipherable cartoons, but it does so in a high Goffman, Erving, The Presentation of Self in Everyday Life, cultured way that does not appear to denigrate any reader’s London, 1969. -
The American Art Fair Thomas Colville Fine Art
The American Art Fair Thomas Colville Fine Art November 12-15, 2017 Te Bohemian National Hall 321 East 73rd Street New York City GEORGE BELLOWS (American 1882-1925) The Watermelon Man, 1906 Crayon, charcoal, pen & ink on paper 14 x 17 inches Signed Geo. Bellows lower left Provenance: Weyhe Gallery, New York Literature: “The Craftsman” Vol. 17, February 1910, p. 596; Marianne Doezema, George Bellows and Urban America, Yale University, 1992, pp. iii, 134, no. 56, frontispiece Marianne Doezema, Tenement Life: Clif Dwellers, 1906-1913, in the exhibition catalog for “George Bellows,” National Gallery of Art, Washington D.C., 2012, p. 50, fg. 4 Exhibited: New York, Independent Artists’ Exhibition, organized by Robert Henri in the exhibition catalog for “George Bellows,” National Gallery of Art, Washington D.C., 2012, p. 50, fg. 4 FRANK W. BENSON (American 1862-1951) Ipswich Marshes Watercolor 18 x 24 inches Signed F W Benson lower right Provenance: From a Massachusetts Estate DAVID GILMOUR BLYTHE (American 1815-1865) January Bills Oil on canvas 20 x 24 inches Signed Blythe lower right Provenance: The artist George L. Hailman George W. Hailman Francis P. Garvan, 1939 Macbeth Gallery, New York Millicent Rogers, circa 1939 Arturo Peralta Ramos, by descent Gifted to Jacqueline Peralta Ramos, until 2017 Literature: Oliver W. Larkin, Art and Life in America, New York, Rinehart & Company, Inc., 1949, pg. 216 Dorothy Miller, The Life and Work of David G. Blythe, Pittsburg, Pennsylvania. University of Pittsburgh Press, 1950, pg. 75-76, 129 Bruce W. Chambers, The World of David G. Blythe (1815-1865), Washington DC, Smithsonian Institution Press, 1980, pg. -
Download Annual Report 2019-20
NEW BRITAIN MUSEUM OF AMERICAN ART Annual Report | 2019–2020 NBMAA ANNUAL REPORT 2019–2020 New Britain Museum of American Art Board Chair and Director’s Reports 4 Organization 16 Acquisitions and Loans 20 Development 34 Members 46 Volunteers 55 Finances 56 OUR THANKS TO NBMAA SUPPORTERS B M Fund MESSAGE FROM THE DIRECTOR We are honored and humbled to look back on a year marked by unprecedented challenges and setbacks, alongside substantial growth and marked victories for the NBMAA. In many ways, this past year will be remembered as one of extreme high and lows. Amid a five- month closure due to COVID-19, we came together as a Museum, conceiving new accessible online programs, art activities, and community outreach initiatives on a scale that we had never seen before. We also witnessed the nation face a reckoning in race relations, and in an effort to counter systematic racism in the art world, we at the NBMAA strengthened our commitment to expanding the dialog of equity, diversity, and inclusion that we activated years ago. Additionally, in 2020, exactly a century after the Women’s Suffrage Movement celebrated its landmark victory, the New Britain Museum of American Art is proud to recognize the extraordinary achievement of women artists through the 2020/20+ Women @ NBMAA initiative. An ambitious year- long series of groundbreaking exhibitions devoted exclusively to female-identifying artists, 2020/20+ Women @ NBMAA serves as just one part of our larger commitment to representing the ever-broadening scope of American art—a commitment that we will continue to strive towards, long into the future. -
KINDRED SPIRITS: George Bellows and Friends in Woodstock
