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THE ARTIST's EYES a Resource for Students and Educators ACKNOWLEDGEMENTS
THE ARTIST'S EYES A Resource for Students and Educators ACKNOWLEDGEMENTS It is with great pleasure that the Bowers Museum presents this Resource Guide for Students and Educators with our goal to provide worldwide virtual access to the themes and artifacts that are found in the museum’s eight permanent exhibitions. There are a number of people deserving of special thanks who contributed to this extraordinary project. First, and most importantly, I would like to thank Victoria Gerard, Bowers’ Vice President of Programs and Collections, for her amazing leadership; and, the entire education and collections team, particularly Laura Belani, Mark Bustamante, Sasha Deming, Carmen Hernandez and Diane Navarro, for their important collaboration. Thank you to Pamela M. Pease, Ph.D., the Content Editor and Designer, for her vision in creating this guide. I am also grateful to the Bowers Museum Board of Governors and Staff for their continued hard work and support of our mission to enrich lives through the world’s finest arts and cultures. Please enjoy this interesting and enriching compendium with our compliments. Peter C. Keller, Ph.D. President Bowers Museum Cover Art Confirmation Class (San Juan Capistrano Mission), c. 1897 Fannie Eliza Duvall (1861-1934) Oil on canvas; 20 x 30 in. Bowers Museum 8214 Gift of Miss Vesta A. Olmstead and Miss Frances Campbell CALIFORNIA MODULE ONE: INTRO / FOCUS QUESTIONS 5 MODULE FOUR: GENRE PAINTING 29 Impressionism: Rebels and Realists 5 Cityscapes 30 Focus Questions 7 Featured Artist: Fannie Eliza Duvall 33 Timeline: -
Henrietta Shore in Point Lobos and Carmel
HENRIETTA SHORE IN POINT LOBOS AND CARMEL: SPIRIT OF PLACE, ESSENCE OF BEING by MINA TOCHEVA STOEVA (Under the Direction of Janice Simon) ABSTRACT Shore’s visual vocabulary developed from Impressionism towards more stylized, abstracted forms in her 1920s work, and after 1930 culminated in the textured, detailed and almost tactile drawings produced in Carmel, California. This thesis focuses on the impact that Carmel had on her personal and artistic life. A detailed analysis of Shore’s images of the Monterey Peninsula establishes the connection between her extended visual narrative of the locale and the tradition of written ecocentric narratives. I will consider the Theosophical and transcendental ideas that Shore expressed in her work and relate them to Lawrence Buell’s theory of ecocentric narrative. By unveiling the subtleties of such a narrative and the process of its creation, the present analysis will further our understanding of Shore’s deeply emotional and spiritual attachment to the Monterey Peninsula. More than merely depicting a peculiar landscape, Shore’s late drawings reveal her preoccupation with current literary and philosophical trends, while simultaneously creating an intimate reflection of the artist’s self. INDEX WORDS: Henrietta Shore (1880-1962), Carmel, Point Lobos, landscape, transcendentalism, Ralph Waldo Emerson, place, ecocentric narrative, Theosophy, self-portrait, American modernism, Johann Wolfgang Goethe HENRIETTA SHORE IN POINT LOBOS AND CARMEL: SPIRIT OF PLACE, ESSENCE OF BEING by MINA TOCHEVA STOEVA BA, -
Download the Preview Catalog
#JANMgala Japanese American National Museum 2018 Silent Auction Catalog As of 4/10/18 Japanese American National Museum Silent Auction Rules and Reminders Please be sure to get your Silent Auction Bid Number from the Registration Table. Silent Auction Rules Items and packages in this Silent Auction Catalog are subject to change. Images are provided as a courtesy to our guests only and are not necessarily an accurate depiction of the quality of a given item. The National Museum does not assume responsibility for the accuracy of any description. Unless otherwise stated, all items and services are valid within one year from April 21, 2018. All services must be redeemed by the listed expiration date. The National Museum and the donor cannot extend the expiration date of any service. Read all auction package descriptions carefully as they list specific restrictions. Please be aware. If you would like to extend your stay, you must coordinate with the donor directly. Auction Coordinators do not make travel arrangements. All items are sold “as is”, are subject to availability, and have no cash redemption value. The National Museum is grateful to our donors, but is unable to endorse any product or service. The stated value of auction goods and services are good-faith estimates only and are not warranted for tax purposes. Please contact your tax advisor regarding the tax deductibility of purchases and contributions. Any amount over the stated market value of an item may be tax deductible. The National Museum is not responsible for lost or stolen certificates/vouchers. The National Museum assumes no responsibility should any of the donating establishments be unable to fulfill gift certificates. -
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. -
The Making of a Conservationist: Audubon's Ecological Memory
Journal of Ecocriticism 5(2) July 2013 The Making of a Conservationist: Audubon’s Ecological Memory Christian Knoeller (Purdue University)* Abstract While Audubon’s exploits as consummate artist, accomplished naturalist, and aspiring entrepreneur are widely recognized, his contributions as author and nascent conservationist remain less fully appreciated. Extensive travels observing and documenting wildlife as an artist-naturalist gave him a unique perspective on how human-induced changes to the landscape impacted wildlife. He lamented the reduction in range of many species and destruction of historic breeding grounds, as well as declining populations caused by overhunting and habitat loss. His understanding of changing landscapes might be thought of in terms of ecological memory reflected in his narratives of environmental history. He described the destruction of forests and fisheries as well as the shrinking ranges of species including several now extinct such as the Passenger Pigeon, Carolina Parakeet, and Ivory-billed Woodpecker. Quadrupeds of North America and the Missouri River Journals depict the impact of environmental destruction he witnessed taking place in the first half of the 19th century. While these later works suggest a growing interest in conservation, Audubon had already voiced such concerns frequently in his earlier writings. Copious journals kept throughout his career in the field on America’s westering frontier reveal a keen appreciation for environmental history. By the time he arrived on the Upper Missouri in 1843, his values regarding the preservation of wildlife and habitat had been forged by writing for decades about his observations in the wild. What began as a quest to celebrate the natural abundance of North America by documenting every species of bird took on new dimensions as he expressed increasing concerns about conservation having recognized the extent of development and declines in wildlife during his lifetime. -
Celebrating Andrew Wyeth the American Artist’S Centennial Is Being Honored with Two Major Retrospectives of His Work
along the way Celebrating Andrew Wyeth The American artist’s centennial is being honored with two major retrospectives of his work. Andrew Wyeth may have been a favorite of U.S. presidents. In 1963, he became the first painter to receive the Presidential Medal of Freedom when John F. Kennedy bestowed the honor. Richard Nixon once sponsored a White House exhibition of works by the Pennsylvania- and Maine- based artist, and both Bushes honored Wyeth, with the Congressional Gold Medal in 1990 and the National Medal of the Arts in 2007. At the other end of the spectrum, comic- strip character Snoopy owned a Wyeth that he displayed prominently in his doghouse. In between, the artist was alternately lauded and dismissed by critics but remained a perennial commercial favorite. This year marks the centennial of Wyeth’s birth, and two major museum retrospectives have been assembled NORTH CAROLINA MUSEUM OF ART, RALEIGH ART, OF MUSEUM CAROLINA NORTH ©ANDREW WYETH/ARTISTS RIGHTS SOCIETY (ARS), RIGHTS WYETH/ARTISTS ©ANDREW for the occasion. Andrew Wyeth at 100 can be seen at Winter 1946, tempera, Andrew Wyeth (1917-2009) the Farnsworth Art Museum in Rockland, Maine, through December 31 (farnsworthmuseum.org), and Andrew in Andrew Wyeth: Maine Watercolors, 1938–2008, the focal Wyeth: In Retrospect is on display through September exhibition in a series of five exhibitions that make upAndrew 17 at the Brandywine River Museum in Chadds Ford, Wyeth at 100, on display at the museum’s Wyeth Center and in Pennsylvania (brandywinemuseum.org), and from October its Hadlock and Wyeth Study Center galleries. -
Home on the Range an Educator’S Guide
C. Russell, Cowpunching Sometimes Spells Trouble (detail) 1889 Home on the Range An Educator’s Guide Mary Burke, Sid Richardson Museum, with Diane McClure, Art Specialist Design by Laura Fenley, Sid Richardson Museum Intern © 2004 Sid Richardson Museum, Third Edition © 2009 Home09_10_2010.indd 1 9/10/2010 1:53:18 PM Home on the Range Page numbers for each section are listed below. Online version – click on the content title below to link directly to the first page of each section. For an overview of the artworks included in this booklet, see Select a Lesson – Image List, page 30. Contents Introduction to Home on the Range 4 Sid W. Richardson 6 The Museum 10 Fredric S. Remington 12 Charles M. Russell 14 Timeline (Artists, Texas, U.S. History) 16 Select a Lesson – Image List 30 Lesson Plans 32 Student Activities 52 Teacher Resources 62 2 Home on the Range Sid Richardson Museum Home09_10_2010.indd 2 9/10/2010 1:53:18 PM Sid W. Richardson Sid W. About the Educator’s Guide This Educator’s Guide is a resource for viewing and dialogue containing questions to direct classroom The Museum interpreting works of art from the Sid Richardson Museum discussion and engage students in their exploration in the classroom environment. The images included in the of the artworks, background information about Guide have been selected to serve as a point of departure the artists and the works of art, vocabulary, and for an exploration of the theme of the cowboy way of life. suggestions for extension activities • Student Activities – activities that can be used to The background materials (timelines, biographies, complement classroom discussion about these (or bibliography and resources) are appropriate for educators other) artworks The Artists of all levels. -
SELLING ART in the AGE of RETAIL EXPANSION and CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS and the AMERICAN ART MARKET of the 1930S and 1940S
SELLING ART IN THE AGE OF RETAIL EXPANSION AND CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS AND THE AMERICAN ART MARKET OF THE 1930s AND 1940s by TIFFANY ELENA WASHINGTON Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation advisor: Anne Helmreich Department of Art History CASE WESTERN RESERVE UNIVERSITY JANUARY, 2013 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of __________Tiffany Elena Washington_________ candidate for the __Doctor of Philosophy___ degree*. (signed) _______Anne L. Helmreich________ (chair of the committee) ______Catherine B. Scallen__________ ________ Jane Glaubinger__________ ____ _ _ Renee Sentilles___________ (date) 2 April, 2012 *We also certify that written approval has been obtained for any proprietary material contained herein. 2 For Julian, my amazing Matisse, and Livia, a lucky future artist’s muse. 3 Table of Contents List of figures 5 Acknowledgments 8 Abstract 11 Introduction 13 Chapter 1 46 Chapter 2 72 Chapter 3 93 Chapter 4 127 Chapter 5 155 Conclusion 202 Appendix A 205 Figures 207 Selected Bibliography 241 4 List of Figures Figure 1. Reeves Lewenthal, undated photograph. Collection of Lana Reeves. 207 Figure 2. Thomas Hart Benton, Hollywood (1937-1938). Tempera and oil on canvas mounted on panel. The Nelson Atkins Museum of Art, Kansas City. 208 Figure 3. Edward T. Laning, T.R. in Panama (1939). Oil on fiberboard. Smithsonian American Art Museum. 209 Figure 4. Plan and image of Associated American Artists Gallery, 711 5th Avenue, New York City. George Nelson, The Architectural Forum. Philadelphia: Time, Inc, 1939, 349. 210 Figure 5. Thomas Hart Benton, Departure of the Joads (1939). -
Nga-Bulletin-Spring-2015-Wyeth.Pdf
NUMBER 52 • SPRING 2015 43 Cennini, were introduced to Wyeth by Peter Hurd. Th e photographer James Welling provided a link between the conference at the Gallery and the intense fi eld trip to the Brandywine River Museum held the following day. In his talk, Welling described his understanding of the perceptual acuity of Wyeth, whose work he had studied as a youth and returned to in 2010, photographing sites that Wyeth inhabited and rep- resented. Welling’s photography has been called a kind of ventriloquism, and his studies of Wyeth’s territory in particular a kind of haunting. Th rough working in Maine and Chadds Ford, Pennsylvania, over the past few years, Welling says that he has come to see how his own interest in frames, fram- ing edges, windows, and doorways, Fig. 1. Andrew Wyeth, Brandywine as well as in water and wind, was Valley, 1940, watercolor on wove paper, confi rmed by Wyeth’s work, though The Armand Hammer Collection the relationship is never literal. Th e Gallery’s Wind from the Sea by Wyeth Fig. 2. James Welling, Wind from the Sea, inspired Welling’s photograph of the 2012, archival inkjet print on rag paper, same title made in 2012 (fi g. 2). At Chadds Ford, a smaller group courtesy of the artist and David Zwirner, discussed Wyeth’s paintings and draw- New York/London, The Olson House, a ings on display in the Brandywine National Historic Landmark, owned and River Museum. Joyce Hill Stoner operated by the Farnsworth Art Museum, conserved many of these works with Rockland, Maine Wyeth’s guidance, and her oral his- tory, shared in the galleries, will be a remarkable record for the future. -
American Modern Hopper to O'keeffe
American Modern Modern American Cover: Georgia O’Keeffe. Evening Star, No. III (detail). American Modern presents a fresh look at The Museum 1917. Watercolor on paper mounted on board, of Modern Art’s holdings of American art of the first half of American 8 7/8 x 11 7/8" (22.7 x 30.4 cm). Mr. and Mrs. Donald B. the twentieth century. Arranging paintings, drawings, Straus Fund, 1958. See p. 29 prints, photographs, and sculpture in loose thematic groups, Modern Back cover: Edward Hopper. House by the Railroad (detail). the book sets celebrated masterworks of the Museum’s 1925. Oil on canvas, 24 x 29" (61 x 73.7 cm). Given collection alongside works that have rarely been exhibited anonymously, 1930. See p. 17 in concentration and are relatively little known. In doing Hopper to so it not only throws light on the cultural preoccu pations of the rapidly changing American society of the day but O’Keeffe Published by The Museum of Modern Art explores an unsung chapter in the Museum’s own story. 11 West 53 Street MoMA is famous for its prescient focus on the New York, New York 10019-5497 Kathy Curry and Esther Adler are avant-garde art of Europe—for exhibiting and collecting Assistant Curators in the Department Information about the Museum is available on its website, the work of such artists as Picasso and Matisse, whose of Drawings, The Museum of Modern at www.moma.org. reputations the Museum helped to cement not just in the Art, New York. United States but globally. -
Melissa Crowley July 21, 2011 (310) 440-6795 • [email protected]
FOR IMMEDIATE RELEASE Contact: Melissa Crowley July 21, 2011 (310) 440-6795 • [email protected] New Book Provides First Comprehensive Study of Materials and Techniques Used by Early American Painters LOS ANGELES—American Painters on Technique: The Colonial Period to 1860 (Getty Publications, $50.00, hardcover) is the first comprehensive study of an important but largely unknown part of the history of American art: the materials and techniques used by American painters. Based on extensive research including artists’ recipe books, letters, journals, and painting manuals, much previously unpublished, the authors have also drawn on their many years as conservators of paintings for museums and collectors. Information is provided on the methods of painters such as Benjamin West, Gilbert Stuart, Washington Allston, Thomas Sully, Thomas Cole, and William Sidney Mount. Topics include the quest for the “secrets” of the Old Masters; how artists saw their paintings changing over time; the application of “toning” layers; and the evolving self-confidence of American experimenters and innovators. American Painters on Technique will be of interest to curators, art historians, painters, and conservators and will form the basis for future research on American painting techniques. At a time of discovering new approaches to art history, the story of how paintings were made parallels the better-known histories about how styles changed and how paintings were commissioned, exhibited, and sold. -more- About the Authors—Lance Mayer and Gay Myers work at the Lyman Allyn Art Museum in New London, Connecticut, and as independent conservators. Publication Information: American Painters on Technique The Colonial Period to 1860 Lance Mayer and Gay Myers J.