GALLERY GUIDE KINDRED SPIRITS: George Bellows and Friends in Woodstock June 26 – August 8 August 25 – September 12, 2004 SAMUEL DORSKY MUSEUM OF ART KINDRED SPIRITS: George Bellows and Friends in Woodstock The quest for an idyllic setting where one might pursue one’s creative passions, surrounded by natural beauty and unfettered by the day-to-day distractions of conventional life, emerged as a phenomenon in the United States during the latter part of 19th century and early part of the 20th century. By the mid-1920s it had reached its apex, and significant art colonies existed in Rockport and Provincetown, Massachusetts; Taos, New Mexico; Old Lyme, Connecticut; New Hope, Pennsylvania; and locally in Cragsmoor and Woodstock, New York. The art colony in Woodstock evolved from an experiment championed and funded by the utopian Englishman, Ralph Whitehead. He and “kindred spirits” Hervey White of Chicago and Bolton Brown, a native New Yorker, then teaching art at Stanford University, founded the Byrdcliffe Art Colony on Overlook Mountain in 1902. Byrdcliffe was an arts-and-crafts-based colony designed to foster individual creativity through self-sufficiency. During its brief existence, it was a center for fine furniture-making, ceramics, metalwork, and painting. The community attracted creative people who traveled to Woodstock from locations near and far, and it was indeed Byrdcliffe that served as the magnet. Here the seeds were planted that spawned the enduring Woodstock art colony that survives to this day. Kindred Spirits: George Bellows and his Friends in Woodstock, takes us back to Woodstock in the early 1920s and examines the work of a small circle of friends (in essence a microcosm of the creative life found in the colony). -
20Th Century Painters
20TH CENTURY PAINTERS A Special Exhibition of Oils, Water Colors and Drawings Selected from the Collections of American Art in the Metropolitan Museum JUNE 16,1950 THE METROPOLITAN MUSEUM OF ART In this exhibition of works by twentieth century American painters drawn from its own collections, the Metropolitan Museum presents for the first time an extensive selection from the Alfred Stieglitz Collection, given to the Museum in 1949 by his executrix, Georgia O'Keeffe. 20TH CENTURY PAINTERS PAINTINGS IN OIL, UNLESS OTHERWISE NOTED EDWIN AUSTIN ABBEY. 1852-1911 King Lear's Daughters. Dated 1898. Gift of George A. Hearn, 1913 IVAN LE LORRAINE ALBRIGHT. 1897- Fleeting Time, Thou Hast Left Me Old. Painted in 1929-1930. George A. Hearn Fund, 1950 JOHN WHITE ALEXANDER. 1856-1915 Study in Black and Green. Painted about 1900. George A. Hearn Fund, 1908 DARREL AUSTIN. 1907- The Tightrope. Painted in 1941. George A. Hearn Fund, 1941 WILLIAM BAZIOTES. 1912- Dragon. Dated 1950. Arthur H. Hearn Fund, 1950 GIFFORD BEAL. 1879- The Albany Boat. Dated 1915. George A. Hearn Fund, 1917 GEORGE WESLEY BELLOWS. 1882-1925 Up the Hudson. Painted in 1908. Gift of Hugo Reisinger, 1911 THOMAS HART BENTON. 1889- Roasting Ears. Egg tempera and oil. Painted in 1938-1939. Arthur H. Hearn Fund, 1939 July Hay. Egg tempera on masonite. Dated 1943. George A. Hearn Fund, 1943 EUGENE BERMAN. 1899- The Muse of the Western World. Dated 1942. George A. Hearn Fund, 1943 GEORGE BIDDLE. 1885- A Woman with a Letter. Painted in 1933. Arthur H. Hearn Fund, 1937 ISABEL BISHOP. 1902- Tvoo Girls. -
Annual Year Dates Theme Painting Acquired Artists Exhbited Curator Location Media Used Misc
Annual Year Dates Theme Painting acquired Artists Exhbited Curator Location Media Used Misc. Notes 1st 1911 Paintings by French and American Artists Loaned by Robert C Ogden of New York 2nd 1912 (1913 by LS) Paintings by French and American Artists Loaned by Robert C Ogden of New York 3rd 1913 (1914 by LS) 1914/ (1915 from Lake Bennet, Alaska, Louise Jordan 4th Alaskan Landscapes by Leonard Davis Leonard Davis Purchase made possible by the admission fees to 4th annual LS) M1915.1 Smith Fifth Exhbition Oil Paintings at Randolph-Macon Groge Bellows, Louis Betts, Irving E. Couse, Bruce Crane, Frank V. DuMonds, Ben Foster, Daniel Garber, Lillian Woman's College: Paintings by Contemporary Matilde Genth, Edmund Greacen, Haley Lever, Robert Henri, Clara MacChesney, William Ritschel, Walter Elmer March 9- 5th 1916 American Artists, Loaned by the National Art Club Schofield, Henry B. Snell, Gardner Symons, Douglas Folk, Guy C. Wiggins, Frederick J. Waugh, Frederick Ballard Loaned by the National Arts Club of New York from their permanent collection by Life Members. April 8 of New York from Their Permanent Collection by Williams Life Members Exhibition by:Jules Guerin, Childe Hassam, Robert Louise Jordan From catalogue: "Randolph-Macon feels that its annual Exhibition forms a valuable part of the cultural opportunities of college 6th 1917 March 2-28 Jules Guerin, Childe Hassam, Robert Henri, J. Alden Weir Henri, J. Alden Weir Smith life." Juliu Paul Junghanns, Sir Alfred East, Henri Martin, Jacques Emile Blanche, Emond Aman-Jean, Ludwig Dill, Louise Jordan 7th 1918 International Exhbition George Sauter, George Spencer Watson, Charles Cottet, Gaston LaTouche, S.J. -
Artists for Victory
THE METROPOLITAN MUSEUM UF ART Artists for Victory M Sxhibition of Contemporary American Art PAINTINGS SCULPTURE PRINTS SPONSORED BY ARTISTS FOR VICTORY, INC ARTISTS FOR VICTORY, INC. 101 PARK AVENUE, NEW YORK, N. Y. Includes the Following Artists' Organizations: ALLIED ARTISTS OF AMERICA ALUMNI ASSOCIATION OF THE AMERICAN ACADEMY IN ROME AMERICAN ABSTRACT ARTISTS AMERICAN INSTITUTE OF DECORATORS AMERICAN SOCIETY OF MINIATURE PAINTERS AMERICAN VETERANS SOCIETY OF ARTISTS AMERICAN WATER COLOR SOCIETY AN AMERICAN GROUP, INC. ARCHITECTURAL LEAGUE OF NEW YORK BOMB SHELL ARTISTS GROUP FEDERATION OF MODERN PAINTERS AND SCULPTORS LEAGUE OF AMERICAN ARTISTS MUNICIPAL ART SOCIETY OF NEW YORK NATIONAL ACADEMY OF DESIGN NATIONAL ASSOCIATION OF WOMEN ARTISTS NATIONAL SCULPTURE SOCIETY NATIONAL SOCIETY OF MURAL PAINTERS NEW YORK CHAPTER OF THE AMERICAN ARTISTS PROFESSIONAL LEAGUE NEW YORK CHAPTER OF THE AMERICAN INSTITUTE OF ARCHITECTS NEW YORK CHAPTER OF THE AMERICAN SOCIETY OF LANDSCAPE ARCHITECTS NEW YORK SOCIETY OF WOMEN ARTISTS PITTSBURGH ARTISTS FOR VICTORY SCULPTORS GUILD, INC. SOCIETY OF AMERICAN ETCHERS UNITED SCENIC ARTISTS THE METROPOLITAN MUSEUM OF ART Artists for Victory An Exhibition of Contemporary American Art SPONSORED BY ARTISTS FOR VICTORY, INC. NEW YORK, 1942 WO. \ FOREWORD HE present exhibition expresses a desire on the part of the Museum Tto proclaim its faith in the American artist during one of the most critical years in our history. We believed that the facilities of the Mu seum should be turned over to the artists to organize an exhibition as they themselves would want it done. Artists for Victory, Inc., the emergency wartime agency representing the twenty-three leading art societies in New York was asked to undertake the task. -
John B. Flannagan (1895-1942): a Reexamination of His Life and Work
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2004 John B. Flannagan (1895-1942): A Reexamination of His Life and Work Katherine Rangoon Doyle Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1763 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] NOTE TO USERS Copyrighted materials in this document have not been scanned at the request of the author. They are available for consultation in the author's university library. 223-416 This reproduction is the best copy available. ® UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. JOHN B. FLANNAGAN (1895-1942): A REEXAMINATION OF HIS LIFE AND WORK by KATHERINE RANGOON DOYLE A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment o f the requirements for the degree of Doctor of Philosophy, The City University of New York 2004 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3159272 Copyright 2004 by Doyle, Katherine Rangoon All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction.