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6840	dbpedia	1	1	https://en.wikipedia.org/wiki/The_Catskills_(painting)	en	The Catskills (painting)	https://upload.wikimedia…alters_37122.jpg	https://upload.wikimedia…alters_37122.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Asher_Brown_Durand_-_The_Catskills_-_Walters_37122.jpg/300px-Asher_Brown_Durand_-_The_Catskills_-_Walters_37122.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2012-10-12T17:21:01+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/The_Catskills_(painting)	1859 painting by Asher Brown Durand The CatskillsArtistAsher Brown DurandYear1859Mediumoil on canvasDimensions158.8 cm × 128.3 cm (62.5 in × 50.5 in)LocationThe Walters Art Museum, Baltimore The Catskills by Asher Brown Durand, an American engraver, portraitist, and landscape artist, was commissioned by William Thompson Walters in 1858. History [edit] Asher Brown Durand, known for his skill as an engraver and portraitist, left this career path in 1837 to pursue landscape painting. He was persuaded by his friend and fellow artist, Thomas Cole, who lived in the Catskill region. Durand, who resided in New York, corresponded with Cole and wrote in one of his letters, "now, if there be a man on earth whose location I envy... it is Thomas Cole".[1] During the summer months Durand would often go on expeditions in search of beauty and the Catskills were one of the areas he often explored.[2] The Catskills, completed in 1859, reflects the Transcendental philosophy of Ralph Waldo Emerson. This style was consistent with the Hudson River School, to which Durand was a founding member.[3] It is also noted that after Durand's return from Europe in 1841, his landscapes reflect influence by the European painters Claude Lorrain and John Constable.[4] Composition [edit] In the foreground two large trees are presented, one a black birch and the other a sycamore. A stream falls over a cliff and then winds through the valley toward the sunny area in the distance. A squirrel crouching on a rock is the only sign of animate life, representing the loneliness of the scene.[5] Off the Wall [edit] Currently,[when?] The Catskills, is being featured in Off the Wall, an open-air exhibition on the streets of Baltimore, Maryland. A reproduction of the painting, the original is part of The Walters Art Museum collection, will be on display at Meadowood Regional Park.[6] The National Gallery in London began the concept of bringing art out of doors in 2007 and the Detroit Institute of Art introduced the concept in the United States. The Off the Wall reproductions of the Walters' paintings are done on weather-resistant vinyl and include a description of the painting and a QR code for smartphones.[7] Exhibition history [edit] Romanticism in America. Baltimore Museum of Art, Baltimore. 1940. Highlights from the Collection. The Walters Art Gallery, Baltimore. 1998-2001. The American Artist as Painter and Draftsman. The Walters Art Museum, Baltimore. 2001. Kindred Spirits: Asher B. Durand and the American Landscape. Brooklyn Museum, Brooklyn; Smithsonian American Art Museum, Washington; San Diego Museum Of Art, San Diego. 2007-2008. 19th Century Masterpieces from the Walters Art Museum. Santa Barbara Museum of Art, Santa Barbara; Jack S. Blanton Museum of Art, Austin. 2010-2011.[8] References [edit]
6840	dbpedia	0	81	https://www.artsy.net/article/david-klein-gallery-jewish-news-luminous-constructs-suzanne-chessler	en	The Jewish News: Luminous Constructs by Suzanne Chessler	https://d7hftxdivxxvm.cloudfront.net?height=630&quality=80&resize_to=fill&src=https%3A%2F%2Fartsy-media-uploads.s3.amazonaws.com%2Ftl6i6pyqFBpPO0KW4IhX_Q%252Fc.%2B1978%2BAl%2BPhoto%2Bby%2BAndre%2BEmmerich%2Bcopy.jpg&width=1200	https://d7hftxdivxxvm.cloudfront.net?height=630&quality=80&resize_to=fill&src=https%3A%2F%2Fartsy-media-uploads.s3.amazonaws.com%2Ftl6i6pyqFBpPO0KW4IhX_Q%252Fc.%2B1978%2BAl%2BPhoto%2Bby%2BAndre%2BEmmerich%2Bcopy.jpg&width=1200	[ "https://d7hftxdivxxvm.cloudfront.net?quality=80&resize_to=width&src=https%3A%2F%2Fartsy-media-uploads.s3.amazonaws.com%2Fy5X5MohARhbK8nlfpjnN7g%252Fc.%2B1978%2BAl%2BPhoto%2Bby%2BAndre%2BEmmerich%2Bcopy.jpg&width=910", "https://d7hftxdivxxvm.cloudfront.net?quality=80&resize_to=width&src=https%3A%2F%2Fartsy-media-uploads.s3.amazonaws.com%2FOwC80f2iZpjT1f1xkLprzQ%252Fc.1991%2BWest%2BB%2527way%2B%2528%2BAl%2Bworking%2Bon%2BOrion%2BV%2B1991%2529%2B019%2Bcopy%2Bcopy.jpg&width=910", "https://d7hftxdivxxvm.cloudfront.net?quality=80&resize_to=width&src=https%3A%2F%2Fartsy-media-uploads.s3.amazonaws.com%2FZG-mimzzPJFIomGwGFxVyg%252FOrionV%2Bcopy.jpg&width=910", "https://d7hftxdivxxvm.cloudfront.net?quality=80&resize_to=width&src=https%3A%2F%2Ffiles.artsy.net%2Fimages%2Funiversal-footer_april-14_cropped.jpg&width=725", "https://d7hftxdivxxvm.cloudfront.net?quality=80&resize_to=width&src=https%3A%2F%2Ffiles.artsy.net%2Fimages%2Funiversal-footer_april-14_cropped.jpg&width=1220" ]	[]	[]	[ "David Klein Gallery" ]	null	[ "David Klein Gallery" ]	2018-04-13T19:24:27+00:00	A collection of works by Abstract Expressionist Al Held is on display at David Klein Gallery, Detroit Abstract art enthusiasts can see one of Al Held’...	en	https://d1s2w0upia4e9w.cloudfront.net/images/favicon.ico	Artsy	https://www.artsy.net/article/david-klein-gallery-jewish-news-luminous-constructs-suzanne-chessler	Abstract art enthusiasts can see one of Al Held’s paintings on exhibit in the Detroit Institute of Arts. Those same enthusiasts can see 13 more Held paintings at the David Klein Gallery in Detroit. While the DIA is showing Black Nile V, an acrylic on canvas completed in 1973 and part of the museum’s permanent collection, the Klein Gallery is having a temporary exhibit through April 28 — Al Held Luminous Constructs: Paintings and Watercolors from the 1990s. “I’ve enjoyed working with Held’s paintings, watercolors and prints,” says Klein, who has featured Held images as part of larger-theme exhibits. “I had the opportunity to meet his daughter, Mara, a painter in her own right, and we decided it was time to have this exhibit in Detroit.” Held, who was born in 1928 and died in 2005 after going through diﬀerent phases of abstract artistry, had one dominant characteristic — he worked very large, often with a mural approach. “We’re showing ﬁve large-scale paintings reaching 9 by 16 feet, and we have eight watercolors, some as big as 50 by 60inches,” Klein says. “The scale of the work, the color, the richness and the depth appeal to me. I like work that compels me to have a visceral response and is not too intellectual. His work does not require a didactic panel next to each painting.” Held’s work had a black and white phase, 1967-78, with color added to work of other times. Deﬁned geometric forms were important to give dimension to the ﬂat surfaces on which he applied his approach. In developing the Detroit exhibit, Klein worked with Daniel Belasco, executive director of the Al Held Foundation located where the artist had a home and studio in the Catskills. “The foundation was established to preserve the legacy of Al Held, educate artists and students in the community and invite groups to see how he worked and lived,” Belasco explains. “His studio is now used as a gallery.” Held grew up in New York, raised by Jewish parents who were liberal socialists. He studied at the Art Students League and aspired to paint social realist murals. While working in Paris in the 1950s, he began to identify as a second-generation abstract expressionist. Throughout the 1950s, he applied paint thickly on his canvases, aiming to add structure to gesture. By the end of the decade, he began using acrylic paints for geometric shapes and gave his forms hard-edged clarity. In the 1960s, the artist showed suggestions of the alphabet, each project moving into geometric forms. He went on to explore space and volume through interconnected geometric shapes with varying vanishing points. Withthe addition of color during the 1970s, he further extended architectural dimensions of the paintings. Held spent six months at the American Academy in Rome in 1981 and became inspired by the perspective,volume and light important to Renaissance art. Throughout his last decades, Held’s work picked up on Baroque spatial complexity and luminosity, and he found a second home in Italy. “He had a beautiful villa,” says Klein, who notes that the artist was part of the generation that fought in World War II, enabling Held to learn about art under the GI Bill. “Because he loved Renaissance painting, his watercolors show a strong aﬃnity to the way Renaissance artists created a strong illusion of space, like the checkered-pattern ﬂoors going into the distance. That’s why he chose to make Italy his second home.” Held had served in the Navy, was married three times and had the one daughter, who developed her interest in art by watching her father in his studio and using his materials to express her own creativity.
6840	dbpedia	2	77	https://kids.kiddle.co/Catskill_Mountains	en	Catskill Mountains facts for kids	https://kids.kiddle.co/i…south_summit.jpg	https://kids.kiddle.co/i…south_summit.jpg	[ "https://kids.kiddle.co/images/wk/kids-robot.svg", "https://kids.kiddle.co/images/wk/kids-search-engine.svg", "https://kids.kiddle.co/images/thumb/7/71/Central_Catskills_from_Twin_south_summit.jpg/300px-Central_Catskills_from_Twin_south_summit.jpg", "https://kids.kiddle.co/images/thumb/7/7e/NortheastAppalachiansMap.gif/288px-NortheastAppalachiansMap.gif", "https://kids.kiddle.co/images/thumb/0/07/Catskills_beyond_Hudson.jpg/300px-Catskills_beyond_Hudson.jpg", "https://kids.kiddle.co/images/thumb/2/23/Map-Novi_Belgii_Nov%C3%A6que_Angli%C3%A6_%28Amsterdam%2C_1685%29.jpg/300px-Map-Novi_Belgii_Nov%C3%A6que_Angli%C3%A6_%28Amsterdam%2C_1685%29.jpg", "https://kids.kiddle.co/images/thumb/a/a1/Tubers_on_Esopus_Creek_2011.jpg/300px-Tubers_on_Esopus_Creek_2011.jpg", "https://kids.kiddle.co/images/thumb/f/f9/Kaaterskill_Falls.jpg/230px-Kaaterskill_Falls.jpg", "https://kids.kiddle.co/images/thumb/8/87/Platte_Clove.jpg/230px-Platte_Clove.jpg", "https://kids.kiddle.co/images/thumb/4/4f/Ashokan_Reservoir_from_Wittenberg.jpg/300px-Ashokan_Reservoir_from_Wittenberg.jpg", "https://kids.kiddle.co/images/thumb/c/c1/Hunter_Mountain_ski_area.jpg/300px-Hunter_Mountain_ski_area.jpg", "https://kids.kiddle.co/images/thumb/7/76/Balsam_Lake_Mountain_fire_tower.jpg/230px-Balsam_Lake_Mountain_fire_tower.jpg", "https://kids.kiddle.co/images/thumb/2/2c/Udmap.jpg/300px-Udmap.jpg", "https://kids.kiddle.co/images/thumb/a/a0/Catskill_Mountain_House.jpg/360px-Catskill_Mountain_House.jpg", "https://kids.kiddle.co/images/thumb/6/67/Paul_Weber%2C_Scene_in_the_Catskills%2C_1858%2C_NGA_176783.jpg/195px-Paul_Weber%2C_Scene_in_the_Catskills%2C_1858%2C_NGA_176783.jpg", "https://kids.kiddle.co/images/thumb/e/e7/WLA_lacma_Sanford_Robinson_Gifford_October_in_the_Catskills_1880.jpg/192px-WLA_lacma_Sanford_Robinson_Gifford_October_in_the_Catskills_1880.jpg", "https://kids.kiddle.co/images/thumb/2/2b/Asher_Brown_Durand_-_The_Catskills_-_Walters_37122.jpg/193px-Asher_Brown_Durand_-_The_Catskills_-_Walters_37122.jpg", "https://kids.kiddle.co/images/thumb/b/b8/Woodstock_redmond_stage.JPG/350px-Woodstock_redmond_stage.JPG", "https://kids.kiddle.co/images/thumb/c/c4/Wall%2C_William_Guy_-Cauterskill_Falls_on_the_Catskill_Mountains%2C_Taken_from_under_the_Cavern%2C_1826-27.jpg/303px-Wall%2C_William_Guy_-Cauterskill_Falls_on_the_Catskill_Mountains%2C_Taken_from_under_the_Cavern%2C_1826-27.jpg", "https://kids.kiddle.co/images/thumb/5/5f/Kids_robot.svg/60px-Kids_robot.svg.png", "https://kids.kiddle.co/images/wk/kids-search-engine.svg" ]	[]	[]	[ "" ]	null	[]	null	Learn Catskill Mountains facts for kids	en	/images/wk/favicon-16x16.png		https://kids.kiddle.co/Catskill_Mountains	The Catskill Mountains, also known as the Catskills, are a physiographic province and subrange of the larger Appalachian Mountains, located in southeastern New York. As a cultural and geographic region, the Catskills are generally defined as those areas close to or within the borders of the Catskill Park, a 700,000-acre (2,800 km2) forest preserve protected from many forms of development under New York state law. Geologically, the Catskills are a mature dissected plateau, a flat region subsequently uplifted and eroded into sharp relief by watercourses. The Catskills form the northeastern end of the Allegheny Plateau (also known as the Appalachian Plateau). The Catskills were named by early Dutch settlers. They are well known in American society as the setting for films and works of art, including many 19th-century Hudson River School paintings, as well as for being a favored destination for vacationers from New York City in the mid-20th century. The region's many large resorts gave many young stand-up comedians an opportunity to hone their craft. Since the late 19th century, the Catskills have been a haven for artists, musicians and writers, especially in and around the towns of Woodstock and Phoenicia. History Etymology Nicolaes Visscher I's 1656 map of New Netherland located the Landt van Kats Kill at the mouth of Catskill Creek. The region to the south is identified as Hooge Landt van Esopus (High Lands of the Esopus), a reference to a local band of northern Lenape Native Americans who inhabited the banks of the Hudson and hunted in the highlands along the Esopus Creek. While the meaning of the name ("cat creek [kill]" in Dutch) and the namer (early Dutch explorers) are settled matters, how and why the area is named "Catskills" is a mystery. Mountain lions (catamounts) were known to have been in the area when the Dutch arrived in the 17th century and may have been a reason for the name. The confusion over the origins of the name led over the years to variant spellings such as Kaatskill and Kaaterskill, both of which are also still used: the former in the regional magazine Kaatskill Life, the latter as the name of a mountain peak and a waterfall. The supposed Native American name for the range, Onteora ("land in the sky"), was purportedly created in the mid-19th century to drum up business for a resort. It is still the name of a school district and as the name of a Boy Scout summer camp (Onteora Scout Reservation). Geography The Catskill Mountains are approximately 100 miles (160 km) north-northwest of New York City and 40 miles (64 km) southwest of Albany, starting west of the Hudson River. The Catskills occupy much of two counties (Greene and Ulster), and extend slightly into Delaware, Sullivan, and southwestern Schoharie counties. At the range's eastern end, the mountains begin dramatically with the Catskill Escarpment rising up suddenly from the Hudson Valley. The western boundary is far less certain, as the mountains gradually decline in height and grade into the rest of the Allegheny Plateau, but maps from the 18th and 19th centuries consistently mark the border of the Catskill Mountains as the East Branch of the Delaware River, which is consistent with the actual topographic relief. The Pocono Mountains, to the immediate southwest in Pennsylvania, are also a part of the Allegheny Plateau. The Catskills contain more than 30 peaks above 3,500 feet (1,100 m) and parts of six important rivers. The Catskill Mountain 3500 Club is an organization whose members have climbed all the peaks in the Catskills over 3,500 feet (1,100 m). The highest mountain, Slide Mountain in Ulster County, has an elevation of 4,180 feet (1,270 m). Climatically, the Catskills lie within the Allegheny Highlands forests ecoregion. Climate According to the Köppen climate classification system, the Catskill Mountains have two climate zones. The vast majority of the Catskills have a warm summer humid continental climate (Dfb) with some isolated locations in valleys with hot summer humid continental climate (Dfa). The plant hardiness zone on Slide Mountain at 4,180 feet (1,270 m) is 5a with an average annual extreme minimum temperature of −16.6 °F (−27.0 °C). The plant hardiness zone in Margaretville at 1,000 feet (300 m) is 5b with an average annual extreme minimum temperature of −10.6 °F (−23.7 °C). Month Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec Year Average Dew Point °F 16.2 17.7 24.3 34.3 48.6 57.8 63.2 61.7 55.8 41.9 32.2 22.1 38.9 Average Dew Point °C -8.8 -7.9 -4.6 1.1 7.6 13.6 16.2 15.9 12.1 5.5 0.1 -5.5 3.8 Source: PRISM Climate Group Geology Although the Catskills are sometimes compared with the Adirondack Mountains farther north, the two mountain ranges are not geologically related, as the Adirondacks are a continuation of the Canadian Shield. Similarly, the Shawangunk Ridge, which forms the southeastern edge of the Catskills, is part of the geologically distinct Ridge-and-Valley province and is a continuation of the same ridge known as Kittatinny Mountain in New Jersey and Blue Mountain in Pennsylvania. The Catskill Mountains are more of a dissected plateau than a series of mountain ranges. The sediments that make up the rocks in the Catskills were deposited when the ancient Acadian Mountains in the east were rising and subsequently eroding. The sediments traveled westward and formed a great delta into the sea that was in the area at that time. The escarpment of the Catskill Mountains is near the former (landward) edge of this delta, as the sediments deposited in the northeastern areas along the escarpment were deposited above sea level by moving rivers, and the Acadian Mountains were located roughly where the Taconic Mountains are located today (though significantly larger). Finer sediment was deposited further westward, and thus the rocks change from gravel conglomerates to sandstone and shale. Further west, these fresh water deposits intermingle with shallow marine sandstone and shale until the end, in deeper water limestone. The uplift and erosion of the Acadian Mountains was occurring during the Devonian and early Mississippian period (395 to 325 million years ago). Over that time, thousands of feet of these sediments built up, slowly moving the Devonian seashore further west. A meteor impact occurred in the shallow sea approximately 375 mya, creating a 10 km (6 mi) diameter crater. This crater eventually filled with sediments and became Panther Mountain through the process of uplift and erosion. By the middle of the Mississippian period, the uplift stopped, and the Acadian Mountains had been eroded so much that sediments no longer flowed across the Catskill Delta. Over time, the sediments were buried by more sediments from other areas, until the original Devonian and Mississippian sediments were deeply buried and slowly became solid rock. Then the entire area experienced uplift, which caused the sedimentary rocks to begin to erode. Today, those upper sedimentary rocks have been completely removed, exposing the Devonian and Mississippian rocks. Today's Catskills are a result of the continued erosion of these rocks, both by streams and, in the recent past, by glaciers. In successive ice ages, both valley and continental glaciers have widened the valleys and the notches of the Catskills and rounded the mountains. Grooves and scratches in exposed bedrock provide evidence of the great sheets of ice that once traversed the region. Even today the erosion of the mountains continues, with the region's rivers and streams deepening and widening the mountains' valleys and cloves. Recreation The Borscht Belt In the mid–20th century, summer resorts in the Catskills, nicknamed the Borscht Belt, were a major vacation destination for Jewish New Yorkers. At its peak of popularity, about 500 resorts operated in the region. Later changes in vacationing patterns have led most of those travelers elsewhere, although there are still some bungalow communities and summer camps in the region catering to Orthodox populations. Aquatic sports and recreation Esopus Creek is a 65.4-mile (105.3 km) tributary of the Hudson River, starting at Winnisook Lake on Slide Mountain. It flows across Ulster County to the Hudson River at Saugerties. The Esopus is noted for making an almost 270-degree turn around Panther Mountain, following a buried 6-mile (10 km) impact crater rim. It is famous for tubing, a sport of rafting down a river in an inner tube. Many tubers begin their trip at Phoenicia, New York, and head down the creek towards the Ashokan Reservoir at Olive, New York. The Ashokan Reservoir is part of the New York City water supply system, with fishing allowed under permit, but swimming and most other recreational uses are forbidden. River canoeing and kayaking are popular. There are 42 rapids ranging from class I to V+. The Esopus Creek is famous for its fly fishing, although in recent years it has been plagued by invasive plants. Cycling Road and mountain biking are fairly popular in the range. Bicycle racing includes the Tour of the Catskills, a three-day road stage race held in Green and Ulster counties each summer, and the UCI Mountain Bike World Cup in Windham. Other cycling resources include the Catskill Scenic Trail, the Headwaters Trails in Stamford and the Roundtopia trail network (mapped by the Round Top Mountain Bike Association). Several ski centers provide downhill mountain bicycling in the warmer months. Hiking and camping Within the range is the Catskill Park, comprising over 700,000 acres (280,000 ha). Catskill Park is part of New York's Forest Preserve. Not all the land is publicly owned; about 60% remains in private hands, but new sections are added frequently. Most of the park and the preserve are within Ulster County, with a significant portion in Greene County, and parts in Sullivan and Delaware counties as well. Many of the trails in public areas are maintained and updated by the New York–New Jersey Trail Conference and the Catskill Mountain 3500 Club. Devil's Path is one of the many trails open for hikers. Spots to camp in the Catskills include Bear Spring Mountain, Little Pond, Mongaup Pond, and North-South Lake. Skiing There are five main downhill ski and snowboard areas in the Catskills: Belleayre Mountain (run by the Olympic Regional Development Authority); Hunter Mountain (the first ski area to install snowmaking machines in New York); Windham Mountain; Holiday Mountain Ski and Fun in Monticello; and Plattekill Mountain in Roxbury. Joppenbergh Mountain, in Rosendale Village hosted its first ski jumping competition in 1937. Ski jumping was continued on the mountain until February 7, 1971, when the last competition was held. The Mountain Trails Cross Country Ski Center in Tannersville has 22 miles (35 km) of trails. Structures Fire towers The Catskill Mountains fire towers were constructed to facilitate forest fire prevention and control. Twenty-three fire towers were built in the Catskill Mountains between 1908 and 1950. The fire towers fell out of use by the 1970s as fire spotting from airplanes had become more effective and efficient, so the fire towers were decommissioned; the Hunter Mountain Fire Tower was the last to be taken out of service in 1990. All but six of the towers were dismantled. The five remaining towers have been renovated and opened to the public as observation posts with panoramic views and a sixth tower was opened at the Catskill Visitor Center in 2022. The current towers are: Balsam Lake Mountain Fire Observation Station near Hardenburgh, elevation 3,723 ft (1,135 m) Hunter Mountain Fire Tower near Hunter, elevation 4,042 ft (1,232 m) Mt. Utsayantha Fire Tower near Stamford, New York, elevation 3,214 ft (980 m) Overlook Mountain Tower near Woodstock, elevation 3,140 ft (960 m) Red Hill Fire Observation Station near Denning, elevation 2,990 ft (910 m) Mount Tremper Fire Observation Station near Shandaken, elevation 2,740 ft (840 m) Upper Esopus Fire Observation Station near Mount Tremper, elevation 678 ft (207 m) Notable landmarks The Catskill Mountain House, built in 1824, was a hotel near Palenville, New York, in the Catskill Mountains overlooking the Hudson River Valley. In its prime at the turn of the century, visitors included United States Presidents Ulysses S. Grant, Chester A. Arthur and Theodore Roosevelt. Transportation From 1872, the northern part of the Catskills were served by the Catskill Mountain Branch of the Ulster and Delaware Railroad which was absorbed into the New York Central railroad in 1932. Oneonta to Kingston passenger rail service continued until 1954. Part of the line still exists but now serves only freight. The southern part of the Catskills was served by the New York, Ontario and Western Railway. Over the course of 1950, service on the NYO&W downscaled to summer only. In its last years it ran trains from Roscoe to Weehawken, New Jersey, via Liberty. It connected with the New York Central's West Shore Railroad at Cornwall. This service lasted until September 10, 1953. The Delaware and Ulster Railroad is a heritage railroad, based in Arkville, New York, that still runs a scenic part of the track from Highmount to Hubbell Corners, New York, for tourist use. The Catskill Mountain Railroad is also a heritage railroad in the Catskills, operating from Kingston up to Highmount. The Catskills are accessible by automobile from the east along Interstate 87/New York State Thruway, which runs north–south through the Hudson Valley. To the south and southwest, the Catskills are accessible by a variety of highways, including New York State Route 55, U.S. Route 44, U.S. Route 209, and New York State Route 17. Access to the western Catskills is provided by New York State Route 30; and the vaguely defined far-western edge of the region is variously considered to be New York State Route 10 or Interstate 88, though this boundary remains a matter of local preference. New York State Routes 28 and 23A cut east–west through the heart of the Catskills, serving many of the most popular outdoor tourist destinations. New York State Route 23 runs east–west across the Catskills' northern section. The closest major airports to the Catskill region are Albany International Airport to the north and Stewart International Airport in Newburgh to the south. Smaller airports in the region include: Columbia County Airport in Hudson Dutchess County Airport in Poughkeepsie Joseph Y. Resnick Airport in Ellenville Kingston–Ulster Airport Kobelt Airport in Wallkill Randall Airport in Middletown Sullivan County International Airport in Monticello Wurtsboro–Sullivan County Airport In popular culture The Catskills serve as the setting for many works of fiction, such as the short story Rip Van Winkle, and the children's book My Side of the Mountain. The Hudson Valley Film Commission maintains a list of films set in the Hudson Valley/Catskills Region. Of them, more than three dozen films are set in the Catskills. The town of Bethel, New York, located in the Catskills, was home to the famous Woodstock music festival that took place August 15–18, 1969. The event, wherein 32 music acts performed in front of over 500,000 concert-goers, was captured in the documentary movie Woodstock (1970). The site is now home to the world-renowned Bethel Woods Center for the Arts. The many hotels and vacation resorts located in the Catskills are notable in American cultural history for their role in the development of modern stand-up comedy. Comedians such as Rodney Dangerfield, Jackie Mason, Alan King, and Don Rickles all got their start performing in Catskill hotel venues colloquially referred to as the Borscht Belt. Gallery of paintings and photographs View from The Mountain House (1836), painting by William Henry Bartlett Paul Weber, Scene in the Catskills, 1858 October in the Catskills, 1880 painting by Sanford Robinson Gifford The Catskills, 1859 painting by Asher Brown Durand depicting the Catskills using the "sublime landscape" approach The Redmond Stage, Woodstock music festival, 1969 Kaaterskill Falls on the Catskill Mountains (1826–27), painting by William Guy Wall, Honolulu Museum of Art See also
6840	dbpedia	2	98	https://ifa.nyu.edu/events/archive-2023.htm	en	Archive of Public Programs at the Institute	http://ifa.nyu.edu/images/headerImages/header-Fall.jpg	http://ifa.nyu.edu/images/headerImages/header-Fall.jpg	[ "https://ifa.nyu.edu/images/the-institute.svg", "https://ifa.nyu.edu/images/headerImages/EventsHeader.jpg", "https://ifa.nyu.edu/images/events/2023/BarbaraHBerrie.jpg", "https://ifa.nyu.edu/monicafelix/assets/bravo-laura.jpg", "https://ifa.nyu.edu/monicafelix/assets/mariem-perez-riera.jpg", "https://ifa.nyu.edu/images/events/2023/RonniBaer.jpg", "https://ifa.nyu.edu/images/events/2023/RosaLowinger.jpg", "https://ifa.nyu.edu/images/events/2023/AngelAyon.jpg", "https://ifa.nyu.edu/images/events/2023/PamHatchfield.jpg", "https://ifa.nyu.edu/images/navimages/twitter.png", "https://ifa.nyu.edu/images/navimages/instagram.png", "https://ifa.nyu.edu/images/navimages/facebook.png", "https://ifa.nyu.edu/images/navimages/linkedin.png", "https://ifa.nyu.edu/images/the-institute.svg" ]	[]	[]	[ "" ]	null	[]	null	The Institute: your destination for the past, present, and future of art.	en	../favicon.jpg		null	Events Archive 2023 Thursday, February 2, 2023 at 6:00pm Series: Silberberg Lecture Speaker: John Marciari, Charles W. Engelhard Curator, Head of the Department of Drawings and Prints, and Curatorial Chair, Morgan Library & Museum Title: Drawing Trouble: Fakes, Forgeries, and the Complications of Connoisseurship. learn more about John Marciari's talk Friday, February 3, 2023, at 6:00pm Series: China Project Workshop Description: Jonathan Hay, Institute of Fine Arts, NYU and Michele Matteini, Institute of Fine Arts, NYU will present on The Place of Chinese Painting Studies Today: A Conversation across Generations. Learn moreAbout the China Project Workshop Saturday, February 4, 2023 at 2:00pm Series: NYU String Studies Chamber Music Concert Series learn more about the String Studies Chamber Monday, February 6, 2023, at 6:00pm Series: Duke House Exhibition Opening Title: Feliciano CenturiÃ³n: Telas y Textos learn more about the Duke House Exhibition Tuesday, February 7, 2023, at 6:00pm Series: Pre-Columbian Society of New York Speaker: Orlando HernÃ¡ndez Ying, Associate Curator, Hispanic Society Museum & Library, New York, NY Title: âCastilla del Oroâ and the Regional Evolution and Dissemination of Ancient Indigenous Metallurgic Iconography learn more about Orlando HernÃ¡ndez Ying's talk Watch Ying's talk online [opens in new window] Monday, February 13, 2023, at 6:00pm Series: Craig Hugh Smyth Lecture Speaker: Cammy Brothers, Associate Professor, Northeastern University Title: Michelangelo, Giuliano da Sangallo, and the Anti-Canon learn more about Cammy Brothers's talk Wednesday, February 15, 2023, at 6:30pm Series: The Roberta and Richard Huber Colloquium Speakers: Dr. Irene Cioffi Whitfield Title: Jean-Michel Basquiat: Wild Intuition This program has reached capacity and registration has been closed. We are delighted by this positive response and hope you will join us for the next program in this series on Wednesday, February 22, 2023. learn more about Irene Cioffi Whitfield's talk Wednesday, February 22, 2023, at 6:30pm Series: The Roberta and Richard Huber Colloquium Speakers: Xavier F. Salomon Title: Luigi Valadier in Nicaragua learn more about Xavier F. Salomon's talk Thursday, February 23, 2023, 6:30pm Title: Selinunte Lecture: New Discoveries learn more about Selinunte Wednesday, March 1, 2023, 6:00pm Title: Celebrating the publication of The Story of NFTs: Artists, Technology, and Democracy by Amy Whitaker and Nora Burnett Abrams Moderated by Matthew Israel learn more about The Story of NFTs Watch the Story of NFTs online online [opens in new window] Thursday, March 2, 2023, 6:00pm Series: IFA Contemporary Asia IFA Contemporary Asia is pleased to present A Conversation with Oscar yi Hou and Eugenie Tsai, moderated by Catherine Quan Damman. learn more about IFA Contemporary Asia Watch IFA Contemporary Asia online [opens in new window] Friday, March 3, 2023, 6:00 â 8:30pm Night of Ideas 2023 at the Institute of Fine Arts Co-presented by The Metropolitan Museum of Art, the Ukrainian Institute of America, the Institute of Fine Arts, and Villa Albertine Title: Environmental Challenges and Land Rights Learn moreabout the Night of Ideas Tuesday, March 7, 2023, at 6:00pm Series: Pre-Columbian Society of New York Speaker: Severin Fowles, Associate Professor of Anthropology, Barnard College, Columbia University Title: Capturing Images in Eighteenth-Century New Mexico: Comanche Rock Art as a Theater of War learn more about Severin Fowles Watch Severin Fowles' talk online [opens in new window] Wednesday, March 8, 2023, at 6:00pm Title: Celebrating the new publications of Thomas Crow and Robert Slifkin California Countercultural Lives--and How They Mattered for Art learn more about Thomas Crow and Robert Slifkin Tuesday, March 21, 2023, at 6:00pm Series: Artists at the Institute Speaker: Jordan Casteel Title: Jordan Casteel Painting the Landscape learn more about Jordan Casteel Wednesday, March 22 2023, at 6:00pm Series: Silberberg Lecture Speaker: Jennifer Stager, Assistant Professor of Art History at Johns Hopkins Title: Accounting for Colors learn more about Jennifer Stager Saturday, March 25, 2023 at 2:00pm Series: NYU String Studies Chamber Music Concert Series learn more about the NYU String Studies Chamber Music Concert Series Wednesday, March 28, 2022, 6:00pm Series: Samuel H. Kress Lecture Speaker: Barbara H. Berrie, Head of the Scientific Research Department and Senior Conservation Scientist at the National Gallery of Art Title: Shimmery and Shiny: pigments used to depict light learn more about Barbara H. Berrie Watch Barbara H. Berrie's talkonline [opens in new window] Wednesday, March 29, 2023 at 6:00pm Series: Latin American Forum Title: Documenting the Americas: Archives, Libraries and Research in Modern Latin American and Latinx Art A Panel with Josh T Franco, Ruth Halvey, Ostap Kin, Louisa M Raitt, and Lori Salmon Moderated by Edward J Sullivan, the Helen Gould Shepard Professor in the History of Art, the Institute of Fine Arts, New York University learn more about Documenting the Americas Thursday, March 30, and Friday, March 31, 2023 The Seventh Annual Symposium of Latin American Art Making Space, Making Place: Marking the Americas learn more about The Seventh Annual Symposium of Latin American Art Tuesday, April 4, 2023 at 6:00pm Series: Silberberg Lecture Speaker: Joanna Fiduccia is Assistant Professor in the Department of the History of Art, Yale University Title: Vanishing Point: Alberto Giacometti and the Crisis of the Figure learn more about The Silberberg Lecture Friday, April 7, at 6:00 pm Series: China Project Workshop Description: Hu Jun, University of California, Berkeley will present on A Brief History of Small (and Inadequate) Pictures. The discussion will be moderated by Jonathan Hay (Institute of Fine Arts, NYU). Tuesday, April 11, 2023, at 6:00pm Series: Pre-Columbian Society of New York Speaker: Laura Filloy Nadal, Associate Curator for the Art of the Ancient Americas, Metropolitan Museum of Art, New York Title: From Moctezuma to Charles the Fifth: A glimpse into the Cultural Biography of an Ocelot-Hide Shield learn more about Laura Filloy Nadal's talk Wednesday, April 12, 2023 at 6:00pm Series: Latin American Forum Title: Curating the Nation A Lecture by E. Carmen Ramos, Chief Curatorial and Conservation Officer, National Gallery of Art, Washington THIS LECTURE WAS POSTPONED learn more about The Latin American Forum Friday, April 14, 2023 at 9:30am Series: The IFA / Frick Collection Symposium on the History of Art ââThe Symposium was held via Zoom. Live captioning was provided. Learn Moreabout the Frick Symposium Monday, April 17, 2023, at 6:00pm Title: Judith Praska Visiting Assistant Professor in Conservation and Technical Studies Lecture with Rebecca Gridley Innovation, Inspiration, Imitation: Restoring Austrian FaÃ§on de Venise Glass learn more about the Praska Lecture Watch the Praska lecture online [opens in new window] Tuesday, April 18, 2023 at 6:00pm Series: The Sam Wagstaff Photography Lecture Title: Aziz + Cucher: XXX- 30 Years of Art, Life and Collaboration Description: The Institute of Fine Arts is pleased to announce that Aziz + Cucher will give this year's Sam Wagstaff Photography Lecture. learn more about The Sam Wagstaff Photography Lecture Tuesday, April 18, 2023 at 6:00pm Series: NY Aegean Bronze Age Colloquium Speaker: Jeffrey S. Soles, Department of Classical Studies, University of North Carolina at Greensboro Title: The Rise and Fall of a Rich Minoan Town in Crete: 50 Years of Greek-American Collaboration Excavating at Mochlos learn more about The Seventh Annual Symposium of Latin American Art Thursday, April 20, 2023, at 6pm Kirk Varnedoe Memorial Lecture Series Speaker: Juan JosÃ© Lahuerta Title: Against Realism: Pseudo-mysticism, anti-communism, and mass entertainment in the religious painting of Salvador DalÃ ca. 1950s learn more about the Varnedoe Lecture Watch the Varnedoe lecture online [opens in new window] Saturday, April 22, 2023, 9:15 AM to 4:45 PM Incorporation: Consumption Beyond the Gaze A collaboration between The Institute of Fine Arts and the UniversitÃ© de Fribourg learn more about Incorporation: Consumption Beyond the Gaze Monday April 24th, 6pm Series: IFA Contemporary Asia IFA Contemporary Asia is pleased to present a panel discussion, âAsian Video Cultures on the Global Electronic Superhighway,â on the occasion of the exhibition Signals: How Video Transformed the World, on view at The Museum of Modern Art through July 8, 2023. Speakers: Stuart Comer, Michelle Kuo, Jeannine Tang, Ryan Lee Wong learn more about Asian Video Cultures on the Global Electronic Superhighway Watch âAsian Video Cultures on the Global Electronic Superhighwayâonline [opens in new window] Wednesday, April 26, 2023, at 6:00pm Series: The Duke House Exhibition Title: Craft and Curation learn more about Craft and Curation WaTch CRAFT AND CURATIONonline [opens in new window] Thursday, April 27, 2023, at 6:00pm Series: Artists at the Institute Speaker: Buck Ellison Title: Notes On Little Brother learn more about Asian Video Cultures on the Global Electronic Superhighway Friday, April 28, 2023, at 6:30pm The Great Hall Exhibition: MÃ³nica FÃ©lix Screening Learn More About Monica Felix's screening Friday, May 5, at 6:00 pm Series: China Project Workshop Title: Perpetual Flow: Drain Systems in Western Han Rock-Cut Tombs learn more about the China Project Workshop Saturday, May 6, 2023, 10:00 am Etruscan Workshop and Celebration of the life and work of Larissa Bonfante Program for the Celebration of the life and work of Larissa Bonfante Monday, May 8, 2023, at 6:00 PM Book Launch: Duke House and the Making of Modern New York The recently released volume Duke House and the Making of Modern New York; Lives and Afterlives of a Fifth Avenue Mansion offers an investigation of the history of the edifice which is home of the Institute of Fine Arts since 1959. learn more about Duke House and the Making of Modern New York Watch Duke House and the Making of Modern New York online [opens in new window] Friday, May 12, 2023, at 3:00 PM Series: Time-Based Media Lecture Book Launch: Conservation of Time-Based Media Art learn more about the Conservation of Time-Based Media Art Watch the Book Launch for the Conservation of Time-Based Media Art online [opens in new window] Tuesday, May 23, 2023, at 6:30pm Series: Great Hall Exhibition Title: Discussion Panel with MÃ³nica FÃ©lix, Laura Bravo LÃ³pez, and Mariem PÃ©rez Riera learn more about the Discussion Panel with MÃ³nica FÃ©lix, Laura Bravo LÃ³pez, and Mariem PÃ©rez Riera Watch the Discussion Panel with MÃ³nica FÃ©li online [opens in new window] Tuesday, May 30th, 9:15 am TItle: Reformulating BEVAâ¢ 371 Description: Please join us on May 30th, 9:15 am ET (GTM: 13:15) for a one-day seminar and discussion around âReformulating BEVAâ¢ 371.â This seminar will include discussions on the development of Beva 371, what makes the ethylene vinyl acetate copolymer a unique lining adhesive for paintings on canvas, and how the currently available Beva 371, which replaced the original in commercial production about 15 years ago, differs from the original copolymerâs performance. learn more about Reformulating BEVAâ¢ 371 Watch Reformulating BEVA 371 online [opens in new window] Thursday, September 7, 2023, at 6:00pm Series: Pre-Columbian Society of New York Speaker: Jeffrey C. Splitstoser, Assistant Research Professor of Anthropology, George Washington University and Vice President of the Boundary End Archaeology Research Center Title: The Andean Khipu in Context with other Knotted String Traditions of the Americas learn more about Jeffrey C. Splitstoser's talk Watch Jeffrey C. Splitstoser's talk online [opens in new window] Friday, September 8, 2023, at 6:00pm Series: China Project Workshop Description: Lu Pengliang, The Metropolitan Museum of Art, New York presents on âRecasting the Past: The Power of Bronze in China, 1100-1900.â The discussion will be moderated by Jonathan Hay (Institute of Fine Arts, NYU) Monday, September 18, 2023, at 6:00pm Title: Summer Projects Day I The Institute of Fine Arts invites you to an evening of presentations from current conservation students on their summer 2023 work projects. learn more about Jeffrey C. Splitstoser's talk Tuesday, September 26, 2023 at 6:00pm Series: Latin American Forum Title: Curating the Nation: A Lecture by E. Carmen Ramos moderated by Edward J. Sullivan learn more about Curating the Nation Thursday, September 28, 2023 at 5:00pm Annual Selinunte Lecture learn more about the Selinunte lecture Monday, October 2, 2023 at 6:00pm Series: Pre-Columbian Society of New York Speaker: L. Antonio Curet, Curator, National Museum of the American Indian Title: Trouble in Paradise: History and Disaster at the Ceremonial Center of Tibes, Puerto Rico learn more about Trouble in Paradise Watch Trouble in Paradise online [opens in new window Wednesday, October 4, 2023 at 6:00pm Series: Silberberg Lecture Speaker: Dr. Chelsea Brislin, Faculty in Appalachian Studies at the University of Kentucky Title: From Abner to Deliverance: Representations of Appalachia in North American Media learn more about the Silberberg Lecture Thursday, October 5, 2023, at 6:00pm Series: Walter W.S. Cook Lecture Speaker: Ronni Baer, Allen R. Adler, Class of 1967, Distinguished Curator and Lecturer, Princeton University Art Museum Title: Murillo and the North: The Case of Michael Sweerts learn more about Ronni Baer's talk Watch Ronni Baer's talk online [opens in new window] Tuesday, October 10, 2023, at 6:30pm Series: IFA Contemporary Asia IFA Contemporary Asia is pleased to present Happening Now: A Conversation with Kyung An and Sooran Choi, on the occasion of the exhibition Only the Young: Experimental Art in Korea, 1960s-1970s, on view at the Solomon R. Guggenheim Museum through January 7, 2024. learn more about IFA Contemporary Asia Tuesday, October 17, 2023 at 6:00 pm Statements of His Identity: The Sculpture of David Smith Speakers: Michael Brenson, author, David Smith: The Art and Life of a Transformational Sculptor Christopher Lyon, editor, David Smith Sculpture: A Catalogue RaisonnÃ©, 1932â1965 learn more about The Sculpture of David Smith Watch The Sculpture of David Smithonline [opens in new window] Thursday, October 19, 2023, at 6:30pm Series: Ancient Art and Archaeology Title: Tell Edfu â Recent discoveries at a provincial capital Speaker: Nadine Moeller, Professor of Egyptology at the Department of Near Eastern Languages and Civilizations at Yale learn more about Tell Edfu â Recent discoveries at a provincial capital Monday, October 23, 2023, at 6:00pm Title: Summer Projects Day II The Institute of Fine Arts invites you to an evening of presentations from current conservation students on their summer 2023 work projects. learn more about Summer Projects Day II Wednesday, October 25, 2023, at 6:00pm Title: "Harry Smith: Cosmic Scholar," a conversation on John Szwed's new biography of a protean genius, subject of the current Whitney exhibition: "Fragments of a Faith Forgotten: the Art of Harry Smith" learn more about Harry Smith: Cosmic Scholar Watch the Harry Smith talk online [opens in new window] Friday, October 27, 2023 NYU Alumni Weekend at the Institute of Fine Arts Rebecca Rabinow, "The Meni Collection: The Museum's History, Ethos and Future" Watch Rebecca Rabinow's talk online [opens in new window] Monday, October 30, 2023, at 6:00pm Series: Artists at the Institute Speaker: Naudline Pierre learn more about Naudline Pierre Wednesday, November 1, 2023, at 6:00pm Series: Silberberg Lecture Speaker: Andrew Weinstein, Professor of the History of Art, Fashion Institute of Technology, State University of New York Title: Baneful Medicine and a Radical Bioethics in Contemporary Art learn more about Andrew Weinstein's talk Saturday, November 4, 2023 at 2:00pm Series: NYU String Studies Chamber Music Concert Series Two masterpieces of chamber music literature will be performed on November 4th, Johannes Brahms Violin Sonata No. 3 in D minor, op. 108 will be followed by a performance of Brahms' Horn Trio in E-Flat Major. The program will last approximately one hour. Both works will be performed by students from NYU Steinhardtâs Instrumental Performance program. learn more about the NYU String Studies Chamber Music Concert Series Monday, November 6, 2023, at 6:00pm Series: Pre-Columbian Society of New York Speaker: Andrea Vazquez de Arthur, Assistant Professor of Art History, Fashion Institute of Technology Title: Pottery as Ritual Tech in the Ancient Andes: A Revisionary Study of Wari Faceneck Vessels learn more about Andrea Vazquez de Arthur's talk Watch Andrea Vazquez de Arthur's talk online [opens in new window] Wednesday, November 8, 2023 at 6:00 PM Title: Celebrating a New Book by Rosa Lowinger Dwell Time: A Memoir of Art, Exile, and Repair learn more about Dwell Time: A Memoir of Art, Exile, and Repair Watch Dwell Time: A Memoir of Art, Exile, and Repair online [opens in new window] Monday, November 13, 2023, at 6:00pm Series: Artists at the Institute Speaker: Misha Japanwala learn more about Misha Japanwala Tuesday, November 14, 2023 at 6:00 pm Title: Celebrating a New Book by Pepe Karmel: Looking at Picasso learn more about Pepe Karmel: Looking at Picasso Wednesday, November 15, 2023 at 6:00 PM Series: The Sam Wagstaff Photography Lecture Title: The Ocular Age learn more The Sam Wagstaff Photography Lecture Monday, November 20, 2023, at 6:00pm Title: Summer Projects Day III The Institute of Fine Arts invites you to an evening of presentations from current conservation students on their summer 2022 work projects. learn more about Summer Projects Day III Friday, December 1, 2023, at 6:00pm Series: China Project Workshop Description: BuYun Chen, Swarthmore College will present on âEcology of Lacquerware Production in the Ryukyu Kingdom.â The discussion will be moderated by Monika Bincsik (Metropolitan Museum of Art). Saturday, December 2, 2024 at 2:00pm Series: NYU String Studies Chamber Music Concert Series learn more about Aphrodisias Monday, December 4, 2023, at 6:00pm Series: Archaeological Excavations at Aphrodisias Title: New Research and Discoveries at Aphrodisias in 2023 learn more about Aphrodisias Wednesday, December 6, 2023, at 6:00pm Series: Judith Praska Distinguished Visiting Professor In Conservation Lecture Title: âMysteries of the Unexplainedâ: Fakes, Forgeries, and Fabulists â or â What the Conservator Saw and When She Saw It Speaker: Pamela Hatchfield learn more about Pamela Hatchfield Wednesday, December 13, 2023, 6pm The Paul Lott Lecture Speaker: Kim Conaty, Steven and Ann Ames Curator of Drawings and Prints, the Whitney Museum of American Art Title: Ruth Asawa Through Line learn more about Kim Conaty's talk Watch Kim Conaty's lecture online [opens in new window]
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]	null	[]	null			//www.rollins.edu/images/favicon.ico		https://www.rollins.edu/rma/collection/american-art/	Ivan Le Lorraine Albright occupies a unique place in the history of American art. From an artistic family, he at first resisted becoming an artist before realizing that he had both talent for and interest in painting. His paintings, which are usually classified as “magic realist,” frequently depict weighty and macabre themes, including death, aging, and the inevitable decline and decay of the body, which he regarded as a prison for the soul. He worked meticulously and over a period of months or even years, building elaborate sets to stage his haunting compositions. His titles—long and poetic—usually emerged after the paintings were finished, once he truly understood what they were about. This lithograph was commissioned by Associated American Artists, a gallery which catered to a middle-class audience largely by selling prints made by famous painters. It is based on a similar painting entitled I Walk To and Fro through Civilization and I Talk as I Walk (Follow Me, the Monk) (1926-7, Art Institute of Chicago). It depicts Brother Peter Haberlin, an octogenarian Franciscan friar who was regarded as the last link between the old California missionaries and the modern friars. In the print—as in the painting—the influence of Old Masters, in particular El Greco and Francisco de Zurbarán, is evident in the monk’s flowing, voluminous robes and the flickering quality of the light. Though light streams in through an open window, the monk’s body also glows with an inner light, emphasizing his simple holiness. Francis Alexander was twenty-five when he painted Mary Ann Duff. At the peak of her career, Duff was considered as fine a tragic actress as the earlier renowned English actress Sarah Siddons (immortalized as the "Tragic Muse" by Sir Joshua Reynolds in 1783). Though born in England and first appearing on stage as a dancer in Ireland, Duff was thirty and living in New York when this painting was completed. Largely forgotten now, it has been argued that Duff should rightly be considered the first First Lady of the American Stage, having received her theatrical training solely in America. This painting predates Alexander's travels in Europe, where he would study the great monuments of art and refine his technique. Though produced early in his career in an almost naïf style, Alexander’s likeness captures the vivacious nature of the actress as she looks out of the canvas with sparkling eyes and rosy cheeks. Great care has been taken in rendering the texture and patterning of the drapery that covers her chair and falls over and around her arm. Mary Ann Duff would have been conscious of her rising status on the American stage. A portrait such as this might have been commissioned in a self-conscious attempt at mimicking the habits of respectable American society. Remembering that actors in the nineteenth century were not accorded the high social status in America that they enjoy today, Miss Duff would have been eager to present herself as a reputable lady of society. Her apparel raises more questions than it answers. She appears to be wearing a scholar's cap, and the high, starched, lace collar is not in keeping with contemporaneous fashions. It is possible that she has chosen to be portrayed in the costume of a favorite character. Unfortunately, there is little in the way of records for this important personage of American theatrical history. This portrait of Annie Russell, after whom Rollins’ theater is named, dates from early in both her career and in that of the painter, John White Alexander. Alexander, an orphan from Pittsburgh, got his start as an illustrator for Harper’s and other magazines in New York. Like many artists of his generation, Alexander studied in Europe, spending time in Munich and Polling, in Bavaria, as well as Venice. While in Venice he met fellow American James Whistler, who was there to create etchings of the city’s famous architecture and canals. Whistler, one of the foremost proponents of the idea of “art for art’s sake,” would have a profound influence on Alexander, who returned to New York in 1881 and almost immediately established himself as one of the city’s premier portrait painters. Soon after he executed this work Alexander became well known for his purely aesthetic depictions of women, and this painting is one of his last commissioned portraits. Russell, who is depicted with her back mostly turned to the viewer, is an excellent early example of this tendency in his work. Her long, lean form is contrasted with the smooth roundedness of the vase, and the pink blooms of the flowers seem to reach around her, drawing her in as another of the aesthetic objects in the room. Her costume—from a light fairy comedy by W.S. Gilbert—enhances the effect by taking her out of everyday time and space and into a realm of purest fantasy. Alexander painted at least one other portrait of Russell, and she owned this one throughout her long life. Born in Washington, D.C., John Taylor Arms studied architecture at Princeton University, working as an architect in New York City before serving in World War I. After the war he gave up architecture in favor of etching, which he had been practicing as a hobby—his wife, Dorothy, gave him his first etching kit as a Christmas gift. A deeply religious man, Arms was particularly attracted to the Gothic ecclesiastical architecture of Europe, embarking on frequent trips with Dorothy to visit churches and cathedrals in France, Spain, Italy, and England. He typically spent several hours to several days making drawings of each site, which he then translated to etching plates at his home studio. This print is typical of Arms’s early work, in which he sought to create picturesque views of the vernacular architecture and daily life that had grown up around the churches and cathedrals he depicted. He enjoyed the contrast in uses, scales, and eras that such a framing produced, feeling that it highlighted the enduring power and grandeur of the Gothic buildings. Here the cathedral in Amiens, in Northwest France—built from 1220-1270—towers over the surrounding city, its grandeur highlighted by the almost wispy faintness of the lines Arms uses to depict it. Two peasants are engrossed in conversation in the foreground, suggesting that this exquisite structure is part of everyday life, a fact which Arms found immensely appealing. This etching, which depicts the Church of Santa Maria Major in Ronda, Spain, indicates the evolution of Arms’s work after 1927-28. Abandoning the picturesque views incorporating local scenery that had characterized his early work, Arms began instead to depict churches and cathedrals as standalone structures. He believed this allowed the buildings to better stand on their own, reflecting their full majesty and importance. The church, officially dedicated by Ferdinand and Isabella after the culmination of the Reconquista, incorporates Islamic elements, particularly in the minaret tower (leftover from the local mosque) which Arms highlights in this print. The vertical format of the piece emphasizes the tower’s sharp verticality, while the use of negative space effectively evokes the white stucco walls of the relatively unassuming exterior. The sharp, crisp linearity of the scene also evokes the sunny environs of Andalusia, the Southern Spanish province in which Ronda and its church are located. D.F. Barry is best known for his portraits of Native American chiefs, warriors, scouts, and women. Often called the “shadow catcher,” Barry captured iconic images of life in the American West. To contemporary viewers from the eastern United States and Europe, his images portrayed a new world they had never seen, allowing his cabinet card photographs to sell in large numbers and quickly. Chief Rain in the Face, the leader of the Lakota Tribe, fought alongside Chief Sitting Bull to defeat Colonel George Custer at the Battle of Little Big Horn. Chief Rain in the Face is photographed in his eagle-feather headdress holding a stone-head club and peace pipe. D.F. Barry’s photos have become iconic symbols of important figures and of what life was like in the Western Frontier. Through his images he has been able to give a glimpse into past moments in time. The American painter, printmaker, and illustrator George Bellows is best known for his depictions of semi-legal boxing matches and New York City street scenes. Though slightly younger than most of its members, these subjects—as well as his commitment to leftist politics—made him a natural fit with the Ashcan School, the group of painters loosely associated with artist and teacher Robert Henri who depicted everyday life in American cities during the first decades of the twentieth century. Bellows—who died at the age of only 42 after a ruptured appendix—was an innovator in fine art lithography. He worked with master lithographer Bolton Brown to develop a wide range of custom lithographic crayons, which allowed him to achieve much more nuanced atmospheric effects than had previously been achieved in lithography. This print depicts an evening at Petipas, a popular French restaurant at which the Ashcan artists frequently gathered. The white-bearded standing figure is Irish portrait painter John Butler Yeats (father of poet William Butler Yeats). He speaks with mustachioed Robert Henri, while the balding Bellows leans in behind them. The seated, stylishly dressed woman is Bellows’s wife Emma. She gazes confidently out at the viewer, drawing them into the warm, collegial scene. It is striking that Bellows included her front and center in this view of his intellectual and artistic world, indicating her centrality to his creative process. Born in Salem, Massachusetts, Frank Weston Benson spent the majority of his life in and around Boston. He studied at the School of the Museum of Fine Arts and—along with his classmate Edmund Tarbell—was a long-tenured and popular teacher and administrator at the school. Along with fellow painters including Tarbell, John Henry Twachtman, and Childe Hassam, Benson was a founding member of The Ten, a group of American painters—many of whom were influenced by French Impressionism—who rebelled against the conservatism of the American art establishment of the late nineteenth century. Despite this antiestablishment affiliation—or perhaps because of it—Benson remained a beloved teacher at the School of the Museum of Fine Arts until his retirement in 1913. Though Benson is best remembered as an artist of sporting scenes, he was also an accomplished and widely respected landscape painter. This painting was made at Wooster Farm, his family’s property on North Haven Island, the same location where he created many of his most iconic sporting pictures. It depicts a pond Benson had dug for his wife, Ellen, who planted it with waterlilies. In 1921, shortly before completing this work, Benson—who was in search of a new way to depict outdoor scenes—had begun experimenting with watercolors, becoming quite prolific in the medium. His experimentation also impacted his oil paintings, as he developed a looser and more aqueous application of paint. That influence is evident here in the free, even smeary quality of the paint. His adoption of the waterlily, one of the most quintessentially Impressionist subjects, shows his continuing engagement with the style, which he had adopted seriously after joining the Ten American Painters in 1898. Born in Salem, Massachusetts, Frank Weston Benson spent the majority of his life in and around Boston. He studied at the School of the Museum of Fine Arts and—along with his classmate Edmund Tarbell—was a long-tenured and popular teacher and administrator at the school. Along with fellow painters including Tarbell, John Henry Twachtman, and Childe Hassam, Benson was a founding member of The Ten, a group of American painters—many of whom were influenced by French Impressionism—who rebelled against the conservatism of the American art establishment of the late nineteenth century. Benson was best known as a painter, but he was also an accomplished and prolific etcher, picking up the medium only in 1912, long after he had made his name as a painter. This image, depicts a working man moving a recently harvested log downriver for processing. Benson frequently traveled along the coast and in the interior of Maine, where he likely made the drawing that inspired this image. Its spare use of line and correspondingly large amounts of negative space reflect the influence of James Whistler, while the workaday subject and fresh, almost sketchy immediacy are reminiscent of Impressionism. Benson was an avid sportsman who was first inspired to paint at the age of sixteen after shooting a snipe and a rail in the salt marshes near his Essex County, Massachusetts home. Early in his career, he used the prize money from an exhibition to finance the purchase—along with two of his brothers-in-law—of a small hunting cabin in Eastham, on Cape Cod. Later, he would frequently travel to the island of North Haven in Maine’s Penobscot Bay, where he found the inspiration for most of his outdoor scenes. It was at his farmstead there that he took up etching in 1912—he had experimented with it in his student days but left it behind as he established his career as a painter. This inaugurated a remarkable second career as perhaps America’s foremost producer of bird prints, helping to establish it as a standalone genre. Though he had been inspired by the ornithological illustrations of John James Audubon early in his life—aspiring to a career as an illustrator as a teenager—Benson’s etchings are very different from Audubon’s highly detailed and rigidly posed illustrations. Befitting his interest in Impressionism, Benson prefers to represent his birds in motion, especially in flight. Rather than aiming for anatomical precision, he emphasizes the evanescent qualities of light and air, as well as the light liveliness of the birds themselves. As in Log Driver, Benson demonstrates in this and his other wildlife prints a mastery of negative space, using expanses of white to represent the calm placidity of the New England water, which stands in marked contrast to the bold dynamism of the geese. Thomas Hart Benton, along with John Steuart Curry and Grant Wood, was a foremost artist of the Regionalist movement in the United States. Championing a figurative style indebted to earlier twentieth century modernism and the public art of the Mexican muralist movement, Benton was a loud, even combative, voice for the depiction of distinctively American subjects in a distinctively American style. A longtime resident of New York, he famously left it in 1935 to return to his native Missouri, where he had been commissioned to paint A Social History of Missouri, a series of murals in the state capitol in Jefferson City. Benton taught at the Kansas City Art Institute from 1935 to 1941, when he was fired for criticizing the closely affiliated Nelson-Atkins Art Museum. This print is based on a painting of the same name (1941, Pennsylvania Academy of Fine Arts) which was made as a classroom demonstration during his last year as a teacher. It depicts Ben Nichols, an eighty-two-year-old former slave who Benton has transformed into the Biblical figure Aaron, older brother of Moses. Aaron’s lined face and downcast eyes transmit a solemn dignity, while the busy mustache and crinkle of the mouth convey the sitter’s individual personality. This print was issued in edition of 250 by the Associated American Artists, a company which sold fine art prints by noted American artists for the low price of five dollars, thereby greatly expanding the audiences of artists like Benton, who was an early champion of the company. Born in Russia, Eugene Berman fled the Russian Revolution with his brother Leonid (also a painter), emigrating to Paris in 1918. There he formed the core of the Neo-Romantic movement along with fellow Russian Pavel Tchelitchev and Frenchman Christian Bérard. Berman gained particular renown as a set designer for ballets and operas, where he was known for taking liberties with historical settings in favor of his preferred aesthetic, which emphasized the stark grandeur and mysterious light of ancient ruins, as well as a preoccupation with the macabre. He moved to New York in 1935, becoming one of the most important designers for the opera and theater there, including doing work for the New Ballets Russes under Colonel Wassily de Basil and the Metropolitan Opera under Rudolf Bing. This watercolor and ink drawing is a conceptual sketch for a proposed staging of Felix Mendelssohn’s Symphony No. 4 in A major, commonly called the Italian, which was to be produced by de Basil and choreographed by the dancer and choreographer David Lichine. The ballet was never staged, but the drawing remains as a fine example of Berman’s creative process, demonstrating how he would have translated the symphony. The blotchy smears of the watercolor help to unify the grand proscenium of the stage with the set design, which includes a tilting, ruined flag and moldering ruins. The symphony itself is considerably more lively than Berman’s rendering suggests, indicating the influence his Neo-Romantic sensibilities had on his set designs. Albert Bierstadt, who is best known for his monumental depictions of American scenery, was, like many artists of his generation, trained abroad. When he arrived in Düsseldorf, Germany in 1853 to study at the famed Kunstakademie there, his fellow Americans Worthington Whittredge and Emanuel Leutze were so unimpressed with his talent that they doubted he would make it as an artist. Undeterred, Bierstadt disappeared for a summer of sketching along the Rhine River and in the Hartz Mountains. Upon his return to Düsseldorf, Bierstadt’s improvement was apparently so marked that Whittredge, Leutze, and several other artists were compelled to send a letter to a newspaper in Bierstadt’s hometown of New Bedford, MA, swearing that the works the painter was sending back were his own, and not those of Andreas Achenbach or another German artist. After a few years in Düsseldorf and traveling throughout Europe, in particular the Alps, Bierstadt returned to the United States with a plan. Securing a position on the surveying expedition commanded by Colonel Frederick W. Lander, Bierstadt turned the fine eye for detail he had honed in Germany on the scenery of Nebraska and Wyoming. He sent a voluminous correspondence detailing his adventures to eager readers back East, ensuring that there would be a strong market for his work upon his return. Though he is best known for his highly finished large-scale compositions, this and similar sketches reveal his sensitivity to effects of light and atmosphere, and his ability to capture people and animals, as well as forbidding mountain peaks. Bierstadt used sketches like these, photographs, and American Indian artifacts and other materials he gathered on this and subsequent expeditions—all of which he kept and displayed in his studio in the famed Tenth Street Studio Building—as part of a very successful marketing strategy that resulted in his becoming the wealthiest artist in the United States by the late 1860s. The son of a successful physician, Ralph Albert Blakelock was originally supposed to follow his father into medicine. After a few semesters of medical college, however, he felt the stronger pull of an artistic career and dropped out. Largely self-taught, he quickly mastered the basics of Hudson River School landscape. From the beginning, however, he felt a lack of affinity with the sunny, optimistic style, preferring to paint in a more personal, romantic manner. Early in his career this placed him outside the artistic mainstream, and he struggled to support his large family on the sales of his paintings. This struggle was exacerbated by his battles with mental health, as he increasingly began to suffer from both depression and delusions of grandeur, eventually landing him in a psychiatric hospital in 1899; he spent most of the final twenty years of his life institutionalized. Though his mental health struggles—as well as his many paintings of dark and mysterious moonlit scenes—have often led to Blakelock’s being termed an outsider or visionary, he actually was closely integrated into the New York art scene of his day and kept current with artistic trends both in the United States and abroad. His painting was heavily influenced by the French Barbizon school, from which he gained an appreciation for romantic subjectivity and the loose handling of paint. Rising Moon is an example of his most well-known style of painting, in which entirely imagined landscapes—rather than real places—are presided over by large, luminous moons. The painting reverses the usual landscape elements, with inky dark foreground trees and other elements giving way to more luminous water and sky in the background. As Blakelock languished in mental hospitals, often struggling to gain access to basic painting supplies, appreciation for his unique vision grew in the wider world. A painting similar to this one sold for $20,000 in 1916, a record for a living American painter at the time. Growing up in Cincinnati, Robert Frederick Blum was heavily influenced by the work of Spanish painter Mariano Fortuny, which he saw in local collections. He adopted the older painter’s use of a rapid, sketchy line to quickly delineate the forms of his sitters’ faces, relying on variations in line weight and tone to suggest contours. In his late teens Blum moved to Philadelphia to study at the Pennsylvania Academy of Fine Arts before moving on to New York, where he established himself as a professional illustrator and fine artist. Always a slow worker in oils, Blum preferred the sketchy immediacy of drawing and etching, a medium he picked up after meeting James Whistler—the acknowledged master of the medium—in Venice. From Whistler he also picked up another technique, the “Japanese method” of drawing. Taken from Whistler’s study of Japanese ukiyo-e woodblock prints, it involved starting from the point he expected to be the exact center of focus in the work and proceeding outward, a process which in this case results in the model’s prominent nose and striking eyes dominating the composition. Little is known about De Stephano, who appears to have been Blum’s lifelong friend and sometime companion. Though Blum never married, she claimed to be his widow after his premature death in 1903. She served as his model for a number of aesthetic portraits, as well as the murals Moods to Music and The Vintage Festival, originally executed for New York’s Mendelssohn Hall and now at the Brooklyn Museum. Ilya Bolotowsky stood at the forefront of abstraction in the United States during a time when many in the American art world were reluctant to embrace non-objective art. After immigrating to the United States as a teenager Bolotowsky studied at the conservative National Academy of Design and worked as a textile designer. After a trip to study art in Europe he happened to encounter the work of Piet Mondrian and Joan Miró, and his early work attempted to blend Mondrian’s geometric style with Miró’s biomorphic abstractions. In 1936 he became a co-founder and president of American Abstract Artists, a group of painters and sculptors who were frustrated by their exclusion from the major modern art venues in New York, including the Museum of Modern art and the Whitney Museum of American Art. In 1945, after serving in the military during World War II, Bolotowsky refocused his artistic attention on Mondrian, who had spent the last years of his life in New York, where he had been hugely influential on the art world there. This work reflects the influence of the gridded, non-spatial canvases of Mondrian’s Neoplasticism, though in this piece Bolotowsky retains non-primary colors and diagonal lines, elements which Mondrian had abandoned later in his career. This work was made while Bolotowsky was serving as a replacement for Josef Albers, who was on sabbatical from Black Mountain College. For the remaining decades of his life Bolotowsky would be a well-regarded art teacher at a series of colleges and a strenuous advocate for geometric abstraction. Henry Botkin was born in Boston, Massachusetts, attending various art schools there from 1913 to 1917. In 1917 he moved to New York, where he studied at the Art Students’ League. While studying he lived with his famous cousins, the composer George Gershwin and his lyricist brother Ira. In 1926 Botkin moved to Paris, where he continued to study art while also acting as Gershwin’s art agent, sending the composer (an enthusiastic collector) photos and prices of paintings he might like to acquire. Gershwin liked the works of the Fauves and other slightly earlier Modernist painters, commenting in letters to his cousin on their use of color and form. When Botkin returned to New York in 1933 he taught Gershwin to paint and draw, and also accompanied him on the 1934 trip to Folly Island, South Carolina which would result in Porgy and Bess, perhaps Gershwin’s most famous work. As Gershwin was writing his jazz opera Botkin was at work on a series of paintings depicting similar people and themes. This painting, executed in the middle of Botkin’s long life, shows both the artist’s engagement with the figurative painting traditions of the first half of the twentieth century and the influence of his musician cousins. The titular trumpeter, rendered in a series of Cubist-derived flat planes, sits contemplatively on a broad low stool, while the musical notes of his profession float in the flattened space around him. The generally cool, bluish cast of the figure stands in stark contrast to the reds and oranges of the surrounding space, suggesting both the intellectual and sensuous aspects of musical performance. Margaret Bourke-White first travelled to the Soviet Union in the summer of 1930, the first of three consecutive summers when she documented the first Soviet five-year plan for American audiences, the first Western photographer to do so. Bourke-White made her fame in the 1920s as an industrial photographer, pioneering a technique to capture the stark beauty of the Otis Steel Company in Cleveland, among other icons of American heavy industry. That resulted in her being hired by Henry Luce to work at Fortune magazine, which sent her on the assignment to the USSR. During her first trip, Bourke-White focused on the heavy machinery in mines and factories, but found herself increasingly interested in the people she met on her journey, finding herself charmed by their solid resilience. This photo depicts students in a small village school outside the city of Kolomna, southeast of Moscow, reflecting that interest in the Russian people. Bourke-White has arranged her thirteen sitters in a rough pyramid that emphasizes their solidity, as do the rough-hewn but sturdy pews and walls of their surroundings. Bourke-White’s increasing empathy for the Soviet people prompted a similar identification with working-class people in the United States, and her Popular Front sympathies earned her the attention of J. Edgard Hoover and the House Un-American Activities Committee. In her 1931 book Eyes on Russia and subsequent articles for the New York Times Magazine, Bourke-White wrote of her experiences traveling on overwhelmed Soviet trains to visit factories and other industrial sites, often subsisting on little more than cold canned beans she had brought with her from Germany. She also wrote a great deal about Soviet women, on whose labor the five-year plan relied just as much as that of men. Attempting to reconcile this with American notions of feminine comportment, she commented that the Russian woman, “In her longing for fashionable clothes, for adornment, for attention…is wholly feminine.,” while, at the same time “…working, as the men work, to advance the great industrial program of which she feels she is part. She is never conscious of a conflict between her career and her personal life.” Margaret Bourke-White’s modern aesthetic and attention to the concerns of the machine age inspired Henry Luce to hire her as a photographer at Fortune magazine. While on assignment for the magazine, she made three trips to the USSR. In 1930, she visited eastern Ukraine and southern Russia and photographed the construction of the Dnieper Hydroelectric Station (DniproHES), the Stalingrad Tractor Factory, and the Novorossiysk Cement Plant, and in 1931 she traveled to Chelyabinsk Oblast to cover workers building the largest steel mill in the world, the Magnitogorsk Iron and Steel Works (MMK). In the summer of 1932, she returned to the USSR, traveling from the Caucasus to Baku and back to Ukraine, where she found herself increasingly interested in the strength and character of the Soviet people. Soviet Serenade (1931) captures a street performer smiling as he plays his accordion and looks down upon the viewer. Mathew Brady was already the most famous photographer in America by 1860, when his studio took its first image of Abraham Lincoln, commemorating the Republican presidential candidate’s February 27, 1860 speech at Cooper Union in New York City. Lincoln credited that image—reproduced on the cover of the printed speech as well as disseminated widely as a carte de visite—with helping him earn the nomination and eventually the presidency. It also began a long-running collaboration between America’s foremost photographer and its most famous politician, with Lincoln posing for photographs at Brady’s studio throughout the Civil War. Lincoln’s images on both the five-dollar bill and penny are based on such photographs, as are most of the familiar images of the sixteenth president. The carte de visite format was revolutionary, for it allowed an unlimited number of inexpensive paper prints to be made from one glass-plate negative, permitting the photograph to be distributed widely, in contrast to the daguerreotype and ambrotype, earlier formats in which only a single image was made. Americans of all walks of life amassed large collections of images of famous people, making this the first time in history when the faces of the country’s leaders were widely known. This image was captured by Thomas Le Mere, a photographer who worked at Brady’s Washington, D.C. studio. This captures an important aspect of Brady’s work, which is the fact that he rarely took or developed the images himself, though he usually posed particularly important clients. This was standard practice at the time, in contrast with the twentieth century, when photographers came to be seen as individual artists who controlled the entire process. During the war Brady’s photographers spread out to follow the Union Army on its campaigns, bringing Americans some of the first photographic images of war and inaugurating a tradition of photojournalism that survives to this day. Born near Honesdale, in rural northeastern Pennsylvania, Jennie Brownscombe belonged to the first generation of American women artists for whom professional training was routine, if still often segregated from men. After a stint as a schoolteacher in her late teens she moved to New York, where she enrolled at The Cooper Union, graduating in 1871. She then studied at the National Academy of Design, becoming a founding member of the Art Students League in 1875. She first attracted notice in 1876, exhibiting her work in the Women’s Pavilion at the Centennial Exposition in Philadelphia. Throughout the remainder of her long life she maintained a successful career as a portraitist and painter of genre scenes, both historical and contemporary. Many of her works were reproduced as prints or etchings by companies targeting the middle-class market, while others served as illustrations for magazines and calendars. She became especially well-known for her depictions of the domestic life of George and Martha Washington, painting a number of scenes of social events at Mount Vernon. This painting, which was published as an etching by New Jersey printmaker James S. King, exemplifies Brownscombe’s mature style, which combines her academic training with the naturalism favored by painters on both sides of the Atlantic, including the American Winslow Homer and the Frenchman Jean-François Millet. The picture depicts a scene from Brownscombe’s time, as indicated by the nineteenth century hairstyles (particularly the men’s facial hair), but draws upon Brownscombe interest in and careful study of Rococo and other historical architecture in France, Germany, and Italy. The depiction of the choir boys—sweetly orderly but also individualized—shows Brownscombe’s attention to popular sentimental taste. James Edward Buttersworth was born in London, where he was trained by his father Thomas, himself a successful painter of maritime scenes. Buttersworth emigrated to the United States sometime between by 1847, after a successful early career in England. Settling in Lower Manhattan, followed by Hoboken, New Jersey, Buttersworth quickly established himself as one of the foremost marine painters in the country. The 1850s were a particularly auspicious time for American marine painting, due to recent advances in maritime technology. The clipper ships—invented for the tea trade with China—became even more important after the discovery of gold in California, setting off a race to build the fastest possible ship. Similarly, American success in sailing races set off a mania for yachting. The owners of these vessels and the public alike clamored for accurate depictions of them, and Buttersworth tapped into this burgeoning market. Buttersworth became one of the country’s foremost painters of daring maritime scenes, known for his ability to accurately represent details of rigging and other aspects of shipboard architecture—a skill which was highly prized by collectors—combined with the drama and adventure of the high seas. In this scene, which takes place just off the Rock of Gibraltar at the entrance to the Mediterranean Sea. In the background, British ships at anchor are tossed by the storm, which all but blots out the light of day. The foreground ship, identifiable as a clipper by its raked-back elegance and prominent bow, desperately attempts to furl sail in the face of the onslaught. Capturing the moment of highest drama, Buttersworth punctuates the danger with jagged stripes of lightning that jut out into the inky blackness. Born in Denmark, Emil Carlsen immigrated to Chicago in 1872, where he trained under a fellow Danish painter named Lauritz Holst. When Holst returned to Denmark, Carlsen inherited his studio, also becoming an instructor at the Chicago Academy of Design. In 1875 Carlsen traveled to Paris, where he became interested in the soft, delicate realism of the French still-life painter Jean-Baptiste-Siméon Chardin. He moved to New York in 1879. Struggling to make ends meet as a painter, he lived a semi-peripatetic existence that saw him move to Philadelphia; back to Europe; to San Francisco; and finally back to New York by 1891. In 1896, at the age of 50, he married, moving with his wife into his studio on 59th street. After this, both his personal and professional lives became much more settled, and he embarked on a career as a teacher at the National Academy of Design, Art Students League, and Pennsylvania Academy of Fine Arts. During this time Carlsen also became friends with John Henry Twachtman, Julian Alden Weir, and other painters affiliated with the Tonalist movement in landscape painting. Twachtman, Weir, and the Tonalists inaugurated a quieter and more intimate mode of landscape painting, in contrast to the bombast that characterized the Hudson River School of earlier generations. Carlsen’s interest in quietly intimate still-life painting meshed well with the Tonalist aesthetic. This painting is a prime example of this style, the popularity of which finally ensured Carlsen’s financial stability. He represents the copper urn and humble onions with a graceful sensitivity, emphasizing the effects of light and texture over strict illusionism. Over his long and productive career Jean Charlot had a profound influence on printmaking and mural painting in both Mexico and the United States. He was born in Paris and in 1921 moved to Mexico City after the death of his father—his mother was of mixed French and Aztec ancestry, a fact in which the family took great pride. He arrived at an auspicious time in Mexican history, as the period of unrest and social change surrounding the Mexican Revolution was beginning to wind down. When he arrived, he joined a ferment of artistic and cultural experimentation—known as Mexican modernism—that was answering the urgent question of what it meant to be Mexican. Charlot, who brought with him printmaking knowledge and equipment, as well as examples of modernist prints from France, is often credited with helping to inspire a revolution in printmaking in Mexico. Charlot joined SOPTE (Sindicato de los Obreros Técnicos, Pintores y Excultores), an artist’s union, and signed on to their 1922 “Declaration of Social, Political, and Aesthetic Principles,” written by David Alfaro Siqueiros, whose large fresco murals are icons of Mexican Modernism. In the Declaration, the artists condemned easel painting as overly aristocratic and intellectual, preferring instead the more direct and accessible mediums of murals and printmaking. Charlot also joined the movement of artists and intellectuals known as Stridentism. Influced by Italian Futurism, Spanish Ultraism, and Dada, Stridentism celebrated modern technology and artistic forms, rejecting the staid classicism of traditional European art. Unlike the Futurists, however, the Stridentists rejected war and fascism, maintaining their socialist political commitments. Charlot moved to New York in 1929, spending time there with George C. Miller, the best fine art lithographer in the United States, to whom he was introduced by José Clemente Orozco, another of his colleagues in the Mexican modernist movement. In 1949 he went to Honolulu to do a mural commission for the University of Hawai’i. He so enjoyed his time there that he stayed until his death in 1979, executing many of his prints by correspondence with Lynton R. Kistler, a master lithographer based in Los Angeles. Charlot left Mexico City for New York in 1929, making this print shortly after he arrived. It demonstrates both his approach to Mexican subjects and his continued formal and technical experimentation. Like many of his prints, it is based on careful observation of his subjects, in this case Mayan hunters in the Yucatán. Charlot wrote in his diary of watching the men leave to hunt at night, wearing lanterns on their heads to attract the leopards. His enthusiasm for Mexican culture led him to learn Nahuatl, the Aztec language, and he sought always to approach his subjects from a position of respect. The figure of the man, his back bent under the weight of the leopard, is represented with the solid monumentality he and other artists brought to Mexican modernism. The hunter’s smooth, rounded forms contrast sharply with the angular machinery of the gun. The darkness of the night sky, represented with swirling forms as well as sharper lines, shows Charlot’s interest in expanding the possibilities of lithography, a medium that traditionally was known for its clean lines and commercial uses. William Merritt Chase was renowned during his time for his depictions of the American landscape as well as for his depictions of the late nineteenth and early twentieth century’s confident and stylish “new women.” He was perhaps most famous, however, for his still-life paintings, in particular his depictions of freshly caught cod and other North American fish. Shimmering with iridescent scales and still glistening from the sea, these fish were the perfect vehicles for Chase to showcase his masterful brushwork and rapid application of paint—he often did them as demonstration pieces in front of adoring audiences. The fish pictures date from Chase’s mature period around the turn of the twentieth century. This one, on the other hand, dates from just before the pivotal year of 1872, when he began a six-year stint studying in Munich. After a couple years in New York, where he studied at the National Academy of Design, Chase was living in St. Louis, where he established a local reputation for his still lifes. This painting shows his early mastery of the American still-life tradition. Set in a nondescript domestic interior, the picture includes a variety of succulent fruits, as well as a glass of wine—likely Madeira, a fortified dessert wine popular in the nineteenth century—and a piece of steak or other meat, a curious addition for a painting entitled Autumn Fruit. The American still-life as formulated by Raphaelle Peale, Severin Roesen, and other earlier painters prioritized pyramidal compositions and dark backgrounds, lending the produce an air of powerful beauty. Insect-chewed leaves and spots such as those on the peaches both heighten the naturalism of the depiction and hint at the food’s perishability, reminding the viewer of the fleeting nature of material abundance. Chase has given the fruit—particularly the grapes—a highly reflective shine, a practice designed to show his mastery of optical effects. Though Chase would develop a looser style during and after his stay in Munich, this painting shows his strong grasp of the textural and optical qualities of oil paint. William Merritt Chase was one of the most influential artists of the turn of the twentieth century, both as a painter—he helped introduce the artistic styles of Munich and Paris to the United States—and as a teacher and patron of the arts. From his return to the United States from Munich in 1878 Chase worked as a teacher, first at the Art Students’ League and later at the Pennsylvania Academy of Fine Arts, as well as in a variety of summer schools, including the famed Shinnecock School on Long Island. A key aspect of his teaching was the live demonstration, in which he executed a landscape, still-life, or portrait study while his students watched, commenting all the while on his process. These performances were showcases for his bravura painting style, which emphasized loose, painterly brush strokes and largely eschewed preparatory drawing. When he was finished with the painting he would usually give it away, either bequeathing it to the school, giving it to the student who had served as model, or raffling it off. This painting depicts a “Miss Covert,” and is the result of one of Chase’s in-class demonstrations. The young woman’s loose dress, fashionable high collar and straightforward gaze—which unflinchingly returns the viewer’s glance—marks her as a New Woman, a frequent Chase subject. New Women rejected many of the buttoned-up gender roles of the nineteenth century, taking on traditionally masculine roles, including that of artist. Chase was an early champion of female art students, remarking that genius knew no sex. At the same time, the flowers she holds serve to soften and feminize her, as well as emphasize the pink rosiness of her complexion. This print is a reproduction of Chase’s early masterpiece Keying Up-the Court Jester (1875, Pennsylvania Academy of Fine Arts), which he painted in 1875 while he was studying in Munich. Depicting a local artists’ model as a merry clown, the painting was intended to help Chase achieve notice back home in the United States. At this it was very successful, receiving rave reviews at the 1876 Philadelphia Centennial Exposition, as well as several other important exhibitions, including the National Academy of Design. It was a showcase for Chase’s bold new style, which merged the “brown sauce” of the Munich painters with his study of the Old Masters and his bravura brushwork. He executed this etching soon after his return to the United States, as part of a scheme to disseminate low-cost reproductions of his work to inspire further interest. Chase executed a handful of other prints, including Spanish Peasant (1978.25.1), but in general did not embrace etching with the enthusiasm of many of his contemporaries. This Is likely due in large part to his disinterest in drawing—he was overall a poor draftsman—and preference for creating his paintings directly on the canvas. This preference for freewheeling composition led to his embrace of pastels, of which he was a foremost proponent around the turn of the twentieth century. He instead turned to his outlandish and performative persona for the bulk of his marketing, soon becoming one of the most celebrated and beloved painters of his day. Thomas Cole was born in the industrial northwest of England, where his early experiences included both artistic and vocational training, specifically as an apprentice textile engraver. He immigrated to the United States with his family at the age of seventeen, eventually finding work as an engraver. He taught himself to paint, launching a career as a landscape artist over his father’s strenuous objections. His early exposure to European–particularly English–artistic traditions situated him perfectly to take advantage of his new home, and he began making sketching trips to the Catskills and other mountainous areas of the American Northeast. He capitalized on early successes to become the exemplar of a new, American school of landscape painting, quickly becoming known for both allegorical sequences such as The Voyage of Life (National Gallery of Art, Washington) and scenes of specific locations such as The Oxbow (Metropolitan Museum of Art, New York). This painting exists in the latter mode, depicting the famed Catskill Mountain House, a hotel and tourist attraction that brought painters as well as vacationers from throughout the country. Cole, who from 1827 was a resident of the nearby village of Catskill, had a complex relationship with the Mountain House. He wrote fondly of visiting the place, and often used it as a stop in his rambling throughout the surrounding hills. At the same time, he despaired of the changes wrought by the hotel and other economic development, in particular the tanneries, mills, and other industries that rapidly overtook the area in the 1830s and 1840s. This painting is a register of his rage and despair at these changes, as the titular house is dwarfed by the awesome power of a thunderous storm. In a sense, it shows Cole attempting to reverse the ravages of time, returning his beloved Catskills to their state when he first encountered them, undoing decades of environmental degradation. Born in England, Timothy Cole immigrated to the United States when he was five, apprenticing in the shop of a company that made wood-engraved diagrams of machinery. Wood engraving, which was invented by Englishman Thomas Bewick at the end of the eighteenth century, involves using an engraver’s tool—called a burin—to make an image on the tough end grain of a piece of wood. The result, which combines the durability of woodcut with the precision of copperplate engraving, was the preferred method for reproductive printmaking in the nineteenth century, especially because the wood blocks could be made at type height for easy incorporation into magazine, newspaper, and book printing. Cole eventually found his way to The Century Magazine, which sent him to Europe to make engravings of masterpieces of European painting, thereby bringing them to readers who would otherwise have no opportunity to go themselves. A Frosty Morning is one such work, based on an 1813 painting of the same title by Joseoph Mallord William Turner, now at the Tate, and demonstrates Cole’s mastery of the medium. His innovative working method involved coating his wood plate with photographic emulsion so that he could print an image of the painting he was copying directly on the surface. Then, he sat in the gallery and worked, looking at the painting in a mirror, to match the effect of the photographic reversal. Using incredibly fine burins, he was able to achieve stunning effects of tone, carefully removing tiny amounts of wood to create the white spaces in the composition. The process was so time-consuming that Cole was able to produce only one or two such images a year. Born in St. Louis, Paul Cornoyer studied at the St. Louis School of Art from the age of 17 while he saved up to study in Paris. In 1889, when he was 25, he was finally able to embark on a multiyear trip to the French capital, enrolling at the Academie Julian and studying in the studios of French masters including Jules Lefebrve, Louis Blanc, and Benjamin Constant. Returning to St. Louis, he quickly moved to the top of the local art scene, winning prizes and commissions. One of his paintings, which he entered in an exhibition in Philadelphia, came to the attention of William Merritt Chase, himself briefly a St. Louis resident early in his career. Chase urged Cornoyer to move to New York, which he quickly did. There he established himself amid the group of artists—including John Henry Twachtman, J. Alden Weir, Thomas Wilmer Dewing, and Childe Hassam—who are variously known as Tonalists and American Impressionists. Like many artists of his generation, Cornoyer spent his summers on the shore, in his case in Gloucester, Massachusetts. It was his depictions of New York, however, which brought him the most notice. Like the Impressionists, whose work he had encountered during his time in Paris, Cornoyer was interested in the effects of light and atmosphere in a single place during different times of day, weather conditions, and seasons. His New York scenes thus mostly focus on a few places, most notably parks. He made rainy scenes something of a specialty, becoming especially praised for his depiction of wet pavement. In this painting, an excellent example of his depictions of rainy New York, the sky seems to lighten as the rain peters out, while the shimmering reflections of pedestrians and carriages on the ground indicate that it has until recently been raining quite heavily. hese two comic strips are the work of Roy Crane, one of the pioneers of the adventure strip genre that dominated American newspapers in the middle of the twentieth century. The strips, which date from ten years apart, are both daily entries from his first successful strip, Wash Tubbs. The story of the eponymous hero—short for Washington Tubbs II—Wash Tubbs saw its protagonist ranging all over the world visiting exotic places both real and fictional. Wherever he went, Wash—the worried-looking figure with curly hair in the first panel of Untitled (Lookout)—sought both his fortune and the love of a local beauty, though he rarely succeeded in either pursuit. In addition to formulating the conventions of the adventure strip genre, Crane was an innovator in his mixture of cartoonish characters and realistic backgrounds. He used Craftint doubletone illustration board, a chemically treated type of paper that allowed him to achieve a wide range of gray tones and fine details, to evoke whatever exotic land Wash was visiting that week. The strips—in particular Untitled (Infatuation), in which Wash is visiting Mexico—are also artifacts of their time, reproducing the class and ethnic assumptions of Crane’s American audience. Ralston Crawford first came to prominence in the 1930s for his sharply linear depictions of American industry, an interest that aligned him with the Precisionist movement. His depictions of grain elevators, factories, and modern highways were informed by his study of French modernism, in particular Cubism, lending his work a flat, partially abstract aspect. Unlike many of his colleagues, Crawford refused to avoid service during World War II, and was assigned to the Visual Presentation Unit, Weather, of the Army Air Force, where he used his modernist style to streamline the presentation of weather data to the high command in Washington, D.C. After the war he was the only artist present at the nuclear tests at Bikini Atoll. His experience of military life and the atom bomb deeply unsettled him, inaugurating a less optimistic and more abstract style that he maintained until the end of his life. This painting dates from this later period, when Crawford traveled frequently, supplementing his income as an artist with temporary teaching positions and illustration work for magazines such as Life and Fortune. One of a series depicting Havana Harbor, the flat planes of color and slashing lines evoke a feeling, rather than depicting a specific place. Crawford’s late career work demonstrates his increasing interest in the interplay and tension between order, chaos, and destruction, a dynamic which is enhanced by the spare palette and sharp angles of this painting. Crawford was a steadily successful artist from the 1940s onward, but he attracted little critical attention, largely because his Cubist-derived geometry fell increasingly out of fashion as the Surrealist-inflect Abstract Expressionist movement came to dominate American art. Born in rural Wisconsin to an impoverished itinerant preacher, Edward S. Curtis eventually ended up in Seattle, Washington, where he became the co-proprietor of a portrait photography business. He soon discovered a passion and aptitude for the medium. A chance encounter led him to be invited on the 1899 expedition to Alaska sponsored by railroad magnate Edward H. Harriman alongside a number of prominent anthropologists and scientists. Though he had previously made portraits of local Native Americans, it was on the Harriman Expedition that Curtis discovered his interest in ethnographic photography, eventually leading to his decision to create his forty-volume opus The American Indian. Consisting of over 2200 photogravure images and over 5000 pages of text, the project took decades to complete, even with the financial and publicity support of such luminaries as President Theodore Roosevelt and J.P. Morgan. This image was taken in 1907, early in the project’s history, and appears in the third volume. It shows Curtis’s signature blending of Pictorialist art photography and supposedly scientific ethnographic imagery. Shield, like many of Curtis’s sitters, is shown wearing a traditional costume and hairstyle. Curtis, like many of his contemporaries, was a believer in the “vanishing race,” the notion that American Indians represented an ancient, static culture that was destined to disappear from the world. By representing his sitters in traditional costumes, Curtis helped to advance this hypothesis while also playing into contemporary expectations of what Native people looked like. At the same time, however, Curtis uses the hazy, soft focus that was characteristic of fine art photography at the time. Shield’s downturned, careworn face indicates that Curtis also sought to represent his sitters as individuals. Both of these factors undermine the photo’s ethnographic intent. His photos’ beauty also caused a revival in regard for Curtis’s work starting around 1970, when his work became increasingly appreciated for its poetic beauty. The Rollins Museum of Art is home to a particularly fine collection of paintings, drawings, and prints by the American artist Arthur Bowen Davies. Davies was instrumental to the development of modern art in the United States, serving as the primary organizer of the International Exhibition of Modern Art, commonly known as the Armory Show. Through it, Americans got their first taste of European modern art, including works by Pablo Picasso, Marcel Duchamp, and other important members of the avant-garde. Davies, who mostly lived a secretive, buttoned-up life, was hailed for his almost instinctual understanding of modernism, even as he ruffled feathers with his near-dictatorial control of the exhibition. The gift of Virginia Keep Clark, herself an artist and illustrator as well as a friend of Davies, the collection represents the full breadth of his artistic production, which included landscape as well as figurative painting. Davies specialized in depictions of nudes in landscapes, often the same figure repeated in slight variations of the same position. Davies referred to these multiple figures as examples of “continuous composition.” They were inspired by his study of the photographic motion studies of Eadweard Muybridge, the paintings of Pierre Puvis de Chavannes, and ancient—particularly Greek—art. This lithograph is one such example, showing the same muscular figure at two different points in the process of lifting himself up by his arms. Davies was originally influenced by the luminous Romanticism of the American painter Albert Pinkham Ryder and the French Symbolists. Like Ryder, he often failed to clearly name or date his canvases, and he frequently returned to them, reworking them over the course of years or even decades. This untitled and undated painting is one such example and could date any time from the 1890s to 1920s. Davies is known to have taken at least one trip to the Rocky Mountains and was also fond of mountains he saw in Italy during his frequent travels there. Regardless of the source material, this small, luminous painting is a prime example of Davies’s landscape style. Thinly painted bands of blue denote foothills, mountain, and sky, with bits of the wood panel on which it is painted peeking through, giving the whole scene a cool, otherworldly quality. The effect is one of a personal—and deeply spiritual—experience of the landscape, rather than an attempt to render objective reality. Arthur B. Davies was known in his own time as a rigid and secretive man who rarely allowed visitors to his studio, a practice which he claimed allowed him to focus on his work. Only a few of his closest friends knew the truth, which was the secrecy was designed to deflect attention from his scandalous personal life. Davies was officially married to Virginia Meriweather Davies, one of the first female physicians in New York State, but also maintained a second household in the city with Edna Potter, a ballet dancer who had been one of his models. Upon his death his wife destroyed much of his correspondence and other archives, likely due to a combination of anger and a desire to protect her family’s reputation. This lack of an archive has sometimes frustrated scholars’ ability to date his work and otherwise construct a chronology of his life. For many years Davies’s art was overshadowed by this scandal and his contributions to the Armory Show, but in recent years scholars have begun to explore his engagement with contemporary cultural practices. In particular, Davies was interested in body postures, which he encountered through a blend of theosophy and other new spiritual movements, modern dance, ancient Greek art, and his own practice of breathing exercises designed to control his angina. Of particular interest was what he called the “lift of inhalation,” which he believed gave art its spiritual power. This mezzotint is a prime example of a common theme in his art, which is the depiction of nude women at the moment of maximum expansion of the chest. The model’s athletic arms and active posture help to achieve Davies’s desired feeling of mythic and timeless spirituality. In addition to his interest in physical and body cultures, Davies’s art demonstrated a longtime interest in dreams and the unconscious. The turn of the twentieth century saw an increase of interest in dreams, prompted by a widespread belief in the link between dreams and creativity, as well as explorations of the occult and psychic phenomena in the first decade of the century. The interest in dreams was accelerated after 1909, when Sigmund Freud and Carl Jung toured the United States, touching off a mania for psychoanalysis. This lithograph depicts a nude woman sitting on the back of a donkey, which joins a pair of goats in languidly browsing at some nearby shrubs. Birds flit about, landing on and near the woman, whose tilted head and elongated neck suggest an extended reverie. The soft, sketchy use of line and shading furthers the unreal effect, suggesting a return to a mythological, Arcadian dreamworld. This striking print is the work of influential Boston photographer F. Holland Day. Day, the son of wealthy parents who encouraged him to follow his interests, was a leading American participant in the aesthetic movement in the late nineteenth century. Influenced by William Morris, whose Kelmscott Press was a model for Day’s firm Copeland & Day, which published lavish editions of works by Oscar Wilde, Aubrey Beardsley, and other aesthetes, Day spent his formative years in Boston developing his artistic tastes and interests in a variety of subjects, including bookmaking, theatre, and photography. Eventually, he settled on photography as his preferred medium, and became an early champion of photography as a fine art, as opposed to merely a technical and scientific tool. Though his fame today has been eclipsed by that of fellow photography advocate Alfred Stieglitz, who was born just six months before him in 1864, Day was renowned in his time for portraits like this one, which he took of friends, family, professional models, and several of the disadvantaged teenagers he mentored through his charitable work from the late 1880s onward. The model, who may be Gertrude Savage, one of Day’s classmates at Boston’s Chauncy School, stares out at the viewer with dark, luminous eyes, her voluminous hair only partially constrained by the patterned scarf thrown loosely over her head. An avowed amateur, Day did not believe that artistic or technical training was necessary to make good photographs, but he did believe in understanding and assimilating—almost on a spiritual level—how painters made images. In this and other portraits of this time he shows a profound understanding of chiaroscuro, the contrast of dark and light for dramatic effect. When scholars originally rediscovered Joseph Decker’s work in the middle of the twentieth century, they were faced with a conundrum: there seemed to be two Joseph Deckers, each painting in two related but ultimately quite different styles. The first, represented by a smaller number of works, practiced the hard-edged, ultra-precise realism characteristic of other late-nineteenth-century trompe l’oeil painters like William M. Harnett and John F. Peto. The second, who was much more prolific, was characterized by a soft, textural aesthetic. After further research, it was determined that the two bodies of work were by the same man, who had undergone a radical shift in his style around 1890. Born in Germany, Joseph Decker immigrated to Brooklyn with his family as a teenager, eventually studying at the National Academy of Design before returning to Germany to study in Munich. It was there that he developed his style of minute realism, perhaps also influenced by the illustrations on commercial seed packets he found upon his return to the United States. This painstaking style was popular among certain middle-class consumers, but was largely reviled by the professional art press. As a result of some combination of the difficulty of the style and its lack of critical success, Decker largely stopped participating in the public art world around 1890, though he continued to paint, albeit now in a new, softer style. This painting is in that second mode, which likely dates it after 1890. The rich, hazy texture of the berries–a favorite subject–is in line with the Tonalist movement, which emphasized softness and the qualities of light and texture over realism. The Reverend Robert Furman was a Protestant minister and was associated with the abolitionist movement. He resided in Syracuse, New York, and this fine portrait has been attributed to Charles Loring Elliott, who was also from Syracuse. Elliot left Syracuse to live in New York City in order to become a respected artist around 1830, only to return to Syracuse six months later. Undeterred, he continued working as a portraitist and by 1845 had been declared the best American portraitist since Gilbert Stuart. It was estimated in 1867 that he had painted over seven hundred portraits. This picture came to Rollins College from the estate of Dr. John Martin, whose wife, Prestonia Mann Martin, was the granddaughter of the Furmans. Mrs. Martin carried on her family's forward-thinking ways. She was involved in the American Fabian Society, a socialist group modeled on the British Fabian Society, which argued that socialism should be advanced through gradual reformist measures rather than by revolutionary means. For a time, she was involved in the founding of a utopian community near North Elba, New York. She also authored a book, Prohibiting Poverty (1933), in which she argued that the necessary toils of life should be turned over to a conscript army made up of 18-26 year olds. After their own period of service, the people of this society were free to live secure in the knowledge that their needs would be met by the conscripts. This likeness of Melinda Wilkins Furman is an excellent example of mid-nineteenth-century American portraiture. The austerity of the setting befits the wife of a Protestant minister. The focus of the portrait is the sitter’s finely painted face. She looks out with kind, meek eyes. Faint lines of experience are seen on her forehead and around her mouth. Her dress is of very good quality without being ostentatious. Her husband, the Reverend Robert Furman, was associated with the abolitionist movement. The Furmans resided in Syracuse, New York, and this fine portrait has been attributed to Charles Loring Elliott, who was also from Syracuse. Elliot left Syracuse to live in New York City in order to become a respected artist around 1830, only to return to Syracuse six months later. Undeterred, he continued working as a portraitist and by 1845 had been declared the best American portraitist since Gilbert Stuart. It was estimated in 1867 that he had painted over seven hundred portraits. This picture came to Rollins College from the estate of Dr. John Martin, whose wife, Prestonia Mann Martin, was the granddaughter of the Furmans. Mrs. Martin carried on her family's forward-thinking ways. She was involved in the American Fabian Society, a socialist group modeled on the British Fabian Society, which argued that socialism should be advanced through gradual reformist measures rather than by revolutionary means. For a time, she was involved in the founding of a utopian community near North Elba, New York. She also authored a book, Prohibiting Poverty (1933), in which she argued that the necessary toils of life should be turned over to a conscript army made up of 18-26 year olds. After their own period of service, the people of this society were free to live secure in the knowledge that their needs would be met by the conscripts. Born on his parents’ farm outside of Cincinnati, John Joseph Enneking served in the Union Army during the Civil War. During his convalescence from a wartime injury he resumed his childhood pursuit of drawing. After the war he blended the study of art with work in the tin wholesaling business, but an economic downturn caused his business to close. Encouraged by his wife, Mary, he decided to study art full-time, moving with her and their two young children to Europe in 1872. There they traveled in Italy, Switzerland, Germany, and France. His painting, which had been in the tightly naturalistic Hudson River School style, began to loosen up under the influence of the Barbizon and Munich paintings he encountered in Europe. When the Ennekings arrived in Paris they befriended Barbizon painter Charles-François Daubigny as well as Claude Monet, and Enneking began to adopt an Impressionist style. This work, executed during a brief return to the United States (the Ennekings returned to Europe in 1878), is indicative of his style during this period. Enneking was never as adventurous a colorist as many Impressionists, and here he blends the warm brown tones of the Munich school with an Impressionist facture that takes advantage of the coloristic and textural effects of pure paint. Strongly associated with the Boston School, one of Enneking’s favorite subjects was twilight in New England, and this painting demonstrates his masterful understanding of the play of light on the surface of the pond during the last moments of daylight. Charles Fenderich, who immigrated to the United States from Switzerland in 1831, was one of the earliest practitioners of art lithography in the United States. Lithography, a printmaking process that involves drawing on a finely-ground piece of limestone, had been invented by a Bavarian named Alois Senefelder in 1796, and quickly gained popularity as a cheap way to produce sheet music and other mass-produced works on paper. The medium’s potential for creating inexpensive works of art was immediately recognized, but it was not until the middle of the nineteenth century that its potential was fully realized by the company that would become Currier & Ives. Fenderich moved to Washington, D.C. from Philadelphia in 1837, intent on creating a subscription-based Port-Folio of Living American Statesmen, based on his (correct) understanding that the success of Andrew Jackson was making ordinary Americans more interested in their elected officials. Though he never completed the full portfolio, he seems to have made a living for a time selling individual prints of popular politicians, including Andrew Jackson, James K. Polk, and others. He caught the gold bug in 1849 and moved to California, subsequently appearing in San Francisco city directories as an artist for the next 40 years, though little work from his late career has been recorded. This well-executed portrait is of Joseph Marion Hernández, who was the first representative to Congress from the Florida Territory and is often credited as the first Hispanic American to serve in Congress, which he did as a non-voting member for six months. Hernandez, a committed Jacksonian, was also a slave-holding plantation owner and served as a brigadier general during the Seminole Wars. He was the officer in charge of the detachment who captured the Seminole leader Osceola by violating a truce. After the Seminole Wars Hernandez ran unsuccessfully for the United States Senate before moving to Cuba and becoming a sugar planter, dying in 1857. William Glackens, like many of the other artists associated with the group variously known as the Ashcan School, The Eight, and the Henri circle, got his start as an illustrator, working for newspapers in his native Philadelphia as well as national magazines including Colliers, Century, and The Saturday Evening Post. This drawing was the basis for an illustration in the Post, of a serialized story by the writer James L. Ford entitled Our American Snobs. The title refers to the so-called yellow journalism of the early twentieth century, a term for the new mass-circulation newspapers that trafficked in sensationalized and poorly sourced stories aimed at a mass audience. “The four hundred” refers to the elite of New York Society, and was coined by socialite Ward McAllister in reference to the number of people who could fit in the Manhattan ballroom of New York Society’s undisputed leader, Caroline Astor. The drawing is thus an ironic jab at the mutual dependency of the gossip press and its elite subjects. Glackens was an inveterate sketcher, bringing his notebooks and preferred writing implements—grease pencils intended for writing on laundry packages—everywhere with him as he moved throughout New York City. Both during his career as an illustrator and later, when he transitioned to primarily working as a painter, Glackens made several preparatory drawings for each composition, using them as a way to refine both broader compositional issues and specific details. This drawing demonstrates his use his signature sketchy line as he modulates weight, thickness, and frequency in order to build up his image of wealthy men surrounded by the disreputable newspapers which covered their every move with breathless anticipation. George Grosz was perhaps the foremost satirist of the venality and corruption of the elites of interwar German society. His caricatures—published in magazines as well as standalone portfolios—were so incendiary that he was one of the first artists targeted by the Nazis in their denunciation of modernists and leftists of all stripes. Increasingly disillusioned by his native country, he accepted a teaching position at New York’s Art Students League, arriving with his wife just eight days before Hitler became Chancellor of Germany. Once there, he enthusiastically settled into the life of an émigré artist, blunting the edge of his earlier satire and working hard to become an American, rather than German, artist. As news of Nazi atrocities filtered across the Atlantic, Grosz became increasingly in demand. Magazines, gallerists, and museums especially clamored for his earlier caricatures, ignoring his softer and less pointed American work, which was mostly in watercolor and oil rather than pen and ink. Frustrated in his desire to be accepted as an American artist, Grosz—who became an American citizen in 1938—was increasingly isolated both from the American art world and the community of expatriate Germans. One result of this isolation was his development of a more personal vision, one tinged by melancholy rather than the promise he had seen in the United States in the years before and immediately after his arrival in New York. This scene, which shows Houston Street in Lower Manhattan, is typical of these works from the middle of his New York period. The exuberant paeans to the grandeur of the Manhattan skyline from the early 1930s have been replaced by this hazy, woozy vision. A dark, sinister figure approaches from the lower right, and Grosz uses the medium of watercolor to full effect, depicting the nighttime street with a vibrating, slightly sinister claustrophobia. James and William Hart were born in Scotland, emigrating to the Albany, New York area with their parents in the 1830s. As youngsters, both were apprenticed to decorative painters in Albany before studying in Europe. James studied briefly with Wilhelm Schirmer at the Düsseldorf Kunstakademie in 1851 before returning to Albany, where he worked and taught until 1857, when he moved to New York City. Once there, he quickly established himself as one of the city’s foremost landscape painters, doing a brisk business selling to the newly enriched financial and industrial titans of the Civil War Era. Though subsequent critics and art historians have tended to ignore the brothers, they remained popular for decades, tracking American preferences for landscape painting from the strict naturalism of the 1850s to the preference for Barbizon-style romanticism in the 1870s. Summer Landscape is typical of Hart’s style in the 1850s, when he was lauded in the New York press for his blending of the careful naturalism advocated by English critic John Ruskin and a more poetic sensibility preferred by many American collectors, who wanted their art to carry moral and spiritual messages. Somewhat unusually, the viewer of the painting seems to float somewhere on or above a small pond, taking in the view of the water’s edge and the landscape beyond. Hart takes care to reproduce the smallest details, including blemishes on individual leaves, while also bathing the scene in a rosy golden light that would have appealed to his patrons’ desire for emotional uplift. Like his younger brother James, William M. Hart was born in Scotland and moved to Albany, New York at a young age. In Albany, William was apprenticed to a decorative painter. He was inspired by American painter, playwright, and historian William Dunlap to become a portrait painter, spending three mostly unsuccessful years traveling throughout the Midwest—especially Michigan—in search of patrons. He then returned to Scotland, where he studied and worked as a painter. In 1853 he moved to New York City, where he was an active presence in the city’s professional artists’ organizations, including the Brooklyn Academy of Design, the National Academy of Design, and the American Society of Watercolorists. Also like James, William worked during the 1850s in a minutely observed style inspired by the writing of John Ruskin and the Pre-Raphaelite Brotherhood. By the time this painting was executed he had come to favor a style influenced by the French Barbizon School that featured looser brushwork and a preference for scenes of rural life. In fact, both Hart brothers did a lively business in such scenes, becoming particularly known for their depictions of cattle. This picture—which was originally executed in this oval format—is a fine example of the type, with a group of peasants, horses, and cattle gathered around the gently shabby ruin of a well in the foreground. From there the scene opens up on the pleasantly rolling hills of this anonymous place, which could be Scotland, France, or Upstate New York, yielding to a peek of a waterway on the distant horizon. The French-born American scientist-artist John James Audubon was one of the most remarkable people of his—or any—era. Possessed of no artistic or scientific training, Audubon combined a lifelong love of birds with an ironclad determination to bring to fruition his Birds of America, a four-volume, 435-plate set of life-size illustrations of North American birds. Audubon crisscrossed the countryside collecting samples—in other words, shooting birds—which he then pinned to a system of grids and wires, creating life-sized watercolor drawings while the birds’ plumage remained fresh. Along the way he recorded in his journals and, eventually, in the Ornithological Biography he published alongside the Birds of America, his thoughts about the appearances, behaviors, and even flavors, of all the birds (and quite a few reptiles and mammals) he encountered. As the attribution on this work makes clear, Audubon did not make the Birds of America alone. In fact, the translation of his watercolor drawings into the finished prints was the work of a team of dozens of artisans working under the London printmaker Robert Havell, Jr. Audubon sent his drawings to London in lead- or tin-lined waterproof tubes, where Havell and his team of engravers and etchers set to work translating them to print. After printing on the special double elephant folio paper—the largest available in the world at that time—they would go to another team of colorists, who would apply the same colors to each print in order to create uniform results. The enormous size of the prints meant that each volume weighed over 40 pounds, and the Birds of America was the largest known printed book until it was finally surpassed in 2003. John James Audubon preferred to draw the birds for his Birds of America from freshly killed specimens, in order to best capture the delicate colors of feathers, eyes, and other features. In order to accomplish this he traveled widely, from Louisiana in what was then the southwest corner of the United States to Labrador, in the northeast corner of Canada, and all over the eastern half of the continent. He never made it very far west of the Mississippi, however, and for many of the birds of the Western United States he was forced to rely on preserved skins or whole stuffed specimens. For this plate, which depicts birds he termed the Violet-Green and Townsend’s Cormorants, but which are now known as the Pelagic and Brandt’s Cormorants, respectively, he relied on this method. The skins were sent to him by a Mr. Townsend, who shot them at Cape Disappointment, near the mouth of the Columbia River on the border of Washington and Oregon. Audubon sought to represent his birds at full-size, a task which was easier for some species than others. These two feature twisted necks, a behavior seen in wild cormorants which Audubon may have highlighted in order to more efficiently use the page available to him. For prints where he had personal experience of the countryside Audubon frequently included a variety of detail, but for this far-away scene he has perched the two birds on a bare rock, providing only a simple seascape for a backdrop. This pastel by the American artist Childe Hassam is somewhat unusual in his body of work. Hassam, who came to prominence in Boston as an illustrator and watercolorist before a brief sojourn in Paris to study at the famed Académie Julian, professed to be uninterested in Impressionism, the avant-garde art movement that had taken Paris by storm in the 1870s. Nevertheless, his prolific output of watercolors, oil paintings, pastels, and prints demonstrates a familiarity with Impressionist techniques, including working en plein aire—meaning outdoors and directly from life, in contrast to in a studio—and the use of small patches of relatively pure color. This work, which includes an original frame selected by the artist (who was known for his exacting standards for frames), is a relatively rarity in Hassam’s oeuvre. While most of his scenes of New York City and the New England countryside and seacoast depict specific places, this view is of a generic country scene, possibly captured during summer trips he took to rural Connecticut. The sun-dappled building, placidly rolling carriage, and woman standing in the middle distance complement the shimmering luminosity of the road, whose intermingled strokes of blue and brown seem to suggest a flowing river as much as a hot, dusty thoroughfare. Hassam came to prominence during a time when Americans were becoming interested in historic architecture, particularly of the Colonial Era, and traced his own family lineage to seventeenth century Puritans. Scenes of this sort would have appealed to that burgeoning interest and helped to cement Hassam’s reputation as one of the foremost artists of New England scenery. Hassam, who became known during his long and prolific career for his paintings of the New England coastline, as well as Boston and New York street scenes, is perhaps best known for his close friendship with the poet Celia Thaxter, who gathered a circle of like-minded writers and artists at her inn and cottage on Appledore Island, off the coast of Rye, in southern Maine. Over many years, Hassam painted Thaxter, her gardens, and the rocky shorelines of Appledore, helping to fix an image of the thriving seaside resort culture of the turn of the twentieth century. This painting, with its flecks of pure blue interspersed with orange, yellow, white, and green, as well as its delineation of the meeting of surf and land, fits neatly into the aesthetic Hassam developed on Appledore. Yet, this painting does not depict Appledore, but rather Ironbound Island, one of several islands in Frenchman Bay, further up the Maine coast. Frenchman Bay is best known for Mount Desert Island, home of the town Bar Harbor, another major center for coastal tourism at the turn of the twentieth century. Thaxter died in 1894, prompting Hassam to stay away from Appledore for a few years, likely out of grief. Still, the artist—always a savvy marketer of himself and his work—followed his wealthy clientele to the seaside every year, spending 1896 mixing with them in the area that would become Acadia National Park. The result was this and a number of related paintings, though this one is notable for its close focus on the forbidding cliffsides for which Ironbound has long been known. Martin Johnson Heade first became interested in landscape painting while traveling in the White Mountains of New Hampshire, where he met John Frederick Kensett and Benjamin Champney. He soon moved to New York, where he took a studio in the famed Tenth Street Studio Building, artistic home of the movement often known as the Hudson River School. He became particularly close friends with Frederic Edwin Church, whose majestic composite landscapes of South America took the country by storm in the 1850s and 1860s. Under Church’s influence, Heade traveled to Brazil, where he became fascinated by the country’s many brightly colored hummingbirds and orchids. Unlike his friend and mentor, Heade soon evolved a personal style that emphasized minute observation of flora and fauna on tiny canvases, rather than the large-scale works that brought Church such fame and fortune. His American scenes are similarly idiosyncratic, focusing on salt marshes and other liminal places usually avoided by his contemporaries. Later in his career, Heade–always a committed naturalist–became interested in the marshes of North Florida, moving to St. Augustine in 1883 with his new bride. He soon met Henry Flagler, who was in the process of completing his magnificent Ponce-de-Leon Hotel (now part of Flagler College). Heade became the first of several artists-in-residence at the hotel, where he turned his attention to intricately painted still-lifes of cut flowers, often magnolias laid out on velvet. This venture was so successful that Heade largely stopped sending his paintings to dealers in the North, instead selling his entire production to hotel guests. This painting of marguerites is relatively rare in his oeuvre, suggesting that he was experimenting with a new style that ultimately did not prove attractive to his customers. Nonetheless, it shows his mastery of flower painting by this period, capturing a spray of the flowers from buds to full blooms, as well as the optical effect of the water on the stems. Originally this portrait was thought to have been painted by the American painter George Peter Alexander Healy (1813-1894). This belief was based on the family tradition of the original owners. However, this attribution has been questioned by some scholars who feel that Healy would have been too young at the time to have painted such a fine portrait. Experts from the Vose Gallery in Boston and the National Portrait Gallery in Washington have suggested that the painting may have been done by the portraitists Chester Harding (1792-1866) or Samuel Waldo (1783-1861). The date of the painting is also difficult to determine with certainty. If the painting was completed as a companion to the portrait of the Reverend Warner's second wife, Elizabeth Warner, née Hart (also in the Cornell's collection), the date of c. 1840s would be appropriate. However, the Reverend Warner was first married to Elizabeth Hazard (d.1831) in 1829. It has been suggested that the Reverend Warner's attire is more in keeping with the fashions of the 1820s or 1830s, and it would have been common to have a portrait commissioned to celebrate a marriage. While it may seem odd that the Reverend Warner is depicted holding a bookkeeping ledger rather than a Bible, this attribute is in keeping with his position. A graduate of Yale Theological Seminary, Warner was made Treasurer of the college in 1832. The donor of this painting (and its companion piece), James Gamble Rogers II, was the great-grandson of the Reverend and Mrs. Warner. James Gamble Rogers II, a Winter Park architect, designed many of the buildings on the Rollins College campus including the Thomas Phillips Johnson Student Resource Center, Olin Library, McKean Hall, and Elizabeth Hall. Robert Henri is perhaps best remembered today as a teacher and advocate for modern subject matter in American painting, a reputation he earned as the elder statesman of the loose affiliation of artists known as the Ashcan School. So-named by a critic who complained of their depictions of often dirty everyday life in New York City’s streets and tenement buildings, the Ashcan painters charted a new course in their embrace of the quotidian over the beautiful. Given his advocacy for this urban subject matter in the work of his friends and students, it is somewhat surprising that Henri the artist is best known for his work as a portraitist, as well as for brushy landscapes like this one. Henri, like other men of his generation—most notably President Theodore Roosevelt—was a proponent of the “strenuous life,” a belief that physically demanding leisure pursuits were the antidote for the perceived social ills of modern, urban life. These ills included fatigue, anxiety, and other maladies brought on by the overly stimulating urban environment. For Henri, the strenuous life included encouraging frequent physical horseplay among his male students, as well as trips into the countryside to help diminish the ill effects of the city. One such trip resulted in this painting, in which Henri shows his dedication to a quick, sketch-like stroke of the brush, the better to convey his own investment in the immediacy of lived experience. In 1913, looking for a new summer home, Henri traveled to Achill Island, which lies off the northwest coast of Ireland in the Atlantic Ocean. His interest in Ireland was prompted by his and his wife’s Irish heritage, as well as his desire to experience something different from Spain, where he had been spending his summers. Achill in particular came at the recommendation of John Butler Yeats, a painter (and the father of poet William Butler Yeats) who was a friend and sometime collaborator of Henri and the other Ashcan artists. Yeats recommended the island in part because of its rural and traditional ways of life. Henri rented an estate named Corrymore, settling in to paint a combination of the local landscapes and people. The confluence of his own financial troubles and the outbreak of World War I kept Henri from returning until 1924. When he did, he found Corrymore in the hands of the newly formed independent Irish government, which offered to sell him the property for less than he had paid to lease it in 1913. He happily purchased it, and he and his wife returned every summer until he died of pancreatic cancer in 1929. During the 1924-1928 summer seasons, Henri focused his efforts almost entirely on painting the children of the local town of Dooagh. His wife, Marjorie, fed the children and entertained them with records on the Victrola, then a novelty for the impoverished people of the town. Henri paid the children half a crown, equivalent to a day’s wages for a male laborer at the time. He usually completed the portraits in a single sitting, applying his paint quickly and efficiently to capture the sitter’s essence rather than create an exacting likeness. Though it is titled Rosaleen, this painting actually depicts a girl named Bridget O’Reilly (the children of the island generally shared a very small number of both first and last names, which has sometimes made it difficult for scholars to determine exactly which child sat for which painting). She holds a doll, an unknown luxury for the time that must have been provided by Marjorie Henri. The portrait, one of the last Henri painted before succumbing to cancer, represents the culmination of Henri’s ideas about the power of immediacy in artistic representations. Herzog started traveling to Florida around 1890, when he began visiting his son Lewis, who was then working as a chemist in Gainesville. The state—most of which remained undeveloped and quite wild well into the twentieth century—appealed to his interests in dense, atmospheric forests. Most of his Florida paintings depict the area around Gainesville. This is one of the few he produced during a rare trip to the East. The slow-moving river gives way to the ocean, a fisherman’s camp occupying the middle ground. The area Herzog depicts is now part of the urban landscape of Jacksonville, and Herzog has captured it during a much quieter era. His interest in lower light levels is once again apparent, with a sliver of crescent moon just giving way to the sun as it creeps over the horizon. Hermann Herzog was a renowned German-born American landscape artist who pursued a formal art education at the Düsseldorf Academy. He immigrated to the United States in the late 1860s; leaving behind his success in Europe, he settled in Philadelphia with his wife Anne, and son, Herman Jr. Herman moved away from exaggerated forms and trompe l’oeil under the influence of the Barbizon painters’ use of softer colors and their studies of weather and atmospheric mood. Herzog applied these new characteristics to his American paintings as he traveled frequently between 1880 and 1903 throughout the United States, and especially between Florida and the West Coast, drawn to their diverse and distinctive topographies. The presence of elk and the mountain range in the distance suggest it is very likely that Herzog painted Sunset with Elk during one of his trips out west. The painting depicts the sublime power of nature, while exhibiting his style of capturing details through quick, rapid brushstrokes for a more naturalistic effect. His study of atmosphere to convey mood is apparent in his contrast of light and dark as the sun sets behind the clouds, creating a feeling of mystery and awe. Both painter and sitter of this portrait lived colorful lives. Hubard was born in Shropshire, England, and showed early promise as a cutter of silhouettes. Mostly forgotten today, silhouettes of famous individuals were popular traveling attractions in the eighteenth and early nineteenth centuries. Hubard, first in the company of a man named Smith and then on his own, made a good living exhibiting his in the cities of Great Britain, the United States, and Canada. The circumstances of his conversion to portrait painter are not entirely clear, though he seems to have met Gilbert Stuart while his Hubard Gallery was in Boston. By the late 1820s he was working as an itinerant painter up and down the Eastern Seaboard, making a series of portraits of famous statesmen. He settled in Gloucester County, outside Richmond, VA, by 1833. He specialized in what was then known as a cabinet picture, meaning a small-scale full-length portrait, usually done in oil and on a wood panel. This painting is an excellent example of his style just before he left for further training in Europe, around 1838. It depicts David Porter, who was by the time of the painting retired from naval service. Born in Boston, Porter served in the American conflict with the Barbary states before taking command of the frigate U.S.S. Essex in the War of 1812. He led a successful campaign against the British whaling fleet in the Pacific before eventually being defeated in the Battle of Valparaiso. After the war he continued in his service until a dispute with the War Department caused him to resign his commission. He later served as the Commander in Chief of the newly formed Mexican Navy until 1829, after which he was appointed to serve as a minister to the Ottoman Empire by Andrew Jackson. It was during this service that the portrait was likely made, though it is not clear where or how Hubard and Porter’s paths crossed. Hubard represents Porter in his splendor as a naval officer, posed on the battlements of an unknown (and likely imaginary) fortress. The creator of these drawings, Daniel Huntington, was one of the most successful and well-known artists of his day. In addition to his success as a portraitist—anyone who was anyone in New York had to have him paint their likeness—he was a long-serving president of the National Academy of Design, the premier artistic training and professional organization in the United States during the nineteenth century. Before settling into his life as a portraitist, Huntington, like many of the artists of his generation, went on a trip to Europe, beginning in 1839 and lasting three years. While overseas he took a particular liking to Rome, where he admired the work of the Nazarenes, a group of German painters who were heavily influenced by the art of the Italian Renaissance. The first of these drawings, of a hand resting on a table, was influenced by the Renaissance master Titian, and was intended to aid his completion of a now-unknown portrait. The second bears the inscription “For the Communion of the Sick,” a reference to a now-unlocated painting, one of several didactic Christian allegories Huntington made in his early career. These sorts of preparatory sketches were quite common in the nineteenth century, and Huntington’s close study of anatomy reveals his academic training. While serving as President of the National Academy he would champion similar training, which required close study and drawing of classical statuary, especially of recognized masterpieces like the Apollo Belvedere, before moving on to careful study of the nude model. Only after mastering drawing from life in this way would students be permitted to move on to painting in oils. Even once working in oils, painters made drawings like these to aid in their compositions, though the widespread introduction of photography in the later nineteenth century started to supplant this practice, especially among portrait painters. The creator of these drawings, Daniel Huntington, was one of the most successful and well-known artists of his day. In addition to his success as a portraitist—anyone who was anyone in New York had to have him paint their likeness—he was a long-serving president of the National Academy of Design, the premier artistic training and professional organization in the United States during the nineteenth century. Before settling into his life as a portraitist, Huntington, like many of the artists of his generation, went on a trip to Europe, beginning in 1839 and lasting three years. While overseas he took a particular liking to Rome, where he admired the work of the Nazarenes, a group of German painters who were heavily influenced by the art of the Italian Renaissance. The first of these drawings, of a hand resting on a table, was influenced by the Renaissance master Titian, and was intended to aid his completion of a now-unknown portrait. The second bears the inscription “For the Communion of the Sick,” a reference to a now-unlocated painting, one of several didactic Christian allegories Huntington made in his early career. These sorts of preparatory sketches were quite common in the nineteenth century, and Huntington’s close study of anatomy reveals his academic training. While serving as President of the National Academy he would champion similar training, which required close study and drawing of classical statuary, especially of recognized masterpieces like the Apollo Belvedere, before moving on to careful study of the nude model. Only after mastering drawing from life in this way would students be permitted to move on to painting in oils. Even once working in oils, painters made drawings like these to aid in their compositions, though the widespread introduction of photography in the later nineteenth century started to supplant this practice, especially among portrait painters. Anna Hyatt Huntington’s father was a zoologist and paleontologist who taught at Boston University and the Massachusetts Institute of Technology. She first discovered her love of animals accompanying him to zoos and natural history museums around New England. She saw early success in Boston, training under a number of prominent American sculptors, one of whom she split with over a disagreement about the proper way to represent the musculature of a horse. When her father died in 1902, she moved to New York, where she took advantage of the brisk market for statuettes—particularly of animal subjects—and the large number of other single women working as artists. She was reportedly one of the highest-paid professional women in the country, with reported earnings as high as $50,000 a year (a number which sh
6840	dbpedia	3	95	https://www.olana.org/	en	Hudson River School Painter Frederic Edwin Church	https://www.olana.org/wp…House-scaled.jpg	https://www.olana.org/wp…House-scaled.jpg	[ "https://www.olana.org/wp-content/uploads/2019/02/olana-logo.svg", "https://www.olana.org/wp-content/uploads/2019/02/the-olana-partnership-logo.png", "https://www.olana.org/wp-content/uploads/2021/11/Maple-Leaf-Lock-Up-white.png" ]	[]	[]	[ "" ]	null	[]	2019-02-26T14:33:51+00:00		en	https://www.olana.org/wp…x192-1-32x32.png	Olana NY State Historic Site \| Hudson River School Painter Frederic Edwin Church	https://www.olana.org/	THE OLANA (LAST DAY OF) SUMMER PARTY Saturday, September 21 \| 5 – 7 PM Top chefs, cool summer drinks and the best view in the Hudson River Valley. Outdoor Movie Night with Upstate Films Eternal Sunshine of the Spotless Mind Friday, August 23 \| Doors open 7:00 PM; Film begins at 8:00 PM MEMORIES IN THE LANDSCAPE: OLANA MEMORY PROJECT During your next visit, or from the comfort of home, listen to Olana’s community members share memories of Olana’s landscape and hear how this place is connected to meaningful recollections, memories of loved ones, and important milestones.
6840	dbpedia	0	4	https://collections.currier.org/objects-1/info%3Fquery%3DPortfolios%2520%253D%2520%2522602%2522%2520and%2520Disp_Maker_1%2520%253D%2520%2522Asher%2520Brown%2520Durand%2522%26sort%3D7	en	A Reminiscence of the Catskill Clove	https://collections.currier.org/graphics/favicon.ico	https://collections.currier.org/graphics/favicon.ico	[ "https://collections.currier.org/Media/Previews/Paintings/1988.26_00.png" ]	[]	[]	[ "" ]	null	[]	null		en	/graphics/favicon.ico		null	Your current search criteria is: Portfolio is "Exploring American Art: Painting" and [Object]Display Artist is "Asher Brown Durand".
6840	dbpedia	3	56	https://www.artchive.com/artwork/view-on-the-catskill-early-autumn-thomas-cole-1837/	en	View on the Catskill – Early Autumn (1837) by Thomas Cole – Artchive	https://www.artchive.com…BLUE-1-32x32.png	https://www.artchive.com…BLUE-1-32x32.png	[ "https://www.artchive.com/wp-content/uploads/2023/03/cropped-ARTCHIVE-LOGO-MARK-BLUE-200x66.png", "https://www.artchive.com/wp-content/uploads/2023/03/cropped-ARTCHIVE-LOGO-MARK-BLUE-200x66.png", "https://www.artchive.com/wp-content/uploads/2023/04/View-on-the-Catskill-Early-Autumn-Cole-Thomas-1837-2.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/The-Course-of-Empire-Desolation-Cole-Thomas-1836-2.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/Schroon-Mountain-Adirondacks-Cole-Thomas-1838-2.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/View-on-the-Catskill-Early-Autumn-Cole-Thomas-1837-2.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/Thomas-Cole.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/The-Departure-Cole-Thomas-1837-3-scaled.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/The-Course-of-Empire-The-Savage-State-Cole-Thomas-1836-2.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/Riesengebirge-Friedrich-Caspar-David-1835-2-scaled.jpg", "https://www.artchive.com/wp-content/uploads/2024/03/correction-francisco-goya-1799.jpg", "https://www.artchive.com/wp-content/uploads/2024/04/cardinal-luis-maria-de-borbon-y-vallabriga-francisco-goya-c1800.jpg", "https://www.artchive.com/wp-content/uploads/2024/04/francisco-bayeu-francisco-goya-1795.jpg", "https://www.artchive.com/wp-content/uploads/2024/04/they-who-cannot-francisco-goya-1799.jpg", "https://www.artchive.com/wp-content/uploads/2024/04/a-prison-scene-francisco-goya-c1808-c1814.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/The-Awakening-Conscience-Hunt-William-Holman-1853-2.jpg", "https://www.artchive.com/wp-content/uploads/2024/04/the-meadow-of-san-isidro-on-his-feast-day-francisco-goya-1788-scaled.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/Pygmalion-and-the-Image-Series-The-Soul-Attains-Burne-Jones-Edward-1878-3-scaled.jpg", "https://www.artchive.com/wp-content/uploads/2024/04/portrait-of-the-joaquina-nee-tellez-giron-y-alfonso-pimental-10th-ma-francisco-goya-1805.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/The-Lock-Constable-John-c.-1823-24-2-1-scaled.jpg", "https://www.artchive.com/wp-content/uploads/2024/04/scene-of-rape-and-murder-francisco-goya-1808-1812.jpg", "https://eep.io/mc-cdn-images/template_images/branding_logo_text_dark_dtp.svg" ]	[]	[]	[ "" ]	null	[]	null		en	https://www.artchive.com…BLUE-1-32x32.png		https://www.artchive.com/artwork/view-on-the-catskill-early-autumn-thomas-cole-1837/	The artwork “View on the Catskill – Early Autumn” was created by the esteemed artist Thomas Cole in the year 1837. This work was wrought using oil on canvas and is an exemplar of the Romanticism art movement. The piece has dimensions of 30 x 63 cm and falls within the genre of landscape. It currently resides at The Metropolitan Museum of Art in New York City, New York, United States, where it contributes to the historical tapestry of 19th-century American art. The artwork itself depicts an idyllic and serene view of the Catskill Mountains during the transitional period of early autumn. Cole’s mastery in the portrayal of natural scenes is evident through the meticulous attention to detail and rich, textural brushwork. In the foreground, one observes a lush tableau of vegetation, with a prominent tree anchoring the composition to the right and offering a sense of depth and scale. There is also a sense of tranquility provided by the figures lounging near the banks of a peaceful river that meanders gently through the landscape. A veil of soft, atmospheric light bathes the middle ground, where the verdant rolling hills begin their subtle shift towards the colors of fall. In the distance, the majestic peaks of the Catskills rise into the soft glow of the sky, drawing the viewer’s eye across the expanse of the painting. The warm tones of the setting sun suggest the fleeting nature of the season and allude to the impermanence of the moment captured. Cole’s work celebrates the sublime beauty of the American wilderness and reflects a deep reverence for nature, which is emblematic of the Romanticist ethos.
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"https://mcmullenmuseum.bc.edu/mobilelabels/images/cassatt-boating.jpg", "https://mcmullenmuseum.bc.edu/mobilelabels/images/seurat.jpg", "https://mcmullenmuseum.bc.edu/mobilelabels/images/mcmullen-wordmark.png", "https://mcmullenmuseum.bc.edu/mobilelabels/images/walters.jpg", "https://mcmullenmuseum.bc.edu/mobilelabels/images/commentators/netzer.jpg", "https://mcmullenmuseum.bc.edu/mobilelabels/images/mcmullen-wordmark.png" ]	[]	[]	[ "" ]	null	[]	null					null	William Bradford (1823–92) Coastal Scene with Figures (Grand Manan), 1863 Oil on canvas McMullen Museum of Art, Boston College, Gift of Tania and Thomas M. Evans Jr. in honor of Michael N. Altman P’22, ’24, ’26 for his enduring commitment to the McMullen Museum and the advancement of the study and appreciation of American art, 2019.13 Grand Manan Island, New Brunswick, is the largest and most remote of the three major islands at the entrance to the Bay of Fundy. The island, which belonged to the United States until traded to the British in 1817, is known for its striking ancient geology. The imposing pyramidal cliffs beside the beach are mirrored in the majestic cloud formations over the sea on the left. A man and woman carry a canoe towards the water, while another figure approaches a boat beached on the sand. Bradford first traveled to this region between 1854 and 1857, returning often in the 1860s. Bradford Cove, named for the artist, is the only safe anchorage on the west side of the island. Many American artists traveled to remote places to find scenes of unspoiled nature as a refuge from increasing industrialization and the strife of the Civil War. The New England poet John Greenleaf Whittier dedicated a poem to Bradford which makes this explicit with reference to the east winds from Labrador and “The sea-dipped pencil…[which] beguiles my pen away from the sharp strifes and sorrows of today.”1 William Bradford, Off the Coast of Labrador, 1866. Oil on canvas, Art Institute of Chicago. While other paintings by Bradford are often highly Romantic, this is a work of quiet realism. Partly due to his Quaker background, as well as the influence of photography and Pre-Raphaelitism, Bradford’s style is clear and simple in its realism. In 1867, Henry Tuckerman observed that “Bradford felt that his own success depended on minute accuracy and patient observation of local characteristics.”2 This is echoed in a later painting of a similar scene, Off the Coast of Labrador at the Art Institute of Chicago. 1. The full poem appears in Henry T. Tuckerman, Book of the Artists: American Artist Life, Comprising Biographical and Critical Sketches of American Artists; Preceded by an Historical Account of the Rise and Progress of Art in America (New York: G. P. Putnam & Son, 1867), 556. 2. Tuckerman, 554. Permanent Collection Index George Wesley Bellows (1882–1925) Old Lady with Blue Book, 1919 Oil on canvas McMullen Museum of Art, Boston College, Gift of Alexandria & Michael N. Altman P’22, ’24, ’26, 2019.4 George Bellows is most famous for his paintings of urban New York, particularly scenes of boxing and nightlife. A student of Robert Henri (1865–1929), Bellows is associated with the so-called Ashcan School, a group composed of Henri and his followers committed to depicting realistic scenes of poor neighborhoods and their inhabitants. Although Bellows shared some of the subject matter and broad painterly style of his fellow painters in the Ashcan group, he was less interested in painting as social commentary than he was in the freedom of artists to paint whatever they wanted. Bellows’s work flitted from city scenes to those of high society to seascapes; and from periodical illustration to portraiture. George Wesley Bellows, My Mother, 1921. Oil on canvas, Art Institute of Chicago. Thomas Eakins, Miss Amelia Van Buren, c. 1891. Oil on canvas, Phillips Collection, Washington, DC. His title for Old Lady with Blue Book does not provide the name of the sitter, but she closely resembles Bellows’s mother as he depicted her in other works (see comparison). That the McMullen painting was in Bellows’s estate at his death suggests it was of personal significance. Stylistically, the loose brushwork shows the strong influence of Henri, while the dark, restrained palette and matter-of-fact realism recalls the work of Thomas Eakins (1844–1916), whom Bellows held in high esteem (see comparison). The black dress with white lace collar and cuffs indicates the wearer is in either “second mourning” or “late mourning.” Complex rules dictated mourning attire in the late nineteenth and early twentieth century and changed with the passage of time from the death of a loved one. Some widows, especially the elderly, wore late mourning clothes the rest of their lives. The other indication that this woman is a widow is her brooch bearing the likeness of a man. While the early Victorian tradition was for mourning brooches to feature locks of hair or cameos of mourning figures, by the late nineteenth century photographs of the deceased, sometimes colored, were popular. By the early twentieth century, these markers of widowhood would have been recognized by viewers even if they were fading from practice. The blue book is a sewn cloth hardcover with gold blocking (embossed printing) on its spine. The electric blue is probably due to aniline, a petroleum dye discovered in 1856 that produces dazzling colors, including a bright indigo. Such colors were common in cloth bindings of the 1860s, but soon went out of fashion as later covers incorporated more overall printing and muted colors. Gold blocking was also popular in the years following the 1849 gold rush, but fell out of style after the Civil War drove up the cost. Taken together, these clues point to the book being an antique, and possibly a treasure for its owner. Permanent Collection Index William Merritt Chase (1849–1916) Autumn Still Life, c. 1906 Oil on canvas McMullen Museum of Art, Boston College, Gift of Alexandria & Michael N. Altman P’22, ’24, ’26, 2022.113 The genre of still life—paintings depicting flowers, fruits, vessels, and other arranged, inanimate objects—became codified in Dutch painting in the sixteenth century. Through the domestic subject matter, an artist expressed ideals of abundance and taste, and sometimes allegorical meaning. A popular form for collectors, it was not granted much esteem. The Académie de peinture et de sculpture, which since its founding in 1648 dictated artistic taste and style through much of Europe, ranked still life as the lowest form of painting. But the genre’s reputation changed in the latter half of the nineteenth century, when impressionist and post-impressionist painters, interested primarily in capturing the psychology of vision, painted commonplace bourgeois scenes. For these painters, still life was an equally appropriate form as any other. William Merritt Chase is widely credited for bringing impressionism to America. He shared with the movement’s other artists not only a painterly, light-focused style, but also an egalitarian approach to subject matter. The fruits of Autumn Still Life were chosen as an opportunity to employ lush colors and broad strokes on a large canvas. While this is not an allegorical painting, Chase’s choice of subjects—pumpkins, pomegranates, and what appears to be a parsnip and a dark bell pepper—is still full of meaning. Fruit and Porcelain, 1908. Oil on canvas, private collection. Pumpkins, while cultivated globally, are native to the Americas and strongly associated with the harvest season, as they only reach maturity in fall. Pumpkins must be cooked to be edible, but here Chase presents raw wedges, drawn perhaps to the lattice of strands and seeds that make up the core of the fruit and are suited to his loose and expressive brushwork. Pomegranates also indicate the change of seasons. The fruit features in the myth of Hades, Persephone, and Demeter: its characteristic arils play a decisive role in the story of how autumn and winter came to be. Their cultivation is an inversion of the pumpkins, as pomegranates, while grown worldwide, are native to the Mediterranean. Chase himself was from the American Midwest but his career brought him to study in the artistic centers of Europe. His choice of objects reflects his cosmopolitan orientation. Chase traveled to Venice in 1877 and eventually purchased a villa outside of Florence in 1910, located next to a grove of pomegranates. He painted the fruit on many occasions (see image). Permanent Collection Index Giovanni Battista Salvi (Sassoferrato) (1609–85) Madonna of the Cherubs, c. 1650 Oil on canvas McMullen Museum of Art, Boston College, 1988.72 Framed by the cherubic messengers and the golden light of heaven, the Virgin Mary gracefully shifts her shoulders and lifts her head, eyes, and—we sense—mind to God. The rotation is stilled by her praying hands that gently stabilize her figure and crystalize her complete devotion. The brushstrokes of oil paint are applied smoothly to form the perfect contours of her face, and earth pigments are blended into her creamy-rosy complexion to depict soft shadows. The texture of the drapery is slightly rougher, hinting at the material world. Mary is at once corporeal and ethereal, the perfect embodiment of the union between the sacred and the earthly in the mother of God. Born in the rural region of the Marche, northeast of Rome, Giovanni Battista Salvi, known as Sassoferrato after his hometown, was out of step with the exuberant baroque art of his time, but his paintings tell us much about Catholic devotional culture. He formulated a unique style through studying the Renaissance painters, Perugino, Andrea del Sarto, and especially Raphael, and classically minded seventeenth-century painters, such as Domenichino and Guido Reni, but restrained their palettes, compositions, and sense of energy. Sassoferrato dedicated himself to making images of the Virgin Mary. He developed a handful of types and repeated the compositions with small variations. At the time of his death, his inventory recorded 105 paintings in his possession, of which seventy were Madonna images.1 Guido Reni (1575–1642), The Immaculate Conception, 1627. Oil on canvas, Metropolitan Museum of Art, New York. As a Boston College undergraduate, Christine Papastamelos ’14, interpreted Sassoferrato’s Madonna of the Cherubs in the context of the Catholic Reformation: “The image of Mary as heaven bound and without child epitomizes the [Catholic] Marian theological position of the seventeenth century.” The painting celebrates Mary’s essential role in salvation and the grace that God uniquely bestowed upon her. Sassoferrato’s Madonna of the Cherubs is a short-hand version of the iconography of the Immaculate Conception, the belief that the Virgin Mary was exempt from original sin. Due to its size, the painting most likely functioned as a devotional work in a private setting, in comparison to Reni’s full length Conception (see image) that codified this iconography. Sassoferrato’s Madonnas appealed to the Catholic faithful during his own day as well as succeeding centuries, with numerous popes prizing his paintings. Pius VII (1800–23) had a print made of his Madonna in Prayer to disseminate the image widely. The provenance of Boston College’s painting is unknown until 1947 when it was recorded in a photograph of Bapst Library. Praying hands were a key motif for Sassoferrato, and the McMullen Museum owns his drawing of this theme. 1. Patrizia Cavazzini, “L’inventario della morte di Sassoferrato e il problema delle copie,” in Sassoferrato, Pictor Virginum: Nuovi studi e documenti per Giovan Battista Salvi, ed. Cecilia Prete (Ancona: Il lavoro editoriale, Istituto Internazionale di Studi Piceni, 2009), 56–69. Permanent Collection Index After Annibale Carracci (1560–1609) Holy Family (Montalto Madonna), n.d. Oil on canvas mounted on panel McMullen Museum of Art, Boston College, 1988.85 Annibale Carracci, Montalto Madonna (Holy Family with Infant John the Baptist), c. 1598–1600. Oil on copper, National Gallery, London. Cornelis Bloemaert (1603–92), after Annibale Carracci, Montalto Madonna, late 1630s. Engraving, British Museum, London. The Holy Family is a reverse copy of a detail of Annibale Carracci’s famous Montalto Madonna, c. 1598–1600, now in the National Gallery, London1 (see image). Though small and partial, the painting tells the story of Italian art from the High Renaissance in the sixteenth century to the eighteenth-century Grand Tour, as well as the enduring appeal of this classical art tradition in nineteenth-century Boston. In The Lives of the Modern Painters, Sculptors and Architects of 1672, Giovan Pietro Bellori extolled Annibale Carracci (1560–1609) as the painter who restored Italian art to the ideal, harmonious style established by the celebrated Raphael (1483–1520), and he praised the beauty of Carracci’s Holy Family, made for Cardinal Alessandro Peretti Montalto. The so-called Montalto Madonna represents the robust yet elegant figures of the Virgin Mary and Christ Child, engaged physically and psychologically with the young John the Baptist on the left and Joseph on the right. Grounded in a monumental interior set against a naturalistic landscape, this interconnected and balanced figural group is the perfect blend of earthly domesticity and heavenly grace. As an undergraduate at Boston College, Dr. Annie McEwen Maloney ’14 argued that this type of painting was prized by eighteenth-century Grand Tourists, educated Northern European travelers schooled in ancient history, literature, and art who were eager to see Renaissance art. Because original Raphael and Carracci paintings were rarely for sale, as Bellori said, “this little picture was copied continuously while it was in the Villa Montalto in Rome, it was already being worn away in the hands of copyists.”2 The McMullen copy could have been made to satisfy the demand for this renowned image. But it was not made directly from the original because the dimensions and colors differ and the composition is reversed. Instead, it might have been made from the engraving by Cornelis Bloemaert (see image). McEwan’s research determined that unlike the original Montalto Madonna, which was eventually acquired by Sir Archibald Campbell of Succoth, Scotland, the McMullen Holy Family was not purchased by an English Grand Tourist. Instead, Isabella Curtis of Boston (1832–1915) bought the painting in Siena during her Grand Tour in the nineteenth century. In 1912, Isabella and her sister Mary gave the Holy Family to Mary Jane Regan (1842–1925), librarian of the Boston Athenæum. A devout Irish Catholic immigrant, Regan must have considered Boston College an appropriate home for the Holy Family, which she presumably donated to the University by 1933.3 1. Larry Keith, “Annibale Carracci’s Montalto Madonna,” National Gallery Technical Bulletin 29 (2008): 46–59. 2. Giovan Pietro Bellori, The Lives of the Modern Painters, Sculptors and Architects, ed. H. Wohl and T. Montanari (New York: Cambridge University Press, 2005), 101. 3. Eileen Lyons, “Mary Jane Regan,” Eire Society of Boston Bulletin 41 (1982): 1–4. Permanent Collection Index Unknown artist (Emilian school) Holy Family with St. John, mid- to late 16th century Oil on panel McMullen Museum of Art, Boston College, 1988.60 Parmigianino, The Holy Family with Angels, c. 1524. Oil on panel, Museo del Prado, Madrid. Parmigianino, The Madonna and Child, c. 1527–30. Oil on panel, Kimbell Art Museum, Fort Worth. First documented in 1933 in Bapst Library at Boston College, this graceful yet sturdy Madonna presents her child with an air of knowing confidence while he sits upright, ever so slightly springing forward, to bless the viewer. Mother and child are interrelated, yet autonomous, figures, connected by a deep human bond but aware of their sacred mission. Together, they foretell the future of the Christ Child, the Savior. The quasi-iconic central figures are offset by the diagonal placement of the elderly Joseph in the upper right corner and the infant John the Baptist at lower left, who dynamically leans forward to witness the Savior. The universal Catholic subject and the small dimensions indicate that the painting functioned as a private devotional work. The idealized beauty of the Madonna symbolizes her inner, spiritual grace. The refinement of the poses, the physiognomies of small, elongated features, the preciosity of details, such as the tight curls of John the Baptist’s hair, and the complex coloristic effects in the draperies and the sky, recall the work of Parmigianino (Girolamo Francesco Maria Mazzola, 1503–40). Trained by his printmaking family in Parma, in the Emilian region of northern Italy, Parmigianino displayed a precocious talent for painting. In 1524, the young artist moved to Rome, where he sought to become a new Raphael, the great Renaissance painter who had died four years earlier. To win the patronage of Pope Clement VII, Parmigianino brought with him his first mature work, the Holy Family with Angels, c. 1524, now in the Museo del Prado (see image). In Rome, he made devotional paintings that combine the lessons of Raphael as well as Leonardo and Michelangelo, with his distinctive idealism and elegance known as mannerism, as seen in the Madonna and Child, c. 1527–30, in the Kimbell Art Museum (see image). Despite the affinities of style between the McMullen Holy Family and these paintings, differences in the handling of the paint suggest that this painting is not by the hand of Parmigianino but rather an as-yet unidentified painter of the Emilian school following the master. Permanent Collection Index Pierre Subleyras (1699–1749) Meal at the House of Simon the Pharisee, c. 1737 Oil on canvas McMullen Museum of Art, Boston College, 1988.38 Pierre Subleyras, Meal at the House of Simon Pharisee, 1737. Oil on canvas, Louvre, Paris. Paolo Veronese, Meal at the House of Simon Pharisee, 1567–70. Oil on canvas, Pinacoteca di Brera, Milan. Pierre Subleyras left France in 1728 when he was awarded a prestigious Grand Prix by the Académie Royale de Peinture et de Sculpture to study in Rome. He worked in that city as one of the most celebrated painters, draftsmen, and printmakers for the rest of his life. In 1737 Subleyras received his greatest commission from the Canons Regular of St. Augustine at the Lateran for a monumental painting of the Meal at the House of Simon the Pharisee (see image) to hang in the refectory of their monastery, Santa Maria Nuova at Asti, near Turin. Napoleon’s armies seized the painting in 1799, transporting it to Paris where it eventually became the property of the Louvre. The McMullen painting, along with another in the Louvre and one in the Gemäldegalerie Alte Meister in Dresden, appears to be either a preliminary sketch for or a smaller version of the Asti painting. Shortly after its completion in 1738, Subleyras produced an engraving to circulate the image of his famous painting, and in 1748 Subleyras’s wife, Maria Tibaldi, completed a miniature copy in watercolor on vellum (now in the Musei Capitolini in Rome) based on one of the smaller oil sketches.1 The scene of a sumptuous banquet captured in a moment of time follows the tradition of biblical paintings, with attention to still life details inspired by the Venetian Renaissance artist Paolo Veronese (1528–88) (see image). The composition in all the versions is nearly the same with minor differences. In the monumental painting, Subleyras has the serving boy in the foreground face Christ, thereby enhancing the drama; in the smaller versions the boy turns toward the viewer. All depict the story from Luke 7:36–50 recounting that Christ agreed to dine at the home of an ungracious host, Simon the Pharisee, who did not offer him the usual hospitality. During the meal, a penitent prostitute, depicted on the left, knelt to wash Christ’s feet with her tears and tresses and anointed them with oil from an alabaster container, which lies open on the floor. Reclining on a couch and standing out in red and blue, Christ forgives and blesses the woman. The servers behind and in the foreground halt their tasks for the feast to observe the prostitute’s actions. Her remorse and desire to serve Christ provide a lesson to Simon, the host, one of the two turbaned figures conferring at the other end of the table about what they have witnessed. The narrative’s themes of charity and penitence would have contributed to the painting’s popularity and would have stimulated discourse among Catholics during the Enlightenment and among travelers to Asti on the Grand Tour. 1. For discussion of the various versions and preliminary sketches of individual figures see Olivier Michel and Pierre Rosenberg, eds. Subleyras, 1699–1749 (Paris: Musée du Luxembourg, 1987), nos. 33–41. Permanent Collection Index Albert Bierstadt (1830–1902) The Approaching Storm: White Mountain View with Hay Wagon and Figures, 1861 Oil on board McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2021.18 Albert Bierstadt was fascinated with the epic grandeur of the American landscape. With his brothers Charles and Edward, he capitalized on the new invention of stereoscopic photography. They opened a photography shop in New Bedford, Massachusetts, in 1859 and in 1860 published a catalogue of photos of the American West and views of the White Mountains of New Hampshire taken from viewpoints chosen by Albert. Albert Bierstadt in a trick photograph by Charles Bierstadt, 1861. Carte de visite album of Edward Anthony, Metropolitan Museum of Art, New York. The White Mountains were a popular destination in the growing tourist trade, and Bierstadt painted there often, visiting at least seven times between 1852 and 1886. This painting is refreshingly naturalistic, in contrast with some of his earlier works that combined imaginary European castles with the New Hampshire landscape. The heavily loaded hay wagon is returning to the farm, the harvest now secure from being ruined by the rain. The soon-to-be-lost light dances across the canvas, illuminating the hay wagon, workers, and slices of the landscape. Is the approaching storm perhaps a metaphor for the onset of the Civil War? Stormy weather was a fundamental symbol in nineteenth-century literature and art, and Bierstadt was sophisticated in the use of imagery to mirror emotion. His interrogation of reality can be seen here in a double image of the artist pouring himself tea, echoing a similar photo of the French realist Gustave Courbet. Storm in the Mountains, c. 1870. Oil on canvas, Museum of Fine Arts, Boston. Nature is the subject of most of Bierstadt’s paintings. A few depict European sites, primarily in the Alps. But most represent scenes in America; the majority of these were painted during Bierstadt’s extensive traveling in the mountainous areas of the West. Many of the mountain paintings are simply entitled “Rocky Mountains,” while others identify their location, for example, Mount Rainier. In addition to the paintings of mountains, there are many others that represent various natural sites. Some show winter scenes, at Yosemite, for example. Others depict rivers such as the Hudson, lakes such as Lake Tahoe, waterfalls as at Niagara, forests such as those in California where the giant redwood trees are located. Storms also figure prominently in many of Bierstadt’s paintings. In Storm in the Mountains (see image), Bierstadt represents the storm as a black mass sweeping across the valley with an off-white cloud suspended above it. The valley is empty of everything human; the landscape is pure nature. On the other hand, in the present work, The Approaching Storm, everything is different. The White Mountains lie in the distance, in contrast to the overpowering presence of the mountains in the other painting. Moreover, the scene is set on a field, an agricultural site, not a valley surrounded by mountains. The remainder of the subtitle identifies the objects in the scene, the hay wagon and figures, presumably the figures of the humans and the horses. The horse and rider on the right side of the picture head away from the approaching storm; another figure leads a child in the same direction, and the hay wagon (with two youths on top) is drawn also in this direction by two white horses. Yet hardly less than in Storm in the Mountains, the storm can be seen raging and threatening. What the painting makes visible is the flight of humans confronted by the force of nature, their flight from the field of their everyday labor, driven in hopes of reaching shelter from the storm. Saco River valley and the White Mountains from Cathedral Ledge (photo: Vivek Joshi, July 2023). Today, the White Mountains in New Hampshire are largely covered by forest (see image). This detailed painting is a reminder that in the mid-nineteenth century most of the land was cleared for agriculture—in this case growing hay in the flat valley and grazing land for sheep on the mountainsides. This is clearly a late summer scene, likely in the Saco River valley. We are lucky that Bierstadt provided such a careful record of a moment in time, because the forces of land conservation and climate change mean that the White Mountain landscape looks different now than it did a century and a half ago. What has not changed are the hard granite and metamorphic rocks that appear as boulders in the foreground and cliff bands in the background. Lynch Collection Index Permanent Collection Index Albert Bierstadt (1830–1902) Near the South Pass of the Rocky Mountains, 1863 Oil on panel McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2022.45 This idealized view of an unspoiled natural landscape, with a soft glow of the setting sun, beckons the viewer toward the Rocky Mountains while deer drink peaceably from a pristine lake. The artist juxtaposes the sublimity of the mountains with a vision of a rich and hospitable landscape seemingly fated for west-bound settlers, reflecting the concept of “manifest destiny.” Albert Bierstadt Brothers, Albert Bierstadt at His Easel, 1859. Stereograph (detail), private collection. Bierstadt first traveled to the American West in 1859 as part of a survey expedition, followed by a second trip in 1863. He made oil sketches and drawings and chose views for stereographs. Bierstadt traveled as far as the South Pass of the Continental Divide in southwest Wyoming. The South Pass was the easiest route to California and the Pacific Northwest and had long been used by Native Americans. It was followed by wagon trains in the 1840s and 1850s as a key part of the Oregon Trail, and was the route of the transcontinental railway completed in 1869. With notes and photographs, Bierstadt would later finish his paintings in his studio in the Tenth Street Studio building in New York City, surrounded by Native American artifacts (see image). This work was created following Bierstadt’s first trip out West in 1859, when he accompanied Frederick W. Lander’s survey party to Nebraska Territory to determine the route of the transcontinental railroad. Bierstadt produced numerous photographs and sketches, which he then referenced in his New York studio. The South Pass was a significant locale where the Oregon Trail crossed the Continental Divide, a stretch that had tested numerous overland travelers. But by 1863, parts of the trail had been replaced by stagecoaches—and soon by the railroad. Paintings like this one invited his audience West in accordance with the idea of “manifest destiny” that envisioned white settlement of the West as inevitable and divinely ordained. His Romantic view of this Rocky Mountain landscape, with deer drinking from a luminous river, portrayed a timeless frontier that would soon be transformed. No landscapes were more compelling to Bierstadt than those he observed in the Rocky Mountains. Among his paintings of the Rockies, there are depictions of sublime, snow-capped peaks, of violent storms in the mountains, of the colorful glow of sunsets over the mountains, of peaceful lakes and woods backed by mountain ranges. Many prominent contemporary critics praised Bierstadt’s work; for instance, in response to one of the artist’s paintings of a storm in the Rockies, one wrote: “No more genuine and grand work has been produced in landscape art.” An art historian described Bierstadt’s paintings: “He seeks to depict the absolute qualities and forms of things. The botanist and geologist can find work in his rocks and vegetation. He seizes upon natural phenomena with naturalistic eyes. In the quality of American light, clear, transparent, and sharp outlines, he is unsurpassed.” The painting Near the South Pass of the Rocky Mountains depicts much of what belongs to a peaceful, natural landscape: distant, unthreatening mountains, rocks and trees as they occur by nature, untouched by human intervention, a pond reflecting muted sunlight, two deer next to the pond, one drinking from it. The work as a whole gathers all that belongs most conspicuously to nature—earth, water, living beings both animate and arboreal. Peter Lynch regards Near the South Pass of the Rocky Mountains as one of his favorites. He recalls that he was inspired to acquire it following one of his more than twenty-five visits to US National Parks with his wife and three daughters. Lynch Collection Index Permanent Collection Index Albert Bierstadt (1830–1902) Owens Valley, California, c. 1872 Oil on panel McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2022.44 Bierstadt lived in California with a studio in San Francisco between 1871–73. He met the innovative photographer Eadweard Muybridge and traveled with him and the geologist Clarence King to the new Yosemite National Park in 1872. Muybridge photographed Native Americans and Bierstadt sketched the landscape and indigenous peoples. A stereoscopic photograph (see image) by Muybridge shows Bierstadt sketching out of doors, flanked by Native Americans. Eadweard Muybridge (1830–1904), Albert Bierstadt’s Studio, 1872. Stereograph. The spectacular sunset over Mount Whitney is framed by the silhouetted trees in the foreground. Twilight brings a gentle end to the day in a scene that is now painfully nostalgic. The Owens River and Lake area, two hundred miles north of Los Angeles and near Death Valley, was famed for its wildlife, particularly migratory birds. The river was diverted to Los Angeles in 1913, crippling the agricultural economy of Owens Valley, and leading to the “California Water Wars” that provided the plot for the film Chinatown (1974). Top: Valley of the Yosemite, 1864. Oil on canvas, Museum of Fine Arts, Boston. Bottom: Looking Down Yosemite Valley, California, 1865. Oil on canvas, Birmingham Museum of Art. Albert Bierstadt’s portrayals of beauty and plenty shaped the popular image of the American West. Bierstadt reassured Americans wracked by civil war that their young democracy possessed the grandeur of Europe—and might endure just as long. His sublime, tranquil paintings of Yosemite Valley in 1864–65 (see images) are one reason the United States has a National Park Service. Yet just as the creation of national parks led to the dispossession of Native communities, Americans who flocked to western lands often utterly remade those landscapes. Still water fills Bierstadt’s 1872 image of California’s Owens Valley; evening light reflects over a lush lakeside scene. Yet by the 1910s, that Owens Valley water was being pumped hundreds of miles to slake the thirst of the booming new oil town, Los Angeles. Desperate landowners in the 1920s set dynamite blasts in a failed campaign to sabotage the pipeline with which LA was sucking their lake dry. Bierstadt’s skill captured the bountiful grace of a valley his art was helping transform. With thanks for lively discussions in the Boston College History/Environmental Studies class “This Land is Your Land: A Survey of US Environmental History” as well as the Boston College Bodies & Places workshop. The Hetch Hetchy Valley, 1873, Oil on paper, laid on board. Bierstadt traveled extensively out West in the summer of 1872, visiting Yosemite and the Owens Valley on the east side of the Sierra Nevada. In this painting, he captured the serene setting of the Owens Valley with the Mount Whitney mountain range in the background less than a decade after white wars against local Paiutes and Shoshone Indians opened the region for permanent white settlement. The work also offers a view of the valley wetlands some three decades before the city of Los Angeles would divert the Owens River for its own use, turning the area into a semi-desert. Like Bierstadt’s 1873 painting of the Hetch Hetchy Valley in Yosemite (see image), which was later flooded by the city of San Francisco for a reservoir, his works show us the dazzling landscapes of the Sierra Nevada before they were transformed by urban demands for water in the arid West. Today, Owens Valley is primarily a desert situated between the Sierra Nevada and Inyo Mountains of eastern California. However, in 1872 the valley was a watery paradise, as Bierstadt’s painting attests. Before Los Angeles took the water from Owens Valley in the early 1900s, Owens Lake filled the valley, offering an attractive refuge for animal and plant life and human visitors. Just west of Owens Lake, majestic Mount Whitney stands over fourteen thousand feet high in the Sierra Nevada. This painting likely looks east at a sunrise over the Inyo Mountains. The year 1872 was notable in eastern California because the 7.9 magnitude Owens Valley earthquake uplifted the Sierra Nevada about ten feet in a major fault movement. Bierstadt may have experienced the earthquake around the time of the painting’s creation. Although Albert Bierstadt was born in Germany, he grew up in New Bedford, Massachusetts. He traveled extensively, returning repeatedly to Europe, where he had the opportunity to meet a number of internationally renowned figures. In Rome he and his wife visited the composer Franz Liszt, and in London he became acquainted with the American poet and educator Henry Wadsworth Longfellow. One of the most profound influences on his later work was a mountain climbing adventure in the Apennines, where, from above, he could observe the features of the mountainous terrain. This experience portended his engagement in producing paintings of mountain scenes, which became ever more enthralling as he traveled across the United States, painting in grand style the magnificent mountains, as in Yosemite, and the seemingly endless expanse of the prairies. To a friend he wrote: “The color of the mountains and of the plains, and, indeed, that of the entire country, reminds one of the color of Italy; in fact, we have here the Italy of America in a primitive condition.” Bierstadt traveled along the routes leading finally to California, and it was there that he produced his painting of Owens Valley. Even though the landscape itself is less than Italianate, the colors could indeed have reminded him of the light he had once observed in Italy—the reddish shades of dusk, the increasing darkness of the lake and the trees. Owens Lake in 2013 (photo: Kirk Siegler). Bierstadt’s painting of a silhouette of a pair of herons and trees with a twilit sky behind provides a glimpse of how this place looked before much of its water was diverted to irrigate the farm fields and orange groves of southern California and fuel the growth of Los Angeles. Owens Valley is still one of the most beautiful places on Earth, but it would be hard to recreate this scene, as many of these wetlands are now dry salt flats (see image). The position of the sun and the distant mountains suggests sunrise because Bierstadt does not depict the steep front of the Sierra Nevada, which defines the western side of the valley. Another interesting aspect to contemplate is that Bierstadt visited Owens Valley in summer 1872, just a few months after a major earthquake. Evidence of this event can still be seen today, as ridges that show the Sierra Nevada pushed twenty feet up relative to the valley floor along the fault line. The painting does not provide obvious evidence of the earthquake, but Bierstadt must have seen the aftermath in both the sparsely populated settlements and the natural landscape. Lynch Collection Index Permanent Collection Index William Bradford (1823–92) Among the Ice Floes, 1878 Oil on canvas McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2022.46 Top: William Bradford, Steamer and Iceberg, 1873. Photograph, Museum of Fine Arts, Boston. Bottom: Nipped in the Ice, hand-colored lithograph, published by Currier & Ives, after painting attributed to William Bradford, after 1877, Mystic Seaport Museum. William Bradford was a largely self-taught painter, drawn to scenes he described as “wild, strange and magnificent.” He instigated several expeditions to the Arctic, supplementing his sketches with photographs of the natural beauty and dangers of the polar regions. Reflecting popular interest in the heroic and frequently tragic voyages of explorers and whalers, he published a book titled The Arctic Regions, Illustrated with Photographs Taken on an Art Expedition to Greenland (1873). Bradford also provided images of these exotic and forbidding seascapes for mass produced lithographs by Currier & Ives (1835–1907). In this painting, small figures of sailors toil on the ice, while their three-masted ship sits with sails furled. Large icebergs balance the composition, and a distant vessel is shrouded in mist. It is an image of perilous work, adventure, and the sublimity of the polar regions. Caught in the ice floes, a group of men face a perilous moment in the Arctic. The painter, William Bradford, had confronted a comparable situation himself. In 1869, he traveled up the west coast of Greenland, turning back only when ice threatened to trap his ship in the uppermost reaches of Baffin Bay. This painting captures the overwhelming desolation that Bradford encountered there, where he saw what he described as an infinite expanse of ice that lay “perfectly unbroken, except where great icebergs pierced through it.”1 To capture the vastness of the landscape, Bradford here juxtaposes the triple masted ship in the foreground with a similar vessel in the distance, which appears miniature in comparison with the iceberg at the composition’s center. Ant-sized men shuttle across the ice between the ships, scarcely visible through the haze. “Hunting by steam, the party killing six polar bears in one day. Melville Bay Aug 10th 1869.” William Bradford, The Arctic Regions. Although Bradford based the painting on his experience, he did not seek to create a faithful record of his voyage. He generally composed his Arctic paintings by combining sketches from his trip, scenes recorded by the two photographers who accompanied him, and elements of his own invention. The ship in the foreground of this painting resembles the vessel from Bradford’s expedition, the Panther, but with a notable modification: Bradford here eliminates the smokestack for the Panther’s coal-fired steam engine, indicating that the men in the painting must rely on sail alone to extricate themselves from their predicament. Photographs of the Panther (see photo), by contrast, show a dark plume of smoke billowing from its chimney as it burns through the five hundred tons of coal that it carried as fuel.2 That carbon-loaded exhaust would, unbeknownst to Bradford, come to threaten the existence of the Arctic landscape that had struck him as boundless and eternal. 1. Quoted in Richard C. Kugler, William Bradford: Sailing Ships & Arctic Seas (New Bedford: New Bedford Whaling Museum, 2003), 79. 2. For the fuel capacity of the ship, see John Wilmerding, William Bradford, 1823–1892 (New Bedford: Whaling Museum of New Bedford, 1970), 16. Viewed in the context of climate change, Bradford’s paintings depicting the frozen polar regions from one hundred fifty years ago conjure up feelings of anxiety and reminiscence in a geoscientist. Anxiety, because such Arctic scenes have already become far less pervasive than they were in Bradford’s time and point to a troubling climate future that is upon us. Reminiscence, because those icy scenes may someday be gone forever, preserved now only in memories, illustrations, and paintings like this and his Trapped in Packed Ice nearby. Every September, Arctic sea ice melts and reaches its annual minimum extent. Warming climates have reduced the areal coverage and thickness of Arctic sea ice by about 60 percent since 1878 when Bradford painted this work (see figures 1a, 1b), and all of that reduction has occurred since c. 1970. At its present rate of decline, summer Arctic sea ice will be completely gone sometime in the latter half of this century. While the opening of shipping lanes in the Arctic might seem attractive to mariners like the souls pictured in Bradford’s works (like the fabled Northwest Passage that opened for the first time in 2012, see figure 1c), the accompanying consequences of global warming will far outweigh this apparent benefit. Ice, a majestic blue-tinted rock in its own right, is slowly fading from the surface of planet Earth for the first time in human history. Bradford’s painting captures its story. Arctic expeditions—like those depicted in this painting and Trapped in Packed Ice by William Bradford—were exercises in extremity. Driven toward the impossibly remote landscapes of the Arctic Circle, sailors endured extreme temperatures and traversed a harsh and unfamiliar ecosystem where the sun shines constantly in the summer and darkness falls for months every winter. Hundreds of ships sought the perils of the ice over the course of the nineteenth century—to scout out and forge faster trade routes through the Arctic Circle. Most ships carried about fifty men, traveled in small fleets, and were provisioned for voyages of two to three years. Many were funded by European national governments, who imagined themselves to be building the infrastructure for global trade—through the icy ends of the Earth. Within this world of extremes sits American painter William Bradford, cold—shivering, despite his layers of winter wear—sketching, drafting, and painting in subzero temperatures. This work captures the domineering, ice-chiseled landscape of the Arctic, where icebergs tower over ships, rendering sailors miniscule by comparison. Bradford’s brush also elaborates the eerie and uncanny light of the North for his viewers: Among the Ice Floes is haunted by haze and shadow. Light was scarce in the Arctic; Bradford’s brush finds it, pulls it from the frozen context, and works against the elements to preserve its effect in scenes on canvas. In some respects, the Arctic expeditions of the nineteenth century were failures—the ice-bound passage was not a viable trade route, thousands of human lives were lost seeking it out, and the expeditionary and capitalistic values that charted the paths of these ships continue to be driving forces of climate change. These paintings by Bradford are some of the greatest successes of the expeditions (along with the travel narratives, ship-made newspapers, and other testaments to human fortitude under extreme environmental conditions). Bradford’s paintings attest to the formidable and otherworldly nature of the Arctic as it was in the nineteenth century—and inspire respect for a landscape that faces the greatest threat to climate change today. For a nonfiction study of a broad range of polar media, read Hester Blum’s The News at the End of the Earth. For Antarctic fiction, pair Edgar Allan Poe’s only novel The Narrative of Arthur Gordon Pym of Nantucket and its haunting and unfinished ending, protagonist adrift near the South Pole—with Mat Johnson’s satirical fantasy Pym, a modern retelling that traverses the same geographical extremes to explore enduring questions of race and racism in the American imagination. Lynch Collection Index Permanent Collection Index William Bradford (1823–92) Trapped in Packed Ice, 1877 Oil on canvas, McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2022.47 Caspar David Friedrich, Wreck in the Sea of Ice, 1798. Oil on canvas, Kunsthalle, Hamburg. Trapped in Packed Ice is a dramatic illustration of the dangers of Arctic exploration. Pack ice often trapped and crushed ships. In 1871, thirty-three whaling ships, many from New England, were trapped and destroyed by pack ice off the Alaska coast. The motif of the “storm-tossed boat” was a key symbol of the perils of the “voyage of life” from the Romantic era onward, as seen in haunting images by the German painter Caspar David Friedrich (1774–1840). The delicate structure of the masts and rigging is juxtaposed with the implacable solidity of the massive icebergs. The small forms of the sailors on the ice remind the viewer of the fragility of humans who have tested themselves against the sublime power of nature. Viewed in the context of climate change, Bradford’s paintings depicting the frozen polar regions from one hundred fifty years ago conjure up feelings of anxiety and reminiscence in a geoscientist. Anxiety, because such Arctic scenes have already become far less pervasive than they were in Bradford’s time and point to a troubling climate future that is upon us. Reminiscence, because those icy scenes may someday be gone forever, preserved now only in memories, illustrations, and paintings like this and his Among the Ice Floes nearby. Every September, Arctic sea ice melts and reaches its annual minimum extent. Warming climates have reduced the areal coverage and thickness of Arctic sea ice by about 60 percent since 1878 when Bradford painted these (see figures 1a, 1b), and all of that reduction has occurred since c. 1970. At its present rate of decline, summer Arctic sea ice will be completely gone sometime in the latter half of this century. While the opening of shipping lanes in the Arctic might seem attractive to mariners like the souls pictured in Bradford’s works (like the fabled Northwest Passage that opened for the first time in 2012, see figure 1c), the accompanying consequences of global warming will far outweigh this apparent benefit. Ice, a majestic blue-tinted rock in its own right, is slowly fading from the surface of planet Earth for the first time in human history. Bradford’s painting captures its story. Arctic expeditions—like those depicted in this painting and Among the Ice Floes by William Bradford—were exercises in extremity. Driven toward the impossibly remote landscapes of the Arctic Circle, sailors endured extreme temperatures and traversed a harsh and unfamiliar ecosystem where the sun shines constantly in the summer and darkness falls for months every winter. Hundreds of ships sought the perils of the ice over the course of the nineteenth century—to scout out and forge faster trade routes through the Arctic Circle. Most ships carried about fifty men, traveled in small fleets, and were provisioned for voyages of two to three years. Many were funded by European national governments, who imagined themselves to be building the infrastructure for global trade—through the icy ends of the Earth. Within this world of extremes sits American painter William Bradford, cold—shivering, despite his layers of winter wear—sketching, drafting, and painting in subzero temperatures. This work captures the domineering, ice-chiseled landscape of the Arctic, where icebergs tower over ships, rendering sailors miniscule by comparison. Bradford’s brush also elaborates the eerie and uncanny light of the North for his viewers: Trapped in Packed Ice pronounces a dramatic interplay of white, gray, and blue on what must have been one of the sunniest days of his expedition. Light was scarce in the Arctic; Bradford’s brush finds it, pulls it from the frozen context, and works against the elements to preserve its effect in scenes on canvas. In some respects, the Arctic expeditions of the nineteenth century were failures—the ice-bound passage was not a viable trade route, thousands of human lives were lost seeking it out, and the expeditionary and capitalistic values that charted the paths of these ships continue to be driving forces of climate change. These paintings by Bradford are some of the greatest successes of the expeditions (along with the travel narratives, ship-made newspapers, and other testaments to human fortitude under extreme environmental conditions). Bradford’s paintings attest to the formidable and otherworldly nature of the Arctic as it was in the nineteenth century—and inspire respect for a landscape that faces the greatest threat to climate change today. For a nonfiction study of a broad range of polar media, read Hester Blum’s The News at the End of the Earth. For Antarctic fiction, pair Edgar Allan Poe’s only novel The Narrative of Arthur Gordon Pym of Nantucket and its haunting and unfinished ending, protagonist adrift near the South Pole—with Mat Johnson’s satirical fantasy Pym, a modern retelling that traverses the same geographical extremes to explore enduring questions of race and racism in the American imagination. Lynch Collection Index Permanent Collection Index Mary Stevenson Cassatt (1844–1926) Mother and Child, c. 1889 Watercolor on paper McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2022.58 In this watercolor study of a mother holding a baby, Cassatt demonstrates her ability to conjure a world with astonishing efficiency. A few lines define the contours of the figures, while a blue wash and touches of orange establish the major planes of color. Cassatt’s marks, though economical, create an atmosphere of deep intimacy and filial affection, fusing the mother and child into a cohesive unit. The blue of the child’s costume appears to merge with the bottom half of the mother’s dress, making it difficult to tell where one person’s clothing ends and the other’s begins. Baby in Dark Blue Suit, Looking Over His Mother’s Shoulder, 1889. Oil on canvas, Cincinnati Art Museum. This study served as the basis for a larger oil painting (see image), now in the Cincinnati Art Museum. The final work is more tightly cropped around the upper half of the figures, accentuating the closeness of the embrace. Though it is more developed than the watercolor, the oil painting maintains the restricted palette and sparing touch of the smaller sketch. In both works, Cassatt integrates the mother and child through a patchwork of shared colors and interweaving lines, using formal relationships to convey personal bonds. Mary Cassatt’s Mother and Child depicts an ordinary moment in domestic life: a mother holding a child who gazes out into space. The scene is reminiscent of a Madonna and child; even the blue color evokes Mary. But the figures here are not divine, but worldly. Traditionally the child Jesus may be shown seated and looking out toward the viewer of the painting, or gazing lovingly up to his mother’s face. Philosophical concepts can assist us in deepening our understanding of this work. In the present painting, this child’s gaze is directed neither at his mother nor to the viewer, but outward into space. The mother’s face is obscured so that we cannot see it; we have no sense of her individuality, only of her role as child bearer. This deliberate obscuration of the mother by her child, at the same time that she supports him, raises questions about recognition. Human identity is in part formed through mutual recognition, as the philosopher Paul Ricoeur has argued. Mature persons are both the subjects and objects of mutual recognition, as part of our fundamental ethical attitudes towards one another. Insofar as we fail to recognize another, it is an ethical failure. Here, Cassatt investigates the viewer’s recognition of the seated woman. Is her identity given by, or obscured by her maternity? To what extent is her sense of self apart from her maternal role “hidden”? How is motherhood both essential to her identity and a possible site of obscuration? Lynch Collection Index Permanent Collection Index Frederic Edwin Church (1826–1900) New England Landscape, 1849 Oil on canvas McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2022.43 Top: Ira Mountain, Vermont, 1849–50. Oil on canvas, Olana State Historic Site, Hudson. Bottom: Twilight, “Short Arbiter ’twixt Day and Night” (Sunset), 1850. Oil on canvas, Newark Museum of Art. The twenty-three-year-old Frederic Edwin Church spent the summer of 1849 in New England, settling in the region of Cuttingsville, Vermont.1 This jewel-like study of a hilly field at sunset was likely made in the area. The painting’s diminutive size belies Church’s larger ambitions. Having recently become one of the youngest painters ever elected to New York’s National Academy of Design, he spent his time in Vermont producing small studies to incorporate into larger canvases that he would exhibit in New York the following year.2 Among the most important of these works were two paintings of sunsets over Vermont meadows: Ira Mountain, Vermont and Twilight, “Short Arbiter ’twixt Day and Night” (both shown here). Neither picture corresponds exactly to this study in its composition. What they share is Church’s attention to the spectacular effects of the sun’s passage over the horizon, when the sky sets itself ablaze and transforms terrestrial bodies into shadowy silhouettes. 1. David Carew Huntington, “Frederic Edwin Church, 1826–1900: Painter of the Adamic New World Myth” (PhD diss., Yale University, 1969), 24. 2. Franklin Kelly, Frederic Edwin Church (Washington, DC: National Gallery of Art, 1989), 43. This small painting invites us into a sun-soaked world of sloping fields and a few trees. On the lower left, a farmer is driving a wagon along a fence line behind a group of sheep. At the spatial and thematic center, the sun illuminates the landscape from behind and the sky from below. Most likely focused on the task at hand, the farmer is nonetheless headed up toward and almost into the sun. The word “sun” appears over a hundred times in Thoreau’s Walden; or, Life in the Woods (1854), including in this passage from the “Economy” chapter that Church’s landscape brought to mind: To anticipate, not the sunrise and the dawn merely, but, if possible, Nature herself! How many mornings, summer and winter, before yet any neighbor was stirring about his business, have I been about mine! No doubt, many of my townsmen have met me returning from this enterprise, farmers starting for Boston in the twilight, or woodchoppers going to their work. It is true, I never assisted the sun materially in his rising, but, doubt not, it was of the last importance only to be present at it. When Church painted this small landscape in August of 1849, he was only twenty-three years old, but he was already three years out from a two-year apprenticeship with the landscape painter, Thomas Cole (1801–48). With Cole, he had toured the Catskills of New York and the Berkshires of Massachusetts to sketch vistas for studio work; this scene evokes rural New England. It is at once very unlike Church’s famous mature paintings, yet nevertheless hints at his late work. First, it looks as if it were painted on scene, not worked up in the studio using sketches, as was Church’s norm. It has an immediacy and an intimacy absent from his famous grand landscapes. A naivete in Church’s brushwork here fits the modest, rural world of Yankee farmers. Yet, a blinding burst of sun threatens to immolate the scene, overwhelming the purple-gray hill in the distance, its late summer light held at bay only by small trees in the foreground. Church’s brushwork accentuates the sunburst with long, linear strokes that radiate from the focal point. The tiny figure riding away in his wagon, almost certainly a farmer given his white shirt and black vest and tall, wide-brimmed hat, seems both oblivious to and unaffected by the sublime, overwhelming sun-stroke and his wagon catching an unappreciated red lick of light on its side. By the late 1840s, Church was falling under the influence of the German naturalist and philosopher, Alexander von Humboldt (1769–1859), who challenged artists to travel widely from home to give witness to the world’s glories. Within ten years, Church’s massive canvasses of majestic scenes would win him glory in America and Europe. Those later paintings cudgel viewers over the head with their monumental visions; this one invites them not to ignore the transcendent present amid the normalcy of nature, on a scale any of us could hang on our wall. Like the aptly named transcendentalists, such as Ralph Waldo Emerson (1803–82) and Henry David Thoreau (1817–62), who were establishing their voices as writers in this decade, here Church wanted to illuminate the experience of awe in the nearness of the everyday in nature. Lynch Collection Index Permanent Collection Index Sanford Robinson Gifford (1823–80) The Ruins of the Parthenon, 1869–80 Oil on canvas McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2022.49 Top: Photograph of Gifford in military uniform, 1860s. Metropolitan Museum of Art, New York. Bottom: Ruins of the Parthenon, 1880. Oil on canvas, National Gallery of Art, Washington, DC. Gifford specialized in landscape, first painting scenes of the Hudson River, the Adirondacks, and the mountains of Vermont. He traveled to Europe in 1855–57, when he met and traveled with Albert Bierstadt. Gifford served in the New York Militia during the Civil War from 1861–63 (see photo). In 1868–69, Gifford made his second and last European visit, this time adding an excursion down the Nile and stops in Turkey and Greece. From sketches made at this time, he later created several important versions of The Ruins of the Parthenon, including a larger canvas in the National Gallery of Art (see image). His paintings are precise and filled with light, linking him to the luminists. The accurate detail of this painting suggests that he used photographic imagery as well as his sketches. The ruins of this still noble temple evoke comparisons of past and present. The ancient Greek civilization was widely seen as the birthplace of democracy; the enduring ruins were particularly poignant in the aftermath of the Civil War. It was one of his last works; Gifford died of malaria in 1880. In the field of philosophy, “perspectivism” emphasizes the perspectival nature of all knowing. We perceive the world from particular points of view, and do not simply experience the world in its completeness. If I see one side of a mountain, its other side is obscured. Likewise, a mountain at a distance is experienced radically differently than one that I am hiking. The categories that we use in order to interpret the world are also perspectival. To define beauty as the harmonious captures one aspect of beauty, but not what Plato named as “Beauty itself.” Frederic Edwin Church (1926–1900), The Parthenon, 1871. Oil on canvas, Metropolitan Museum of Art, New York. Sanford Robinson Gifford’s The Ruins of the Parthenon is deeply engaged with perspective. Many see this 1880 painting as a response to an 1871 one by Gifford’s friend, Frederic Edwin Church (see image). Both treat the subject of the Parthenon. Church takes a perspective from below the building, looking up at its decaying majesty central to the space of the painting. It is illuminated by sun and warm colors. Church’s ruins hark back to a nostalgia for the Athenian Empire under Pericles. Gifford, in contrast, places the Parthenon to the left of his painting, where it forms only one part of the larger landscape. In the distance, we see a mountain range, and in the immediate foreground, the tiny figure of a person near fallen stonework. The partially deteriorating Parthenon exists somewhere between the brevity of human life and the enduring mountains. Gifford’s work resituates our vision so that we can more clearly see human accomplishments as “in between.” In regarding this work in dialogue with Church’s, we are also invited to grow in our self-understanding as perspective takers and makers. Acropolis. Athens May 5th ‘69 (from the 1869 sketchbook). Graphite and chalk, private collection. Room 18 in the British Museum, where the Parthenon Marbles have been displayed since the 1960s. Gifford made several paintings, of which this is one, based on a sketch created during his visit to the Acropolis in Athens in May 1869 (see image). The artist professed they were “not…picture[s] of a building but…picture[s] of a day.”1 Regardless of his intent, the east portion of the Parthenon appears here as a relatively accurate representation of the Greek temple after it was stripped of about half of its original fifth century BCE sculpted frieze, metopes, and pediments by the Earl of Elgin and his agents between 1801 and 1812. Shipped shortly thereafter by Elgin to London, those sculptures by 1832 had become highlights of the British Museum’s collection (see image). Elgin claimed to have removed the marbles with the permission of the Ottoman Sultanate which exercised authority over Athens at the time and to which he was then British ambassador. Discussions between British and Greek officials continue to this day about whether the Parthenon Marbles were looted and should be returned to Athens, because of their cultural importance to Greece, where they could be appreciated by the public in proximity to the other Parthenon sculptures in the Acropolis Museum opened in 2009. 1. His monumental, and presumed to be his final, painting of the scene now in the National Gallery in Washington, bears the date 1880. The present work could have been completed any time after the 1869 sketch, to which it is very close in detail, and Gifford’s death in 1880. Lynch Collection Index Permanent Collection Index William Stanley Haseltine (1835–1900) Rocks at Narragansett, 1863 Oil on canvas McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2022.50 Top: Indian Rock with Two Fishermen, Narragansett Bay, Rhode Island, c. 1862–63. Ink, ink wash, and graphite on paper, Amon Carter Museum of American Art, Fort Worth. Bottom: Indian Rock, or Hazard Rock, Hazard Avenue, Narragansett, Rhode Island, August 3, 2022. Photograph: Jeffery Howe. Haseltine spent the summers of 1862 and 1863 in Narragansett, Rhode Island, painting the rocky coast. Rocks at Narragansett depicts the site known as Indian Rock or Hazard Rock. Although the name Hazard Rock derives from the prominent Hazard family, it is known to fishermen as one the most dangerous places to fish in the United States. The exact location is confirmed by a related drawing that includes two fishermen (see image). The apparent flat expanse of rock is in fact the top of an underwater cavern, and the crashing waves create treacherous currents. The name Indian Rock also evokes Native legends and loss; as early as 1767 Narragansett tribal members lamented that all the land by the sea had been taken by the white colonists. The spectacular site was used for outdoor Episcopalian church services in the 1850s. In 1880 Rhode Island lawmakers declared the Narragansett extinct, seeking to erase them from the land. Known for his precision and geologic accuracy, the artist captures a single moment and depicts the exact light of the sun hitting the rocks and reflecting off the water at that instant. Unlike his impressionist contemporaries, his work is clearly defined with a sharp realism. The eternal flux of the ocean is in tension with the seeming stasis of the rock, which nonetheless erodes with the waves. Art and science were seen as complementary by John Ruskin and many artists. Haseltine asserted that “every real artist is also a scientist, and scientists were also artists in the truest sense of the word.” Art historian Rebecca Bedell suggests that Haseltine may have been influenced by the popular public lectures on geological history given at Harvard by the now controversial scientist Louis Agassiz. Haseltine’s paintings are typical of the Hudson River school. As with most of the artists to whom this designation is applied, Haseltine established his reputation as a landscape painter. His paintings often drew from sketches of popular seaside resorts. Yet his most celebrated works were those portraying the rocky coast of New England. These “rock portraits” were geologically so precise that certain critics declared that they served both science and art. The southern coast of Rhode Island was among his favorite subjects, as in this depiction of rocks at a shore area around Narragansett. As with most of the works by artists of the Hudson River school, those of Haseltine display a close relationship with the natural elements and with the light and the configurations that bind them together. In Rocks at Narragansett it is the protrusion of the stones, appearing as though they emerged from the sea, that constitutes the primary subject. The pool splashing onto the rocks reflects the pale blue of the sky. These elements of nature—stones, water, sky—are thus bound together. The only sign of human presence in this natural setting are the sailboats far out at sea. Haseltine’s Rocks at Narragansett depicts a classic rocky New England coastline, reminiscent of scenes from this spot in Rhode Island to the famous shores of Acadia National Park in Maine. The particular rock of these cliffs is granite, the product of molten magma coalescing and crystallizing slowly, deep within the Earth’s crust about 275 million years ago. This was the time of Pangea—the great supercontinent that unified all land onto a single mass, with modern day New England sandwiched in the middle. Granite’s well-formed interlocking crystals of quartz, feldspar, and a few other minerals give granite its strength. The feldspar takes on a brownish or even pinkish hue that gives it its color. And its slow cooling history gives it the distinctive rectangular blockiness formed by uniformly oriented contractional “joints” or “sheets” in the rocks. Upon closer inspection, sometimes those cracks served as conduits for hot fluids deep in the crust that can precipitate other minerals on those surfaces, like pistachio-green coatings of epidote. Now as the cooler water of the waves sweep across these rocky shores and into those cracks, the ocean itself can precipitate crystals of salt reflecting the modern surface ocean. Meanwhile, at the bottom of the rocks, we see indications of marine life (seaweed) establishing a foothold on the rock itself, sure to last as long as sea level maintains its current place. Finally, in the distance, we see the faint outlines of sailboats, evidence of another remarkable lifeform that has left its own mark on our remarkable planet. Artists like Haseltine have the opportunity to capture the stories of fire and water and life juxtaposed in these rocks and waves. Lynch Collection Index Permanent Collection Index Frederick Childe Hassam (1859–1935) Water Hazard—Maidstone Links, 1923 Oil on canvas McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2022.51 Top: The Dome Green (Maidstone), 1923. Oil on panel, private collection. Bottom: East Course, Maidstone Club, 1926. Oil on board, private collection. When Hassam made this painting, golf courses and country clubs were relatively new features of American life, constructed with Gilded Age fortunes and shaped by a nostalgia for the landscapes of British manor estates.1 Hassam himself was an avid golfer and member of the Maidstone Club on Long Island, which he used as the setting for multiple paintings (see images). Several of these works depict women golfers, whose presence in American country clubs attracted extensive social commentary at the time. Many writers argued that country clubs provided an unprecedented degree of female autonomy.2 “It has brought our women out of stuffy houses and out of their own hopeless, aimless selves,” Munsey’s Magazine declared in 1902.3 Women’s roles in country clubs, however, remained circumscribed; when golfing, they were frequently relegated to secondary courses or allowed to play the regular eighteen holes only after proving their skill, as was the rule at Maidstone.4 Hassam’s depiction of women golfers may have been driven less by an interest in changing gender norms than by his fascination with the female form in the landscape, which he regarded as an ancient subject. The statue-like rigidity of Hassam’s golfers and their arrangement in the flattened configuration of a frieze reflect Hassam’s efforts in the 1920s and 1930s to evoke the archaic forms of the Classical world.5 His attachment to ancient culture was intertwined with what Barbara Weinberg has described as his growing “xenophobia and nativism,” according to which modernism was the corrupt product of “foreign” influence.6 By this late phase in his career, Hassam denied his obvious debt to French impressionism, and he was fond of quoting the critic Royal Cortissoz’s denigration of modernist painting as “Ellis Island art.”7 The Maidstone Club, like many country clubs at the time, provided a hospitable environment for these views, codifying them in its membership policies (Jews were first admitted to Maidstone in 1976, and the club reportedly had no Black members into the twenty-first century8). 1. James M. Mayo, The American Country Club: Its Origins and Development (New Brunswick: Rutgers University Press, 1998). 2. Mayo, American Country Club, 82–87. 3. Frank S. Arnett, “American Country Clubs,” Munsey’s Magazine 27, no. 4 (July 1902): 482. 4. Mayo, American Country Club, 99. 5. H. Barbara Weinberg, Childe Hassam, American Impressionist (New York: Metropolitan Museum of Art, 2004), 244–46. 6. Weinberg, 18 and 244. 7. Hassam quoted in Weinberg, 18. 8. For the first Jewish members, see Paul Delaney, “Discrimination Remains a Policy and a Practice at Many Clubs,” New York Times, Sept. 13, 1976, 29; Steven Gaines, Philistines at the Hedgerow: Passion and Property in the Hamptons (New York: Little, Brown, 1998), 195. For the absence of Black members, see Bruce Weber, “Members Only,” New York Times, June 14, 1992, sec. Style, 10; Peter de Jonge, “Barbarian at the Tee: An Uninvited Non-Member Plays a Round at the Maidstone Club,” New York Magazine, Aug. 18, 2005. Two women with their young caddies are enjoying a round of golf on a beautiful summer’s day. One woman has just hit her tee shot and looks at the result of her endeavor. The other patiently waits her turn, club in hand. Hassam captures the natural beauty of eastern Long Island, New York, with a small pond guarded by a thick growth of reeds in the foreground and an expanse of grass and sand in the background. The women are dressed in the bright colors and styles of the 1920s, as are the caddies. The timeless beauty of this golf course is enjoyed today in much the same way as it was a hundred years ago. With its explosion of color and visible separate brushstrokes, Water Hazard—Maidstone Links shows the strong influence on Hassam by the impressionists. Philosophical ideas about the relationship between sensation and concept formation illuminate the name “impressionism” as did Monet’s advice to students to paint what they see, not so much objects but patches of color, which we see enacted in Hassam’s work. Immanuel Kant (1724–1804) argued that we take in raw sensation, for example, patches of color rather than fully formed objects, and only come to “see” things as distinct and three-dimensional objects by processing them, placing them in space (and time) and organizing them under concepts using reason. Moreover, Kant thought that the experience of pleasure in beauty is in the “play” of imagination and reason, using reason but not to organize impressions into fully formed defined objects, but rather to reflect back on the subject who sees and experiences. Hassam presents impressions of the scene on the links before they are turned into full-fledged objects, giving access to the naive sensations before they are processed. The grassy foreground is composed of disaggregated spots of color, while in the distance the color is blended into larger patches. According to Kant reason tells us that the grass we see in the distance is like the grass we see up close, that it is not really a single carpet of green but composed of multiple colors, but what we actually see, the sense impressions, in the distance is different from what we see up close, and this difference is what Hassam depicts. It is a new way of seeing that is both more “realist”—what we “really” see—and more “subjective”—about what is going on in the viewer’s mind, that brings us the pleasure in sensation itself, which is normally lost in the structuring and rationalization of experience. Hassam paints a very ordinary scene from his present, not from history or allegory. Although playing golf requires wealth and privilege, he depicts the people here as ordinary, wearing basic golfing attire. It is a “modern” scene, where the women are playing the sport, attended by male caddies. Kant thought that we have to place the onslaught of sensation into three-dimensional space as well as into the sequence of time. This painting is of an unremarkable moment in time abstracted from any sequence without any evocation of a larger narrative. Nature rather than people was the most common impressionist subject, but here Hassam blends the people into the landscape. The landscape is not there to show them but vice versa. Hassam seems to have chosen to depict the people as “wooden” in an attempt to access sensation freed from concepts and three-dimensionality. In ordinary experience, visual data is subsumed under concepts—man, woman, male, female—and the visual details fade into that whole. We only see one side of an object and reason supplies the sides and the back, their three-dimensionality. Hassam brings us back to the experience of the human figures as bright and vibrant patches and dabs of color, flat rather than rounded. He focuses on the surface and patterns on their clothing, rather than on their depth. The depiction of the players is detached and also takes steps toward abstraction as they are rendered as shapes and patterns, and as elongated and still. The movement in the painting comes from the beautiful grasses on the shore on the bottom right that bend in the breeze. Lynch Collection Index Permanent Collection Index Frederick Childe Hassam (1859–1935) Spring Flowering Trees, c. 1900 Oil on canvas McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2022.52 Apple Trees in Bloom, Old Lyme, 1904. Oil on panel, private collection. Trained in Boston, first as a wood engraver and then as a watercolor painter, by 1883 Hassam established himself in a studio on Tremont Street as a painter of city views and landscapes in the thickly painted style of the French Barbizons. Popular with American collectors, Barbizon artists like Jules Dupré (1811–99), focused on rural scenes (see his painting Landscape with Woman in Red displayed on this floor). From 1886 to 1889, while living in Paris and studying at the Académie Julian, Hassam began to blend impressionist brushstrokes with more solid figures. In 1889 he relocated his studio to New York, but to escape urban life traveled during the spring and summer months to various New England coastal towns, where he often indulged his lifelong attraction to painting the transient beauty of the natural world. Blossoming trees were a recurrent motif throughout his career, affording Hassam the opportunity to capture with impressionist brushstrokes flickering light on the flowers. In the present work, as in Apple Trees in Bloom depicting the foliage in front of his studio in Old Lyme, Connecticut (see image), he places an older, sprawling tree behind a more vital younger one, a juxtaposition interpreted by scholars as conveying the nostalgia for the past and optimism for the future prevalent among Americans at the beginning of the twentieth century.1 1. Susan Larkin, “Hassam in New England,” in Childe Hassam, American Impressionist, ed. H. Barbara Weinberg (New York: Metropolitan Museum of Art, 2004), 157. This painting is a luscious, cotton-candy depiction of flowering spring trees. It might be too “pretty” except that Hassam’s composition feels like a spontaneous and momentary glance, not “composed” in a classical sense. The large tree in the background is cut off at the side and top. It almost looks like it grows out of the tree in the foreground, and the composition is overbalanced on the left. Invoking the German philosopher Immanuel Kant’s (1724–1804) ideas that the placement of sensations into three-dimensional space and the distinction of objects from one another are the work of reason and not given in sensation or imagination, Hassam makes us observe the way our mind “corrects” the painting, realizing two distinct trees, one behind the other by some distance. Everything but the blossoms is dark and indistinct. If Hassam’s Water Hazard—Maidstone Links emphasizes an objective “just-the-sensations” where people are patches of color in the landscape, Spring Flowering Trees emphasizes the subjective experience of seeing the blooming tree. The tree takes over the painting so that we experience the joyful shock of the trees dressed in their temporary spring flowers. The painting displays the fleeting moment of full spring in ways we do not ever actually “see” it but captures how we “see” it subjectively. So while in the Maidstone Links painting nearby, objects are patches of color, disintegrated into what we “objectively see,” here the focus is blurred and the colors blended, presenting the trees in a single subjective flash of beauty and joy. Hassam captures the pleasure of seeing for and in the subject, Kant would say, conveying the essence of the experience such that we can almost smell the flowers. Lynch Collection Index Permanent Collection Index Martin Johnson Heade (1819–1904) Orchid and Hummingbirds near a Mountain Lake, c. 1875–90 Oil on canvas McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2022.54 Inspired by Heade’s travels in Brazil during the 1860s, this painting was equally shaped by the art market that he encountered upon returning to the United States. In a competitive field of American landscape painting that was dominated by better-known contemporaries such as Frederic Edwin Church (1826–1900), Heade needed to find ways to stand out.1 Idiosyncratic views of foreign flora and fauna provided him with a commercially viable path. Heade’s tropical subject matter differentiated him from competitors, but what truly distinguished him was a compositional innovation: juxtaposing detailed studies of orchids and hummingbirds with distant vistas, he created a radical separation between foreground and background. The combination of micro and macro scales allowed Heade to incorporate the conventions of natural history illustration and landscape painting into something that transcended both traditions, turning birds and plants into dramatic actors on an exotic stage. Hummingbirds and Orchids, c. 1875–90. Oil on canvas, Detroit Institute of Arts. Though set in nature, these scenes were carefully constructed products of the studio. The orchid in this painting, for example, was transposed from Heade’s stock repertoire of plant studies, which he repeatedly inserted into compositions either by tracing or through another means of mechanical transfer.2 Heade’s Hummingbirds and Orchids in the Detroit Institute of Arts (see image) contains a blossom that matches this one in almost every detail. In fact, the same orchid is present in at least twenty-one of Heade’s paintings—a number that testifies to the commercial success of these works (which may explain the artist’s need for expedient production methods).3 1. For Heade’s efforts to establish a market for himself while in the shadow of Church, see Maggie M. Cao, “Heade’s Hummingbirds and the Ungrounding of Landscape,” American Art 25, no. 3 (2011): 48–75. 2. Karen E. Quinn, “Passion Flowers,” in Martin Johnson Heade, ed. Theodore E. Stebbins (Boston: Museum of Fine Arts, 1999), 113; Theodore E. Stebbins, The Life and Work of Martin Johnson Heade: A Critical Analysis and Catalogue Raisonné (New Haven: Yale University Press, 2000), 94. 3. Quinn, “Passion Flowers,” 113. This painting is one in a series of hummingbird and orchid paintings that Heade produced between about 1875 and 1890. Painted more than a decade after his trip to Brazil in 1863, Heade pairs the flowers and birds in an imagined tableau synthesized from earlier sketches (see image), memory, and perhaps external sources. In these fanciful paintings, Heade is free to depict his subjects in a variety of lively poses and to fill the scenes with luminous and saturated color. Top: From Heade’s Brazilian Sketchbook and Journal, 1865. Museum of Fine Arts, Boston. Bottom: Passion Flowers and Hummingbirds, c. 1870–90. Oil on canvas, Museum of Fine Arts, Boston. The orchid is a ruby-lipped Cattleya. Cattleya is a genus of tropical South American orchids that are epiphytic (growing on other plants). They are not parasites, however, deriving their nutrients from the air, rain, and dust that fall on them. Like the hummingbirds, the orchids “travel” by flight, their microscopic seeds floating from tree to tree. This orchid variety is known for its large, showy flowers. Christopher Clark, associate professor of evolution, ecology, and organismal biology at University of California Riverside, identifies the top bird as possibly a black-throated mango and the bottom as a black-eared fairy. Heade probably mistakenly thought the two were from the same species. Clark also notes that while Heade paints the birds with six tail feathers on either side, all hummingbirds actually have two sets of five. Heade painted many dozens of similar scenes, most often with varieties of Cattleya orchids, but also several featuring passion flowers (see photo). In these scenes he portrays tropical jungles emerging from gray mist which all but obscures the mountains. These atmospheric effects emphasize the depth of view, setting off the vibrancy of the birds and flowers. Lynch Collection Index Permanent Collection Index Martin Johnson Heade (1819–1904) Two Green-Breasted Hummingbirds, c. 1863–64 Oil on canvas McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2022.53 John Gould and H. C. Richter, Discura longicauda from Monograph of the Trochilidae, or Family of Hummingbirds, 1861. Hand-colored lithograph. This painting is the only confirmed surviving study from The Gems of Brazil series, a group of twenty compositions that Heade planned to publish in a volume devoted to hummingbirds.1 Heade developed the concept for the project in 1863 during his trip to Brazil, where he secured at least sixty subscribers for the publication and received the endorsement of Emperor Dom Pedro II.2 But when Heade left Brazil for London the next year, he struggled to find additional funding for the work. London presented increased competition: John Gould’s Monograph of the Trochilidae, or Family of Hummingbirds had just been completed in 1861, and it contained ample illustrations of the same subjects (see image). The growing British expectation of verisimilitude in natural history illustration also may have clashed with Heade’s fanciful style. Seeking to imply narratives of domestic unity through his avian models, he tended to present pairs of hummingbirds cohabitating near nests with eggs, but he conceded that he had never observed such a moment in real life.3 Perhaps the greatest obstacle that Heade faced was technical. Working with British publishers, he attempted to reproduce his paintings with chromolithography, but the process was costly and did not capture the subtlety of his original colors. A test print of this painting reveals some of the difficulties (see image in entry below). While the colors are vibrant, they notably diverge from those in the original painting, and they show signs of having been retouched by hand, which would have represented an additional expense. Dispirited by these setbacks and out of money, Heade soon gave up his ambition to create his “large and elegant album.”4 1. Theodore E. Stebbins, The Life and Work of Martin Johnson Heade: A Critical Analysis and Catalogue Raisonné (New Haven: Yale University Press, 2000), 284, cat. no. 333. 2. Stebbins, 64. 3. Stebbins, 76. 4. Stebbins, 75. Brazilian Hummingbirds II, c. 1863–64. Chromolithograph, touched with oil, Museum of Fine Arts, Boston. One of the four lithographs produced by M. & N. Hanbart. In the late nineteenth century, artists and naturalists alike turned their attention to the tropics. Charles Darwin’s On the Origin of Species (1859) was written largely from observations in the Galápagos Islands. South America and the Pacific Islands were seen as laboratories in which evolution would be either proven or debunked. At the time, the practice of natural history focused on the discovery and cataloguing of animal and plant species. Popular illustrated works catalogued flora and fauna by type and region, modeled on Audubon’s successful Birds of America (1827–38). In this context, Martin Johnson Heade undertook a voyage to Brazil in 1863 with the intent of depicting every South American hummingbird in a book of lithographs to be called The Gems of Brazil. Heade spent almost a year and a half in Rio de Janeiro collecting and painting specimens, sending many of his designs to the London lithography studio M. & N. Hanbart. Heade was disappointed, however, with the quality of Hanbart’s reproductions, particularly the dullness of their color. As a result, the printers produced only four finished lithographs before Heade abandoned the project (see image). Two Green-Breasted Hummingbirds is one of about two dozen paintings Heade made while in Brazil preparing The Gems of Brazil. These works show the birds either perched in profile or facing forward with wings extended; Heade was not concerned with capturing motion so much as clearly depicting the distinguishing features of the species. The jungle and mountain setting is likely a fabrication, though perhaps based on Heade’s travels to the Serra de Tijuca mountain range. Lynch Collection Index Permanent Collection Index Winslow Homer (1836–1910) Grace Hoops, 1872 Oil on canvas McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2021.16 Jean-Baptiste-Siméon Chardin (1699–1779), Soap Bubbles, 1733–34. Oil on canvas, Metropolitan Museum of Art, New York. This charming image of two girls playing a game in the late afternoon or early evening is one of Homer’s most engaging depictions of youth on the cusp of adulthood, including paintings of games of croquet played on the lawn of his father’s house in Belmont, Massachusetts, in the 1860s. Homer followed then-contemporary ideas of gender; these girls are graceful and genteel, unlike the rough-and-tumble boys playing Snap the Whip (1872). The jeu des graces was a game invented in Europe in the early nineteenth century. Players try to pass and catch a circular hoop with two sticks, making graceful poses. Play is often a rehearsal for adulthood, and the striving for the ring may signify the desire for marriage or success in life. The hoop is suspended high in the air, with the girl on the right poised to catch it. The passage of time is embodied in this frozen instant, and temporality is also implied by the shadowed time of day, the age of the young women, and the flowers (including bachelor buttons) that surround them in the garden. Like Chardin’s Soap Bubbles (see photo), it is one of many images of the fleeting nature of childhood, a traditional vanitas theme. A wooden ring hangs in the air, paused in its flight between two young women. They are engaged in the “game of graces,” a popular form of nineteenth-century recreation in which players tossed and caught a hoop using a pair of handheld rods. The game, which had arrived in the United States from France, was said to encourage girls to move gracefully.1 The title of this painting clearly refers to the game, but it may also have been an allusion to the name of the woman in black. She is thought to be Grace Barrett Valentine, who owned Homer’s preliminary sketch for this work (see image), and her brother-in-law, Lawson Valentine, may have purchased the final painting.2 Grace Hoops, 1872. Oil on canvas, Carnegie Museum of Art, Pittsburgh. Encouraged by affluent patrons such as the Valentines (owners of a major varnish and paint factory in Boston), Homer increasingly painted such scenes of childhood leisure in the 1870s, turning away from the national strife that had been a recurring theme of his work as an artist-reporter during the American Civil War. Even when representing seemingly anodyne subjects, however, Homer maintained the precision and temporal specificity that had established the credibility of his journalistic work. In a period when lengthy photographic exposure times precluded split-second snapshots, Homer’s paintings conveyed a feeling of arrested animation that no camera could achieve. The hard-edged instantaneity of this composition saves it from mere mawkish sentimentality. Homer clearly delights in the fact that the airborne ring suggests a halo above the figures, but he is equally attentive to the physics of the object, refusing to transform it entirely into a saccharine symbol of angelic femininity. 1. For an instructive description, see Lydia Maria Child, The Girl’s Own Book (New York: Clark Austin & Company, 1833), 105–6. 2. Lloyd Goodrich, Record of Works by Winslow Homer, ed. Abigail Booth Gerdts (New York: Spanierman Gallery, 2005), 2:181–83. Lynch Collection Index Permanent Collection Index George Inness (1825–94) In the Evening, 1866 Oil on canvas McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2022.55 Winslow Homer (1836–1910) Veteran in a New Field, 1865. Oil on canvas, Metropolitan Museum of Art, New York. A major figure in the Hudson River school, Inness was one of many artists and writers influenced by the teachings of Emanuel Swedenborg, the eighteenth-century Swedish mystic. A fundamental principle of Swedenborgianism is that everything in nature corresponds to a spiritual reality. Romantic artists easily extended this mirroring principle to use nature as a vehicle for emotion and symbolic content. Whether realistic or abstract, the artist’s marks on canvas can convey ideas or feelings. The fresh naturalism and broad brushstrokes of this dark and moody landscape also reveal the influence of the French Barbizon school. Seeking simplicity and unity of effect, Inness rejected “elaborateness in detail” as it “did not gain me meaning.” Like James McNeill Whistler, Inness painted from memory to help simplify his forms. This quiet and intimate landscape reflects Inness’s meditative vision of American nature, particularly significant as a restorative in the aftermath of the Civil War. A seated hunter, perhaps a veteran, cradles a gun on his lap in a shadowy glade as he rests at the end of the day. The subtlety of this work contrasts with the more explicit call for peace in Winslow Homer’s Veteran in a New Field of 1865 (see photo). Although he was unable to enlist due to poor health, Inness paid soldiers who joined the Union cause in his stead. An otherworldly light suffuses a clearing in a dense wood, where a hunter rests on a log. Without any sky visible in the scene, it is difficult to determine the time of day. The black void on the other side of the stream suggests the darkness of night, yet the trees and grass glow with an eerie vibrancy. Near the Delaware Water Gap, c. 1866. Oil on canvas, private collection. Such supernatural effects became increasingly important to Inness’s work in the mid-1860s, when he worked within a small community of artists and writers in Eagleswood, New Jersey. Influenced by the painter William Page (1811–85), Inness began to explore Swedenborgian theology, according to which the visible world constituted a veil over the spiritual realm.1 Building on these ideas, Inness sought to move beyond the empirical study of nature, attempting instead to reveal a divine essence that lay outside of ordinary sensory perception. The cultivated strangeness of this scene becomes especially apparent when we compare it with a smaller preparatory study that Inness produced for it (see image).2 While the study presents a naturalistic representation of a shady wood, the final painting establishes a tension between light and dark that charges the landscape with a paranormal atmosphere. 1. Michael Quick, George Inness: A Catalogue Raisonné (New Brunswick: Rutgers University Press, 2007), 1:175–76. 2. Important American Paintings, Drawings and Sculpture, Christie’s, New York, Thurs., Dec. 2, 2004, lot 38. Identified as a likely study for In the Evening in Quick, George Inness, 1:266. Lynch Collection Index Permanent Collection Index John Frederick Kensett (1816–72) On the Beverly Coast, 1865 Oil on canvas McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2021.21 Top: Mingo Beach, Beverly, Massachusetts, March 11, 2022, at low tide. Photograph: Jeffery Howe. Bottom: Bash-Bish Falls, Massachusetts, 1855. Oil on canvas, Museum of Fine Arts, Boston. John Frederick Kensett was a leading luminist artist, influenced by nineteenth-century Transcendentalism. His precise and accurate style was shaped by his early training as an engraver. This almost abstract vision of the rocky shore of Beverly, Massachusetts, depicts the Atlantic Ocean and horizon cloaked in a luminous mist. This evanescent realm of light and color is balanced by the harsh clarity of a rocky promontory with low trees at right. The stilled sea and split rocks have an elegiac undertone of calm after a storm, perhaps a metaphor for the end of the Civil War and desire for peace. The golden light of the distant sea also suggests a hope for freedom, transcending the burdens of earthly life. Beverly was a popular summer resort at this time, called by some the “Riviera of Massachusetts.” Kensett often sketched at the nearby summer estate of Charles Greeley Loring, later trustee and director of the Museum of Fine Arts, Boston, and completed more than twenty paintings of the area. Loring’s estate (now demolished, near the site of Endicott College) faced a trio of beaches, one of which has an intriguing history. According to local historians, Mingo Beach (see photo) was named for Robin Mingo, an African American or Native American enslaved person owned by Thomas Woodberry. Legend has it that Mingo was promised his freedom if a rare low tide ever made it possible to walk to a distant off-shore rock, an event that unfortunately only occurred in the year he died (1748). A further association of this locale with themes of freedom is found in the tradition that this beach was used as an escape route for those accused of witchcraft in nearby Salem; a local path is still called Witches Lane. Kensett chose scenes that were not only visually and geologically interesting, but had historic resonance. He painted Bash-Bish Falls in the Berkshires several times; the Falls were named for a Native American woman named Bash-Bish who had been condemned to death at that site (see image). Early in his career Kensett traveled extensively in Europe, moving between London and Paris and settling for a period in Italy. When finally he decided to return to the United States, he expressed his desire in these words: he wanted “to get amid the scenery” of his own country, for, as he said, “it abounds with the picturesque, the grand, and the beautiful.” Upon his return, he set about painting scenes of the marshlands of coastal New England, as well as landscapes along the Hudson River, at Niagara Falls, in the Catskills and the Adirondacks. He established his reputation as the master of American luminism, a style that emphasizes smooth, seamless surfaces of light. Kensett alludes to a kind of luminism in a journal entry that reads: “the simplicity of strength and knowledge.” This expressionism is exemplified in a work such as On the Beverly Coast. In this painting much of the surface depicts water and sky; the work displays such simplicity that only the slightest shading betrays the division between sea and sky. A sense of strength is conveyed by the rocks, which are securely anchored. One can readily imagine that arboreal figure that backs them is a tree of knowledge, toward which the two human figures at the extreme right appear to be walking across a stony ledge, its color mirroring that of the large stone in the foreground of the painting. Lynch Collection Index Permanent Collection Index Fitz Henry Lane (1804–65) View of Gloucester Harbor, 1858 Oil on canvas McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2021.20 Top: Fitz Henry Lane house, Gloucester, Massachusetts, 1848–49. Bottom: Gloucester Harbor from Rocky Neck, March 25, 2022. Photographs: Jeffery Howe. Although a leading luminist painter, the artist’s name has been confused by historians. Born Nathaniel Rogers Lane in Gloucester, Massachusetts, in 1804, he legally changed his name to Fitz Henry Lane in 1831. In the twentieth century he was mistakenly identified as Fitz Hugh Lane, although recent discoveries have corrected this. In 1832 he moved to Boston, where he was influenced by the work of Robert Salmon and practiced the relatively new art of lithography. In 1848 he moved back to Gloucester to a house he designed with a top floor studio for panoramic views of the harbor (see photo). Lane was paralyzed as a child, probably by infantile polio, and was obliged to use crutches. Nonetheless, he became one of the most skilled maritime artists of his time. His style was very precise and detailed, leading to speculation that he may have used a camera lucida, an optical device for projecting images. View of Gloucester Harbor shows the outlook from a small promontory on Rocky Neck, with the distinctive Black Rock Spindle navigational aid in the foreground. Rocky Neck became the site of a vibrant artists’ colony that persists to this day. A variety of large vessels and smaller craft attest to the success of the fishing port. The soft glow of the sky veils the cityscape in the distance, and is reflected on the still surface of the harbor. The silhouette of the Spindle and the clearly defined ships in the middleground create visual interest against the backdrop of a thriving coastal community. Fitz Henry Lane depicts sunset glow on the sails and water of busy Gloucester Harbor, north of Boston, before the Civil War. This painting captures not just the end of a day, but of an era. Eighteen-fifty-eight was one year before entrepreneurs began pumping petroleum from beneath northwest Pennsylvania, in a commercial and scientific development of world significance. Coal-powered steam engines had already begun to remake transportation. Within decades, commercial sailing vessels would all but vanish: by World War I, most working boats ran on coal or oil. Gone, too, the wooden cage-like structure in the foreground, a post lantern, one of many marking rocky outcrops and channel openings in harbors such as Gloucester. Fueled by whale oil and later kerosene, post lanterns became obsolete in an era of electrical illumination. This image of calm waters portrays a world about to be upended not only by the cataclysm of wa
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]	null	[]	null			//www.rollins.edu/images/favicon.ico		https://www.rollins.edu/rma/collection/american-art/	Ivan Le Lorraine Albright occupies a unique place in the history of American art. From an artistic family, he at first resisted becoming an artist before realizing that he had both talent for and interest in painting. His paintings, which are usually classified as “magic realist,” frequently depict weighty and macabre themes, including death, aging, and the inevitable decline and decay of the body, which he regarded as a prison for the soul. He worked meticulously and over a period of months or even years, building elaborate sets to stage his haunting compositions. His titles—long and poetic—usually emerged after the paintings were finished, once he truly understood what they were about. This lithograph was commissioned by Associated American Artists, a gallery which catered to a middle-class audience largely by selling prints made by famous painters. It is based on a similar painting entitled I Walk To and Fro through Civilization and I Talk as I Walk (Follow Me, the Monk) (1926-7, Art Institute of Chicago). It depicts Brother Peter Haberlin, an octogenarian Franciscan friar who was regarded as the last link between the old California missionaries and the modern friars. In the print—as in the painting—the influence of Old Masters, in particular El Greco and Francisco de Zurbarán, is evident in the monk’s flowing, voluminous robes and the flickering quality of the light. Though light streams in through an open window, the monk’s body also glows with an inner light, emphasizing his simple holiness. Francis Alexander was twenty-five when he painted Mary Ann Duff. At the peak of her career, Duff was considered as fine a tragic actress as the earlier renowned English actress Sarah Siddons (immortalized as the "Tragic Muse" by Sir Joshua Reynolds in 1783). Though born in England and first appearing on stage as a dancer in Ireland, Duff was thirty and living in New York when this painting was completed. Largely forgotten now, it has been argued that Duff should rightly be considered the first First Lady of the American Stage, having received her theatrical training solely in America. This painting predates Alexander's travels in Europe, where he would study the great monuments of art and refine his technique. Though produced early in his career in an almost naïf style, Alexander’s likeness captures the vivacious nature of the actress as she looks out of the canvas with sparkling eyes and rosy cheeks. Great care has been taken in rendering the texture and patterning of the drapery that covers her chair and falls over and around her arm. Mary Ann Duff would have been conscious of her rising status on the American stage. A portrait such as this might have been commissioned in a self-conscious attempt at mimicking the habits of respectable American society. Remembering that actors in the nineteenth century were not accorded the high social status in America that they enjoy today, Miss Duff would have been eager to present herself as a reputable lady of society. Her apparel raises more questions than it answers. She appears to be wearing a scholar's cap, and the high, starched, lace collar is not in keeping with contemporaneous fashions. It is possible that she has chosen to be portrayed in the costume of a favorite character. Unfortunately, there is little in the way of records for this important personage of American theatrical history. This portrait of Annie Russell, after whom Rollins’ theater is named, dates from early in both her career and in that of the painter, John White Alexander. Alexander, an orphan from Pittsburgh, got his start as an illustrator for Harper’s and other magazines in New York. Like many artists of his generation, Alexander studied in Europe, spending time in Munich and Polling, in Bavaria, as well as Venice. While in Venice he met fellow American James Whistler, who was there to create etchings of the city’s famous architecture and canals. Whistler, one of the foremost proponents of the idea of “art for art’s sake,” would have a profound influence on Alexander, who returned to New York in 1881 and almost immediately established himself as one of the city’s premier portrait painters. Soon after he executed this work Alexander became well known for his purely aesthetic depictions of women, and this painting is one of his last commissioned portraits. Russell, who is depicted with her back mostly turned to the viewer, is an excellent early example of this tendency in his work. Her long, lean form is contrasted with the smooth roundedness of the vase, and the pink blooms of the flowers seem to reach around her, drawing her in as another of the aesthetic objects in the room. Her costume—from a light fairy comedy by W.S. Gilbert—enhances the effect by taking her out of everyday time and space and into a realm of purest fantasy. Alexander painted at least one other portrait of Russell, and she owned this one throughout her long life. Born in Washington, D.C., John Taylor Arms studied architecture at Princeton University, working as an architect in New York City before serving in World War I. After the war he gave up architecture in favor of etching, which he had been practicing as a hobby—his wife, Dorothy, gave him his first etching kit as a Christmas gift. A deeply religious man, Arms was particularly attracted to the Gothic ecclesiastical architecture of Europe, embarking on frequent trips with Dorothy to visit churches and cathedrals in France, Spain, Italy, and England. He typically spent several hours to several days making drawings of each site, which he then translated to etching plates at his home studio. This print is typical of Arms’s early work, in which he sought to create picturesque views of the vernacular architecture and daily life that had grown up around the churches and cathedrals he depicted. He enjoyed the contrast in uses, scales, and eras that such a framing produced, feeling that it highlighted the enduring power and grandeur of the Gothic buildings. Here the cathedral in Amiens, in Northwest France—built from 1220-1270—towers over the surrounding city, its grandeur highlighted by the almost wispy faintness of the lines Arms uses to depict it. Two peasants are engrossed in conversation in the foreground, suggesting that this exquisite structure is part of everyday life, a fact which Arms found immensely appealing. This etching, which depicts the Church of Santa Maria Major in Ronda, Spain, indicates the evolution of Arms’s work after 1927-28. Abandoning the picturesque views incorporating local scenery that had characterized his early work, Arms began instead to depict churches and cathedrals as standalone structures. He believed this allowed the buildings to better stand on their own, reflecting their full majesty and importance. The church, officially dedicated by Ferdinand and Isabella after the culmination of the Reconquista, incorporates Islamic elements, particularly in the minaret tower (leftover from the local mosque) which Arms highlights in this print. The vertical format of the piece emphasizes the tower’s sharp verticality, while the use of negative space effectively evokes the white stucco walls of the relatively unassuming exterior. The sharp, crisp linearity of the scene also evokes the sunny environs of Andalusia, the Southern Spanish province in which Ronda and its church are located. D.F. Barry is best known for his portraits of Native American chiefs, warriors, scouts, and women. Often called the “shadow catcher,” Barry captured iconic images of life in the American West. To contemporary viewers from the eastern United States and Europe, his images portrayed a new world they had never seen, allowing his cabinet card photographs to sell in large numbers and quickly. Chief Rain in the Face, the leader of the Lakota Tribe, fought alongside Chief Sitting Bull to defeat Colonel George Custer at the Battle of Little Big Horn. Chief Rain in the Face is photographed in his eagle-feather headdress holding a stone-head club and peace pipe. D.F. Barry’s photos have become iconic symbols of important figures and of what life was like in the Western Frontier. Through his images he has been able to give a glimpse into past moments in time. The American painter, printmaker, and illustrator George Bellows is best known for his depictions of semi-legal boxing matches and New York City street scenes. Though slightly younger than most of its members, these subjects—as well as his commitment to leftist politics—made him a natural fit with the Ashcan School, the group of painters loosely associated with artist and teacher Robert Henri who depicted everyday life in American cities during the first decades of the twentieth century. Bellows—who died at the age of only 42 after a ruptured appendix—was an innovator in fine art lithography. He worked with master lithographer Bolton Brown to develop a wide range of custom lithographic crayons, which allowed him to achieve much more nuanced atmospheric effects than had previously been achieved in lithography. This print depicts an evening at Petipas, a popular French restaurant at which the Ashcan artists frequently gathered. The white-bearded standing figure is Irish portrait painter John Butler Yeats (father of poet William Butler Yeats). He speaks with mustachioed Robert Henri, while the balding Bellows leans in behind them. The seated, stylishly dressed woman is Bellows’s wife Emma. She gazes confidently out at the viewer, drawing them into the warm, collegial scene. It is striking that Bellows included her front and center in this view of his intellectual and artistic world, indicating her centrality to his creative process. Born in Salem, Massachusetts, Frank Weston Benson spent the majority of his life in and around Boston. He studied at the School of the Museum of Fine Arts and—along with his classmate Edmund Tarbell—was a long-tenured and popular teacher and administrator at the school. Along with fellow painters including Tarbell, John Henry Twachtman, and Childe Hassam, Benson was a founding member of The Ten, a group of American painters—many of whom were influenced by French Impressionism—who rebelled against the conservatism of the American art establishment of the late nineteenth century. Despite this antiestablishment affiliation—or perhaps because of it—Benson remained a beloved teacher at the School of the Museum of Fine Arts until his retirement in 1913. Though Benson is best remembered as an artist of sporting scenes, he was also an accomplished and widely respected landscape painter. This painting was made at Wooster Farm, his family’s property on North Haven Island, the same location where he created many of his most iconic sporting pictures. It depicts a pond Benson had dug for his wife, Ellen, who planted it with waterlilies. In 1921, shortly before completing this work, Benson—who was in search of a new way to depict outdoor scenes—had begun experimenting with watercolors, becoming quite prolific in the medium. His experimentation also impacted his oil paintings, as he developed a looser and more aqueous application of paint. That influence is evident here in the free, even smeary quality of the paint. His adoption of the waterlily, one of the most quintessentially Impressionist subjects, shows his continuing engagement with the style, which he had adopted seriously after joining the Ten American Painters in 1898. Born in Salem, Massachusetts, Frank Weston Benson spent the majority of his life in and around Boston. He studied at the School of the Museum of Fine Arts and—along with his classmate Edmund Tarbell—was a long-tenured and popular teacher and administrator at the school. Along with fellow painters including Tarbell, John Henry Twachtman, and Childe Hassam, Benson was a founding member of The Ten, a group of American painters—many of whom were influenced by French Impressionism—who rebelled against the conservatism of the American art establishment of the late nineteenth century. Benson was best known as a painter, but he was also an accomplished and prolific etcher, picking up the medium only in 1912, long after he had made his name as a painter. This image, depicts a working man moving a recently harvested log downriver for processing. Benson frequently traveled along the coast and in the interior of Maine, where he likely made the drawing that inspired this image. Its spare use of line and correspondingly large amounts of negative space reflect the influence of James Whistler, while the workaday subject and fresh, almost sketchy immediacy are reminiscent of Impressionism. Benson was an avid sportsman who was first inspired to paint at the age of sixteen after shooting a snipe and a rail in the salt marshes near his Essex County, Massachusetts home. Early in his career, he used the prize money from an exhibition to finance the purchase—along with two of his brothers-in-law—of a small hunting cabin in Eastham, on Cape Cod. Later, he would frequently travel to the island of North Haven in Maine’s Penobscot Bay, where he found the inspiration for most of his outdoor scenes. It was at his farmstead there that he took up etching in 1912—he had experimented with it in his student days but left it behind as he established his career as a painter. This inaugurated a remarkable second career as perhaps America’s foremost producer of bird prints, helping to establish it as a standalone genre. Though he had been inspired by the ornithological illustrations of John James Audubon early in his life—aspiring to a career as an illustrator as a teenager—Benson’s etchings are very different from Audubon’s highly detailed and rigidly posed illustrations. Befitting his interest in Impressionism, Benson prefers to represent his birds in motion, especially in flight. Rather than aiming for anatomical precision, he emphasizes the evanescent qualities of light and air, as well as the light liveliness of the birds themselves. As in Log Driver, Benson demonstrates in this and his other wildlife prints a mastery of negative space, using expanses of white to represent the calm placidity of the New England water, which stands in marked contrast to the bold dynamism of the geese. Thomas Hart Benton, along with John Steuart Curry and Grant Wood, was a foremost artist of the Regionalist movement in the United States. Championing a figurative style indebted to earlier twentieth century modernism and the public art of the Mexican muralist movement, Benton was a loud, even combative, voice for the depiction of distinctively American subjects in a distinctively American style. A longtime resident of New York, he famously left it in 1935 to return to his native Missouri, where he had been commissioned to paint A Social History of Missouri, a series of murals in the state capitol in Jefferson City. Benton taught at the Kansas City Art Institute from 1935 to 1941, when he was fired for criticizing the closely affiliated Nelson-Atkins Art Museum. This print is based on a painting of the same name (1941, Pennsylvania Academy of Fine Arts) which was made as a classroom demonstration during his last year as a teacher. It depicts Ben Nichols, an eighty-two-year-old former slave who Benton has transformed into the Biblical figure Aaron, older brother of Moses. Aaron’s lined face and downcast eyes transmit a solemn dignity, while the busy mustache and crinkle of the mouth convey the sitter’s individual personality. This print was issued in edition of 250 by the Associated American Artists, a company which sold fine art prints by noted American artists for the low price of five dollars, thereby greatly expanding the audiences of artists like Benton, who was an early champion of the company. Born in Russia, Eugene Berman fled the Russian Revolution with his brother Leonid (also a painter), emigrating to Paris in 1918. There he formed the core of the Neo-Romantic movement along with fellow Russian Pavel Tchelitchev and Frenchman Christian Bérard. Berman gained particular renown as a set designer for ballets and operas, where he was known for taking liberties with historical settings in favor of his preferred aesthetic, which emphasized the stark grandeur and mysterious light of ancient ruins, as well as a preoccupation with the macabre. He moved to New York in 1935, becoming one of the most important designers for the opera and theater there, including doing work for the New Ballets Russes under Colonel Wassily de Basil and the Metropolitan Opera under Rudolf Bing. This watercolor and ink drawing is a conceptual sketch for a proposed staging of Felix Mendelssohn’s Symphony No. 4 in A major, commonly called the Italian, which was to be produced by de Basil and choreographed by the dancer and choreographer David Lichine. The ballet was never staged, but the drawing remains as a fine example of Berman’s creative process, demonstrating how he would have translated the symphony. The blotchy smears of the watercolor help to unify the grand proscenium of the stage with the set design, which includes a tilting, ruined flag and moldering ruins. The symphony itself is considerably more lively than Berman’s rendering suggests, indicating the influence his Neo-Romantic sensibilities had on his set designs. Albert Bierstadt, who is best known for his monumental depictions of American scenery, was, like many artists of his generation, trained abroad. When he arrived in Düsseldorf, Germany in 1853 to study at the famed Kunstakademie there, his fellow Americans Worthington Whittredge and Emanuel Leutze were so unimpressed with his talent that they doubted he would make it as an artist. Undeterred, Bierstadt disappeared for a summer of sketching along the Rhine River and in the Hartz Mountains. Upon his return to Düsseldorf, Bierstadt’s improvement was apparently so marked that Whittredge, Leutze, and several other artists were compelled to send a letter to a newspaper in Bierstadt’s hometown of New Bedford, MA, swearing that the works the painter was sending back were his own, and not those of Andreas Achenbach or another German artist. After a few years in Düsseldorf and traveling throughout Europe, in particular the Alps, Bierstadt returned to the United States with a plan. Securing a position on the surveying expedition commanded by Colonel Frederick W. Lander, Bierstadt turned the fine eye for detail he had honed in Germany on the scenery of Nebraska and Wyoming. He sent a voluminous correspondence detailing his adventures to eager readers back East, ensuring that there would be a strong market for his work upon his return. Though he is best known for his highly finished large-scale compositions, this and similar sketches reveal his sensitivity to effects of light and atmosphere, and his ability to capture people and animals, as well as forbidding mountain peaks. Bierstadt used sketches like these, photographs, and American Indian artifacts and other materials he gathered on this and subsequent expeditions—all of which he kept and displayed in his studio in the famed Tenth Street Studio Building—as part of a very successful marketing strategy that resulted in his becoming the wealthiest artist in the United States by the late 1860s. The son of a successful physician, Ralph Albert Blakelock was originally supposed to follow his father into medicine. After a few semesters of medical college, however, he felt the stronger pull of an artistic career and dropped out. Largely self-taught, he quickly mastered the basics of Hudson River School landscape. From the beginning, however, he felt a lack of affinity with the sunny, optimistic style, preferring to paint in a more personal, romantic manner. Early in his career this placed him outside the artistic mainstream, and he struggled to support his large family on the sales of his paintings. This struggle was exacerbated by his battles with mental health, as he increasingly began to suffer from both depression and delusions of grandeur, eventually landing him in a psychiatric hospital in 1899; he spent most of the final twenty years of his life institutionalized. Though his mental health struggles—as well as his many paintings of dark and mysterious moonlit scenes—have often led to Blakelock’s being termed an outsider or visionary, he actually was closely integrated into the New York art scene of his day and kept current with artistic trends both in the United States and abroad. His painting was heavily influenced by the French Barbizon school, from which he gained an appreciation for romantic subjectivity and the loose handling of paint. Rising Moon is an example of his most well-known style of painting, in which entirely imagined landscapes—rather than real places—are presided over by large, luminous moons. The painting reverses the usual landscape elements, with inky dark foreground trees and other elements giving way to more luminous water and sky in the background. As Blakelock languished in mental hospitals, often struggling to gain access to basic painting supplies, appreciation for his unique vision grew in the wider world. A painting similar to this one sold for $20,000 in 1916, a record for a living American painter at the time. Growing up in Cincinnati, Robert Frederick Blum was heavily influenced by the work of Spanish painter Mariano Fortuny, which he saw in local collections. He adopted the older painter’s use of a rapid, sketchy line to quickly delineate the forms of his sitters’ faces, relying on variations in line weight and tone to suggest contours. In his late teens Blum moved to Philadelphia to study at the Pennsylvania Academy of Fine Arts before moving on to New York, where he established himself as a professional illustrator and fine artist. Always a slow worker in oils, Blum preferred the sketchy immediacy of drawing and etching, a medium he picked up after meeting James Whistler—the acknowledged master of the medium—in Venice. From Whistler he also picked up another technique, the “Japanese method” of drawing. Taken from Whistler’s study of Japanese ukiyo-e woodblock prints, it involved starting from the point he expected to be the exact center of focus in the work and proceeding outward, a process which in this case results in the model’s prominent nose and striking eyes dominating the composition. Little is known about De Stephano, who appears to have been Blum’s lifelong friend and sometime companion. Though Blum never married, she claimed to be his widow after his premature death in 1903. She served as his model for a number of aesthetic portraits, as well as the murals Moods to Music and The Vintage Festival, originally executed for New York’s Mendelssohn Hall and now at the Brooklyn Museum. Ilya Bolotowsky stood at the forefront of abstraction in the United States during a time when many in the American art world were reluctant to embrace non-objective art. After immigrating to the United States as a teenager Bolotowsky studied at the conservative National Academy of Design and worked as a textile designer. After a trip to study art in Europe he happened to encounter the work of Piet Mondrian and Joan Miró, and his early work attempted to blend Mondrian’s geometric style with Miró’s biomorphic abstractions. In 1936 he became a co-founder and president of American Abstract Artists, a group of painters and sculptors who were frustrated by their exclusion from the major modern art venues in New York, including the Museum of Modern art and the Whitney Museum of American Art. In 1945, after serving in the military during World War II, Bolotowsky refocused his artistic attention on Mondrian, who had spent the last years of his life in New York, where he had been hugely influential on the art world there. This work reflects the influence of the gridded, non-spatial canvases of Mondrian’s Neoplasticism, though in this piece Bolotowsky retains non-primary colors and diagonal lines, elements which Mondrian had abandoned later in his career. This work was made while Bolotowsky was serving as a replacement for Josef Albers, who was on sabbatical from Black Mountain College. For the remaining decades of his life Bolotowsky would be a well-regarded art teacher at a series of colleges and a strenuous advocate for geometric abstraction. Henry Botkin was born in Boston, Massachusetts, attending various art schools there from 1913 to 1917. In 1917 he moved to New York, where he studied at the Art Students’ League. While studying he lived with his famous cousins, the composer George Gershwin and his lyricist brother Ira. In 1926 Botkin moved to Paris, where he continued to study art while also acting as Gershwin’s art agent, sending the composer (an enthusiastic collector) photos and prices of paintings he might like to acquire. Gershwin liked the works of the Fauves and other slightly earlier Modernist painters, commenting in letters to his cousin on their use of color and form. When Botkin returned to New York in 1933 he taught Gershwin to paint and draw, and also accompanied him on the 1934 trip to Folly Island, South Carolina which would result in Porgy and Bess, perhaps Gershwin’s most famous work. As Gershwin was writing his jazz opera Botkin was at work on a series of paintings depicting similar people and themes. This painting, executed in the middle of Botkin’s long life, shows both the artist’s engagement with the figurative painting traditions of the first half of the twentieth century and the influence of his musician cousins. The titular trumpeter, rendered in a series of Cubist-derived flat planes, sits contemplatively on a broad low stool, while the musical notes of his profession float in the flattened space around him. The generally cool, bluish cast of the figure stands in stark contrast to the reds and oranges of the surrounding space, suggesting both the intellectual and sensuous aspects of musical performance. Margaret Bourke-White first travelled to the Soviet Union in the summer of 1930, the first of three consecutive summers when she documented the first Soviet five-year plan for American audiences, the first Western photographer to do so. Bourke-White made her fame in the 1920s as an industrial photographer, pioneering a technique to capture the stark beauty of the Otis Steel Company in Cleveland, among other icons of American heavy industry. That resulted in her being hired by Henry Luce to work at Fortune magazine, which sent her on the assignment to the USSR. During her first trip, Bourke-White focused on the heavy machinery in mines and factories, but found herself increasingly interested in the people she met on her journey, finding herself charmed by their solid resilience. This photo depicts students in a small village school outside the city of Kolomna, southeast of Moscow, reflecting that interest in the Russian people. Bourke-White has arranged her thirteen sitters in a rough pyramid that emphasizes their solidity, as do the rough-hewn but sturdy pews and walls of their surroundings. Bourke-White’s increasing empathy for the Soviet people prompted a similar identification with working-class people in the United States, and her Popular Front sympathies earned her the attention of J. Edgard Hoover and the House Un-American Activities Committee. In her 1931 book Eyes on Russia and subsequent articles for the New York Times Magazine, Bourke-White wrote of her experiences traveling on overwhelmed Soviet trains to visit factories and other industrial sites, often subsisting on little more than cold canned beans she had brought with her from Germany. She also wrote a great deal about Soviet women, on whose labor the five-year plan relied just as much as that of men. Attempting to reconcile this with American notions of feminine comportment, she commented that the Russian woman, “In her longing for fashionable clothes, for adornment, for attention…is wholly feminine.,” while, at the same time “…working, as the men work, to advance the great industrial program of which she feels she is part. She is never conscious of a conflict between her career and her personal life.” Margaret Bourke-White’s modern aesthetic and attention to the concerns of the machine age inspired Henry Luce to hire her as a photographer at Fortune magazine. While on assignment for the magazine, she made three trips to the USSR. In 1930, she visited eastern Ukraine and southern Russia and photographed the construction of the Dnieper Hydroelectric Station (DniproHES), the Stalingrad Tractor Factory, and the Novorossiysk Cement Plant, and in 1931 she traveled to Chelyabinsk Oblast to cover workers building the largest steel mill in the world, the Magnitogorsk Iron and Steel Works (MMK). In the summer of 1932, she returned to the USSR, traveling from the Caucasus to Baku and back to Ukraine, where she found herself increasingly interested in the strength and character of the Soviet people. Soviet Serenade (1931) captures a street performer smiling as he plays his accordion and looks down upon the viewer. Mathew Brady was already the most famous photographer in America by 1860, when his studio took its first image of Abraham Lincoln, commemorating the Republican presidential candidate’s February 27, 1860 speech at Cooper Union in New York City. Lincoln credited that image—reproduced on the cover of the printed speech as well as disseminated widely as a carte de visite—with helping him earn the nomination and eventually the presidency. It also began a long-running collaboration between America’s foremost photographer and its most famous politician, with Lincoln posing for photographs at Brady’s studio throughout the Civil War. Lincoln’s images on both the five-dollar bill and penny are based on such photographs, as are most of the familiar images of the sixteenth president. The carte de visite format was revolutionary, for it allowed an unlimited number of inexpensive paper prints to be made from one glass-plate negative, permitting the photograph to be distributed widely, in contrast to the daguerreotype and ambrotype, earlier formats in which only a single image was made. Americans of all walks of life amassed large collections of images of famous people, making this the first time in history when the faces of the country’s leaders were widely known. This image was captured by Thomas Le Mere, a photographer who worked at Brady’s Washington, D.C. studio. This captures an important aspect of Brady’s work, which is the fact that he rarely took or developed the images himself, though he usually posed particularly important clients. This was standard practice at the time, in contrast with the twentieth century, when photographers came to be seen as individual artists who controlled the entire process. During the war Brady’s photographers spread out to follow the Union Army on its campaigns, bringing Americans some of the first photographic images of war and inaugurating a tradition of photojournalism that survives to this day. Born near Honesdale, in rural northeastern Pennsylvania, Jennie Brownscombe belonged to the first generation of American women artists for whom professional training was routine, if still often segregated from men. After a stint as a schoolteacher in her late teens she moved to New York, where she enrolled at The Cooper Union, graduating in 1871. She then studied at the National Academy of Design, becoming a founding member of the Art Students League in 1875. She first attracted notice in 1876, exhibiting her work in the Women’s Pavilion at the Centennial Exposition in Philadelphia. Throughout the remainder of her long life she maintained a successful career as a portraitist and painter of genre scenes, both historical and contemporary. Many of her works were reproduced as prints or etchings by companies targeting the middle-class market, while others served as illustrations for magazines and calendars. She became especially well-known for her depictions of the domestic life of George and Martha Washington, painting a number of scenes of social events at Mount Vernon. This painting, which was published as an etching by New Jersey printmaker James S. King, exemplifies Brownscombe’s mature style, which combines her academic training with the naturalism favored by painters on both sides of the Atlantic, including the American Winslow Homer and the Frenchman Jean-François Millet. The picture depicts a scene from Brownscombe’s time, as indicated by the nineteenth century hairstyles (particularly the men’s facial hair), but draws upon Brownscombe interest in and careful study of Rococo and other historical architecture in France, Germany, and Italy. The depiction of the choir boys—sweetly orderly but also individualized—shows Brownscombe’s attention to popular sentimental taste. James Edward Buttersworth was born in London, where he was trained by his father Thomas, himself a successful painter of maritime scenes. Buttersworth emigrated to the United States sometime between by 1847, after a successful early career in England. Settling in Lower Manhattan, followed by Hoboken, New Jersey, Buttersworth quickly established himself as one of the foremost marine painters in the country. The 1850s were a particularly auspicious time for American marine painting, due to recent advances in maritime technology. The clipper ships—invented for the tea trade with China—became even more important after the discovery of gold in California, setting off a race to build the fastest possible ship. Similarly, American success in sailing races set off a mania for yachting. The owners of these vessels and the public alike clamored for accurate depictions of them, and Buttersworth tapped into this burgeoning market. Buttersworth became one of the country’s foremost painters of daring maritime scenes, known for his ability to accurately represent details of rigging and other aspects of shipboard architecture—a skill which was highly prized by collectors—combined with the drama and adventure of the high seas. In this scene, which takes place just off the Rock of Gibraltar at the entrance to the Mediterranean Sea. In the background, British ships at anchor are tossed by the storm, which all but blots out the light of day. The foreground ship, identifiable as a clipper by its raked-back elegance and prominent bow, desperately attempts to furl sail in the face of the onslaught. Capturing the moment of highest drama, Buttersworth punctuates the danger with jagged stripes of lightning that jut out into the inky blackness. Born in Denmark, Emil Carlsen immigrated to Chicago in 1872, where he trained under a fellow Danish painter named Lauritz Holst. When Holst returned to Denmark, Carlsen inherited his studio, also becoming an instructor at the Chicago Academy of Design. In 1875 Carlsen traveled to Paris, where he became interested in the soft, delicate realism of the French still-life painter Jean-Baptiste-Siméon Chardin. He moved to New York in 1879. Struggling to make ends meet as a painter, he lived a semi-peripatetic existence that saw him move to Philadelphia; back to Europe; to San Francisco; and finally back to New York by 1891. In 1896, at the age of 50, he married, moving with his wife into his studio on 59th street. After this, both his personal and professional lives became much more settled, and he embarked on a career as a teacher at the National Academy of Design, Art Students League, and Pennsylvania Academy of Fine Arts. During this time Carlsen also became friends with John Henry Twachtman, Julian Alden Weir, and other painters affiliated with the Tonalist movement in landscape painting. Twachtman, Weir, and the Tonalists inaugurated a quieter and more intimate mode of landscape painting, in contrast to the bombast that characterized the Hudson River School of earlier generations. Carlsen’s interest in quietly intimate still-life painting meshed well with the Tonalist aesthetic. This painting is a prime example of this style, the popularity of which finally ensured Carlsen’s financial stability. He represents the copper urn and humble onions with a graceful sensitivity, emphasizing the effects of light and texture over strict illusionism. Over his long and productive career Jean Charlot had a profound influence on printmaking and mural painting in both Mexico and the United States. He was born in Paris and in 1921 moved to Mexico City after the death of his father—his mother was of mixed French and Aztec ancestry, a fact in which the family took great pride. He arrived at an auspicious time in Mexican history, as the period of unrest and social change surrounding the Mexican Revolution was beginning to wind down. When he arrived, he joined a ferment of artistic and cultural experimentation—known as Mexican modernism—that was answering the urgent question of what it meant to be Mexican. Charlot, who brought with him printmaking knowledge and equipment, as well as examples of modernist prints from France, is often credited with helping to inspire a revolution in printmaking in Mexico. Charlot joined SOPTE (Sindicato de los Obreros Técnicos, Pintores y Excultores), an artist’s union, and signed on to their 1922 “Declaration of Social, Political, and Aesthetic Principles,” written by David Alfaro Siqueiros, whose large fresco murals are icons of Mexican Modernism. In the Declaration, the artists condemned easel painting as overly aristocratic and intellectual, preferring instead the more direct and accessible mediums of murals and printmaking. Charlot also joined the movement of artists and intellectuals known as Stridentism. Influced by Italian Futurism, Spanish Ultraism, and Dada, Stridentism celebrated modern technology and artistic forms, rejecting the staid classicism of traditional European art. Unlike the Futurists, however, the Stridentists rejected war and fascism, maintaining their socialist political commitments. Charlot moved to New York in 1929, spending time there with George C. Miller, the best fine art lithographer in the United States, to whom he was introduced by José Clemente Orozco, another of his colleagues in the Mexican modernist movement. In 1949 he went to Honolulu to do a mural commission for the University of Hawai’i. He so enjoyed his time there that he stayed until his death in 1979, executing many of his prints by correspondence with Lynton R. Kistler, a master lithographer based in Los Angeles. Charlot left Mexico City for New York in 1929, making this print shortly after he arrived. It demonstrates both his approach to Mexican subjects and his continued formal and technical experimentation. Like many of his prints, it is based on careful observation of his subjects, in this case Mayan hunters in the Yucatán. Charlot wrote in his diary of watching the men leave to hunt at night, wearing lanterns on their heads to attract the leopards. His enthusiasm for Mexican culture led him to learn Nahuatl, the Aztec language, and he sought always to approach his subjects from a position of respect. The figure of the man, his back bent under the weight of the leopard, is represented with the solid monumentality he and other artists brought to Mexican modernism. The hunter’s smooth, rounded forms contrast sharply with the angular machinery of the gun. The darkness of the night sky, represented with swirling forms as well as sharper lines, shows Charlot’s interest in expanding the possibilities of lithography, a medium that traditionally was known for its clean lines and commercial uses. William Merritt Chase was renowned during his time for his depictions of the American landscape as well as for his depictions of the late nineteenth and early twentieth century’s confident and stylish “new women.” He was perhaps most famous, however, for his still-life paintings, in particular his depictions of freshly caught cod and other North American fish. Shimmering with iridescent scales and still glistening from the sea, these fish were the perfect vehicles for Chase to showcase his masterful brushwork and rapid application of paint—he often did them as demonstration pieces in front of adoring audiences. The fish pictures date from Chase’s mature period around the turn of the twentieth century. This one, on the other hand, dates from just before the pivotal year of 1872, when he began a six-year stint studying in Munich. After a couple years in New York, where he studied at the National Academy of Design, Chase was living in St. Louis, where he established a local reputation for his still lifes. This painting shows his early mastery of the American still-life tradition. Set in a nondescript domestic interior, the picture includes a variety of succulent fruits, as well as a glass of wine—likely Madeira, a fortified dessert wine popular in the nineteenth century—and a piece of steak or other meat, a curious addition for a painting entitled Autumn Fruit. The American still-life as formulated by Raphaelle Peale, Severin Roesen, and other earlier painters prioritized pyramidal compositions and dark backgrounds, lending the produce an air of powerful beauty. Insect-chewed leaves and spots such as those on the peaches both heighten the naturalism of the depiction and hint at the food’s perishability, reminding the viewer of the fleeting nature of material abundance. Chase has given the fruit—particularly the grapes—a highly reflective shine, a practice designed to show his mastery of optical effects. Though Chase would develop a looser style during and after his stay in Munich, this painting shows his strong grasp of the textural and optical qualities of oil paint. William Merritt Chase was one of the most influential artists of the turn of the twentieth century, both as a painter—he helped introduce the artistic styles of Munich and Paris to the United States—and as a teacher and patron of the arts. From his return to the United States from Munich in 1878 Chase worked as a teacher, first at the Art Students’ League and later at the Pennsylvania Academy of Fine Arts, as well as in a variety of summer schools, including the famed Shinnecock School on Long Island. A key aspect of his teaching was the live demonstration, in which he executed a landscape, still-life, or portrait study while his students watched, commenting all the while on his process. These performances were showcases for his bravura painting style, which emphasized loose, painterly brush strokes and largely eschewed preparatory drawing. When he was finished with the painting he would usually give it away, either bequeathing it to the school, giving it to the student who had served as model, or raffling it off. This painting depicts a “Miss Covert,” and is the result of one of Chase’s in-class demonstrations. The young woman’s loose dress, fashionable high collar and straightforward gaze—which unflinchingly returns the viewer’s glance—marks her as a New Woman, a frequent Chase subject. New Women rejected many of the buttoned-up gender roles of the nineteenth century, taking on traditionally masculine roles, including that of artist. Chase was an early champion of female art students, remarking that genius knew no sex. At the same time, the flowers she holds serve to soften and feminize her, as well as emphasize the pink rosiness of her complexion. This print is a reproduction of Chase’s early masterpiece Keying Up-the Court Jester (1875, Pennsylvania Academy of Fine Arts), which he painted in 1875 while he was studying in Munich. Depicting a local artists’ model as a merry clown, the painting was intended to help Chase achieve notice back home in the United States. At this it was very successful, receiving rave reviews at the 1876 Philadelphia Centennial Exposition, as well as several other important exhibitions, including the National Academy of Design. It was a showcase for Chase’s bold new style, which merged the “brown sauce” of the Munich painters with his study of the Old Masters and his bravura brushwork. He executed this etching soon after his return to the United States, as part of a scheme to disseminate low-cost reproductions of his work to inspire further interest. Chase executed a handful of other prints, including Spanish Peasant (1978.25.1), but in general did not embrace etching with the enthusiasm of many of his contemporaries. This Is likely due in large part to his disinterest in drawing—he was overall a poor draftsman—and preference for creating his paintings directly on the canvas. This preference for freewheeling composition led to his embrace of pastels, of which he was a foremost proponent around the turn of the twentieth century. He instead turned to his outlandish and performative persona for the bulk of his marketing, soon becoming one of the most celebrated and beloved painters of his day. Thomas Cole was born in the industrial northwest of England, where his early experiences included both artistic and vocational training, specifically as an apprentice textile engraver. He immigrated to the United States with his family at the age of seventeen, eventually finding work as an engraver. He taught himself to paint, launching a career as a landscape artist over his father’s strenuous objections. His early exposure to European–particularly English–artistic traditions situated him perfectly to take advantage of his new home, and he began making sketching trips to the Catskills and other mountainous areas of the American Northeast. He capitalized on early successes to become the exemplar of a new, American school of landscape painting, quickly becoming known for both allegorical sequences such as The Voyage of Life (National Gallery of Art, Washington) and scenes of specific locations such as The Oxbow (Metropolitan Museum of Art, New York). This painting exists in the latter mode, depicting the famed Catskill Mountain House, a hotel and tourist attraction that brought painters as well as vacationers from throughout the country. Cole, who from 1827 was a resident of the nearby village of Catskill, had a complex relationship with the Mountain House. He wrote fondly of visiting the place, and often used it as a stop in his rambling throughout the surrounding hills. At the same time, he despaired of the changes wrought by the hotel and other economic development, in particular the tanneries, mills, and other industries that rapidly overtook the area in the 1830s and 1840s. This painting is a register of his rage and despair at these changes, as the titular house is dwarfed by the awesome power of a thunderous storm. In a sense, it shows Cole attempting to reverse the ravages of time, returning his beloved Catskills to their state when he first encountered them, undoing decades of environmental degradation. Born in England, Timothy Cole immigrated to the United States when he was five, apprenticing in the shop of a company that made wood-engraved diagrams of machinery. Wood engraving, which was invented by Englishman Thomas Bewick at the end of the eighteenth century, involves using an engraver’s tool—called a burin—to make an image on the tough end grain of a piece of wood. The result, which combines the durability of woodcut with the precision of copperplate engraving, was the preferred method for reproductive printmaking in the nineteenth century, especially because the wood blocks could be made at type height for easy incorporation into magazine, newspaper, and book printing. Cole eventually found his way to The Century Magazine, which sent him to Europe to make engravings of masterpieces of European painting, thereby bringing them to readers who would otherwise have no opportunity to go themselves. A Frosty Morning is one such work, based on an 1813 painting of the same title by Joseoph Mallord William Turner, now at the Tate, and demonstrates Cole’s mastery of the medium. His innovative working method involved coating his wood plate with photographic emulsion so that he could print an image of the painting he was copying directly on the surface. Then, he sat in the gallery and worked, looking at the painting in a mirror, to match the effect of the photographic reversal. Using incredibly fine burins, he was able to achieve stunning effects of tone, carefully removing tiny amounts of wood to create the white spaces in the composition. The process was so time-consuming that Cole was able to produce only one or two such images a year. Born in St. Louis, Paul Cornoyer studied at the St. Louis School of Art from the age of 17 while he saved up to study in Paris. In 1889, when he was 25, he was finally able to embark on a multiyear trip to the French capital, enrolling at the Academie Julian and studying in the studios of French masters including Jules Lefebrve, Louis Blanc, and Benjamin Constant. Returning to St. Louis, he quickly moved to the top of the local art scene, winning prizes and commissions. One of his paintings, which he entered in an exhibition in Philadelphia, came to the attention of William Merritt Chase, himself briefly a St. Louis resident early in his career. Chase urged Cornoyer to move to New York, which he quickly did. There he established himself amid the group of artists—including John Henry Twachtman, J. Alden Weir, Thomas Wilmer Dewing, and Childe Hassam—who are variously known as Tonalists and American Impressionists. Like many artists of his generation, Cornoyer spent his summers on the shore, in his case in Gloucester, Massachusetts. It was his depictions of New York, however, which brought him the most notice. Like the Impressionists, whose work he had encountered during his time in Paris, Cornoyer was interested in the effects of light and atmosphere in a single place during different times of day, weather conditions, and seasons. His New York scenes thus mostly focus on a few places, most notably parks. He made rainy scenes something of a specialty, becoming especially praised for his depiction of wet pavement. In this painting, an excellent example of his depictions of rainy New York, the sky seems to lighten as the rain peters out, while the shimmering reflections of pedestrians and carriages on the ground indicate that it has until recently been raining quite heavily. hese two comic strips are the work of Roy Crane, one of the pioneers of the adventure strip genre that dominated American newspapers in the middle of the twentieth century. The strips, which date from ten years apart, are both daily entries from his first successful strip, Wash Tubbs. The story of the eponymous hero—short for Washington Tubbs II—Wash Tubbs saw its protagonist ranging all over the world visiting exotic places both real and fictional. Wherever he went, Wash—the worried-looking figure with curly hair in the first panel of Untitled (Lookout)—sought both his fortune and the love of a local beauty, though he rarely succeeded in either pursuit. In addition to formulating the conventions of the adventure strip genre, Crane was an innovator in his mixture of cartoonish characters and realistic backgrounds. He used Craftint doubletone illustration board, a chemically treated type of paper that allowed him to achieve a wide range of gray tones and fine details, to evoke whatever exotic land Wash was visiting that week. The strips—in particular Untitled (Infatuation), in which Wash is visiting Mexico—are also artifacts of their time, reproducing the class and ethnic assumptions of Crane’s American audience. Ralston Crawford first came to prominence in the 1930s for his sharply linear depictions of American industry, an interest that aligned him with the Precisionist movement. His depictions of grain elevators, factories, and modern highways were informed by his study of French modernism, in particular Cubism, lending his work a flat, partially abstract aspect. Unlike many of his colleagues, Crawford refused to avoid service during World War II, and was assigned to the Visual Presentation Unit, Weather, of the Army Air Force, where he used his modernist style to streamline the presentation of weather data to the high command in Washington, D.C. After the war he was the only artist present at the nuclear tests at Bikini Atoll. His experience of military life and the atom bomb deeply unsettled him, inaugurating a less optimistic and more abstract style that he maintained until the end of his life. This painting dates from this later period, when Crawford traveled frequently, supplementing his income as an artist with temporary teaching positions and illustration work for magazines such as Life and Fortune. One of a series depicting Havana Harbor, the flat planes of color and slashing lines evoke a feeling, rather than depicting a specific place. Crawford’s late career work demonstrates his increasing interest in the interplay and tension between order, chaos, and destruction, a dynamic which is enhanced by the spare palette and sharp angles of this painting. Crawford was a steadily successful artist from the 1940s onward, but he attracted little critical attention, largely because his Cubist-derived geometry fell increasingly out of fashion as the Surrealist-inflect Abstract Expressionist movement came to dominate American art. Born in rural Wisconsin to an impoverished itinerant preacher, Edward S. Curtis eventually ended up in Seattle, Washington, where he became the co-proprietor of a portrait photography business. He soon discovered a passion and aptitude for the medium. A chance encounter led him to be invited on the 1899 expedition to Alaska sponsored by railroad magnate Edward H. Harriman alongside a number of prominent anthropologists and scientists. Though he had previously made portraits of local Native Americans, it was on the Harriman Expedition that Curtis discovered his interest in ethnographic photography, eventually leading to his decision to create his forty-volume opus The American Indian. Consisting of over 2200 photogravure images and over 5000 pages of text, the project took decades to complete, even with the financial and publicity support of such luminaries as President Theodore Roosevelt and J.P. Morgan. This image was taken in 1907, early in the project’s history, and appears in the third volume. It shows Curtis’s signature blending of Pictorialist art photography and supposedly scientific ethnographic imagery. Shield, like many of Curtis’s sitters, is shown wearing a traditional costume and hairstyle. Curtis, like many of his contemporaries, was a believer in the “vanishing race,” the notion that American Indians represented an ancient, static culture that was destined to disappear from the world. By representing his sitters in traditional costumes, Curtis helped to advance this hypothesis while also playing into contemporary expectations of what Native people looked like. At the same time, however, Curtis uses the hazy, soft focus that was characteristic of fine art photography at the time. Shield’s downturned, careworn face indicates that Curtis also sought to represent his sitters as individuals. Both of these factors undermine the photo’s ethnographic intent. His photos’ beauty also caused a revival in regard for Curtis’s work starting around 1970, when his work became increasingly appreciated for its poetic beauty. The Rollins Museum of Art is home to a particularly fine collection of paintings, drawings, and prints by the American artist Arthur Bowen Davies. Davies was instrumental to the development of modern art in the United States, serving as the primary organizer of the International Exhibition of Modern Art, commonly known as the Armory Show. Through it, Americans got their first taste of European modern art, including works by Pablo Picasso, Marcel Duchamp, and other important members of the avant-garde. Davies, who mostly lived a secretive, buttoned-up life, was hailed for his almost instinctual understanding of modernism, even as he ruffled feathers with his near-dictatorial control of the exhibition. The gift of Virginia Keep Clark, herself an artist and illustrator as well as a friend of Davies, the collection represents the full breadth of his artistic production, which included landscape as well as figurative painting. Davies specialized in depictions of nudes in landscapes, often the same figure repeated in slight variations of the same position. Davies referred to these multiple figures as examples of “continuous composition.” They were inspired by his study of the photographic motion studies of Eadweard Muybridge, the paintings of Pierre Puvis de Chavannes, and ancient—particularly Greek—art. This lithograph is one such example, showing the same muscular figure at two different points in the process of lifting himself up by his arms. Davies was originally influenced by the luminous Romanticism of the American painter Albert Pinkham Ryder and the French Symbolists. Like Ryder, he often failed to clearly name or date his canvases, and he frequently returned to them, reworking them over the course of years or even decades. This untitled and undated painting is one such example and could date any time from the 1890s to 1920s. Davies is known to have taken at least one trip to the Rocky Mountains and was also fond of mountains he saw in Italy during his frequent travels there. Regardless of the source material, this small, luminous painting is a prime example of Davies’s landscape style. Thinly painted bands of blue denote foothills, mountain, and sky, with bits of the wood panel on which it is painted peeking through, giving the whole scene a cool, otherworldly quality. The effect is one of a personal—and deeply spiritual—experience of the landscape, rather than an attempt to render objective reality. Arthur B. Davies was known in his own time as a rigid and secretive man who rarely allowed visitors to his studio, a practice which he claimed allowed him to focus on his work. Only a few of his closest friends knew the truth, which was the secrecy was designed to deflect attention from his scandalous personal life. Davies was officially married to Virginia Meriweather Davies, one of the first female physicians in New York State, but also maintained a second household in the city with Edna Potter, a ballet dancer who had been one of his models. Upon his death his wife destroyed much of his correspondence and other archives, likely due to a combination of anger and a desire to protect her family’s reputation. This lack of an archive has sometimes frustrated scholars’ ability to date his work and otherwise construct a chronology of his life. For many years Davies’s art was overshadowed by this scandal and his contributions to the Armory Show, but in recent years scholars have begun to explore his engagement with contemporary cultural practices. In particular, Davies was interested in body postures, which he encountered through a blend of theosophy and other new spiritual movements, modern dance, ancient Greek art, and his own practice of breathing exercises designed to control his angina. Of particular interest was what he called the “lift of inhalation,” which he believed gave art its spiritual power. This mezzotint is a prime example of a common theme in his art, which is the depiction of nude women at the moment of maximum expansion of the chest. The model’s athletic arms and active posture help to achieve Davies’s desired feeling of mythic and timeless spirituality. In addition to his interest in physical and body cultures, Davies’s art demonstrated a longtime interest in dreams and the unconscious. The turn of the twentieth century saw an increase of interest in dreams, prompted by a widespread belief in the link between dreams and creativity, as well as explorations of the occult and psychic phenomena in the first decade of the century. The interest in dreams was accelerated after 1909, when Sigmund Freud and Carl Jung toured the United States, touching off a mania for psychoanalysis. This lithograph depicts a nude woman sitting on the back of a donkey, which joins a pair of goats in languidly browsing at some nearby shrubs. Birds flit about, landing on and near the woman, whose tilted head and elongated neck suggest an extended reverie. The soft, sketchy use of line and shading furthers the unreal effect, suggesting a return to a mythological, Arcadian dreamworld. This striking print is the work of influential Boston photographer F. Holland Day. Day, the son of wealthy parents who encouraged him to follow his interests, was a leading American participant in the aesthetic movement in the late nineteenth century. Influenced by William Morris, whose Kelmscott Press was a model for Day’s firm Copeland & Day, which published lavish editions of works by Oscar Wilde, Aubrey Beardsley, and other aesthetes, Day spent his formative years in Boston developing his artistic tastes and interests in a variety of subjects, including bookmaking, theatre, and photography. Eventually, he settled on photography as his preferred medium, and became an early champion of photography as a fine art, as opposed to merely a technical and scientific tool. Though his fame today has been eclipsed by that of fellow photography advocate Alfred Stieglitz, who was born just six months before him in 1864, Day was renowned in his time for portraits like this one, which he took of friends, family, professional models, and several of the disadvantaged teenagers he mentored through his charitable work from the late 1880s onward. The model, who may be Gertrude Savage, one of Day’s classmates at Boston’s Chauncy School, stares out at the viewer with dark, luminous eyes, her voluminous hair only partially constrained by the patterned scarf thrown loosely over her head. An avowed amateur, Day did not believe that artistic or technical training was necessary to make good photographs, but he did believe in understanding and assimilating—almost on a spiritual level—how painters made images. In this and other portraits of this time he shows a profound understanding of chiaroscuro, the contrast of dark and light for dramatic effect. When scholars originally rediscovered Joseph Decker’s work in the middle of the twentieth century, they were faced with a conundrum: there seemed to be two Joseph Deckers, each painting in two related but ultimately quite different styles. The first, represented by a smaller number of works, practiced the hard-edged, ultra-precise realism characteristic of other late-nineteenth-century trompe l’oeil painters like William M. Harnett and John F. Peto. The second, who was much more prolific, was characterized by a soft, textural aesthetic. After further research, it was determined that the two bodies of work were by the same man, who had undergone a radical shift in his style around 1890. Born in Germany, Joseph Decker immigrated to Brooklyn with his family as a teenager, eventually studying at the National Academy of Design before returning to Germany to study in Munich. It was there that he developed his style of minute realism, perhaps also influenced by the illustrations on commercial seed packets he found upon his return to the United States. This painstaking style was popular among certain middle-class consumers, but was largely reviled by the professional art press. As a result of some combination of the difficulty of the style and its lack of critical success, Decker largely stopped participating in the public art world around 1890, though he continued to paint, albeit now in a new, softer style. This painting is in that second mode, which likely dates it after 1890. The rich, hazy texture of the berries–a favorite subject–is in line with the Tonalist movement, which emphasized softness and the qualities of light and texture over realism. The Reverend Robert Furman was a Protestant minister and was associated with the abolitionist movement. He resided in Syracuse, New York, and this fine portrait has been attributed to Charles Loring Elliott, who was also from Syracuse. Elliot left Syracuse to live in New York City in order to become a respected artist around 1830, only to return to Syracuse six months later. Undeterred, he continued working as a portraitist and by 1845 had been declared the best American portraitist since Gilbert Stuart. It was estimated in 1867 that he had painted over seven hundred portraits. This picture came to Rollins College from the estate of Dr. John Martin, whose wife, Prestonia Mann Martin, was the granddaughter of the Furmans. Mrs. Martin carried on her family's forward-thinking ways. She was involved in the American Fabian Society, a socialist group modeled on the British Fabian Society, which argued that socialism should be advanced through gradual reformist measures rather than by revolutionary means. For a time, she was involved in the founding of a utopian community near North Elba, New York. She also authored a book, Prohibiting Poverty (1933), in which she argued that the necessary toils of life should be turned over to a conscript army made up of 18-26 year olds. After their own period of service, the people of this society were free to live secure in the knowledge that their needs would be met by the conscripts. This likeness of Melinda Wilkins Furman is an excellent example of mid-nineteenth-century American portraiture. The austerity of the setting befits the wife of a Protestant minister. The focus of the portrait is the sitter’s finely painted face. She looks out with kind, meek eyes. Faint lines of experience are seen on her forehead and around her mouth. Her dress is of very good quality without being ostentatious. Her husband, the Reverend Robert Furman, was associated with the abolitionist movement. The Furmans resided in Syracuse, New York, and this fine portrait has been attributed to Charles Loring Elliott, who was also from Syracuse. Elliot left Syracuse to live in New York City in order to become a respected artist around 1830, only to return to Syracuse six months later. Undeterred, he continued working as a portraitist and by 1845 had been declared the best American portraitist since Gilbert Stuart. It was estimated in 1867 that he had painted over seven hundred portraits. This picture came to Rollins College from the estate of Dr. John Martin, whose wife, Prestonia Mann Martin, was the granddaughter of the Furmans. Mrs. Martin carried on her family's forward-thinking ways. She was involved in the American Fabian Society, a socialist group modeled on the British Fabian Society, which argued that socialism should be advanced through gradual reformist measures rather than by revolutionary means. For a time, she was involved in the founding of a utopian community near North Elba, New York. She also authored a book, Prohibiting Poverty (1933), in which she argued that the necessary toils of life should be turned over to a conscript army made up of 18-26 year olds. After their own period of service, the people of this society were free to live secure in the knowledge that their needs would be met by the conscripts. Born on his parents’ farm outside of Cincinnati, John Joseph Enneking served in the Union Army during the Civil War. During his convalescence from a wartime injury he resumed his childhood pursuit of drawing. After the war he blended the study of art with work in the tin wholesaling business, but an economic downturn caused his business to close. Encouraged by his wife, Mary, he decided to study art full-time, moving with her and their two young children to Europe in 1872. There they traveled in Italy, Switzerland, Germany, and France. His painting, which had been in the tightly naturalistic Hudson River School style, began to loosen up under the influence of the Barbizon and Munich paintings he encountered in Europe. When the Ennekings arrived in Paris they befriended Barbizon painter Charles-François Daubigny as well as Claude Monet, and Enneking began to adopt an Impressionist style. This work, executed during a brief return to the United States (the Ennekings returned to Europe in 1878), is indicative of his style during this period. Enneking was never as adventurous a colorist as many Impressionists, and here he blends the warm brown tones of the Munich school with an Impressionist facture that takes advantage of the coloristic and textural effects of pure paint. Strongly associated with the Boston School, one of Enneking’s favorite subjects was twilight in New England, and this painting demonstrates his masterful understanding of the play of light on the surface of the pond during the last moments of daylight. Charles Fenderich, who immigrated to the United States from Switzerland in 1831, was one of the earliest practitioners of art lithography in the United States. Lithography, a printmaking process that involves drawing on a finely-ground piece of limestone, had been invented by a Bavarian named Alois Senefelder in 1796, and quickly gained popularity as a cheap way to produce sheet music and other mass-produced works on paper. The medium’s potential for creating inexpensive works of art was immediately recognized, but it was not until the middle of the nineteenth century that its potential was fully realized by the company that would become Currier & Ives. Fenderich moved to Washington, D.C. from Philadelphia in 1837, intent on creating a subscription-based Port-Folio of Living American Statesmen, based on his (correct) understanding that the success of Andrew Jackson was making ordinary Americans more interested in their elected officials. Though he never completed the full portfolio, he seems to have made a living for a time selling individual prints of popular politicians, including Andrew Jackson, James K. Polk, and others. He caught the gold bug in 1849 and moved to California, subsequently appearing in San Francisco city directories as an artist for the next 40 years, though little work from his late career has been recorded. This well-executed portrait is of Joseph Marion Hernández, who was the first representative to Congress from the Florida Territory and is often credited as the first Hispanic American to serve in Congress, which he did as a non-voting member for six months. Hernandez, a committed Jacksonian, was also a slave-holding plantation owner and served as a brigadier general during the Seminole Wars. He was the officer in charge of the detachment who captured the Seminole leader Osceola by violating a truce. After the Seminole Wars Hernandez ran unsuccessfully for the United States Senate before moving to Cuba and becoming a sugar planter, dying in 1857. William Glackens, like many of the other artists associated with the group variously known as the Ashcan School, The Eight, and the Henri circle, got his start as an illustrator, working for newspapers in his native Philadelphia as well as national magazines including Colliers, Century, and The Saturday Evening Post. This drawing was the basis for an illustration in the Post, of a serialized story by the writer James L. Ford entitled Our American Snobs. The title refers to the so-called yellow journalism of the early twentieth century, a term for the new mass-circulation newspapers that trafficked in sensationalized and poorly sourced stories aimed at a mass audience. “The four hundred” refers to the elite of New York Society, and was coined by socialite Ward McAllister in reference to the number of people who could fit in the Manhattan ballroom of New York Society’s undisputed leader, Caroline Astor. The drawing is thus an ironic jab at the mutual dependency of the gossip press and its elite subjects. Glackens was an inveterate sketcher, bringing his notebooks and preferred writing implements—grease pencils intended for writing on laundry packages—everywhere with him as he moved throughout New York City. Both during his career as an illustrator and later, when he transitioned to primarily working as a painter, Glackens made several preparatory drawings for each composition, using them as a way to refine both broader compositional issues and specific details. This drawing demonstrates his use his signature sketchy line as he modulates weight, thickness, and frequency in order to build up his image of wealthy men surrounded by the disreputable newspapers which covered their every move with breathless anticipation. George Grosz was perhaps the foremost satirist of the venality and corruption of the elites of interwar German society. His caricatures—published in magazines as well as standalone portfolios—were so incendiary that he was one of the first artists targeted by the Nazis in their denunciation of modernists and leftists of all stripes. Increasingly disillusioned by his native country, he accepted a teaching position at New York’s Art Students League, arriving with his wife just eight days before Hitler became Chancellor of Germany. Once there, he enthusiastically settled into the life of an émigré artist, blunting the edge of his earlier satire and working hard to become an American, rather than German, artist. As news of Nazi atrocities filtered across the Atlantic, Grosz became increasingly in demand. Magazines, gallerists, and museums especially clamored for his earlier caricatures, ignoring his softer and less pointed American work, which was mostly in watercolor and oil rather than pen and ink. Frustrated in his desire to be accepted as an American artist, Grosz—who became an American citizen in 1938—was increasingly isolated both from the American art world and the community of expatriate Germans. One result of this isolation was his development of a more personal vision, one tinged by melancholy rather than the promise he had seen in the United States in the years before and immediately after his arrival in New York. This scene, which shows Houston Street in Lower Manhattan, is typical of these works from the middle of his New York period. The exuberant paeans to the grandeur of the Manhattan skyline from the early 1930s have been replaced by this hazy, woozy vision. A dark, sinister figure approaches from the lower right, and Grosz uses the medium of watercolor to full effect, depicting the nighttime street with a vibrating, slightly sinister claustrophobia. James and William Hart were born in Scotland, emigrating to the Albany, New York area with their parents in the 1830s. As youngsters, both were apprenticed to decorative painters in Albany before studying in Europe. James studied briefly with Wilhelm Schirmer at the Düsseldorf Kunstakademie in 1851 before returning to Albany, where he worked and taught until 1857, when he moved to New York City. Once there, he quickly established himself as one of the city’s foremost landscape painters, doing a brisk business selling to the newly enriched financial and industrial titans of the Civil War Era. Though subsequent critics and art historians have tended to ignore the brothers, they remained popular for decades, tracking American preferences for landscape painting from the strict naturalism of the 1850s to the preference for Barbizon-style romanticism in the 1870s. Summer Landscape is typical of Hart’s style in the 1850s, when he was lauded in the New York press for his blending of the careful naturalism advocated by English critic John Ruskin and a more poetic sensibility preferred by many American collectors, who wanted their art to carry moral and spiritual messages. Somewhat unusually, the viewer of the painting seems to float somewhere on or above a small pond, taking in the view of the water’s edge and the landscape beyond. Hart takes care to reproduce the smallest details, including blemishes on individual leaves, while also bathing the scene in a rosy golden light that would have appealed to his patrons’ desire for emotional uplift. Like his younger brother James, William M. Hart was born in Scotland and moved to Albany, New York at a young age. In Albany, William was apprenticed to a decorative painter. He was inspired by American painter, playwright, and historian William Dunlap to become a portrait painter, spending three mostly unsuccessful years traveling throughout the Midwest—especially Michigan—in search of patrons. He then returned to Scotland, where he studied and worked as a painter. In 1853 he moved to New York City, where he was an active presence in the city’s professional artists’ organizations, including the Brooklyn Academy of Design, the National Academy of Design, and the American Society of Watercolorists. Also like James, William worked during the 1850s in a minutely observed style inspired by the writing of John Ruskin and the Pre-Raphaelite Brotherhood. By the time this painting was executed he had come to favor a style influenced by the French Barbizon School that featured looser brushwork and a preference for scenes of rural life. In fact, both Hart brothers did a lively business in such scenes, becoming particularly known for their depictions of cattle. This picture—which was originally executed in this oval format—is a fine example of the type, with a group of peasants, horses, and cattle gathered around the gently shabby ruin of a well in the foreground. From there the scene opens up on the pleasantly rolling hills of this anonymous place, which could be Scotland, France, or Upstate New York, yielding to a peek of a waterway on the distant horizon. The French-born American scientist-artist John James Audubon was one of the most remarkable people of his—or any—era. Possessed of no artistic or scientific training, Audubon combined a lifelong love of birds with an ironclad determination to bring to fruition his Birds of America, a four-volume, 435-plate set of life-size illustrations of North American birds. Audubon crisscrossed the countryside collecting samples—in other words, shooting birds—which he then pinned to a system of grids and wires, creating life-sized watercolor drawings while the birds’ plumage remained fresh. Along the way he recorded in his journals and, eventually, in the Ornithological Biography he published alongside the Birds of America, his thoughts about the appearances, behaviors, and even flavors, of all the birds (and quite a few reptiles and mammals) he encountered. As the attribution on this work makes clear, Audubon did not make the Birds of America alone. In fact, the translation of his watercolor drawings into the finished prints was the work of a team of dozens of artisans working under the London printmaker Robert Havell, Jr. Audubon sent his drawings to London in lead- or tin-lined waterproof tubes, where Havell and his team of engravers and etchers set to work translating them to print. After printing on the special double elephant folio paper—the largest available in the world at that time—they would go to another team of colorists, who would apply the same colors to each print in order to create uniform results. The enormous size of the prints meant that each volume weighed over 40 pounds, and the Birds of America was the largest known printed book until it was finally surpassed in 2003. John James Audubon preferred to draw the birds for his Birds of America from freshly killed specimens, in order to best capture the delicate colors of feathers, eyes, and other features. In order to accomplish this he traveled widely, from Louisiana in what was then the southwest corner of the United States to Labrador, in the northeast corner of Canada, and all over the eastern half of the continent. He never made it very far west of the Mississippi, however, and for many of the birds of the Western United States he was forced to rely on preserved skins or whole stuffed specimens. For this plate, which depicts birds he termed the Violet-Green and Townsend’s Cormorants, but which are now known as the Pelagic and Brandt’s Cormorants, respectively, he relied on this method. The skins were sent to him by a Mr. Townsend, who shot them at Cape Disappointment, near the mouth of the Columbia River on the border of Washington and Oregon. Audubon sought to represent his birds at full-size, a task which was easier for some species than others. These two feature twisted necks, a behavior seen in wild cormorants which Audubon may have highlighted in order to more efficiently use the page available to him. For prints where he had personal experience of the countryside Audubon frequently included a variety of detail, but for this far-away scene he has perched the two birds on a bare rock, providing only a simple seascape for a backdrop. This pastel by the American artist Childe Hassam is somewhat unusual in his body of work. Hassam, who came to prominence in Boston as an illustrator and watercolorist before a brief sojourn in Paris to study at the famed Académie Julian, professed to be uninterested in Impressionism, the avant-garde art movement that had taken Paris by storm in the 1870s. Nevertheless, his prolific output of watercolors, oil paintings, pastels, and prints demonstrates a familiarity with Impressionist techniques, including working en plein aire—meaning outdoors and directly from life, in contrast to in a studio—and the use of small patches of relatively pure color. This work, which includes an original frame selected by the artist (who was known for his exacting standards for frames), is a relatively rarity in Hassam’s oeuvre. While most of his scenes of New York City and the New England countryside and seacoast depict specific places, this view is of a generic country scene, possibly captured during summer trips he took to rural Connecticut. The sun-dappled building, placidly rolling carriage, and woman standing in the middle distance complement the shimmering luminosity of the road, whose intermingled strokes of blue and brown seem to suggest a flowing river as much as a hot, dusty thoroughfare. Hassam came to prominence during a time when Americans were becoming interested in historic architecture, particularly of the Colonial Era, and traced his own family lineage to seventeenth century Puritans. Scenes of this sort would have appealed to that burgeoning interest and helped to cement Hassam’s reputation as one of the foremost artists of New England scenery. Hassam, who became known during his long and prolific career for his paintings of the New England coastline, as well as Boston and New York street scenes, is perhaps best known for his close friendship with the poet Celia Thaxter, who gathered a circle of like-minded writers and artists at her inn and cottage on Appledore Island, off the coast of Rye, in southern Maine. Over many years, Hassam painted Thaxter, her gardens, and the rocky shorelines of Appledore, helping to fix an image of the thriving seaside resort culture of the turn of the twentieth century. This painting, with its flecks of pure blue interspersed with orange, yellow, white, and green, as well as its delineation of the meeting of surf and land, fits neatly into the aesthetic Hassam developed on Appledore. Yet, this painting does not depict Appledore, but rather Ironbound Island, one of several islands in Frenchman Bay, further up the Maine coast. Frenchman Bay is best known for Mount Desert Island, home of the town Bar Harbor, another major center for coastal tourism at the turn of the twentieth century. Thaxter died in 1894, prompting Hassam to stay away from Appledore for a few years, likely out of grief. Still, the artist—always a savvy marketer of himself and his work—followed his wealthy clientele to the seaside every year, spending 1896 mixing with them in the area that would become Acadia National Park. The result was this and a number of related paintings, though this one is notable for its close focus on the forbidding cliffsides for which Ironbound has long been known. Martin Johnson Heade first became interested in landscape painting while traveling in the White Mountains of New Hampshire, where he met John Frederick Kensett and Benjamin Champney. He soon moved to New York, where he took a studio in the famed Tenth Street Studio Building, artistic home of the movement often known as the Hudson River School. He became particularly close friends with Frederic Edwin Church, whose majestic composite landscapes of South America took the country by storm in the 1850s and 1860s. Under Church’s influence, Heade traveled to Brazil, where he became fascinated by the country’s many brightly colored hummingbirds and orchids. Unlike his friend and mentor, Heade soon evolved a personal style that emphasized minute observation of flora and fauna on tiny canvases, rather than the large-scale works that brought Church such fame and fortune. His American scenes are similarly idiosyncratic, focusing on salt marshes and other liminal places usually avoided by his contemporaries. Later in his career, Heade–always a committed naturalist–became interested in the marshes of North Florida, moving to St. Augustine in 1883 with his new bride. He soon met Henry Flagler, who was in the process of completing his magnificent Ponce-de-Leon Hotel (now part of Flagler College). Heade became the first of several artists-in-residence at the hotel, where he turned his attention to intricately painted still-lifes of cut flowers, often magnolias laid out on velvet. This venture was so successful that Heade largely stopped sending his paintings to dealers in the North, instead selling his entire production to hotel guests. This painting of marguerites is relatively rare in his oeuvre, suggesting that he was experimenting with a new style that ultimately did not prove attractive to his customers. Nonetheless, it shows his mastery of flower painting by this period, capturing a spray of the flowers from buds to full blooms, as well as the optical effect of the water on the stems. Originally this portrait was thought to have been painted by the American painter George Peter Alexander Healy (1813-1894). This belief was based on the family tradition of the original owners. However, this attribution has been questioned by some scholars who feel that Healy would have been too young at the time to have painted such a fine portrait. Experts from the Vose Gallery in Boston and the National Portrait Gallery in Washington have suggested that the painting may have been done by the portraitists Chester Harding (1792-1866) or Samuel Waldo (1783-1861). The date of the painting is also difficult to determine with certainty. If the painting was completed as a companion to the portrait of the Reverend Warner's second wife, Elizabeth Warner, née Hart (also in the Cornell's collection), the date of c. 1840s would be appropriate. However, the Reverend Warner was first married to Elizabeth Hazard (d.1831) in 1829. It has been suggested that the Reverend Warner's attire is more in keeping with the fashions of the 1820s or 1830s, and it would have been common to have a portrait commissioned to celebrate a marriage. While it may seem odd that the Reverend Warner is depicted holding a bookkeeping ledger rather than a Bible, this attribute is in keeping with his position. A graduate of Yale Theological Seminary, Warner was made Treasurer of the college in 1832. The donor of this painting (and its companion piece), James Gamble Rogers II, was the great-grandson of the Reverend and Mrs. Warner. James Gamble Rogers II, a Winter Park architect, designed many of the buildings on the Rollins College campus including the Thomas Phillips Johnson Student Resource Center, Olin Library, McKean Hall, and Elizabeth Hall. Robert Henri is perhaps best remembered today as a teacher and advocate for modern subject matter in American painting, a reputation he earned as the elder statesman of the loose affiliation of artists known as the Ashcan School. So-named by a critic who complained of their depictions of often dirty everyday life in New York City’s streets and tenement buildings, the Ashcan painters charted a new course in their embrace of the quotidian over the beautiful. Given his advocacy for this urban subject matter in the work of his friends and students, it is somewhat surprising that Henri the artist is best known for his work as a portraitist, as well as for brushy landscapes like this one. Henri, like other men of his generation—most notably President Theodore Roosevelt—was a proponent of the “strenuous life,” a belief that physically demanding leisure pursuits were the antidote for the perceived social ills of modern, urban life. These ills included fatigue, anxiety, and other maladies brought on by the overly stimulating urban environment. For Henri, the strenuous life included encouraging frequent physical horseplay among his male students, as well as trips into the countryside to help diminish the ill effects of the city. One such trip resulted in this painting, in which Henri shows his dedication to a quick, sketch-like stroke of the brush, the better to convey his own investment in the immediacy of lived experience. In 1913, looking for a new summer home, Henri traveled to Achill Island, which lies off the northwest coast of Ireland in the Atlantic Ocean. His interest in Ireland was prompted by his and his wife’s Irish heritage, as well as his desire to experience something different from Spain, where he had been spending his summers. Achill in particular came at the recommendation of John Butler Yeats, a painter (and the father of poet William Butler Yeats) who was a friend and sometime collaborator of Henri and the other Ashcan artists. Yeats recommended the island in part because of its rural and traditional ways of life. Henri rented an estate named Corrymore, settling in to paint a combination of the local landscapes and people. The confluence of his own financial troubles and the outbreak of World War I kept Henri from returning until 1924. When he did, he found Corrymore in the hands of the newly formed independent Irish government, which offered to sell him the property for less than he had paid to lease it in 1913. He happily purchased it, and he and his wife returned every summer until he died of pancreatic cancer in 1929. During the 1924-1928 summer seasons, Henri focused his efforts almost entirely on painting the children of the local town of Dooagh. His wife, Marjorie, fed the children and entertained them with records on the Victrola, then a novelty for the impoverished people of the town. Henri paid the children half a crown, equivalent to a day’s wages for a male laborer at the time. He usually completed the portraits in a single sitting, applying his paint quickly and efficiently to capture the sitter’s essence rather than create an exacting likeness. Though it is titled Rosaleen, this painting actually depicts a girl named Bridget O’Reilly (the children of the island generally shared a very small number of both first and last names, which has sometimes made it difficult for scholars to determine exactly which child sat for which painting). She holds a doll, an unknown luxury for the time that must have been provided by Marjorie Henri. The portrait, one of the last Henri painted before succumbing to cancer, represents the culmination of Henri’s ideas about the power of immediacy in artistic representations. Herzog started traveling to Florida around 1890, when he began visiting his son Lewis, who was then working as a chemist in Gainesville. The state—most of which remained undeveloped and quite wild well into the twentieth century—appealed to his interests in dense, atmospheric forests. Most of his Florida paintings depict the area around Gainesville. This is one of the few he produced during a rare trip to the East. The slow-moving river gives way to the ocean, a fisherman’s camp occupying the middle ground. The area Herzog depicts is now part of the urban landscape of Jacksonville, and Herzog has captured it during a much quieter era. His interest in lower light levels is once again apparent, with a sliver of crescent moon just giving way to the sun as it creeps over the horizon. Hermann Herzog was a renowned German-born American landscape artist who pursued a formal art education at the Düsseldorf Academy. He immigrated to the United States in the late 1860s; leaving behind his success in Europe, he settled in Philadelphia with his wife Anne, and son, Herman Jr. Herman moved away from exaggerated forms and trompe l’oeil under the influence of the Barbizon painters’ use of softer colors and their studies of weather and atmospheric mood. Herzog applied these new characteristics to his American paintings as he traveled frequently between 1880 and 1903 throughout the United States, and especially between Florida and the West Coast, drawn to their diverse and distinctive topographies. The presence of elk and the mountain range in the distance suggest it is very likely that Herzog painted Sunset with Elk during one of his trips out west. The painting depicts the sublime power of nature, while exhibiting his style of capturing details through quick, rapid brushstrokes for a more naturalistic effect. His study of atmosphere to convey mood is apparent in his contrast of light and dark as the sun sets behind the clouds, creating a feeling of mystery and awe. Both painter and sitter of this portrait lived colorful lives. Hubard was born in Shropshire, England, and showed early promise as a cutter of silhouettes. Mostly forgotten today, silhouettes of famous individuals were popular traveling attractions in the eighteenth and early nineteenth centuries. Hubard, first in the company of a man named Smith and then on his own, made a good living exhibiting his in the cities of Great Britain, the United States, and Canada. The circumstances of his conversion to portrait painter are not entirely clear, though he seems to have met Gilbert Stuart while his Hubard Gallery was in Boston. By the late 1820s he was working as an itinerant painter up and down the Eastern Seaboard, making a series of portraits of famous statesmen. He settled in Gloucester County, outside Richmond, VA, by 1833. He specialized in what was then known as a cabinet picture, meaning a small-scale full-length portrait, usually done in oil and on a wood panel. This painting is an excellent example of his style just before he left for further training in Europe, around 1838. It depicts David Porter, who was by the time of the painting retired from naval service. Born in Boston, Porter served in the American conflict with the Barbary states before taking command of the frigate U.S.S. Essex in the War of 1812. He led a successful campaign against the British whaling fleet in the Pacific before eventually being defeated in the Battle of Valparaiso. After the war he continued in his service until a dispute with the War Department caused him to resign his commission. He later served as the Commander in Chief of the newly formed Mexican Navy until 1829, after which he was appointed to serve as a minister to the Ottoman Empire by Andrew Jackson. It was during this service that the portrait was likely made, though it is not clear where or how Hubard and Porter’s paths crossed. Hubard represents Porter in his splendor as a naval officer, posed on the battlements of an unknown (and likely imaginary) fortress. The creator of these drawings, Daniel Huntington, was one of the most successful and well-known artists of his day. In addition to his success as a portraitist—anyone who was anyone in New York had to have him paint their likeness—he was a long-serving president of the National Academy of Design, the premier artistic training and professional organization in the United States during the nineteenth century. Before settling into his life as a portraitist, Huntington, like many of the artists of his generation, went on a trip to Europe, beginning in 1839 and lasting three years. While overseas he took a particular liking to Rome, where he admired the work of the Nazarenes, a group of German painters who were heavily influenced by the art of the Italian Renaissance. The first of these drawings, of a hand resting on a table, was influenced by the Renaissance master Titian, and was intended to aid his completion of a now-unknown portrait. The second bears the inscription “For the Communion of the Sick,” a reference to a now-unlocated painting, one of several didactic Christian allegories Huntington made in his early career. These sorts of preparatory sketches were quite common in the nineteenth century, and Huntington’s close study of anatomy reveals his academic training. While serving as President of the National Academy he would champion similar training, which required close study and drawing of classical statuary, especially of recognized masterpieces like the Apollo Belvedere, before moving on to careful study of the nude model. Only after mastering drawing from life in this way would students be permitted to move on to painting in oils. Even once working in oils, painters made drawings like these to aid in their compositions, though the widespread introduction of photography in the later nineteenth century started to supplant this practice, especially among portrait painters. The creator of these drawings, Daniel Huntington, was one of the most successful and well-known artists of his day. In addition to his success as a portraitist—anyone who was anyone in New York had to have him paint their likeness—he was a long-serving president of the National Academy of Design, the premier artistic training and professional organization in the United States during the nineteenth century. Before settling into his life as a portraitist, Huntington, like many of the artists of his generation, went on a trip to Europe, beginning in 1839 and lasting three years. While overseas he took a particular liking to Rome, where he admired the work of the Nazarenes, a group of German painters who were heavily influenced by the art of the Italian Renaissance. The first of these drawings, of a hand resting on a table, was influenced by the Renaissance master Titian, and was intended to aid his completion of a now-unknown portrait. The second bears the inscription “For the Communion of the Sick,” a reference to a now-unlocated painting, one of several didactic Christian allegories Huntington made in his early career. These sorts of preparatory sketches were quite common in the nineteenth century, and Huntington’s close study of anatomy reveals his academic training. While serving as President of the National Academy he would champion similar training, which required close study and drawing of classical statuary, especially of recognized masterpieces like the Apollo Belvedere, before moving on to careful study of the nude model. Only after mastering drawing from life in this way would students be permitted to move on to painting in oils. Even once working in oils, painters made drawings like these to aid in their compositions, though the widespread introduction of photography in the later nineteenth century started to supplant this practice, especially among portrait painters. Anna Hyatt Huntington’s father was a zoologist and paleontologist who taught at Boston University and the Massachusetts Institute of Technology. She first discovered her love of animals accompanying him to zoos and natural history museums around New England. She saw early success in Boston, training under a number of prominent American sculptors, one of whom she split with over a disagreement about the proper way to represent the musculature of a horse. When her father died in 1902, she moved to New York, where she took advantage of the brisk market for statuettes—particularly of animal subjects—and the large number of other single women working as artists. She was reportedly one of the highest-paid professional women in the country, with reported earnings as high as $50,000 a year (a number which sh
6840	dbpedia	0	42	https://artinthecatskills.com/2015/03/26/weekend-in-the-catskills-32715/	en	Weekend in the Catskills – 3/27/15	https://artinthecatskill…llery.jpg?w=1024	https://artinthecatskill…llery.jpg?w=1024	[ "https://artinthecatskills.com/wp-content/uploads/2020/02/art-in-the-catskills-logo.png?w=112", "https://artinthecatskills.com/wp-content/uploads/2015/03/longyear-gallery.jpg?w=720&h=540", "https://artinthecatskills.com/wp-content/uploads/2017/02/bookcoverpreview-front.jpg?w=103", "https://artinthecatskills.files.wordpress.com/2023/07/book-cover.png?w=354", "https://artinthecatskills.com/wp-content/uploads/2020/02/cropped-art-in-the-catskills-logo.png?w=50", "https://artinthecatskills.com/wp-content/uploads/2020/02/cropped-art-in-the-catskills-logo.png?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2015-03-26T00:00:00	This weekend in the Catskills and surrounding area: a Mozart concert, art opening receptions, a comedy performance, and a centerpiece design workshop are among my top choices. Hudson Valley Philharmonic Hudson Valley Philharmonic will perform an all-Mozart program this Saturday, March 28 at 8 p.m. at the Bardavon Theater in Poughkeepsie, Dutchess County. The program,…	en	https://artinthecatskill…ls-logo.png?w=32	Art in the Catskills	https://artinthecatskills.com/2015/03/26/weekend-in-the-catskills-32715/	This weekend in the Catskills and surrounding area: a Mozart concert, art opening receptions, a comedy performance, and a centerpiece design workshop are among my top choices. Hudson Valley Philharmonic Hudson Valley Philharmonic will perform an all-Mozart program this Saturday, March 28 at 8 p.m. at the Bardavon Theater in Poughkeepsie, Dutchess County. The program, conducted by Leif Bjaland, includes Mozart’s Symphony No. 35, and Piano Concerto No. 23, among other masterpieces. The Bardavon Theater is located in a historic building designed in 1869, the oldest continuous theater in New York State. Mark Twain and other luminaries performed on its stage. In 1977 the building was listed on the National Register of Historic Places. It has been the home of the Hudson Valley Philharmonic since the 1970s. The Hudson Valley Philharmonic was founded in 1932, and performs numerous concerts throughout the area. For more information about this concert, go to http://www.bardavon.org/event_info.php?id=734&venue=bardavon. Longyear Gallery Longyear Gallery in Margaretville, Delaware County, is hosting an opening reception Springing Forward, this Saturday, March 28 at 3 p.m. Springing Forward is a group show featuring about two dozen artists affiliated with the gallery. Works in all media – oil paintings, watercolors, acrylics, mixed media, collage, ceramics, and photography – will be on display. Participating artists include Margaret Leveson, Helene Manzo, Ann Lee Fuller, Ellen Wong, Elaine Mayes, and others. For more information, visit http://myemail.constantcontact.com/Spring-Forward–group-show.html?soid=1102247844716&aid=qVA4TgOMKA8. The Open Eye Theater Still in Margaretville, The Open Eye Theater is hosting a comedy performance Make ‘Em Laugh Saturday, March 28 at 7:30 p.m. Make ‘Em Laugh, a fundraiser for the theater, will put in the spotlight some of the best known local actors and friends like John Bernhardt and Jill Ribich. For more information about this performance, visit http://www.theopeneyetheater.org/current-season.html. Albany Institute of History and Art Albany Institute of History and Art is hosting an opening reception Walter Launt Palmer: Painting the Moment Saturday, March 28, an exhibit that will remain on view through August 16. Palmer was born in Albany in 1854. He was influenced by the Hudson River School of Painting, and at one point shared a studio with Frederic Church. The Albany Institute of History and Art holds one of the largest collections of Palmer’s oils and watercolors. The exhibit Painting the Moment is a broad overview of his work, and includes paintings from his travels to Europe, building interiors in Albany, and winter scenes. For more information about this exhibit, visit http://www.albanyinstitute.org/walter-launt-palmer-painting-the-moment.html. Olana Olana mansion in Hudson, Columbia County, is hosting a workshop Spring Tablescapes this Saturday, March 28 from 10 a.m. to 12 noon. Author and artist Marlene Marshall will walk with the participants on the estate’s grounds, and look for fungi, flora and other forest vegetation that could be used to design aesthetic table centerpieces. Pre-registration is recommended. Olana was the home of Frederic Edwin Church, a leading exponent of the Hudson River School of Painting. For more information, visit http://www.olana.org/calendar/spring-tablescapes/?doing_wp_cron=1427377069.9718999862670898437500. Have a gorgeous Catskills weekend!
6840	dbpedia	3	17	https://www.metmuseum.org/toah/hd/hurs/hd_hurs.htm	en	The Hudson River School	https://collectionapi.metmuseum.org/api/collection/v1/iiif/10499/1660910/main-image	https://collectionapi.metmuseum.org/api/collection/v1/iiif/10499/1660910/main-image	[ "https://collectionapi.metmuseum.org/api/collection/v1/iiif/10499/1660910/main-image", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/10497/1655152/main-image", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/10786/33136/main-image", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/10790/34079/main-image", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/10481/33835/main-image", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/11050/46452/main-image", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/10946/34355/main-image", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/11396/34311/main-image", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/10154/34358/main-image", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/10586/34290/main-image", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/11311/34368/main-image", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/13315/34639/main-image", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/11307/36822/main-image", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/19745/33138/restricted", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/11053/34241/main-image" ]	[]	[]	[ "" ]	null	[ "Authors: Kevin J. Avery" ]	0001-01-01T00:00:00	Though the earliest references to the term “Hudson River School” in the 1870s were disparagingly aimed, the label has never been supplanted and fairly characterizes the artistic body, its New York headquarters, its landscape subject matter, and often literally its subject.	en	https://www.metmuseum.org/content/img/presentation/icons/favicons/favicon.ico?v=3	The Met’s Heilbrunn Timeline of Art History	null	The Hudson River School was America’s first true artistic fraternity. Its name was coined to identify a group of New York City-based landscape painters that emerged about 1850 under the influence of the English émigré Thomas Cole (1801–1848) and flourished until about the time of the Centennial. Because of the inspiration exerted by his work, Cole is usually regarded as the “father” or “founder” of the school, though he himself played no special organizational or fostering role except that he was the teacher of Frederic Edwin Church (1826–1900). Along with Albert Bierstadt (1830–1902), Church was the most successful painter of the school until its decline. After Cole’s death in 1848, his older contemporary Asher B. Durand (1796–1886) became the acknowledged leader of the New York landscape painters; in 1845, he rose to the presidency of the National Academy of Design, the reigning art institution of the period, and, in 1855–56, published a series of “Letters on Landscape Painting” which codified the standard of idealized naturalism that marked the school’s production. The New York landscape painters were not only stylistically but socially coherent. Most belonged to the National Academy, were members of the same clubs, especially the Century, and, by 1858, many of them even worked at the same address, the Studio Building on West Tenth Street, the first purpose-built artist workspace in the city. Eventually, several of the artists built homes on the Hudson River. Though the earliest references to the term “Hudson River School” in the 1870s were disparagingly aimed, the label has never been supplanted and fairly characterizes the artistic body, its New York headquarters, its landscape subject matter, and often literally its subject. If Cole is rightly designated the founder of the school, then its beginnings appear with his arrival in New York City in 1825. He determined to become a landscape painter after a period of itinerant portrait painting in Ohio and western Pennsylvania, and a stint in Philadelphia during which he admired and imitated the landscapes of early American specialists such as Thomas Doughty. As significantly, in 1824, a tourist hotel was opened in the Catskill Mountains 100 miles upriver from New York. Once in New York in late 1825, Cole sailed for the Catskills, making sketches there and elsewhere along the banks of the Hudson. He produced a series of paintings that, when spotted in a bookstore window by three influential artists, gained him widespread commissions and almost instant fame. He was welcomed into the larger cultural life of the city, and was befriended especially by William Cullen Bryant, the poet and newspaper editor, who wrote a sonnet to Cole when he departed on a Grand Tour of Europe in 1829. From the start, Cole’s style was marked by dramatic forms and vigorous technique, reflecting the British aesthetic theory of the Sublime, or fearsome, in nature. In the representation of American landscape, really in its infancy in the early nineteenth century, the application of the Sublime was virtually unprecedented, and moreover accorded with a growing appreciation of the wildness of native scenery that had not been seriously addressed by Cole’s predecessors. However, the wilderness theme had earlier gained currency in American literature, especially in the “Leatherstocking” novels of James Fenimore Cooper, which were set in the upstate New York locales that became Cole’s earliest subjects, including several pictures illustrating scenes from the novels. Fired by the initial reception to his work, as well as by engravings of historical landscapes by J. M. W. Turner and John Martin, Cole’s ambitions swelled during his European tour. After Cole returned to America, he continued to interpret the Italian landscape in the form of monumental allegories comprising several pictures, such as The Course of Empire (1833–36; New-York Historical Society) and, following his second European trip in 1839–40, The Voyage of Life (1840; Munson-Williams-Proctor Arts Institute, Ithaca, N.Y.). Cole continued to produce scenic American subjects, but even in those his aims were aggrandized by the historical and religious preoccupations of his mature career. He died rather suddenly in Catskill, New York, where he had moved in 1836, starting a tradition followed by many Hudson River School artists. The engraver, portrait, and genre painter Asher Durand was one of the three discoverers of Thomas Cole in 1825 and, in the following decade, was gradually moved to take up landscape painting himself. However, by the time Durand wrote “Letters on Landscape Painting” in the 1850s, he had seen the plein-air work of John Constable, Turner’s colleague and rival, in England, and held Constable’s naturalism up as the standard for young landscape painters—in the process, gently relegating Cole’s histrionic subjects and style to the past. With the example of Durand in both word and practice, outdoor sketching in oils as the foundation of and model for studio landscapes became common, and both plein-airism and the loosening authority of Sublime aesthetics led to a less inflected idiom whose most conspicuous features often were the light influencing terrestrial forms and the air bathing them. This trend coincided with the proliferation of tourist resorts both inland and on the coast during the Civil War period, along with the refinement of the vacation experience—increasingly pursued to relieve the pressures of urban workaday life. Painters who both reflected the new aesthetic standards and accommodated the vacationing class of patrons were John F. Kensett (1816–1872), Martin Johnson Heade (1819–1904), Worthington Whittredge (1820–1910), Sanford Robinson Gifford (1823–1880), Jasper Francis Cropsey (1823–1900), and Jervis McEntee (1828–1891). Somewhat exceptional were Frederic Church and Albert Bierstadt, who in a measure extended the heroic landscape ambitions of Cole after his death. Church enjoyed the privilege and distinction of being Cole’s student (1844–46), but supplanted his teacher’s literary and historical conceits with scientific and expeditionary ones. Establishing his reputation with outsize depictions of North American scenic wonders such as Niagara Falls, Church was stirred by the travel accounts and scientific tracts of the German naturalist Alexander von Humboldt to journey twice to South America in the 1850s and paint large-scale landscapes of the equatorial Andean regions that encompassed torrid to frigid habitats in a single picture—the Earth in microcosm. The Museum’s ten-foot-wide Heart of the Andes (09.95) is the most ambitious and acclaimed of these works. It was promoted as a single-picture attraction—i.e., set in a dark, windowlike frame draped with curtains and starkly illuminated in an otherwise darkened room—that drew thousands of paying spectators in New York, London, and eight other American cities. Later Church exhibited “full-scale” paintings of the Arctic regions and the Holy Land. In the Civil War years, Church’s only serious rival was Albert Bierstadt, an émigré who returned to his native Germany to study art at the Düsseldorf Academy. After a stint in Switzerland and Italy, he returned to the U.S. to seize—just as Church had the southern hemisphere—the American West as his artistic frontier. The Museum’s six-by-ten-foot Rocky Mountains, Lander’s Peak (07.123) was the chief product of Bierstadt’s first journey to the Rockies of Wyoming with the government survey expedition of Colonel Frederick W. Lander. The great painting was placed as a deliberate complement and competitor opposite The Heart of the Andes in the art gallery of the Metropolitan Fair in New York in 1864. In another gallery of the fair, the artist mounted a tableau vivant of real Indians recalling those in the foreground of his picture. In 1866, Bierstadt was among the earliest white visitors to Yosemite, and produced many large paintings of that region. He toured many times in the West, as well as in Canada, Alaska, Europe, and the Bahamas, and cultivated a large international clientele. His numerous sales enabled him to build a baronial mansion on the Hudson River at Irvington in 1866, even as Church was beginning his great home overlooking the river at Hudson, New York.
6840	dbpedia	0	15	https://www.mutualart.com/Exhibition/Walter-Strach--Claiming-Territory--Two-A/EFD8B8CF5168D1A1	en	Walter Strach: Claiming...	https://media.mutualart.…b7827a8_570.Jpeg	https://media.mutualart.…b7827a8_570.Jpeg	[ "https://static.mutualart.com/img/logo-white-24.svg", "https://static.mutualart.com/img/logo-white-24.svg", "https://media.mutualart.com/ExternalImages/Rewards/ICON-%20REWARDS-24.png", "https://media.mutualart.com/Images/2024_07/22/14/145434722/40f9af13-df2a-4cc4-9bfa-4f1c68157911_160.Jpeg", "https://media.mutualart.com/Images/2024_08/28/14/143336075/65ad3f27-139a-44ab-b61f-05996d9c73aa_160.Jpeg", "https://media.mutualart.com/Images/2024_08/21/16/162128716/cdec2dc4-c595-4e32-afaf-fbb70fd769b0_160.Jpeg", "https://media.mutualart.com/Images/2024_08/29/13/135515788/3ae4031b-e98b-474c-a246-61d01fc98f46_160.Jpeg", "https://media.mutualart.com/Images/2024_08/29/15/154732718/7b34979b-fb2b-41c0-b062-926b4afcdfb7_160.Jpeg", "https://media.mutualart.com/Images/2024_08/01/15/153510424/e112e757-a5fa-4725-a857-b347451ded2d_160.Jpeg", "https://media.mutualart.com/Images/2018_07/02/13/130032607/1a140b54-c970-47dc-84d7-3cbc0b7827a8_570.Jpeg", "https://www.mutualart.com/img/temp/event-listing-01.jpg", "https://media.mutualart.com/Images/2024_08/08/09/092529847/2c2bbf6c-531e-4e35-8615-723588f78c86_338.Jpeg", "https://media.mutualart.com/Images/2024_07/30/01/385311/a9f4a530-ad70-4ba4-b824-5e962bc17b47-338.Jpeg", "https://media.mutualart.com/Images/2024_07/26/04/043945648/70316800-4e50-4e53-87af-e2a6730ec809-338.Jpeg", "https://www.mutualart.com/img/banners/exhibitions-map-banner.png" ]	[]	[]	[ "" ]	null	[]	null	Since purchasing this old farmstead in Samsonville, NY, Walter has become obsessed with this place. For the last 18 years he painted what was around him till the obvious no longer held sway. Walter Strach's process now (at least one of them) is to do the same thing everyday. Get boards, paints and brushes and go to his studio which is his car (a Honda Element with an up and down tail gate and lots of interior space) and go wherever. As most of his property is inaccessible by wheel he sticks to the driveway, lawns and rocky ledges. Maybe it totals an acre or two but one's eye can penetrate deeper into the woods. He's not sure if this was a choice (to paint only on his land ) or because he had lost interest in searching for motifs; how he was painting was of more concern. So he ends up painting the same things over and over again, ending up with different solutions. In this show the works will show varying degrees of finish; some taking years and others days. What he finds on the boards spurs him on to start other pictures. These build up in number till he is constantly working on familiar situations until they are no longer familiar.	en	https://static.mutualart…e-touch-icon.png		http://www.bowerygallery.org/schedule.html	Since purchasing this old farmstead in Samsonville, NY, Walter has become obsessed with this place. For the last 18 years he painted what was around him till the obvious no longer held sway. Walter Strach's process now (at least one of them) is to do the same thing everyday. Get boards, paints and brushes and go to his studio which is his car (a Honda Element with an up and down tail gate and lots of interior space) and go wherever. As most of his property is inaccessible by wheel he sticks to the driveway, lawns and rocky ledges. Maybe it totals an acre or two but one's eye can penetrate deeper into the woods. He's not sure if this was a choice (to paint only on his land ) or because he had lost interest in searching for motifs; how he was painting was of more concern. So he ends up painting the same things over and over again, ending up with different solutions. In this show the works will show varying degrees of finish; some taking years and others days. What he finds on the boards spurs him on to start other pictures. These build up in number till he is constantly working on familiar situations until they are no longer familiar.
6840	dbpedia	2	6	https://www.iloveny.com/thebeat/post/the-thomas-cole-national-historic-site-announces-the-exhibition-women-reframe-american-landscape/	en	The Thomas Cole National Historic Site Announces the Exhibition “Women Reframe American Landscape”			[ "https://www.iloveny.com/includes/public/assets/images/common/iloveny-logo.png", "https://www.iloveny.com/includes/public/assets/images/svg/logo.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://assets.simpleviewinc.com/simpleview/image/upload/c_fill,h_49,q_75,w_300/v1/clients/newyorkstate/Thomas_Cole_National_Historic_Site_3e0422d3-207c-45ed-b11f-3adf31996182.jpg", "https://www.iloveny.com/includes/public/assets/images/svg/logo_white.svg", "https://www.iloveny.com/includes/public/assets/images/svg/tripadvisor.svg", "https://www.iloveny.com/includes/public/assets/images/footer/heart_footer.png", "https://www.iloveny.com/includes/public/assets/images/footer/heart_footer_t.png", "https://www.iloveny.com/includes/public/assets/images/footer/heart_footer_m.png", "https://www.iloveny.com/includes/public/assets/images/svg/svlogo.svg" ]	[]	[]	[ "" ]	null	[]	2023-02-07T19:12:58.182000+00:00	The Show Reinserts 19 th -Century Artist Susie Barstow into the History of Landscape Painting and Presents Contemporary Artists Who Expand and Challenge “Land” And “Landscape” Today Catskill, NY – February 7, 2023 – The Thomas Cole National Historic Site announced today the upcoming exhibition Women Reframe American Landscape: Susie Barstow & Her Circle/ Contemporary Practices . It will open on May 6 and run through October 29, 2023. It will subsequently travel to the New Britain Museum of American Art in New Britain, CT, from November 16, 2023 to March 31, 2024.	en			https://www.iloveny.com/thebeat/post/the-thomas-cole-national-historic-site-announces-the-exhibition-women-reframe-american-landscape/	The Show Reinserts 19th-Century Artist Susie Barstow into the History of Landscape Painting and Presents Contemporary Artists Who Expand and Challenge “Land” And “Landscape” Today Catskill, NY – February 7, 2023 – The Thomas Cole National Historic Site announced today the upcoming exhibition Women Reframe American Landscape: Susie Barstow & Her Circle/ Contemporary Practices. It will open on May 6 and run through October 29, 2023. It will subsequently travel to the New Britain Museum of American Art in New Britain, CT, from November 16, 2023 to March 31, 2024. Illuminating the artistic contributions and perspectives of women, Women Reframe American Landscape: Susie Barstow & Her Circle/ Contemporary Practices is a two-part exhibition – and accompanying publication – that reinserts the accomplished 19th-century American artist Susie Barstow (1836-1923) into the history of the Hudson River School of landscape painting and presents work by contemporary artists who expand and challenge how we think about “land” and “landscape” today. The internationally acclaimed contemporary artists include: Teresita Fernández, Guerrilla Girls, Marie Lorenz, Tanya Marcuse, Mary Mattingly, Ebony G. Patterson, Anna Plesset, Jean Shin, Wendy Red Star, Jaune Quick-to-See Smith, Cecilia Vicuña, Kay WalkingStick, and Saya Woolfalk. Featuring artwork from across generations, the exhibition launches an expanded narrative around land and art that challenges and strongly recenters women in the canon of American landscape art. The exhibition is curated by Dr. Nancy Siegel, Professor of Art History at Towson University; Kate Menconeri, Chief Curator and Director of Curatorial Affairs, Contemporary Art, and Fellowship at the Thomas Cole National Historic Site, and Amanda Malmstrom, Associate Curator at the Thomas Cole National Historic Site. Featuring over 70 objects including never-before-seen works from Barstow’s archive and major new artworks and site-specific installations by contemporary artists, Susie Barstow & Her Circle and Contemporary Practices are described further below. Susie Barstow & Her Circle The 19th-century portion of the exhibition features the first major retrospective and deep dive into the work and life of Susie Barstow (1836-1923) and also includes such artists in her circle as Julie Hart Beers, Fidelia Bridges, Charlotte Buell Coman, Eliza Greatorex, Mary Josephine Walters, and Laura Woodward – accomplished 19th-century women artists who have previously been excluded from the history of the art movement that Thomas Cole founded, now known as the Hudson River School of landscape painting. This exhibition seeks to question the prevailing narrative that it was a male-only art movement and to rewrite the canon. Barstow was an extraordinarily talented, professional artist, and more than 100 of her paintings have been documented. In addition to hiking and painting the White Mountains, Catskill Mountains, and Adirondack Mountains, she embarked on multiple trips around the world. In her lifetime, she exhibited and sold her work alongside Asher B. Durand, Albert Bierstadt, Robert Duncanson, and Sanford Gifford, as well as the other women artists in this exhibition. It is long past due to bring forward this accomplished artist. Contemporary Practices In conversation with Susie Barstow’s historic work, Contemporary Practices presents works by contemporary artists who move beyond conventional landscape painting and open up an exploration of land through expansive perspectives and art practices. The featured artists are internationally acclaimed and include Teresita Fernández, Guerrilla Girls, Marie Lorenz, Tanya Marcuse, Mary Mattingly, Ebony G. Patterson, Anna Plesset, Jean Shin, Wendy Red Star, Jaune Quick-to-See Smith, Cecilia Vicuña, Kay WalkingStick, and Saya Woolfalk. The contemporary artists expand and challenge how we think about “land” and “landscape” today. At the Thomas Cole Site, these works will be sited within and in response to the 19th-century artist’s home, studio, and grounds. The exhibition will include a new work by the Guerrilla Girls, a new outdoor sculpture by Jean Shin, an interactive Ecotopian Library by Mary Mattingly, works on canvas by Jaune Quick-to-See Smith and Kay WalkingStick, and special site-specific installations by Teresita Fernández, Marie Lorenz, Ebony G. Patterson, and Saya Woolfalk. It will also bring together Anna Plesset’s work about Sarah Cole (1805-1857), with the original paintings by the 19th-century artist who called this site home. The project’s exploration of land takes place in the context of the home and studios of Thomas Cole, the artist best known today as the founder of the major art movement launched shortly after the formation of the United States, now known as the Hudson River School of landscape painting. Cole was an early environmentalist who advocated for balance between the built and natural worlds. He used his paintbrush and his pen to speak out against escalating development and deforestation that was clearing the way for railroads and expanding industries, such as the tanneries, iron foundries, and mills that were proliferating throughout the Catskill Mountains in the 1830s and 40s. Coinciding with the opening of the exhibition, two renowned art book publishing houses – one in Germany and one in England – will release books related to the exhibition: Hirmer Publishers in Munich will issue a fully illustrated 128-page book titled Women Reframe American Landscape. It will include original essays by the exhibition’s curators, texts and plates by the artists, including “Artist as Arsonist: Burning Down the Myth of the American Landscape” by Teresita Fernández, and a discussion with Candice Hopkins (Carcross/Tagish First Nation), Executive Director and Chief Curator at Forge Project, and Jolene Rickard (Tuscarora Nation (Turtle Clan), Hodinöhsö:ni Confederacy), Associate Professor in the Department of Art and Department of History of Art and Visual Studies at Cornell University, titled “Upturning the Map: Native Women and Representations of Land and Landscape”, and a timeline created by Sofia Thieu D’Amico, Class of 2023 Cole Fellow, and Heather Bruegl (Oneida/ Stockbridge-Munsee), a public historian, activist, and decolonial education consultant, with Amanda Malmstrom. Lund Humphries in London will issue a companion monograph, Susie M. Barstow: Redefining the Hudson River School by co-curator Nancy Siegel. This is the first monographic study of the artist and one of the very few to focus exclusively on an American woman landscape painter of the 19th century. The publication will coincide with the one hundredth anniversary of Susie Barstow’s death. Lund Humphries will also issue Fidelia Bridges: Nature into Art, the first comprehensive biography of this best-selling female artist in post-Civil War America. The book is by Katherine Manthorne, a member of the Thomas Cole National Historic Site National Council and Professor of Modern Art of the Americas at the Graduate Center of the City University of New York. All three books will be available at the Thomas Cole National Historic Site and wherever books are sold. “This exhibition represents the growing interest in, and need for, greater inclusivity and diverse voices when telling the story of the American landscape movement,” said Dr. Nancy Siegel, co-curator of the exhibition and Professor of Art History at Towson University. “From the 19th century to the present moment, the works by these artists will visually dazzle and enthrall viewers while questioning our assumptions and relationships to the land itself.” “It has been an incredible honor to be in conversation with these visionary artists, past and present,” said Kate Menconeri, co-curator of the exhibition and Chief Curator and Director of Curatorial Affairs, Contemporary Art, and Fellowship at the Thomas Cole National Historic Site. “This project is not meant as a survey but as an exhibition that illuminates specific, dynamic, and multifaceted perspectives. Together these artists complicate, challenge, and transform the way we think about art history, landscape, and our critical relationship with land today.” “This exhibition was born from a passionate engagement with the ongoing and critical feminist work happening in our communities and within American Art,” said Amanda Malmstrom, co-curator of the exhibition and Associate Curator at the Thomas Cole National Historic Site. “Museums have extensively studied and presented landscapes pictured by men, and this exhibition recognizes that we lose out on a richer and more accurate history when we only see art from a narrow canon. An especially powerful project sited at the historic home of the artist often called the “father of the Hudson River School,” this exhibition celebrates the myriad generative ways that women have artistically interpreted land.” The project is presented at the Thomas Cole Site as the cornerstone of the year-long “Women, Land, + Art” initiative across exhibitions, programs, collections and interpretation. More information is available here. Women Reframe American Landscape: Susie Barstow & Her Circle / Contemporary Practices is made possible by the Warner Foundation. The exhibition is supported by a grant from the National Endowment for the Arts. This project is supported by a grant awarded to the Thomas Cole National Historic Site by Empire State Development and I LOVE NY/New York State's Division of Tourism through the Regional Economic Development Council initiative. Additional support is provided by Wyeth Foundation for American Art and Tavolozza Foundation. The exhibition and publication are also supported by Jennifer Krieger and Eric Siegel, Maurice D. Hinchey Hudson River Valley National Heritage Area, Rick and Candace Beinecke, The Coby Foundation, Ltd., Marshall Field V., Allan E. Bulley, Jr., Greene County Legislature through the Greene County Cultural Fund, National Trust Insurance Services, LLC, Suncommon, The Bank of Greene County Charitable Foundation, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, and the Kindred Spirits Society of the Thomas Cole National Historic Site. Women Reframe American Landscape: Susie Barstow & Her Circle/Contemporary Practices May 6–October 29, 2023: Thomas Cole National Historic Site, Catskill, NY November 16, 2023–March 31, 2024: New Britain Museum of American Art, New Britain, CT The Thomas Cole National Historic Site The Thomas Cole National Historic Site is an international destination presenting the original home and studios of the artist and early environmentalist Thomas Cole (1801-1848). Cole founded the first major art movement of the United States, now known as the Hudson River School of landscape painting. Located on 6 acres in the Hudson Valley, the site includes the 1815 Main House; Cole’s 1839 Old Studio; the reconstructed 1846 New Studio building; and panoramic views of the Catskill Mountains. It is a National Historic Landmark and an affiliated area of the National Park System. The Thomas Cole Site’s activities include guided and self-guided tours, special exhibitions of both 19th-century and contemporary art, print publications, lectures, extensive online programs, school programs, the Cole Fellowship, free community events, and innovative public programs such as the Hudson River School Art Trail—a map and website that enable people to visit the places in nature that Cole painted—and the Hudson River Skywalk, a new scenic walkway connecting the Thomas Cole Site with Frederic Church’s Olana over the Hudson River. The goal of all programs at the Thomas Cole Site is to enable visitors to find meaning and inspiration in Thomas Cole’s life and work. The themes that Cole explored in his art and writings—such as landscape preservation and our conception of nature as a restorative power—are both historic and timely, providing the opportunity to connect to audiences with insights that are highly relevant to their own lives. Visitor Information The hours of the Thomas Cole National Historic Site vary by season. For details see: www.thomascole.org/visit. The grounds are open every day for free from dawn to dusk. Keep in touch on Facebook, Instagram, and Twitter at @thomascolesite. Contact: Jennifer Greim, jgreim@thomascole.org Director of Advancement & External Affairs
6840	dbpedia	1	59	http://aeqai.com/main/2019/10/distant-vistas-and-closer-looks-the-poetry-of-nature-hudson-river-school-landscapes-from-the-new-york-historical-society-at-taft-museum-of-art-october-5-2019-january-12-2020/	en	Distant Vistas and Closer Looks: “The Poetry of Nature: Hudson River School Landscapes from the New	http://aeqai.com/main/wp-content/uploads/2019/10/1-Cole-MountainScenery-450x582.jpg		[ "http://aeqai.com/main/wp-admin/images/aeqailogo2.gif", "http://aeqai.com/main/wp-content/uploads/2019/10/1-Cole-MountainScenery-450x582.jpg", "http://aeqai.com/main/wp-content/uploads/2019/10/2-ABDurand-Trees-Newburgh-450x560.jpg", "http://aeqai.com/main/wp-content/uploads/2019/10/3-Asher-Brown-Durand-ForestPrimeval-450x541.jpg", "http://aeqai.com/main/wp-content/uploads/2019/10/4-WmTRichards-Woods-Germantown-450x563.jpg", "http://aeqai.com/main/wp-content/uploads/2019/10/5-JervisMcEntee-Over-the-Hills-and-Far-Away-Jervis-McEntee-oil-painting-450x254.jpg", "http://aeqai.com/main/wp-content/uploads/2019/10/6-Heade-StormClouds-450x233.jpg", "http://aeqai.com/main/wp-admin/images/sponsor1.jpg", "http://aeqai.com/main/wp-admin/images/sponsor2.jpg", "http://aeqai.com/main/wp-admin/images/sponsor3.jpg" ]	[]	[]	[ "" ]	null	[]	null		en			http://aeqai.com/main/2019/10/distant-vistas-and-closer-looks-the-poetry-of-nature-hudson-river-school-landscapes-from-the-new-york-historical-society-at-taft-museum-of-art-october-5-2019-january-12-2020/	I grew up in New York, and so the Hudson River was the river of my childhood. As a child, I thought of it starting in New York City rather than ending there, and then it went, straight and broad, some 300 miles north into the mysterious territory those from the city called “upstate.” It was a beautiful river, bordered by roads that allowed you to admire it, and hemmed in by beautiful highlands. It set my standard for rivers: it was never brown, never in a rush, and never, apparently passed a city. When I moved to Ohio, I discovered a different river. The Ohio was less spectacular in every way. It was hardly ever anything but brown; it passed cities large and small which drew their water from it and gave their wastewater back. But it was three times as long as the Hudson and, above all, it went somewhere, from the western edge of the east to the heart of the Midwest, where it met up with an even more remarkable river, which was some seven times the length of the Hudson. And the Mississippi really went somewhere. But the Hudson was the first river that Americans were drawn to paint, when there was still plenty of wilderness east of the Alleghenies, and the artwork that accrued around it was the easterners’ first draft of what America looked like from the perspective of Nature. The exhibit at the Taft from the New-York Historical Society focuses on some of the guiding ideas that could be thought of as loosely holding together a group of artists with considerably diverse types of talents, and offers us a glimpse of some of the socio-economic developments that gave their works their shape. It is probably fair to say that Hudson River landscape painting kept pace with the growing prosperity of New York City. In the first decades of the 19th century, artists began to explore the countryside north of New York City and produce works designed to encourage more people to do the same. The exhibit tells an interesting story about how illustrated books provided the content, design, and above all the vision of some of the earliest paintings, connected to the bringing of civilization to the Hudson Valley wilderness—farming, settlements, boat traffic, and railroads. It is hard to separate these works from their motivations in encouraging city denizens to explore, appreciate, and invest. John V. Cornell’s “View of the Hudson Highlands from Ruggles House, Newburgh” (1838) is a close copy of an earlier print showing the river as seen from the porch of an early railroad promoter. “Moving America”—by river, road, or canal—is a subtext of some of the earliest artwork in the show. The wilderness stands in contrast to the steadily growing city that loomed at river’s end, where such work could be seen, shown, and sold. It is interesting to see what paintings of the Hudson River terrain looked like before the extraordinary influence of Thomas Cole and Asher B. Durand shaped for generations the conventions of the east coast landscape tradition. William Guy Wall, who provided the paintings that became the Hudson River Portfolio (which was published from 1821to 1825), has a painting called “American Mountain Scenery” (1836), which seems to be as much in debt to European painting models as it is to actual American topography. As the exhibit proceeds, it becomes clear that Hudson River School paintings tend to be divided between those that are broadly suggestive of a locale, frequently idealizing it, and those that are meticulously faithful in their representation of specific places. In the background of Wall’s “Scenery,” relatively steep slopes have been cleared for farming. In the foreground, by a stream under the shadow of some trees, two men are looking for the perfect place to fish. In the distance, then, is the world of work; in the foreground, men can escape to a world of leisure. We see some of the same dynamic in a far better painting, Frederic Church’s “Home by the Lake” (1852). In the background, some kind of agricultural work is centered around a house that could use a fresh coat of paint; in the foreground, a man is rowing a boat while a woman leans over side to admire and probably gather up water lilies. Some will work in Nature, and some will get pleasure from it. The balance between these two impulses would become an axis around which American landscape painting would turn for the rest of the century (and beyond). Between the appeal of agriculture and the appeal of the sightseer, the early years of Hudson River art have about it something in common with a promotional brochure. All that changes with Thomas Cole, who helped American painting find a new direction in the first third of the 19th century. Unabashedly a romanticist, he saw both an aesthetic and a spiritual value to the American landscape, writing—as a wall tag tells us—that only the Swiss Alps and the White Mountains enabled the artist to experience “the sublime melting into the beautiful, the savage tempered by the magnificent.” Using the central terms of 18th century aesthetics, he took the commercial out of the equation. His “Mountain Landscape” (c. 1827) is far from his greatest work (though visitors to the Taft five years ago had the chance to see some of his most significant paintings in the loan exhibit from the Munson-Williams-Proctor Institute, which included his major series “The Voyage of Life”). “Mountain Landscape” is an odd piece, looking in fact nothing at all like an Adirondack landscape—indeed, barely looking Swiss. There is an unlikely waterfall in the background and a large plateau which is dramatically lit like a stage awaiting a play, suggesting the theatricality of the human connection to nature. The tops of mountains extend high above the clouds; in fact, the clouds and the mountaintops are hard to distinguish from each other, which suggests the ways that materiality and the immaterial seem to blend. This is an essential part of the spirit of Nature that Cole brought to bear on American landscape art. Insofar as the exhibit can be said to shed light on its title, “The Poetry of America,” the poet that these painters had in mind was William Cullen Bryant–rather than, say, the Emerson of “Nature” or the revolutionary work of Whitman, whose Song of Myself was first published almost exactly mid-century. The Hudson River School artists might be called “Bryant’s Boys.” Paintings such as Durand’s “Primeval Forest” were exhibited alongside Bryant’s words, and they took to heart his imprecation: “list/To Nature’s teachings.” It is less clear just what Nature was supposed to have taught. It seemed to be, in part, a rejection of human ego and the accompanying self-satisfied conviction that humans were the measure of all things. As the wall tags make clear, artist after artist walked away from portrait painting once they had experienced what Sanford Gifford tellingly called “the absolute freedom of the landscape artist’s life.” Landscape enabled the artists to turn the hierarchy of genres—which would normally have favored the portrait over the landscape—upside down. “Absolute freedom” is such a strong term, though. It seemed to suggest taking in Nature in an unmediated way; like many forms of American Protestantism, there was no need for an intercessor. As Durand argued, the “direct imitation” of Nature itself was the young artist’s best teacher. Sketch directly from Nature, Durand advised; only then is it safe and appropriate to copy from the masters, turning the traditional curriculum for artists’ education on its head. It will remain to be seen, however, if the “absolute freedom of the landscape artist’s life” might also have something to do with escape from the city and with it, possibly, domesticity; in conquering the rugged landscape with canvases and painting supplies, there is already some sort of gender exclusivity implied. The access to the spiritual in Nature may be connected to the subset of Hudson River paintings called (these days) “luminism.” The paintings of the luminists are rich in atmosphere and veils of color (which has led to the argument that they are a distinctively American component in the development of mid-20th century abstraction); to the luminists, it’s always fall and always sunset. There is clearly a tangible world out there, but we see it through a glowing curtain of light, reducing the weight of its materiality. Jasper Francis Cropsey’s “Greenwood Lake” (1871) is perhaps the exhibit’s best luminist work, where tiny figures wait in the foreground for a rowboat (of a friend? a ferry service?) so they can cross over the placid water to a distant house. Sunset is turning everything pale orange, and there are signs—if distant ones—of civilization everywhere, including a tiny steamboat plying the waters. But tone is everything, the lens through which we see the diminished tangibility of human industry. The Taft show makes the argument that the interests and even the accomplishments of the Hudson River School of painting can be linked to its other founding father (besides Thomas Cole), Asher B. Durand. It is a thoughtful and subtle argument, one that can be explored in depth and leisure as about a quarter of the exhibit’s 40-odd paintings are by Durand. It’s a striking and even daring amount of work to display by one painter, especially considering that, unlike pictures by Cole, there is very little drama in Durand’s work, very little that is flashy or splashy, little sense that he has been hunting out the most extravagant and picturesque scenes to paint, and no sense that he is driven by an interest in representing them in vivid colors. So what is the case to be made for the centrality of Durand? In part, Durand was a teacher, sometimes implicitly and sometimes explicitly. (He even had one documented female student, Mary Josephine Walters, whose work is represented in the show.) There are accounts of Durand traveling through the woods with as many as nine other painters. This is an interesting level of invisible sociability in the portrayals of the unpeopled wilderness; though they leave no signs of themselves behind, it’s hard to forget that some twenty eyes are focused on each isolated scene that got painted. Durand was an artist who insisted a crucial portion of the act of painting took place outdoors. There is a curious and important interplay between Durand’s outdoor work and his studio work. He sketched with his paints in the forest, and strongly encouraged anyone who wanted to follow him to do the same. We know that he exhibited and sold these sketches, so they were not merely part of his personal process. Then, back in his studio, he would assemble more complex scenes out of his sketches, and executed larger works, put together from studies both related and unrelated to each other, which he also exhibited and sold. He told his students to “aim at direct imitation, as far as possible, in your studies of foreground objects…such as rocks and tree trunks, and after these, earth banks and the coarser kinds of grass,” seeking to achieve in the plants, for example, “botanical truthfulness.” This places him towards an extreme end of a certain type of realism. No detail in nature was too small to be overlooked, and no effort at specificity was a waste of time, with an interesting caveat: this applied to the “foreground objects.” The exact capturing of the background, the distance, the overall setting, was less crucial. As a result, in Durand’s larger and more ostensibly finished works, sublimity could be added in at will, and the larger topography was more likely to be generalized. Consequently, his sketches are brilliant studies of actual details whose particular place could never be recovered, while his finished works were likely to be more governed by a predetermined sense of what landscapes might look like, or ought to look like. They are pictures of, as their titles tell us, a “Woodland Brook,” or the “Primeval Forest.” To me, these outdoor sketches were the treasures of the show, despite their small size and sometimes unfinished nature. “Study from Nature: Trees, Newburgh” (1849) shows a small assemblage of trees on a small notch on the horizon. The central tree has a slight, elegant, serpentine curve to it. The one next to it is both richly green and yet also dying back. We can see traces of a pencil sketch beneath the paint, but as he told his students, it was crucial to Durand’s understanding of painting in Nature to commit yourself in oils to line, shape, and color while you were in the presence of the things being painted. Durand captures both the cooler green of the trees on the left and the warmer greens of the trees on the right; his studio composites tend to be more planned out and “harmonious,” which in practice tends to mean that they are less varied. “Study from Nature: Rocks and Trees” (1856) could be a textbook example of what Durand meant when he told his students to be relentlessly specific about “foreground objects,” despite their unassuming nature. Not even the weeds are generalized. In these oil sketches, Durand is anti-topographical—the pictures could never be taken for souvenirs of famous sites—and even anti-picturesque, which usually arranges landscape compositions into strikingly distinct zones of foreground, middle ground, and the grand vistas of the background. The picturesque can be seen as a set of compositional strategies to manage and contextualize distance; these sketches have no distance to manage. In place of the formal organization of the picturesque, Durand organizes his pictures according to contrasts–visual, natural, and psychological. There are the silvery wet rocks and the fluttering yellow leaves, the beds of ferns versus broadleaf overgrowth, tracks into the woods that are inviting and those that are blocked off and forbidding. Compositionally, he was drawn to arches. Durand’s imposing monotone cartoon for a lost painting called “Primeval Forest” (1854) sees Nature allied to what Bryant called “God’s first temples.” Like most of the earliest temples, this temple is in ruins, with fallen limbs and broken trunks and rows of columns fading into the distance; Nature itself had to satisfy the early American painters’ appetites for ruins until they could visit Italy. Durand’s vision of Nature was non-regimented; no two trees are ever at the same angle. (By contrast, “Lake George and the Village of Caldwell” [c. 1843-60] by self-taught painter Thomas Chambers is wildly delightful but exactly the opposite of Durand’s work: trees and clouds are in delicious, repetitious, sensual rows.) Durand’s epic cartoon may well be the star of this show, but it is also a sign of the distinctions between his wilderness sketches and his studio pictures. When we hold his outdoor work up against a completed studio piece like “Woodland Brook” (1859), for example, we can see how much more tame the latter is. Durand’s late-career “Adirondack Mountains” (c. 1870) is lovely, but is very much in line with the conventional picturesque. With the exception of a foreground tree to anchor us, it is almost entirely about the masses and masses of trees in the shimmering, hazy distance. Where did the attention to the individualized, highly differentiated elements of Nature go? The exhibit suggests—and it does so in a touching way—that the Durand moment was a fleeting thing. Perhaps so much attention to detail is itself unsustainable. William Trost Richards’s beautiful “June Woods (Germantown)” (1864) was painted, a wall tag tells us, during the brief period when the artist dedicated himself to a Ruskin-inspired obsession with accuracy in the representation of everything. From the foreground all the way down a winding path into the distance, the bark on every tree is distinctive, and virtually each leaf is as individualized as were the foregrounds in Durand’s plein-air sketches. The result is unsettling; it is as if the painting both had visual perspective (from its overall design) and ignored it at the same time due to its refusal to acknowledge how space changes our perceptions. Writ large enough, Durand’s sort of realism starts to seem distorted and hallucinogenically unreal. Tastes were changing, too. Jervis McEntee, who is extremely well-represented in the Taft show by a single terrific painting unpromisingly titled “Over the Hills and Far Away” (1878), shows how a more modern attention to painterliness will change forever the Hudson River painter’s relationship to his material, his audience, and his traditions. Where the classic Hudson River picture was linear to a fault, with a brush stroke to every thing and a thing from every brush stroke, McEntee looks more like George Inness (an odd absence in a show like this, as was Winslow Homer who in part made his reputation from Adirondack paintings) in the ways that daubs of paint create the illusion of objects in space. Though the wall tags tell us that McEntee felt that he too was in conversation with Bryant’s ideas about Nature, he was clearly seeing a different Nature in Bryant than Durand did, though they are only a generation or so apart. Unlike Durand, McEntee virtually dispenses with the foreground altogether, aside from fallen leaves in the process of getting swallowed up by marshland. If everything in Durand is about acquiring and preserving form, in the McEntee piece, everything is on the verge of losing form. His work is more closely related to the luminists, though the veils of light are mostly grey; he does not fetishize the spectacle of sunset. Martin Johnson Heade has perpetually been either privileged or condemned to be a category by himself. It’s possible to see his remarkable “Storm Cloud over the Marsh” (1871-75) as a continuation of the concerns of the Hudson River painters or their logical end. Humans are at work in his landscape, though they work as a team, tiny figures that are both compositionally in the center of the canvas but in the deep background of the picture. There is nothing heroic about what they are doing; Nature here has been committed to being farmed for some time. There is no sign of wilderness, though the wildness of Nature makes its entrance by the perverseness and complexity of the weather. It is both a sunny afternoon and yet also a stormy one; there are lines of puffy white clouds and a band of deeply ominous dark grey ones. The world is bright and also eerily dark. Heade, who might be art history’s second most interesting painter of haystacks, uses their shapes to break up the flatness of the marsh. He places them following a rigid, if obscure, math; on a close look, you can see where one stack has been painted out. As the wall tags note, Durand made his fame in part by the verticality of his landscapes; Heade, on the other hand, took the horizontality of the standard landscape format and exaggerated it. Like so many paintings that benefit from a careful and unhurried look, you can see the narrow green and brown bands of paint out of which Heade created his flat marshland. But the harder we look at the illusion-creating world of paint rather than the startling realism of natural objects, the more we can appreciate the distance we’ve come from Durand. We can tell in part that the Hudson River moment was dissipating almost as quickly as it was bring created. It is interesting that Jasper Francis Cropsey called the estate he built for himself “Aladdin,” and Frederic Church’s magnificent castle was called “Olana,” a Persian word: both suggest that they are feeling themselves exotic, rather than local and native. The economics of the Catskills and Adirondacks are changing as well: by the 1870s, it can no longer the same sort of trek into the wilderness to sketch and paint if there are more than 200 hotels for the traveler and artist to choose among. There is an insatiable appetite for progress, and it is fed and fueled by the cities. The Hudson River painters gave short shrift to Albany, though around 1850, it was the tenth largest city in the nation. But they can’t wholly overlook New York. By 1851, the Hudson River Line railroad goes from Albany all the way down to the city, ending in what was called the High Line, a section of elevated track that is now Manhattan’s newest and most linear public park. The wall tag for Durand’s “View of the Shandaken Mountains” (1853) notes that the world we are seeing in this painting was soon to be flooded to create a reservoir to feed the needs and thirsts of New Yorkers. If the show has a flaw, it is that it doesn’t give one much of a sense of what a remarkable place the New-York Historical Society was and is, founded in 1804 as the first museum in the entire city. Its functions, audiences, and collections have been through many transformations over its more than two centuries of life. And we see practically nothing of New York in this particular show, though a show of art about New York City would be easily put together from the Museum’s collections. But in Francis Silva’s “New York Harbor” (1880), the city makes something of a cameo appearance, though it is lurking and mostly unseen. There are no skylines or buildings to make out through the sunset, smoke, and haze. This is New York as it could have been seen—or rendered invisible– from its busy harbor at the end of a long day. We see the crowds of masts, sails, or hulls of some two dozen ships, and a steam-driven tug is coming straight at us. There is a hint of luminism, with the veils of color we associate with that movement put to use here in keeping the enormous economic powerhouse of the city obscured. The water is scenic but not necessarily all that clean. It is awaiting a very few short decades before it will become the muse for a new generation of artists, the artists of the Ash Can School or figures like George Bellows, who will paint a different river for different times. And that different river will not be predominantly a natural wonder, but a backdrop to a vivid, crowded social scene—a new, more diverse theatricality worth comparing to Thomas Cole’s much earlier one.
6840	dbpedia	3	40	https://www.catskillartspace.org/	en	Catskill Art Space	http://static1.squarespace.com/static/629019fa07cbf575f7aaf2bb/t/634f694c9a5deb10415e0178/1682787142515/CS1_0447.jpg?format=1500w	http://static1.squarespace.com/static/629019fa07cbf575f7aaf2bb/t/634f694c9a5deb10415e0178/1682787142515/CS1_0447.jpg?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/2d38964b-8d90-40d1-8462-5eb9835e64af/CAS_Wordmark_Pure-Black.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/56a1e428-275f-448f-a532-da55d1cabe99/CAS_Logo_Pure-Black.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/2d38964b-8d90-40d1-8462-5eb9835e64af/CAS_Wordmark_Pure-Black.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/56a1e428-275f-448f-a532-da55d1cabe99/CAS_Logo_Pure-Black.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/782be168-81b0-4916-abcf-6a02e3862cba/Samuelle+Green+exterior+of+CAS+3.jpg", "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/7032dc4e-c8a5-4514-95a8-558c725f4444/CAS_Leaving+Earth_Mary+Lucier+A2.jpg", "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/82bb12d8-2ecb-451e-b259-11ebd1b7fb4e/_ZHY6927_2.jpg", "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/12e18ace-550b-4b52-bb6c-578baec0f2da/_ZHY6912.jpg", "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/b89380b3-9852-4dda-9117-0ba653e9b1b6/James+Turrell%2C+Avaar%2C+Noah+Kalina.jpeg", "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/9ba1865e-91ac-429e-ae60-ac609ad70000/cas_CF150432.jpg", "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/da92443d-563d-4142-9ce6-6319a9bf55c2/cas_CF150449+1.jpg", "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/31b12ee4-3e77-424a-8780-41b9d3de0da0/ZSH_8209.jpg", "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/79bb5fce-32f9-4c57-8555-a10a61a6038e/NYSCA+Logo.png" ]	[]	[]	[ "" ]	null	[]	null	Catskill Art Space explores contemporary art practices and fosters creative community.	en	https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/25c86391-4a72-4c68-8886-0abc1f1a3ca6/favicon.ico	Catskill Art Space	https://www.catskillartspace.org	48 Main Street Livingston Manor, NY 12758 Hours Friday - Saturday, 11am - 5pm; Sunday, 11am - 3pm Admission to CAS is free. Group Visits To request a group visit or class tour, please contact info@catskillartspace.org. Parking There is limited street parking available on Main Street and adjacent side streets, in addition to a free municipal parking lot at the corner of Main Street and Pearl Street. THANKS TO OUR SUPPORTERS Funding for CAS is provided in part by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature. Major operating support is provided by the Dr. David M. Milch Foundation. CAS Kids educational programming is made possible by the Goyanes Family Foundation.
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"https://images.squarespace-cdn.com/content/v1/583c6f946a49631ee35907cc/6dd24012-307d-4e5e-8039-1899d34858ba/www.handupproject.png", "https://images.squarespace-cdn.com/content/v1/583c6f946a49631ee35907cc/a6d6d909-ec03-49dc-bf19-11984dec7f18/NY+Council+for+the+Arts.png", "https://images.squarespace-cdn.com/content/v1/583c6f946a49631ee35907cc/1766944e-bd25-4611-81bc-e554be43e48d/warhol+rectangle+crop.jpg" ]	[]	[]	[ "" ]	null	[]	null	The Swerve Featuring works by Julia Bland, Caroline Wells Chandler, Glenn Goldberg, Bill Komoski, Joyce Kozloff, Bruce Pearson, Sarah Peters, James Siena, and Barbara Takenaga Curated by Lauren Frances Adams and Jennifer Coates January 23 – February 21, 2016	en	https://images.squarespace-cdn.com/content/v1/583c6f946a49631ee35907cc/1550528138499-GSZ4PE9LGEL29DWM98M7/favicon.ico?format=100w	Ortega y Gasset Projects	https://www.oygprojects.com/the-swerve	The Swerve Featuring works by Julia Bland, Caroline Wells Chandler, Glenn Goldberg, Bill Komoski, Joyce Kozloff, Bruce Pearson, Sarah Peters, James Siena, and Barbara Takenaga Curated by Lauren Frances Adams and Jennifer Coates January 23 – February 21, 2016 Opening Reception: January 23, 2016, 6-9pm Ortega y Gasset Projects opens the 2016 season with two concurrent exhibitions. A joint reception will be held on Saturday, January 23, 6-9pm. At a special afternoon event on February 6, Jennifer Coates, David Humphrey, and Glenn Goldberg will play music in the gallery. On view in the main gallery, Lauren Frances Adams and Jennifer Coates co-curate The Swerve, featuring works by Julia Bland, Caroline Wells Chandler, Glenn Goldberg, Bill Komoski, Joyce Kozloff, Bruce Pearson, Sarah Peters, James Siena, and Barbara Takenaga. The exhibition runs until Sunday, February 21. The title for the exhibition is based upon a book of the same name by Stephen Greenblatt, which touches on ancient atomistic theory, wherein atoms normally falling straight through a void are sometimes subject to a clinamen — a slight, unpredictable change. It is in this interruption of regularity where the action lies. According to Lucretius, if atoms were not in the habit of swerving, “nature would never have produced anything.” Taking this as a point of departure, The Swerve presents contemporary paintings and sculptures that explore the haptic and conceptual approaches to pattern: how pattern and its rupture are employed in service of meaning. Joyce Kozloff appropriates the iconic Islamic star to create a richly colored all-over pattern that merges non-Western motif with an American quilting logic, revealing the political in the decorative. Julia Bland utilizes an eccentric, loose weaving technique to build emblematic, symmetrical imagery that seem to contain hidden meanings, while Caroline Wells Chandler uses crochet to generate soft sculptures: feminist homunculi that merge cartoons with craft. Sarah Peters’ ancient Assyrian hair patterns become almost architectural as they frame and support an open-mouthed female: many periods of art history coalesce into a single head. Barbara Takenaga’s woozy forms radiate from a glowing center, as her carefully tended surfaces create cosmic vortexes. Bill Komoski’s lattices and sculpted holes on canvas leak toxic sludge in tongue-like shapes, as he channels the bodily via the urban industrial. Bruce Pearson’s white-on-white biomorphic carvings also make use of relief, embedding text within them: once your eyes adjust the code is broken. In James Siena’s drawing, a figure emerges from a density of tiny marks, she seems to be trapped within the edges of the paper. Glenn Goldberg makes hallucinatory use of dots to create an atmospheric world from which two tiny birds emerge. The artists all share a propensity to tease out meaning from complex visual matrices. Images range from figuration to abstraction, but the recurrent theme is an organic wavering between recognizable form and repetition. On view in the gallery vestibule, Adams and Coates curate Star Upon Star, a site-specific installation by Kirsten Hassenfeld. The piece will be on view throughout the Ortega y Gasset spring exhibition program. Star Upon Star is constructed from recycled giftwrap, using a system both geometrically precise and intentionally off-kilter. Hassenfeld forces clashing patterns and the associations they evoke to coexist and to coalesce into a sculptural whole. Educated as a printmaker, Kirsten Hassenfeld makes sculpture from paper and found objects. She has been honored with numerous awards and residencies, most recently the St. Gaudens Memorial Fellowship in 2014. Her work has been featured in Art in America, the New York Times Magazine and Interview Magazine, among others. She lives and works in Brooklyn and the Catskills. Lauren Frances Adams (Baltimore, Maryland) mines the histories of power, labor, and material culture to make surprising connections that resonate with current sociopolitical issues. Solo exhibitions include Back Lane West, Cornwall, UK; Contemporary Art Museum St. Louis; EXPO Chicago; and Conner Contemporary, Washington, D.C. Group exhibitions include: The Walters Art Museum, Baltimore; Contemporary Applied Arts, London; CUE Foundation, NY; Mattress Factory and the Andy Warhol Museum, Pittsburgh. Residencies include Cité Internationale des Arts in Paris, Skowhegan School of Painting and Sculpture, and a Joan Mitchell Foundation MFA Grant. Jennifer Coates is an artist, writer and musician living in NYC. Her ongoing series of paintings – “Total Fat” – explore the sacred architecture and spiritual radiance embedded in processed foods. She recently had a two person show of collaborative work with David Humphrey at Arts & Leisure Gallery and a two person show with Tom Burckhardt at Valentine Gallery, both in NYC. She currently has a painting, PB&J, on view at the Museum at the University of Kentucky in Lexington. She has written art reviews for Time Out New York and Art in America and can be seen playing violin and singing in various bands in the region. Ortega y Gasset Projects is a gallery curated projects space in the Gowanus neighborhood of Brooklyn. Comprised of artists currently living in Connecticut, Illinois, Maryland, Massachusetts, New York, Ohio, and Tennessee, OyG operates a cross-country collective and an incubator for dialogue and artistic exchange. For more information contact Lauren Frances Adams at laurenfrancesadams@gmail.com
6840	dbpedia	1	13	https://m.facebook.com/DailyDoseOfArt/photos/this-beautiful-but-quite-small-oil-on-paper-piece-is-by-the-german-american-arti/795215905928067/	en	Facebook	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico	[ "https://facebook.com/security/hsts-pixel.gif?c=3.2" ]	[]	[]	[ "" ]	null	[]	null	Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.	de	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico		https://www.facebook.com/login/
6840	dbpedia	2	11	https://art.thewalters.org/detail/26578/the-arch-of-nero/	en	The Arch of Nero (Ruined Aqueduct near Tivoli)	https://art.thewalters.o…23_46779%201.jpg	https://art.thewalters.o…23_46779%201.jpg	[ "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/ico-search.svg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/walters-logo-white.svg", "https://art.thewalters.org/images/art/PS4_37.2599_FntDT_DD_AT21_27380-tms.jpg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/creative-commons@2x.png", "https://art.thewalters.org/images/art/PS4_37.2599_Back_DD_AT21_27385-tms.jpg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/creative-commons@2x.png", "https://art.thewalters.org/images/art/PS1_37.2599_BTFnt_DD_T13.jpg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/creative-commons@2x.png", 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"https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/facebook.svg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/instagram.svg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/twitter.svg", "https://art.thewalters.org/images/art/PS4_37.2599_FntDT_DD_AT21_27380-tms.jpg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/creative-commons@2x.png", "https://art.thewalters.org/images/art/PS4_37.2599_Back_DD_AT21_27385-tms.jpg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/creative-commons@2x.png", "https://art.thewalters.org/images/art/PS1_37.2599_BTFnt_DD_T13.jpg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/creative-commons@2x.png", "https://art.thewalters.org/images/art/PS1_37.2599_BTFntCc_DD_T13.jpg", 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"https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/creative-commons@2x.png" ]	[]	[]	[ "" ]	null	[]	2022-08-01T19:38:12+00:00	Gifford was an important Hudson River school luminist. He began his career as a portrait painter but in 1843 became attracted to landscapes. This direction was solidified by a sketching tour of the Catskills and Berkshires. Gifford greatly admired the work of Thomas Cole but rejected his heroic allegorical themes focusing instead on subtle yet dramatic light effects. In the 1850s he traveled and studied throughout Europe, painting with Albert Bierstadt in Italy, and meeting the great art critic John Ruskin. He made another extended trip through Europe from 1868-70. This painting depicts a ruined acqueduct near Tivoli known as "The Arch of Nero." In 1846 the same subject had been painted viewed from the opposite side by Cole (this painting is now in the Newark Museum, New Jersey, accession number 57.24). The Brooklyn Museum holds a sketchbook by Gifford dating from 1867-1868 (accession number 17.141) and pages 70 and 71 show studies of figures and the arch. On the right hand page is a sketch within a ruled "frame" that almost exactly anticipates the Walters painting.	en	https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/favicon.ico	Online Collection of the Walters Art Museum	https://art.thewalters.org/detail/26578/the-arch-of-nero/	Gifford was an important Hudson River school luminist. He began his career as a portrait painter but in 1843 became attracted to landscapes. This direction was solidified by a sketching tour of the Catskills and Berkshires. Gifford greatly admired the work of Thomas Cole but rejected his heroic allegorical themes focusing instead on subtle yet dramatic light effects. In the 1850s he traveled and studied throughout Europe, painting with Albert Bierstadt in Italy, and meeting the great art critic John Ruskin. He made another extended trip through Europe from 1868-70. This painting depicts a ruined acqueduct near Tivoli known as "The Arch of Nero." In 1846 the same subject had been painted viewed from the opposite side by Cole (this painting is now in the Newark Museum, New Jersey, accession number 57.24). The Brooklyn Museum holds a sketchbook by Gifford dating from 1867-1868 (accession number 17.141) and pages 70 and 71 show studies of figures and the arch. On the right hand page is a sketch within a ruled "frame" that almost exactly anticipates the Walters painting. Inscription Provenance Provenance (from the French provenir, 'to come from/forth') is the chronology of the ownership, custody, or location of a historical object. Purchased by Henry James, Esq., Baltimore, MD [1]; Priscilla Ridgely Schaff, Baltimore; by bequest to Walters Art Museum, June 1982. [1] A receipt in the curatoral file dated "New York March 2nd 1874" gives the cost of the painting as $1600, and is made out to "Henry James Esq." Henry James (not the author) lived in Baltimore, as listed in the memorial catalog of Gifford's work from 1881.
6840	dbpedia	3	26	https://www.cabq.gov/artsculture/albuquerque-museum/exhibitions/thomas-cole	en	Thomas Cole's Studio: Memory and Inspiration	https://www.cabq.gov/art…by_moonlight.jpg	https://www.cabq.gov/art…by_moonlight.jpg	[ "https://www.cabq.gov/++theme++cabq-2020-plone-5-theme/_assets/img/icon/navbar_abqcrest.png", "https://www.cabq.gov/++theme++cabq-2020-plone-5-theme/_assets/img/master-header-logo.svg", "https://www.cabq.gov/++theme++cabq-2020-plone-5-theme/_assets/img/icon/navbar_abqcrest.png", "https://www.cabq.gov/++theme++cabq-2020-plone-5-theme/_assets/img/master-header-logo.svg", "https://www.cabq.gov/assets/one-abq-banner-logos/arts_oneabq.svg", "https://www.cabq.gov/artsculture/albuquerque-museum/images/abq-museum-main-bannercop.jpg", "https://www.cabq.gov/artsculture/albuquerque-museum/images/cole_tower_by_moonlight.jpg", "https://www.cabq.gov/artsculture/albuquerque-museum/images/dam-cole-1954_71-web.jpg/@@images/31735f91-d573-4d83-8ac9-85a382a4f728.jpeg", "https://www.cabq.gov/311/connect-with-us/images/fb.png/@@images/32330656-cd0a-429c-8461-838732ca2890.png", "https://www.cabq.gov/311/connect-with-us/images/ig.png/@@images/e172b7bd-c81b-4a31-9e63-4e0a630cdfb8.png", "https://www.cabq.gov/311/connect-with-us/images/youtube-1.png/@@images/95832cd6-0cd1-469a-a915-c34b271292b9.png", "https://www.cabq.gov/311/connect-with-us/images/newsletter.png/@@images/abd25ddf-6a37-414d-942f-efe14c536bf8.png", "https://www.cabq.gov/311/connect-with-us/images/podcast.png/@@images/133383c5-5161-421b-981e-3c3be671582c.png", "https://www.cabq.gov/artsculture/albuquerque-museum/++theme++cabq-2020-plone-5-theme/_assets/img/icon/navbar_social_twitter.svg", "https://www.cabq.gov/artsculture/albuquerque-museum/++theme++cabq-2020-plone-5-theme/_assets/img/icon\\navbar_social_instagram.svg", "https://www.cabq.gov/artsculture/albuquerque-museum/++theme++cabq-2020-plone-5-theme/_assets/img/icon\\navbar_social_linkedin.svg", "https://www.cabq.gov/artsculture/albuquerque-museum/++theme++cabq-2020-plone-5-theme/_assets/img/icon/navbar_social_youtube.svg" ]	[]	[]	[ "" ]	null	[]	null	Coming to Albuquerque Museum November 2022. Curated by Franklin Kelly, senior curator at the National Gallery of Art. "Thomas Cole’s Studio: Memory and Inspiration" reassembles the paintings that were in Cole’s studio when he died in 1848 and explores the significance of Cole’s late work for art in the United States.	en	/++theme++cabq-2020-plone-5-theme/img/favicons/favicon.ico	City of Albuquerque	https://www.cabq.gov/artsculture/albuquerque-museum/exhibitions/thomas-cole	Albuquerque Museum is proud to present Thomas Cole’s Studio: Memory and Inspiration curated by Franklin Kelly, senior curator at the National Gallery of Art. The exhibition reassembles the paintings that were in Cole’s studio when he died in 1848 and explores the significance of Cole’s late work for art in America. Thomas Cole was the founder of the Hudson River School. This group of painters established an iconic style of American landscape painting. This exhibition is presented simultaneously with three other exhibitions featuring contemporary artists that engage the natural world through diverse depictions of the landscape: Kiki Smith: From the Creek, Shi Guorui: Ab/Sense – Pre/Sense, and Nicola López and Paula Wilson: Becoming Land. Thomas Cole was already the most famous landscape painter in the United States when he died unexpectedly at the age of 47 in February 1848. His legacy continues to influence American art to this day, and a new exhibition Thomas Cole’s Studio: Memory and Inspiration explores the creative directions of the painter’s last years, the rich and diverse group of works left in his studio at his death, and how his example so powerfully affected the evolution of art in America. The exhibition’s curator is Franklin Kelly, senior curator and Christiane Ellis Valone, curator of American Paintings at the National Gallery of Art. The exhibition was organized by the Thomas Cole National Historic Site, where it debuted April 30 to October 30, 2022 and will be on view at the Albuquerque Museum from November 19, 2022 to February 12, 2023. Thomas Cole’s death shook the American art world. Poet and journalist William Cullen Bryant wrote that Cole’s death left “a vacuity which amazes and alarms….” It was as if one of the “grandest summits” of the Catskill Mountains had suddenly disappeared. In December 1846, Cole set up his studio in a new building of his own design and filled it with works from all phases of his career, including finished paintings, sketches, and drawings. In this “New Studio,” Cole began working on landscape paintings that were often large in scale, and among the most powerful and complex he had ever created. At his death, after little more than a year of using the studio, most of those works – including the five-canvas The Cross and the World, a successor to his famous series paintings, The Course of Empire and The Voyage of Life – and Cole’s own grand ambitions for the rest of his career remained unrealized. Cole’s family maintained the New Studio after his death as a shrine to his memory, allowing visitors to experience it just as it had been and draw inspiration from all that it conveyed about him and his art. On entering, they were immersed in Cole’s world – the room where he painted, with a vista of the Catskill mountains that inspired him. When the renowned American artist Jasper Cropsey was there in 1850, he wrote in a letter, “it seemed as if Mr. Cole would…be in in a few minutes, for everything remains as when he last left painting…. Though the man has departed, yet he has left a spell behind him that is not broken.” That act of preserving the New Studio proved crucial to maintaining and expanding Cole’s legacy and ensuring his profound influence on art in America. For many years it provided the largest and most comprehensive collection of work by this renowned artist available anywhere. For the painters who would bring landscape to national prominence in mid-nineteenth-century America, including Asher B. Durand, Frederic Edwin Church, John F. Kensett, and Susie Barstow, Cole’s unbroken “spell” would indeed prove of key generative influence in fulfilling his legacy. The New Studio was unusual: a freestanding purpose-built building designed by the artist himself. While Thomas Cole is best-known today as the founder of the nation’s first major art movement, now known as the Hudson River School of landscape painting, he was also an architect. He designed several buildings that were constructed, most notably the Ohio State Capitol in Columbus and St. Luke’s Church in Catskill. Other buildings that he designed were his temporary studio in the storehouse on the property, which he used for seven years until he built the now-reconstructed New Studio, which is operated today as a museum at the Thomas Cole Historic Site. The exhibition presents a selection of artwork and artifacts to serve as the first reimagining of what visitors would have seen upon entering the New Studio. It contains 26 oil paintings by Thomas Cole from the collections of the Thomas Cole National Historic Site and such other renowned institutions as the National Gallery of Art, The Metropolitan Museum of Art, Smithsonian American Art Museum, Albany Institute of History & Art, Crystal Bridges Museum of American Art, Pennsylvania Academy of Fine Arts, Wadsworth Atheneum, and other public and private collections. Also included in the exhibition are the artist’s graphite drawings and sketches in oil and pen, as well as a recreation of his working studio environment, that includes Cole’s original easels, paint box, brush, palettes, plaster model casts, geological specimens, and guitar. The exhibition is informed by the 1850 letter by Jasper Cropsey detailing many of the things that were present in the studio, as well as photographs taken by the Cole family of the preserved space later in the 19th century, and new research in letters, inventories, and documents conducted at the Thomas Cole Site by Franklin Kelly and others. In creating this exhibition, Kelly has been joined by Consulting Curator Annette Blaugrund, the independent scholar and author of Thomas Cole: The Artist as Architect, and Kate Menconeri, chief curator and director of curatorial affairs, Contemporary Art, and Fellowship at the Thomas Cole Historic Site, both of whom coordinated the exhibition and edited the accompanying catalog. “I have imagined organizing an exhibition on this topic since I was a graduate student,” said Franklin Kelly. “Many years ago, when I first visited what is now the spectacular Thomas Cole Site, I only saw then an abandoned home in great need of repair. The New Studio was no longer standing, but I found its foundation and wondered about Cole’s brief time working there and what was left after his death that had been of such inspiration to so many other artists. It is thrilling to reassemble a selection of the art and artifacts known to have been in the New Studio and show it to new generations.” “When we reconstructed Thomas Cole’s New Studio as an exhibition space several years ago, we hoped that we could one day bring back the art and artifacts that used to be inside it,” said Elizabeth B. Jacks, executive director of the Thomas Cole National Historic Site. “It would not have happened without the extraordinary scholarship, passion, and determination of Franklin Kelly. Thanks to everyone involved in this exhibition, it now opens the door to a thoroughly new appreciation of Thomas Cole’s final paintings and the impact of this magical place on American art “
6840	dbpedia	0	24	https://americanart.si.edu/exhibitions/civil-war	en	The Civil War and American Art	https://cdn.saam.media/Q…cadd85af0545.jpg	https://cdn.saam.media/Q…cadd85af0545.jpg	[ "https://americanart.si.edu/themes/custom/azalea/dist/media/images/logo.png", "https://cdn.saam.media/_V-w4ViVCCG7zD3mzm85xZbYlB0/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fimages%2F2017-08%2Fluce_foundation_center.jpg", "https://cdn.saam.media/WNGyjsX7MT_uXogV5vfxOOhPTms/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fimages%2F2017-08%2Frenwick_stairwellodiledecqrug2.jpg", "https://cdn.saam.media/6rF-mArxD6atNhygtEhcoDfD-58/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fartwork%2Fimages%2F14c6b5ea87a9e54cbb789ff9867557d7.jpg", 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"https://cdn.saam.media/s88HvgSPSEA_IlPQUHkAYDHCsjg/640/360/top/cover/jpg/https%3A%2F%2Fs3.amazonaws.com%2Fassets.saam.media%2Ffiles%2Fimages%2Fimage%2F1684034713%2Fsaam-creatives-thumbnail.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	/themes/custom/azalea/dist/favicon.ico	Smithsonian American Art Museum	https://americanart.si.edu/exhibitions/civil-war	Description The Civil War and American Art includes 75 works—57 paintings and 18 vintage photographs. The artworks were chosen for their aesthetic power in conveying the intense emotions of the period. Homer and Johnson grappled directly with issues such as emancipation and reconciliation. Church and Gifford contended with the destruction of the idea that America was a “New Eden.” Most of the artworks in the exhibition were made during the war, when it was unclear how long it might last and which side would win. The exhibition also includes battlefield photography, which carried the gruesome burden of documenting the carnage and destruction. The visceral and immediate impact of these images by Alexander Gardner, Timothy H. O’Sullivan, and George Barnard freed the fine arts to explore the deeper significance of the Civil War, rather than chronicle each battle.
6840	dbpedia	3	4	https://www.metmuseum.org/art/collection/search/10501	en	View on the Catskill—Early Autumn	https://collectionapi.metmuseum.org/api/collection/v1/iiif/10501/34268/main-image	https://collectionapi.metmuseum.org/api/collection/v1/iiif/10501/34268/main-image	[ "https://collectionapi.metmuseum.org/api/collection/v1/iiif/10501/34268/main-image", "https://www.metmuseum.org/Rodan/dist/svg/rolling-0.9s-30px.svg", "https://cdn.sanity.io/images/cctd4ker/production/92575a6fd9ca227c207db320fa34b054a750f99a-4199x4863.jpg?w=250&fit=crop", "https://cdn.sanity.io/images/cctd4ker/production/9284cd1274a72e8e2824853f1eb7351b04f14943-250x231.jpg?w=250&fit=crop", "https://cdn.sanity.io/images/cctd4ker/production/4f408cba8fc0c86d79dcf40fcc9a40ccdc54b3c9-250x295.jpg?w=250&fit=crop", "https://cdn.sanity.io/images/cctd4ker/production/d558b42a926a96ac373b15af48dd894728744683-250x365.jpg?w=250&fit=crop", "https://cdn.sanity.io/images/cctd4ker/production/5891b663963787501fe8b2b4af4b633c974dd49e-250x340.jpg?w=250&fit=crop", "https://cdn.sanity.io/images/cctd4ker/production/49bbd2c8969ba3352a2a1505ad90684bd9a607c5-250x319.jpg?w=250&fit=crop", "https://cdn.sanity.io/images/cctd4ker/production/9d56305b617bc43f72f63d8e4c3d4991e0c9339d-250x295.jpg?w=250&fit=crop", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/10495/preview", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/10498/preview", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/10500/preview", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/10494/preview", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/20639/preview", "https://www.metmuseum.org/-/media/images/about-the-met/collection-areas/american-wing/the-american-wing-court_teaser.jpg" ]	[]	[]	[ "Cole", "Thomas", "Oil", "Canvas", "Paintings", "North and Central America", "United States", "New York", "New York City" ]	null	[]	null		en	https://www.metmuseum.org/content/img/presentation/icons/favicons/favicon.ico?v=3	The Metropolitan Museum of Art	https://www.metmuseum.org/art/collection/search/10501	Cole was enraptured by the mountains, crags, and verdant valleys that rim the Hudson River in upstate New York and spent much of his time at his house near the town of Catskill, on the banks of Catskill Creek. By 1837, however, the landscape no longer resembled this canvas. The Canajoharie and Catskill Railroad was being constructed through its heart, dooming hundreds of trees. Cole, who was also a poet and an essayist, wrote in despair of the ruthless sacrifice. In the painting, the misty distant mountains, the calm light on the water, and the pastoral figures in the foreground constitute a scene that he mourned as lost forever.
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6840	dbpedia	3	67	https://hudsonvalleyone.com/2017/05/18/thomas-cole-comes-to-life-thanks-to-multimedia-renovations-at-cedar-grove-in-catskill/	en	Thomas Cole comes to life thanks to multimedia renovations at Cedar Grove in Catskill	https://hudsonvalleyone.…-ext-700x467.jpg	https://hudsonvalleyone.…-ext-700x467.jpg	[ "https://ulsterpub.wpenginepowered.com/wp-content/uploads/2022/02/hv1OrangeLogo-24.png", "https://ulsterpub.wpenginepowered.com/wp-content/uploads/2022/02/hv1OrangeLogo-32.png", "https://ulsterpub.wpenginepowered.com/wp-content/themes/jnews/assets/img/jeg-empty.png", "https://ulsterpub.wpenginepowered.com/wp-content/uploads/2017/05/thomas-cole-ext-700x467.jpg", "https://ulsterpub.wpenginepowered.com/wp-content/uploads/2017/05/thomas-cole-east-parlor-700x357.jpg", "https://ulsterpub.wpenginepowered.com/wp-content/uploads/2017/05/thomas-cole-west-parlor-700x467.jpg", "https://ulsterpub.wpenginepowered.com/wp-content/uploads/2022/08/JoinTheFam.png", "https://ulsterpub.wpenginepowered.com/wp-content/themes/jnews/assets/img/jeg-empty.png", "https://ulsterpub.wpenginepowered.com/wp-content/themes/jnews/assets/img/jeg-empty.png", "https://ulsterpub.wpenginepowered.com/wp-content/themes/jnews/assets/img/jeg-empty.png", "https://ulsterpub.wpenginepowered.com/wp-content/themes/jnews/assets/img/jeg-empty.png", "https://ulsterpub.wpenginepowered.com/wp-content/themes/jnews/assets/img/jeg-empty.png", "https://ulsterpub.wpenginepowered.com/wp-content/themes/jnews/assets/img/jeg-empty.png", "https://ulsterpub.wpenginepowered.com/wp-content/themes/jnews/assets/img/jeg-empty.png", "https://ulsterpub.wpenginepowered.com/wp-content/uploads/2020/04/hv1-for-desktop.jpg" ]	[]	[]	[ "" ]	null	[ "Lynn Woods" ]	2017-05-18T00:00:00	The artist’s letters are scattered on tables and chairs, and visitors are encouraged to pick them up and read them.	en	https://ulsterpub.wpengi…icon-1-32x32.png	Hudson Valley One - Independent news & entertainment of the Hudson Valley	https://hudsonvalleyone.com/2017/05/18/thomas-cole-comes-to-life-thanks-to-multimedia-renovations-at-cedar-grove-in-catskill/	With the reopening of the Thomas Cole National Historic Site this season, the life, times and decorative tastes of this early-and-mid-19th-century artist, whose landscapes sparked one of America’s first art movements, will come to life as never before, thanks to the installation of new immersive technology and a historic restoration project that uncovered his original wall painting. In contrast to the usual “look-don’t-touch” protocol of historic homes, where red-velvet ropes partition off the recreated rooms, visitors at this Catskill attraction are invited to sit down in the East Parlor of Cole’s home. Reproductions of Cole’s letters are scattered on tables and chairs, and visitors are encouraged to pick them up and read them (turn over the copy of the original with the fine, florid handwriting for a legible typewritten version). The blue-cushioned chairs for visitors are dispersed amid the period antiques. The sense that you have walked onto a theatrical set recreating a room from the 1830s is heightened when Cole himself (actually, the voice of acclaimed actor Jamie Bell) speaks, as the lights dim and a portrait of the artist dissolves into a series of closeups of his paintings projected onto seven screens, each hung on the walls and bordered with a frame as if it were a painting. In a deep-voiced, leisurely cadence, Bell (who starred in the film Billy Elliot) intones, “All nature here is new to art” and recites other excerpts from Cole’s letters, journals and essays. The voice praises the mist rising in the valleys and the “fresh green realms” that have given him a respite from “the noise and bustle of the city.” He expresses dismay at the cutting down of the trees in the surrounding valley and hillsides, which he can view from his porch. “The wilderness of America,” which affects him so powerfully, “is quickly passing away,” thanks to “the ravages of the axe.” Bell-as-Cole announces his plans to paint the “illustrated history of natural science” as the projections depict scenes from the five paintings constituting Cole’s famous Course of Empire series. He speaks of his happiness in meeting his wife, Maria, as his sketch of her is projected, and notes that “Green is an excellent color for exhibiting paintings.” Cole, who was born in Lancashire, England in 1801 and immigrated to America when he was 17, is an eloquent writer; and hearing these words spoken out loud, and so masterfully and mournfully, by Bell (also a native of England) – words that reflect the disturbing changes happening to this place more than 150 years ago – is a little spine-tingling. Today, the view of the forested hills from the porch is more pristine that it was in the 1830s, when the hemlocks were being cut down for the tanning industry. While we can thank the creation of the Catskill Forest Preserve for that, the sense of an unbroken wilderness is of course an illusion, as attested by the proximity of Route 23A and the Rip Van Winkle Bridge, which fortunately are out of earshot. “Thomas Cole is a young visionary in the East Parlor, full of boundless optimism and excitement,” noted Thomas Cole Site executive director Elizabeth B. Jacks. “It’s about his ambition and love. The West Parlor focuses on how he hits reality and deals with his patrons.” Crossing the spacious, high-ceilinged hallway, brightened by a patterned, colored floor cloth, to the West Parlor, where a bowl of berries is laid out with a fine china tureen and wineglasses on a table, as if to welcome a visiting patron, technology is used for a different purpose: The surface of a desk and tables in three corners displays a series of projections, as if they were actual papers, showing excerpts of Cole’s correspondence with three patrons; the displays are triggered by motion-detection sensors. The exhibits are expertly woven into the historic furnishings – one display is projected from a desktop below shelves of leatherbound books – and even the explanatory text for the room is integrated into the design, printed on a page of a book, displayed on a table by the entrance, rather than on a conventional wall label. Cole complains in a letter to Jonathan Sturges, who commissioned the artist to paint a view of the valley from this room, how the construction of the railroad has marred the view. “We are truly a destructive people,” Cole writes in an 1836 letter, noting that “the beauty has passed away.” Sturges is empathetic in his reply, though the last projected display notes that the wealthy Sturges helped construct the railroad. In another display, Cole writes to Robert Gilmor, Jr., a merchant and art collector, in 1826 about how “I am no mere leaf painter.” Gilmor had commissioned Cole to illustrate a scene from James Fenimore Cooper’s novel The Last of the Mohicans, and he criticizes the composition of the piece as being “artificial.” The exchange highlights the pressure that Cole was under from his American audience to paint specific scenes taken from the American landscape, as opposed to the imaginary landscapes he preferred to paint, whose compositions and motifs were modeled after European painters Claude Lorrain and Salvadore Rosa and whose purpose was to portray philosophical ideas, linked to history painting. Besides conjuring up the personal and professional issues that consumed Cole, the two parlors also reveal Cole’s talents and tastes in decorating his home, which was built in 1815 (the couple shared the house, which had belonged to his wife’s family, with their children and a bevy of relatives). Restorers uncovered fragments of decorative painting along the tops of the walls, which were later determined to have been designed and painted by Cole, who before becoming a painter designed wallpapers. Using a type of alcohol, they then removed up to nine layers of paint to expose much of the original borders. In the East Parlor, the faded design of a Greek-key pattern topping a series of swags resembles old French wallpaper, although it was painted and stenciled directly on the plaster wall by Cole. Eventually, the restorers plan to do “in-painting” that would recreate the original vibrancy of the colors, keyed to the aquamarine color of the walls. “For Cole, each room was an art piece,” said Carrie Feder, who along with Jean Dunbar directed the restoration. She said that the hall floor cloth incorporates a pattern adapted from Pompey, whose ancient Roman motifs were then-popular, and noted that a faded section of carpet from the West Parlor that had been discovered was being used to recreate the entire carpet, which is being manufactured in England. Reproduction paintings will be hung from the walls of both parlors, to complete the recreation of the rooms during Cole’s lifetime. (He died in 1848, at age 47.) His original paintings and sketches are displayed, along with his top hat, palette, easel and collection of rocks displayed in a glass-topped table, in the room upstairs. Elsewhere on the grounds, his 1839 “Old Studio” (Cole painted in this former stone-sided storehouse for seven years) is set up with his easel, glass containers of powered pigment, his plaster casts from Italy and other painting aids, as if he were about to walk into the room and pick up his brush. The rebuilt New Studio, which opened last year – he built the original in 1846, which was torn down in 1974 – serves as an exhibition space. (One advantage of building new is that the structure is equipped with temperature controls and other devices that allow the museum to borrow and exhibit works from major museums, which require such technology, said Jacks.) This year’s exhibit is titled “Sanford Gifford in the Catskills” and consists of approximately 20 paintings by the Hudson River artist, plus a couple of his contemporaries, hung on dark-green walls. Guest curator Kevin J. Avery, senior research scholar at the Metropolitan Museum of Art, noted that the color complements the orange/yellow/red cast of many of the landscapes. Gifford, who was born in Hudson in 1823, was a landscape painter of national renown from 1857 to his death in 1880. He frequently visited the Catskills in the summer and fall from his base in New York, besides taking two extended tours of Europe and the Mideast to paint. Cole doubtless influenced Gifford to switch from portraiture to landscapes, according to Avery; the curator noted that some of the studies on display “have the perfection of the major paintings.” Avery wrote the excellent essay in a catalogue accompanying the exhibit. Dominating the gallery is a 54-inch-wide painting on the far wall of a desolate, dark expanse of undulating mountain range silhouetted against a narrow band of pale-orange sky, which is topped by a band of dark, orange-scarlet clouds. Silhouettes of dead trees frame the scene at either end, and the reflection of pale-orange sky glints from curving waterways far below in the dark valley. Titled Twilight in the Catskills, the painting was described as “darkness visible,” an allusion to John Milton, by a contemporary critic and was painted in 1861, when Gifford, who served in the Union Army, experienced the national trauma of the Civil War as well as the death of one of his brothers. More typical of his work are the luminous sky and soft pastels of the distant, atmospheric mountain, framed by a dark, rugged foreground of a forest clearing, in A Sketch of Hunter Mountain. A pairing of Mount Merino, a golden pastoral landscape with the yellow-white glow of the low, half-hidden sun (a favorite motif of Gifford’s) reflected in the Hudson River, where a row of cows drink, with Henry Ary’s South Bay and Mount Merino shows how Gifford idealized his scene: He omitted the railroad track over the river, which Ary included. Many of the landscapes are aligned vertically and depict rugged crags and ledges, whose scale is frequently conveyed by the inclusion of a tiny figure. The show also includes a sketch, Double Self-Portrait, in which the long-faced, mustached and bearded artist gazes intently out of the page, with and without his hat. Avery said that Gifford, who loved fishing, married just before his death and maintained a studio on Tenth Street in New York City, left a legacy of $70,000, which spoke to his success. Jacks said that Phase Two of the Thomas Cole Site restoration will consist of decorating the upstairs. In the meantime, Greene County has received grant money to construct a sidewalk on the Rip Van Winkle Bridge that will enable visitors to walk from the Cole House to Hudson and Frederic Church’s home and studio at Olana. The “Skywalk” should be completed by the end of this year. The original Cole farm of 110 acres bordered the Hudson River, which is close by, and there are plans to extend the bridge walkway to the Cole site. Thanks to the work of early preservationists, who created the Catskill Forest Preserve, many of the scenes depicted by Cole and other Hudson River School painters have been preserved. The Hudson River Art Trail (www.hudsonriverschool.org) enables motorists to drive or walk to some of these sites, thereby experiencing for themselves the beauty and the sublimity that so inspired the landscape painters of the mid-19th century. Located at 218 Spring Street in Catskill, the Thomas Cole Historic Site and “Sanford Gifford in the Catskills” are open from now through October 29, Tuesday through Sunday from 10 a.m. to 5 p.m. Admission cost $14, $12 for seniors 65+ and students with ID; kids under 16 get in free. Guided tours are available; check the website at www.thomascole.org for times and reservations or call (518) 943-7465.
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"https://artdependence.com/media/11643/screenshot-2022-09-18-at-113659-pm.png", "https://artdependence.com/media/5257/artdependence-magazine-introduction-new.jpg", "https://artdependence.com/media/2031/twimble.png" ]	[]	[]	[ "" ]	null	[]	null	ArtDependence Magazine is an international magazine covering all spheres of contemporary art, as well as modern and classical art. ArtDependence features the latest art news, highlighting interviews with today’s most influential artists like Luc Tuymans, Gerhard Richter, Damien Hirst and NFT, galleries, curators, collectors, fair directors and individuals at the axis of the arts. The magazine also covers series of articles and reviews on critical art events, new publications and other foremost happenings in the art world.	en	/adfavicon.png	ArtDependence	https://artdependence.com/	In East Asian cultures, the arts of poetry, calligraphy, and painting have traditionally been referred to as “the three perfections.” A selection of works spanning the three forms of art—all created in Japan over the course of nearly a millennium—will be displayed in the exhibition The Three Perfections: Japanese Poetry, Calligraphy, and Painting from the Mary and Cheney Cowles Collection, opened August 10, 2024, at The Metropolitan Museum of Art. Over 50 paintings, drawings and sketches by artists Norman Cornish and LS Lowry will be showcased at The Bowes Museum from 20th July 2024 – 19th January 2025. This major new exhibition includes 35 rarely or previously unseen artworks by the artists who shared a strong love of the north which was the focus of so much of their work, and who have a history of exhibiting together. Portrait art has long captivated audiences with its ability to capture not only the physical likeness but also the essence of its subjects. Some portraits have transcended their time, becoming iconic pieces that continue to influence and inspire. By exploring several famous portraits, we gain a deeper appreciation of how portrait art shapes our understanding of history, personality, and artistic innovation. These masterpieces offer a glimpse into the lives and times of their subjects, revealing the artistic brilliance and cultural significance behind each work. These publications are the result of the first two writers' residencies organised by the Museo Nacional del Prado with the sponsorship of Fundación Loewe and the collaboration of the magazine Granta in Spanish. Among the aims of the residencies is the creation of a short story inspired by the time the authors spent in the museum. The Emil G. Bührle art collection has been the subject of intense debate in Zurich for several years. The conflict is much older than the new building extension to the Kunsthaus Zürich, but it has become particularly heated with its opening in October 2021, when the collection was presented to the public. The Centre Pompidou has unveiled that Moreau Kusunoki in collaboration with Frida Escobedo Studio and AIA have won the architectural competition to complete its renovation set for completion in 2030. The DNA of the iconic Parisian structure designed by Renzo Piano and Richard Rogers will be preserved, with an eco-responsible approach that will revitalize the complex for contemporary use over the course of five years. The Zürcher Kunstgesellschaft, the patron association of the Kunsthaus Zürich and owner of its collection, n 5 June 2024 agreed with the heirs of the Jewish industrialist and art collector Carl Sachs on a ‘just and fair solution’ for the painting ‘L’Homme à l’ombrelle’ by Claude Monet. This is an important step in the systematic implementation of the new provenance strategy which the Kunsthaus Zürich presented in March 2023. The work is now to be sold under the terms of the amicable agreement. Coming to the market for the first time in more than 145 years, Titian’s early masterpiece Rest on the Flight into Egypt will headline Christie’s Old Masters Part I sale on 2 July 2024, presenting a very rare opportunity for buyers to become part of the next chapter in this fabled picture’s remarkable story (estimate: £15,000,000 – 25,000,000). Museum of Archaeology and Anthropology (MAA) arrived in Entebbe airport with 39 artefacts from the communities and kingdoms of Uganda that have been in the collections in Cambridge for a century or more. These artefacts have been placed in the care of the Uganda Museum on a long-term loan, where they will be the focus of a programme of research and consultation, and a major exhibition in 2025. Fotografiska, the contemporary museum of photography, art, and culture, will relocate its New York location to better meet the needs of its visitors and expand gallery space in response to the ambitious visions of the artists it presents globally. After five years of strong ticket sales and a highly- engaged membership base, the last day in its current building will be September 29th, 2024. A few months before the reopening of the Notre-Dame Cathedral in Paris, on December 8, 2024, the DRAC and the Mobilier national are teaming up with the Centre de recherche et de restauration des musées de France (C2RMF) to present21 large-format paintings, including 13 Mays, restored as part of an exceptional project, as well as part of the choir carpet and other remarkable furniture. Although almost nothing is known regarding the artist’s life, the date of 5 April 1474 is the first reference to Jheronimus Bosch’s existence, when he is referred to as a witness for his sister in the sale of the mortgage on a house in the small town of Geffen (The Netherlands). At that date the artist was around 24, the legal age for acting independently in a notarial document. Coming to the market for the first time in more than 145 years, Titian’s early masterpiece Rest on the Flight into Egypt will headline Christie’s Old Masters Part I sale on 2 July 2024, presenting a very rare opportunity for buyers to become part of the next chapter in this fabled picture’s remarkable story (estimate: £15,000,000 – 25,000,000). Since 2 May 2023, the upper panels of the interior of the Ghent Altarpiece are being restored at the Museum of Fine Arts (MSK) in Ghent. This is the third and final phase of the large-scale conservation-restoration campaign of the altarpiece of the Adoration of the Mystic Lamb by the Royal Institute for Cultural Heritage (KIK-IRPA). The city of Poperinge, inspirator Koen Vanmechelen and curators James Putnam and Michaël Vandebril present the 2024 edition of Watou Arts Festival. 'Landscape of the Imagination' will take place from July 6 to September 1. Artists and poets will showcase the power of the imagination, in dialogue with each other and with several unique locations in and around the village and castle De Lovie. Flaco was magic. At once an immigrant and a native, he seized his opportunity to make New York City his own. He meant so much to so many, who gathered in droves over the past year to watch him be his best Eurasian Eagle-Owl self. He was and remains a testament to the virtues of resilience and self reinvention. A landmark new exhibition at the British Museum will explore the final three decades of the Renaissance master Michelangelo’s illustrious life and career. Michelangelo: the last decades (2 May – 28 July 2024) will delve exclusively into this significant – and arguably most demanding – period of the artist’s life, focusing on how his art and faith evolved through the common challenge of ageing in a rapidly changing world. Amanda Ziemele will present “O day and night, but this is wondrous strange… and therefore as a stranger give it welcome” for the Latvian Pavilion at the 60th International Art Exhibition – La Biennale di Venezia from April 20 until November 24, 2024. The Pavilion will be curated by Adam Budak, the Director of Kestner Gesellschaft, Hannover and is commissioned by Daiga Rudzāte, the Head of the INDIE Culture Project Agency. British actress Dame Joanna Lumley, famed for her role on the BBC TV series ‘Absolutely Fabulous’, will be the narrator of Rijksmuseum’s online experience Frans Hals: Strokes of Genius. This online experience will be launched on the Rijksmuseum website to coincide with the opening of the Frans Hals exhibition on 16 February. A major fan of Dutch Golden Age paintings and the Rijksmuseum, Dame Joanna did not hesitate for a moment when she was asked to take part in the exhibition. One of Irish artist Harry Clarke’s finest and rarest works of stained glass has become part of the national collection at the National Gallery of Ireland. Titania Enchanting Bottom, created over a century ago in 1922, now belongs to the Irish public and will be free for Gallery visitors to view in the new year. The acquisition was supported by the Patrons of Irish Art of the National Gallery of Ireland, whose membership fees support acquisitions of Irish art. It’s been a historic year at the Rijksmuseum, thanks in part to the Vermeer exhibition, which ran for four months this spring. It was the best-attended exhibition in the history of the museum. For those who would love to enjoy Vermeer one more time, today sees the launch of Vermeer, experience the exhibition from home, an online 360° tour of the exhibition. ‘Our findings from the current year completely change our perception of this settlement area in many different aspects’, says Prof. Radosław Palonka from the Institute of Archaeology of the Jagiellonian University, who for more than a dozen years has been investigating historic sites and customs of the 3000-year-old Pueblo culture on the border between Colorado and Utah. His team is the only Polish and one of the few European archaeological groups to work in the region UNESCO figures show that 2023 has been a particularly deadly year for journalists who work in conflict zones, with killings almost doubling compared to the past three years. The last three months of this year in particular have already been the deadliest quarter for journalists in conflict zones since at least 2007, with 27 deaths. The painting The Little Cat (Le petit chat) (1888) by Paul Gauguin (1848-1903) is currently at the Van Gogh Museum on long-term loan and will be on display at the museum from today (19 December 2023). The work was last exhibited in 1906, and this is the first time the work will be shown together with paintings that Vincent van Gogh and Paul Gauguin made during the same period of intensive artistic exchange. The Van Gogh Museum plans to conduct extensive research on the work while it is on loan. New research within Operation Night Watch has revealed that Rembrandt impregnated the canvas for his famous 1642 militia painting The Night Watch with a lead-containing substance even before applying the first ground layer. Such lead-based impregnation has never before been observed with Rembrandt or his contemporaries. The discovery underlines Rembrandt's inventive way of working, in which he did not shy away from using new techniques. In response to the urgency of the climate crisis and the corresponding need for a radical change in the way we think and act, the City of Vienna has launched a new festival. The first Klima Biennale Wien, hosted by the KunstHausWien, will begin on 5 April and run until 14 July 14 2024. A bakery-prison, where enslaved workers and donkeys were confined and exploited to grind the grain needed to make bread. A cramped room with no view of the outside world and with small windows high in the wall with iron bars to let the light in. In the floor indentations to coordinate the movement of the animals, forced to walk around for hours, blindfolded. Following nearly four years of intense negotiations, the city of Ostend, together with Participatiemaatschappij Vlaanderen (PMV) and Restotel NV, has succeeded in rescuing the iconic Thermae Palace Hotel and the Royal Galleries (Koninklijke Gaanderijen) from collapse. In all, around EUR 134 million will be invested, with more than half of this being private funds. The partners expect to formally sign the cooperation agreement by the end of the year, following approval by the relevant decision-making bodies. All three prints of Van Gogh’s lithograph Old Man Drinking Coffee have been reunited for the first time since 1882. The location of one of the three was long unknown, but the print was recently rediscovered and subsequently sold at auction. The new owner is now offering the lithograph to the Van Gogh Museum on long-term loan, and will ultimately gift the work to the museum. The presentation is now on display at the Van Gogh Museum. With the exhibition Art in the third reich – Seduction and distraction Museum Arnhem draws attention to the art from the period of the 'third reich', 1933-1945. What does it look like? Why was there, during a Nazi regime characterized by political violence, war and the Holocaust, so much focus on contemporary art? Did the artists support the regime, did the regime support the artists, or both? On 6th June 2023, the destruction of the Kakhovka dam caused significant direct damages in four oblasts of Ukraine and had caused dire losses in the south of the country. In the framework of its mandate, UNESCO assessed the impact on culture, education and environment, with more than US$ 485 million needed for the recovery of these sectors over the next decade. Perhaps few know that the section of the Vatican Walls facing Piazza del Risorgimento includes the Porta di Santa Rosa gateway, and that from that monumental entrance to the Vatican State (created by the sculptor Gino Giannetti and inaugurated in 2006), from next 17 November, it will be possible to directly access the famous archaeological area of the Necropolis along the Via Triumphalis to discover the fascinating “Life and Death in the Rome of the Caesars”. The Van Gogh Museum has wanted to add a painting by Jean-François Millet (1814-1875) to its collection for many years. The acquisition of Peasant Spreading Manure enables the museum to show how important Millet was to Van Gogh and many other 19th-century artists. The new acquisition is now on display alongside a number of paintings and drawings by Van Gogh, which clearly show Millet’s influence. As an exhibition organizer, cofounder of Skulptur Projekte Münster, curator of the major exhibitions Westkunst and von hier aus as well as Manifesta in St. Petersburg, Kasper König played an incomparable role in shaping art discourse over the past five decades. He was director of the Museum Ludwig for twelve years (2000–12). In his view, a museum is a public place: “It belongs to everyone and no one.” Christie’s is selling the very fine pearl collier by Fürst, worn by Audrey Hepburn in the final scene of "Roman Holiday". The lot will be offered in the upcoming Jewels Online: The Geneva Edit sale taking place from 3 to 16 November (estimate CHF18,000-26,000). The Fürst family is originally Austro-Hungarian. In the 1850s, Moric Fürst moved to Turin to establish his business as a Jeweller and became a leading supplier for the Savoyard court. The Nasher Sculpture Center, a world-renowned museum dedicated to the field of sculpture, announces Director Jeremy Strick will retire from his leadership position in June 2024. Mr. Strick’s retirement from the museum field caps off a 40-year career and one in which he has served as Director of the Nasher for 15 of its 20 years, serving as the second-ever leader of the institution. Recent severe weather conditions have exposed the Museum of Making to substantial flood damage. Whilst the building was designed to withstand an element of flooding, including movable displays on the ground floor and the installation of electrics above the ground, and staff had worked tirelessly to move as much as possible off the ground floor, water levels were higher than predicted and the damage is significant. As a result, the interruption to the museum’s day-to-day activity is expected to be substantial. The British Museum has today set out plans to increase access to the collection, and ensure everything is documented and available online. It is estimated that the project will take 5 years, and means that for the first time the entire collection will be accessible to anyone who wants to explore it. Auguste Rodin's 'The Burghers of Calais' was owned by the city's museums ever since it was displayed at the Glasgow International Exhibition in 1901. After a Freedom of Information request, it has come to light that the sculpture - also titled 'Le Bourgeois de Calais' - was among a total of 1,750 items missing or stolen that were owned by Glasgow Life - the company running Glasgow's museums and art galleries. Leonardo da Vinci is renowned to this day for innovations in fields across the arts and sciences. Now, new analyses published in the Journal of the American Chemical Society show that his taste for experimentation extended even to the base layers underneath his paintings. Surprisingly, samples from both the “Mona Lisa” and the “Last Supper” suggest that he experimented with lead(II) oxide, causing a rare compound called plumbonacrite to form below his artworks. A team of scientists, led by researchers from the Universidad de Alcalá (UAH) and the Universitat Autònoma de Barcelona (UAB), has discovered and analyzed the first direct evidence of basketry among hunter-gatherer societies and early farmers in southern Europe, (9,500 and 6,200 years ago), in the Cueva de los Murciélagos of Albuñol (Granada, Spain). This site is one of the most emblematic archaeological sites of prehistoric times in the Iberian Peninsula due to the unique preservation of organic materials found there. The study has been published in Science Advances. Started in 2017 as a project, from 1 October 2023 it will be time to hand over the Van Gogh Worldwide platform to the maintenance department. The project is officially ended. But what does that mean for the institutions that still want to join the platform? And how will the data of participating institutions be updated? Hao Jingban will receive 100,000 USD for the production of a screen-based video artwork, for which she now has up to eighteen months to complete. An edition of the work will be donated to and exhibited in each museum and the Han Nefkens Foundation will also have a long-term loan of the produced artwork for presentation at art institutions worldwide with whom the Foundation collaborates with. On the evening of Friday September 8th, Morocco was hit by a catastrophic 6.8 magnitude earthquake. As the country mourns the loss of over 2,000 lives and 1,404 seriously injured people, the World Health Organisation estimates that the earthquake has already impacted over 300,000 people. The number is likely to continue climbing. The children’s rhyme ‘London’s Burning’ may be associated with the Great Fire of 1666 but the calls to ‘fetch the engine’ and ‘pour on water’ would certainly have had a particular resonance with people during and after the Blitz of World War Two. In 1940-41, fire again raged throughout the Capital, with 13 of Sir Christopher Wren’s churches destroyed and the night of 29 December 1940 becoming known as the ‘Second Great Fire of London’. Humans have had talent and passion for art for almost as long as we have kept records. In the time of the Greeks, philosophy was one of the driving forces behind the art forms they produced. However, fast-forward to today, we have more modern styles that appeal to people today. Every year, European cities represent the European Capitals of Culture (ECOC). The initiative was developed in 1985 and has already been awarded to more than 50 cities. Selected cities receive €1.5 million in funding from the “Creative Europe” programme.It is designed to foster the contribution of culture to the development of cities. Moreover, it aims to highlight richness and diversity across Europe. Karel Holomek was a prominent Roma activist, publicist and politician. He was born on 6 March 1937 into a family of indigenous Moravian Roma who settled in Moravia at the end of the 17th century. Like his father, Tomáš Holomek (the first university-educated Romani person in Czechoslovakia) graduated in mechanical engineering from the Military Academy in Brno and worked there as an assistant for several years. The British Museum has launched an independent review of security after items from the collection were found to be missing, stolen or damaged. A member of staff has been dismissed, and the Museum will now be taking legal action against the individual. The matter is also under investigation by the Economic Crime Command of the Metropolitan Police. Sequences Biennial is delighted to announce the full list of participating artists for its 11th edition, which will open to the public from 13–22 October in Reykjavík, Iceland.Titled Can’t See, the Biennial explore the ever-growing threat of ecological destruction by delving into spaces that cannot be perceived by the human eye, from the depths of the sea and layers of the soil, imagining the debris of the past and visions of the future. The number of stolen artefacts from the British Museum is “closer to 2,000” with the total value of missing pieces thought to run into “millions of pounds”, reports have said. Last week the British Museum announced that items from its collection were found to be “missing, stolen or damaged” and an unnamed member of staff has been sacked. Legal action is being taken by the museum against the individual and police are investigating but no arrests have been made. Ötzi's genome was decoded for the first time more than ten years ago. This was also the first time the genome of a mummy had been sequenced. The results provided important insights into the genetic makeup of prehistoric Europeans. Advances in sequencing technology have now enabled a research team from the Max Planck Institute for Evolutionary Anthropology and Eurac Research to reconstruct Ötzi’s genome more accurately. The British Museum has launched an independent review of security after items from the collection were found to be missing, stolen or damaged. A member of staff has been dismissed, and the Museum will now be taking legal action against the individual. The matter is also under investigation by the Economic Crime Command of the Metropolitan Police. NASA’s James Webb Space Telescope has followed up on observations by the Hubble Space Telescope of the farthest star ever detected in the very distant universe, within the first billion years after the big bang. Webb’s NIRCam (Near-Infrared Camera) instrument reveals the star to be a massive B-type star more than twice as hot as our Sun, and about a million times more luminous. The Metropolitan Museum of Art acquired an important painting attributed to Jacques Guillame Lucien Amans, the French neoclassical painter who worked in New Orleans in the late 1830s through the 1850s. The painting, titled Bélizaire and the Frey Children, of ca. 1837, represents one of the rarest and most fully documented American portraits of a Black individual depicted with the family of his White enslaver. The painting will go on view in Gallery 756 of the American Wing this fall. From 11 to 15 August, you will discover Brussels City Hall through fresh new eyes. Five days long, some of the world's finest floral artists will transform fifteen rooms in the Town Hall to pay tribute to another Belgian speciality: Surrealism and its great masters. An enchantment of fragrance and colour to inspire the imagination in the most beautiful setting you could dream of: the Grand-Place in Brussels. The Kõmij Mour Ijin expedition aims to bring worlds together to tell a compelling story that will capture the public’s imagination. We voyage to learn and appreciate: to remember, to reimagine, to reinvent. We voyage to reaffirm our home right here and now on Earth and to ensure that all of us can not only survive but also thrive. Will Gompertz, who is currently Artistic Director at the Barbican, will take up the post on 1 January 2024. This follows the announcement earlier this year by Dr Bruce Boucher, the Deborah Loeb Brice Director of Sir John Soane’s Museum, that he would retire at the end of 2023 after nearly eight years leading the Museum through a period of great success. The National Gallery of Art has acquired Sentinel (2022) by Simone Leigh (b. 1967), the first work by the artist to enter the collection. Sentinel is a new edition of the sculpture from the US pavilion at the 2022 Venice Biennale, where Leigh was the first Black woman artist to represent the United States in the exhibition’s 127-year history. Her work was also included in the Biennale’s central exhibition, The Milk of Dreams, for which she was awarded the Golden Lion for Best Participant. The sculpture will be installed in the East Building atrium in September 2023. Konrad Klapheck worked on his very own artistic orbit. He began his career after the war, in the heyday of abstraction, with elaborately crafted figurative paintings. He met his heroes Breton and Magritte just before they died and became a belated Surrealist. And when art was already beginning to take an interest in “media”, he still staged irons and typewriters as monuments to an analogue machine world that had long since come to an end. From 5 July to 17 September 2023, the Musée Marmottan Monet will host a remarkable collection of engravings belonging to the Swiss Fondation William Cuendet & Atelier de Saint-Prex. With over one hundred masterpieces on display, the exhibition showcases an ensemble of works ranging from the 15th to the 21st century, including Dürer, Rembrandt, Piranesi, Goya, Corot, Manet, Degas, Bonnard, Vuillard… The works of the great masters will be displayed in a dialogue with creations by contemporary artists. After an extensive restoration process, Edgar Degas' "Little Fourteen-Year-Old Dancer" (circa 1880) will be back on display at the Albertinum of the Staatliche Kunstsammlungen Dresden (SKD) starting Tuesday, 8th August 2023. Edgar Degas' dancer is one of the iconic pieces in art history, and her ballet tutu is undoubtedly the most famous tutu in the world. During the restoration, the tutu was not only cleaned and conserved but also underwent retouching to fix any missing parts of the sculpture. The triptych arrived at KIK on 28 June, ready for the start of its restoration in 2024. In October, it will sojourn at M Leuven, in the city Bouts once lived and worked. During the DIERIC Bouts. Creator of Images exhibition (20.10.23 through 14.01.24) and the feature exhibition Bouts Studio (16.02.24 through 28.04.24) at M Leuven, the triptych can be seen for the first time ever alongside other Bouts’ masterpieces, such as The Last Supper – his magnum opus – Man of Sorrows, and The Martyrdom of Saint Erasmus. Library Street Collective is thrilled to present We are the Willing, the first solo gallery exhibition by Los Angeles-based artist Gary Tyler, curated by Allison Glenn, opening on July 8th, 2023. Taken from the first lines of the motto for the Angola Prison drama club, which Tyler was president of for 28 years, “We are the willing” became an anchor for the artist, propelling him to think expansively about the potential impact his leadership could have on the shape of the drama club, where he relied on the space of performance to increase prison literacy, and for members to have a cathartic release through self-expression. In 2021, when a New York art gallery debuted paintings by Hunter Biden with asking prices as high as $500,000, the White House said that buyers’ identities were known only to the gallery, not to Hunter Biden himself. Internal documents from Georges Bergès Gallery show Biden sold $1.3 million worth of art. Of that amount, a single buyer bought 11 Biden artworks for $875,000. The identity of the $875,000 buyer is unclear, Business Insider reported. On view for the first time in a US museum, HUMAN ONE’s explorer asks viewers to look closely at the worlds they encounter. The explorer walks through imagined landscapes ranging from those inspired by terrains in our own world, like alpine mountains, to those that reach deep into the worlds of dreams and popular culture to reimagine what forms landscapes can take. An installation by the influential artist Gülsün Karamustafa will be presented at the Türkiye Pavilion at the 60th International Art Exhibition - La Biennale di Venezia, to be held between 20 April and 24 November 2024. Curated by Esra Sarıgedik Öktem, the exhibition will take place at the Türkiye Pavilion located in its long-term venue at the Arsenale, secured by the Istanbul Foundation for Culture and Arts (İKSV) for the duration of 20 years from 2014 to 2034. Photographs play a central role in the memory of World War II. As a supposedly objective source, they were and are reproduced in books, films, documentaries and exhibitions and continue to shape visual memory to this day. This also applies to the war against the Soviet Union, in which the Germans committed unprecedented crimes against prisoners of war and the civilian population after the invasion on June 22, 1941. Dulwich Picture Gallery has received planning permission for an innovative transformation of its site and three acres of green space, in its biggest redevelopment in over 20 years. A brand new, free to access outdoor gallery will extend the visitor experience into the gardens while a new building and extension will reveal new views of the site and provide much needed facilities for families, with a focus on art and creative play. The recovery of this archaeological artifact, which is of great historical and cultural importance, is the result of the joint work done by both ministries and the INAH. The research and report done by INAH specialists and the legal arguments presented by Mexico’s representation in Germany led to the voluntary return of the carving, which was found in an antique store. The Chrysler Museum of Art will present Paul McCartney Photographs 1963-64: Eyes of the Storm from December 5, 2023 – April 7, 2024. Traveling from the National Portrait Gallery in London to Norfolk, the Chrysler Museum of Art will be the first venue in the United States to host this major exhibition, burnishing the Chrysler’s reputation as an institution committed to the presentation of the diverse histories of photography through exhibitions and the permanent collection. A suspected arson attack in Naples destroyed a work from Italian artist Michelangelo Pistoletto’s Venus of the Rags (1967–1974) series yesterday, Wednesday, July 12. The piece was unveiled two weeks ago in the city’s central Piazza Municipio as part of a city-wide initiative to bring art into public spaces. Italian police announced last night that they arrested a 32-year-old unhoused man in connection with the incident. The authorities identified the suspect through security footage and traced him to a soup kitchen. Tate Modern launches a major new exhibition celebrating the dynamic landscape of photography across the African continent today. Bringing together 36 artists from different generations and geographies, A World in Common: Contemporary African Photography explores how photography and video has allowed artists to examine legacies of the past while imagining more hopeful futures. Unfolding across three chapters, the exhibition charts the dialogue between photography and contemporary perspectives on cultural heritage, spirituality, urbanisation, and climate change to reveal shared artistic visions that reclaim Africa’s histories and reimagine its place in the world. Spike Lee: Creative Sources, a rare glimpse into the world of Spike Lee (born Atlanta, Georgia, 1957; raised in Brooklyn, New York), one of the most influential and prolific American directors, who has transformed the landscape of contemporary cinema and the art of filmmaking. Through an immersive installation of objects that have been touchpoints in his creative process, visitors will discover the sources of inspiration that have fueled Lee’s work. Governor Hochul unveiled her vision for a new commuter-first world-class Penn Station and revitalized surrounding neighborhood that reflects the community's needs and focuses on public transit and public realm improvements. The plan prioritizes the reconstruction of the existing station while the station expansion and the Gateway Project initiatives, both of which the Governor strongly supports, continue on their federally-established timelines. Governor Hochul's new plan thus allows the expedited reconstruction of the existing Penn Station, 60% of whose users are subway and LIRR riders. At the request of Indonesia and Sri Lanka , the Netherlands will be returning 478 objects of cultural significance to Indonesia and to Sri Lanka. The objects were wrongfully brought to the Netherlands during the colonial period, acquired under duress or by looting . The decision to return them was made by Secretary of State for Culture and Media Gunay Uslu, following the recommendations of the Advisory Committee on the Return of Cultural Objects from Colonial Context, chaired by Lilian Gonçalves-Ho Kang You. The works are currently in the collections of the National Museum of World Cultures and the Rijksmuseum. Adam Khan Architects have been selected to lead the refurbishment of the Palais de Danse. This historic building in the heart of St Ives served as Barbara Hepworth’s sculpture studio in the 1960s and will now be reimagined as a space to showcase and build on her artistic legacy. After an extensive search, Khan has been appointed to lead a project team comprising Thread, Price & Myers, and Ritchie+Daffin. S.M.A.K. (Municipal Museum of Contemporary Art) in Ghent is taking an important step towards the long-awaited expansion of the museum. The Ghent urban development company sogent is seeking a multidisciplinary design team through the Flemish Government Architect’s Open Call procedure. The team will draw up the design for a renewed S.M.A.K., comprising the current building and the so-called ‘Casino end’ of the Floraliënhal on the opposite side of the building cluster. The volcano is located less than fifty kilometers from Vesuvius and could cause a new catastrophe if it erupts. Mount Vesuvius is probably one of the most famous volcanoes in the world and is located in the Gulf of Naples, Italy. Less known than Vesuvius, but potentially equally dangerous, is the Campi Flegrei, located in the same Italian region. The new presentation, which opens on 3 November and is scheduled to run for at least a year, is entitled ‘A Future for the Past. The Bührle Collection: Art, Context, War and Conflict’. The exhibition examines the historical context of the genesis of the Emil Bührle Collection, and adopts a nuanced approach to it in the immediate present. Differing interpretations and perspectives will be juxtaposed in order to highlight the manifold interconnections and dilemmas involved. The Windrush Generation is being celebrated in a series of ten new portraits that will go on public display for the first time from today for visitors to Edinburgh’s royal palace. Commissioned by His Majesty The King in 2022 when Duke of Rothesay, the special display commemorates the positive contributions these pioneering men and women have made to the United Kingdom. Aviva, Manchester City Council and Factory International today announce a long-term partnership which includes landmark support for Manchester’s iconic new arts and culture venue to be named Aviva Studios. The venue, which will be the home of Factory International, is predicted to add £1.1 billion to the economy of Manchester and the surrounding region over a decade. It will support up to 1,500 direct and indirect jobs and provide training and engagement opportunities for people of all ages and backgrounds. Uzodinma Iweala and the team at The Africa Center will be presented with the Leo Award at ICI's upcoming Fall Benefit and Auction, taking place on Thursday, October 26, 2023. As the leading arts organization committed to advancing curators in contemporary art, ICI presents its Leo Award (named after the legendary art dealer and early ICI supporter Leo Castelli) in recognition of those who have shown extraordinary support to curators and artists and created new infrastructures that serve a broader art world. Conducted under the scientific direction of the Capitoline Superintendency for Cultural Heritage, and made possible by an act of patronage by the Maison Bvlgari, the interventions finally allow the full usability of the Sacred Area of Largo Argentina with a new visit itinerary that, for the first time, allows you to access the site and visit it systematically, reading the stages of life from the Republican age through the imperial and medieval era, up to the rediscovery that took place in the last century with the demolitions of the 1920s. A guitar painted by Keith Richards will go on display for the first time in The Rolling Stones – Unzipped at the Groninger Museum. This exciting exhibition makes clear that the Stones are about more than just music. From rare instruments, audiovisual footage and album covers to personal possessions, stage designs and fashion, Unzipped has it all. The exhibition opens at the Groninger Museum – its final location ever – on Friday 30 June. After stops in London, Sydney, the United States and Asia, the tour ends in Groningen. The Rein Dool painting depicting board members of Leiden University will be moving soon to the Reception Room in the Academy Building, where more people will be able to see it. The work will have a label and will also be part of temporary exhibitions of other works. Leiden University will also appoint a new Art and Debate Committee for the Academy Building. Susan and Matthew Weatherbie and the Museum of Fine Arts, Boston (MFA), have reached an agreement with the heirs of art dealers Paul Graupe and Arthur Goldschmidt resolving the ownership of Adriaen van Ostade’s painting Customers Conversing in a Tavern (1671), which had been sold to Adolf Hitler in the early 1940s. The agreement allows the painting to be retained and exhibited at the MFA, and donated to the Museum at a future date by the Weatherbies. The five shortlisted artists for the 2023 Sobey Art Award, Canada's preeminent prize for contemporary visual artists, were announced today by the National Gallery of Canada (NGC) and the Sobey Art Foundation (SAF). Works by the five finalists will be on view at the Gallery from October 13, 2023 until March 3, 2024. The winner will be announced in November. Artist Divya Mehra won the $100,000 Sobey prize in 2022. Throughout the 20th century and to the present day, the Philadelphia Museum of Art’s Lady with a Guitar has been the subject of deep fascination and many questions. Long catalogued as a ‘Copy after Vermeer’ in the John G. Johnson Collection at the Museum, the work is a replica or close duplicate of Johannes Vermeer’s The Guitar Player (c.1672) today in the collection of Kenwood House, London. The hairstyles of the sitter are different – the Philadelphia musician does not have corkscrew ringlets – but otherwise the images are nearly identical. Larry's List released the second edition of the private art museum report. The report provides a systematic exploration of the global landscape of privately founded contemporary art museums with analyses by continent, country, and city. It gives an overview of museums that have opened over the past years and provides an understanding of their legal setup and operations. A deep-dive chapter explores the social media activities of the museums. Two environmental activists have been found guilty of vandalism for gluing themselves to a statue in the Vatican Museums. In the conclusion of the much-talked-about trial on Monday (June 12), Vatican judges sentenced the activists to nine months in prison and charged them a 1,500 euro fine with a suspended sentence of five years. What did the Girl with a Pearl Earring look like when Vermeer applied his final brushstroke to the canvas and he took the -now world-famous painting- off the easel? Are we still looking at the same painting as he once intended? And what painting techniques would he have used? In the freely accessible presentation Who's that Girl? the Mauritshuis shares key research findings on what the Girl must have looked like in 1665. The presentation in the museum's foyer also includes a mega-sized 3D print of the Girl, which you can see ánd touch. Thanks to very advanced research techniques, we have come a whole lot closer to Vermeer. In Carnac, a small municipality in the French region of Brittany, at least 38 menhirs or prehistoric stones have been demolished for the construction of a DIY store. This has been reported by various French media outlets. Carnac is known as an area where menhirs are abundant. A local archaeology association is considering filing a complaint against the municipality. M Leuven welcomes Study of a Head of a Bearded Man into its collection. It is a recently discovered painting from the oeuvre of Michaelina Wautier, who worked in Brussels in the seventeenth-century. This extremely rare study from c. 1655 was authenticated by Wautier expert, Katlijne Van der Stighelen (KU Leuven). The work will be presented in the new collection presentation at M in 2024. Through this display, the museum aims to further redress the balance between female and male artists and to highlight an underexposed area of art history. A large piece of wood discovered by chance, lying in peat in excellent condition during the construction of a workshop in Boxford, Berkshire, has been identified by Historic England as being more than 6,000 years old, making it the oldest decoratively carved wood in Britain. It was carved 2,000 years before Stonehenge was built and 4,500 years before the Romans came to Britain. The exhibition features works by 15 artists: Francesco Arena, Terry Atkinson, Massimo Bartolini, Eteri Chkadua, Maxim Dondyuk, Harun Farocki, Leon Golub, Alfredo Jaar, Mario Merz, Richard Mosse, Pedro Reyes, Martha Rosler, Sim Chi Yin, and Ran Slavin. War is over! Peace has not yet begun, through the selection of artists’ works, invites us to look at the apparently concluded conflicts of our time and of the past, and to reflect on the profound difference between the mere closing or deadlock of the armed phase of a conflict and the establishment of a true condition of peace, following a reflection on the power and meaning of images in the history of art and communication. From painful waxes to irritating shaves, we can trace the modern obsession with hair removal back to the Romans, English Heritage has said today (24 May), as the charity displays a collection of tweezers used to remove armpit hair from Roman men and women in a new museum at Wroxeter Roman City, Shropshire – a Roman town once as large as Pompeii. Amongst over 400 artefacts, most of which have never been on display, other objects related to Roman cleanliness and beauty practices include a strigil (skin scraper), perfume bottles, jet and bone jewellery, make-up applicators and amulets for warding off evil. The new museum at Wroxeter opens to the public tomorrow. On Friday 2 June, the Van Gogh Museum celebrated its 50th anniversary: a significant milestone for the renowned museum that is devoted to the work of Vincent van Gogh and his time. During the anniversary celebration on Museumplein, Princess Beatrix received a sunflower on behalf of Emilie Gordenker (Director of the Van Gogh Museum) and Janne Heling (Chairwoman of the Vincent van Gogh Foundation). The Princess’ mother, Queen Juliana, was also presented with a sunflower at the opening of the museum 50 years ago. A remarkable unseen trove of Freddie Mercury’s handwritten working drafts for Queen’s immortal hits will be unveiled for the first time today at Sotheby's New York, before travelling to Los Angeles and Hong Kong. The manuscripts will then return to London as part of a month-long exhibition in August prior to their sale in “Freddie Mercury: A World of His Own” this September. A remarkable unseen trove of Freddie Mercury’s handwritten working drafts for Queen’s immortal hits will be unveiled for the first time today at Sotheby's New York, before travelling to Los Angeles and Hong Kong. The manuscripts will then return to London as part of a month-long exhibition in August prior to their sale in “Freddie Mercury: A World of His Own” this September. Sotheby’s today announces plans to acquire the iconic Breuer building from the Whitney Museum of American Art, relocating its flagship galleries and auction room to the heart of New York’s Upper East Side alongside the Museum Mile. Designed by Modernist master Marcel Breuer and completed in 1966, the new flagship located at 945 Madison Avenue will include state-of-the-art gallery and exhibition space to showcase Sotheby’s full suite of offerings—including a reimagined signature auction room, exhibitions spanning Sotheby’s 71 categories across fine art and luxury, all while maintaining this landmark architectural masterpiece. The Sotheby’s galleries will be free and open to the public. Established at the initiative of the avid art collector Kiran Nadar, the Kiran Nadar Museum of Art (KNMA) opened its doors to the public in January 2010, as the first private museum of art exhibiting Modern and contemporary works from India and the sub-continent. Located in the heart of New Delhi, India’s capital city, KNMA as a non-commercial, not-for-profit organization intends to exemplify the dynamic relationship between art and culture through its exhibitions, publications, educational, and public programs. It was not just the eruption that led to the death of the inhabitants of Pompeii but also the simultaneous earthquake. Turmoil, confusion, attempted escapes and, in the meantime, an earthquake, showers of pumice, volcanic ash and hot gases. This was the inferno of the eruption of AD 79, the living hell in which the inhabitants of the ancient city of Pompeii found themselves, including the two victims whose skeletons were recently discovered during the excavation of the insula of the House of the Chaste Lovers. In common with many arts organisations, and other universities across the sector, the University of Brighton faces financial challenges which means that we are having to reduce our expenditure. The decade-long freeze in undergraduate tuition fees has reduced their value in real terms by around a third, while the increase in our costs as a result of generationally high levels of inflation has created further pressure. This has led to the difficult decision to close the BCCA The death of the artist was confirmed by the Ilya and Emilia Kabakovy Foundation. “It is with deep sorrow that we announce the death of Ilya Kabakov, a great artist, philosopher, beloved husband, precious father and adored grandfather,” says the foundation’s Facebook message. It says that Kabakov died surrounded by his loved ones on May 27, the cause of death is not specified. Art Fund annually shortlists five outstanding museums for the Museum of the Year. The 2023 edition celebrates 10 years of Art Fund Museum of the Year, a prize grounded in 50 years of history championing the UK's 2,500 museums, galleries and heritage sites. The shortlisted museums demonstrate transformational impact, redeveloping their offers with diverse and inspiring stories at their heart and shaping the response to vital issues of today. Christie's conducted the first of a two-part auction of real estate investor Gerald Fineberg's collection, resulting in a total sales figure of $153 million. However, many of the items were sold for prices that were either below or close to their estimated minimum values, and a few pieces were left unsold. Jeff Koons’ Humpty Dumpty sold for 40% below the low estimate. Nevertheless, the event did establish new auction records for five artists, Alma Thomas, and Alina Szapocznikow amongst them. Oxford University has undertaken a review of its relationship with the Sackler family and their trusts, including the way their benefactions to the University are recognised. Following this review, the University has decided that the University buildings, spaces and staff positions using the Sackler name will no longer do so. These review outcomes have had the full support of the Sackler family and were approved by the University Council on 15 May 2023. Oxford University has undertaken a review of its relationship with the Sackler family and their trusts, including the way their benefactions to the University are recognised. Following this review, the University has decided that the University buildings, spaces and staff positions using the Sackler name will no longer do so. These review outcomes have had the full support of the Sackler family and were approved by the University Council on 15 May 2023. The year 2023 is a commemorative year in the Netherlands because 150 years ago Slavery was abolished in Suriname and the Caribbean parts of the Dutch Kingdom. In this context CBK Zuidoost initiated a collaboration with the Cultural Heritage Agency (RCE) to create the group exhibition Knights in Shining Armour (reappropriating the appropriated). The curator of this exhibition, Claudio Ritfeld, was inspired by the reappropriated definition of the word “N ”, and the artistic/political intentions of Mark Steven Greenfield; reappropriate in order to neutralise the effects of racial stereotypes. It is no secret that the rich history of Egypt is full of remarkable rulers. One name in particular has transcended the centuries like no other... that of Ramses the Great, or Ramses II. A warrior who reconquered lost lands of the Egyptian empire, negotiator of the most famous peace treaty of antiquity, and builder of pharaonic Egypt, his representations are countless. Handaxes from the period of the first human migration out of Africa, eggshells of extinct ostriches, and a unique collection of rock engravings. An international team led by the Institute of Archaeology of the CAS in Prague has successfully completed its third excavation season in Oman. Thanks to the unique findings, the researchers will be contributing, among other things, to the reconstruction of the climate and history of the world’s largest sand desert. Art Basel appointed Maike Cruse, presently Director of Gallery Weekend Berlin, to the newly created position of Director, Art Basel in Basel, effective July 2023. In this role, Cruse will lead Art Basel's premier Swiss edition, overseeing the team in Basel and working closely with the fair's network of galleries, collectors and artists as well as nurturing close relationships with the city's leading museums, institutions and cultural partners. Reporting to Vincenzo de Bellis, Director, Fairs and Exhibition Platforms, and working in concert with Andreas Bicker, Head of Business and Management Europe, Cruse will be responsible for shaping the fair's direction and strengthening its pre-eminent position as a global platform for discovery and encounters that drive the art world. Cruse is returning to Art Basel, having served as Communications Manager from 2008 to 2011. The restoration of the Ghent Altarpiece, also known as the Adoration of the Mystic Lamb, has been a lengthy process. From 2012 to 2016, the outer panels were restored, followed by the central panel in the second phase until 2019. During this phase, the original eyes of the lamb were uncovered, revealing a distinctly shaped nose and large frontal eyes, different from the overpaintings. Catherine Colonna, Minister of Europe and Foreign Affairs, and Rima Abdul Malak, Minister of Culture, received Jean-Luc Martinez, Ambassador for International Cooperation in the Field of Heritage and Honorary President and CEO of the Louvre, who submitted to them the report commissioned by the President of the Republic in order to prepare the outlines of a framework law on the restitution to their country of origin of cultural property belonging to the French public collections , which, in the current state of law, are inalienable and may be returned only on the basis of a special law. Since the earliest days of print journalism, illustration has been used to elucidate and add perspective to stories. Even with the advent of photography in the 19th century, hand-drawn illustrations continued to have their place, both as a synthesis of the artist’s vision and the writer’s meaning. The illustrator’s art still speaks to something not just intimately connected to the news, but intrinsically human about story itself. Édouard Manet (1832-1883) and Edgar Degas (1834-1917) both played a pivotal role in the new painting of the 1860s-80s. This exhibition, which brings together the two painters in the light of their contrasts, forces us to take a new look at their real bond. It shows the heterogeneous and conflicting nature of pictorial modernity and reveals the value of Degas’ collection, in which Manet occupied a larger place after the latter’s death. The future of democracy worldwide depends in part on whether the Ukrainian army can break the current stalemate and achieve complete victory. In a new cover story reported from frontline Kherson, President Volodymyr Zelensky’s office, and other cities and military bases across Ukraine, The Atlantic’s staff writer Anne Applebaum and editor in chief, Jeffrey Goldberg, write that now is the moment for the United States and the Western world to help Ukraine launch its counteroffensive, take back Crimea, and win the war. Looking back at the effects of Covid two things stand out. Firstly online buyers and sellers have become familiar and that familiarity has increased the trust in online platforms. Secondly the Covid boost in growth across the online art market has delayed the anticipated consolidation of the sector by effectively extending the lifespan of those that were struggling. That is likely to change in the next couple of years as a combination of a gloomy global economy and rising interest rates start to bite. On 30 June 2022, more than 100 years after his death in 1917, Canadian soldier John Lambert found his final resting place at New Irish Farm Cemetery, near Ypres, in the presence of his family. Although they never knew him, they attached great importance to his commemoration. Even after the death of the last veterans and their acquaintances, the emotional attachment to the former battlefields and those who died there still appears to be very strong. The Mauritshuis has acquired a new flower still life by Balthasar van der Ast. Vase with a Single Tulip from c. 1625 is a rare painting (26.5 x 20 cm) showing only one flowering tulip. Watercolour drawings with the same scene have been preserved in full, such as in tulip albums for bulb growers. In contrast, only two Dutch paintings with a single tulip are known from the 17th century. In 2022, the panel was part of the exhibition In Full Bloom as a showcase for the tulip theme. With Vase with a Single Tulip, the Mauritshuis can present an even more complete picture of the developments in flower still lifes from the early 17th century onward. The acquisition was made possible thanks to the support of the VriendenLoterij. The Minister of Culture, Rima Abdul Malak, introduced a bill to facilitate the restitution of cultural property in the public domain and which has been the subject of dispossession in the context of the anti-Semitic persecutions perpetrated between 30 January 1933 and 8 May 1945 by Nazi Germany and by the authorities of the territories it occupied, controlled or influenced, in particular the Vichy regime, designated in the law by the consecrated expression «de facto authority calling itself "government of the French State». It is an important puzzle piece in the history of the Bible and one of the oldest witnesses to the Gospels: a small manuscript fragment of the Syrian translation from Greek, which was written in the 3rd century and copied in the 6th century. A researcher from the Austrian Academy of Sciences has now discovered the fragment with the help of ultraviolet photography in the Vatican Library. The emblem pays tribute to The King’s love of the natural world, unifying the flora of the four nations of the United Kingdom; the rose of England, the thistle of Scotland, the daffodil of Wales and the shamrock of Northern Ireland. Together, the flowers create the shape of St Edward’s Crown, with which His Majesty The King will be crowned during the Coronation Service at Westminster Abbey on Saturday, 6th May. The emblem has been designed using the red, white and blue of the union flag. The Rijksmuseum has purchased for its collection a drawing by the Flemish artist Pieter Coecke van Aelst (1502-1550). The artist drew this Old Testament scene titled The Marriage of Tobias and Sarah around 1540–1545. It is very rare compositional sketch by the artist, and the only known design for a tapestry from the final phase of his career. This work was part of the Rijksmuseum collection from 1964 until recently, when, at the recommendation of the Restitution Committee, it was restituted to the heirs of the Jewish private collector Dr Arthur Feldmann. The Rijksmuseum attaches great importance to the serving of justice to the heirs of Dr Arthur Feldmann in this way. The heirs have sold the drawing to the Rijksmuseum. In 2022, the Royal Museums of Fine Arts of Belgium received a unique edition of 'Théâtre' by Maurice Maeterlinck (1862-1949). The three volumes bring together some of his writings for theatre. No fewer than 348 original drawings by Ostend artist Léon Spilliaert (1881-1946) illustrate the whole. The work was acquired by the Eliane Vercaempt Fund managed by the King Baudouin Foundation. Because of their cultural-historical and artistic significance, the books have the status of Masterpiece of the Flemish Community. Old Dongola (Tungul in Old Nubian) was the capital of Makuria, one of the most prominent medieval African states. Research in this city, initiated by Prof. Kazimierz Michałowski, has been providing groundbreaking results practically every year. Such was the case of the last excavation season of the Starting Grant project "UMMA - Urban Metamorphosis of the community of a Medieval African capital city" financed by the European Research Council and carried out by a team led by Dr. hab. Artur Obłuski from the Polish Centre of Mediterranean Archaeology, University of Warsaw. 20th century India bore witness to some of the most influential and dynamic artists who would go on to shape Modern Indian Art and inspire generations of artists to come. During this century, India also achieved independence resulting in intense transformation. Several artists of the time looked to creating an independent voice that was fiercely Indian while also creating an impact globally. This resulted in many innovative artists who left enduring legacies that remain relevant to this day. AstaGuru's upcoming Modern Indian Art auction - ‘Masters Legacy’ - will showcase works by eminent modernists who changed the face of art in India. In its 39th year, Art Brussels continues to be renowned for its spirit of discovery and convivial atmosphere, further amplified by its strategic location in a host city known for its rich tradition of collecting. One of Europe’s oldest and most established fairs, the 2023 edition brought together 152 galleries from 32 countries, and the move to Brussels Expo brought a refresh to the overall experience for the many devotees. Focussed SOLO presentations helped to drive robust sales across the fair and local and international collectors, along with numerous institutions and high-profile personalities including Alexander De Croo, the Belgian Prime Minister, added to a palpable sense of renewed energy. The Museum of Contemporary Art Antwerp (M HKA) is currently housed in a converted and expanded grain silo on Leuvenstraat in the Antwerp South district. Various preliminary studies have shown that it is not possible to meet the expectations set out in the Cultural Heritage Decree within the current infrastructure, particularly with regards to public functions and the presentation of the important collection. Museum Beelden aan Zee in The Hague is showing a large-scale retrospective of the world-famous British artist Henry Moore next year. The themed exhibition will feature top works from his oeuvre and give visitors a unique insight into the artist's methods and artistic development. Henry Moore by the Sea: Form and Material is a collaboration with the Henry Moore Foundation and can be seen until 22 October 2023. From its origins in mid nineteenth-century Paris, the idea of bohemia has been a powerful component of what it means to be an artist. Bohemia, a real place, has thus given its name to a cultural movement and a way of living. Its values have always centred around a commitment to art in all its forms, an embrace of total freedom, a hostility toward work and conventional ambition, and a willingness to accept poverty. The National Museum of Modern and Contemporary Art, Korea (MMCA, Director Youn Bummo) has selected Byungjun Kwon, Gala Porras-Kim, Kang Seung Lee, and Sojung Jun as the four sponsored artists for the Korea Artist Prize 2023 exhibition, which it is co-organizing with the SBS Foundation. Having successfully organized the Korean art world’s top award system over the past decade, MMCA and the SBS Foundation are now effecting major institutional improvements to contribute to the global Korean Wave in art. One of these is the decision as of this year to include internationally active artists of Korean ethnicity among its candidates, regardless of their nationality. Using not only sculpture, drawing and performance but also writing and pedagogical formats, Otobong Nkanga (Kano, Nigeria, 1974) analyses the notion of ‘earth’ as a geological and discursive formation. She often starts from the systems and procedures used locally to excavate raw materials, processing them technologically and distributing them on a global scale. From this point, she follows the threads that bind together the minerals, material culture and the construction of desire with the redistribution of power and knowledge. London Gallery Weekend, the biggest gallery weekend in the world, has announced it will return from Friday 2 to Sunday 4 June 2023. Established in 2021, this third edition of the free public event will bring together the city’s galleries and attract tens of thousands of visitors to engage with art at locations across the city. With over 120 participating galleries confirmed so far and including 15 new participants, 2023 will also see an expanded performance programme developed in collaboration with UP Projects, with multiple free, public artist-led performances taking place across London over the course of the three day event. The fascinating story behind the Palmen Barnfind Collection Mr. Palmen started collecting cars approximately 40 years ago with a yellow Lancia B20 being the first car. Over the years his collection grew substantially. The variety is more than eclectic. He had a refined taste and extensive knowledge of rare and special cars as he was professionally dealing in similar cars from the mid 60’s before he started collecting. The collection was stored in a church and two dry but dusty warehouses. Mr. Palmen was starting the cars on a regular basis to keep the engines from being seized. Most of the collection is in an unrestored and original condition. He kept the cars how they were when entering his warehouses and he almost did not sell anything after it was added to his collection. He rarely showed the collection to anyone, so very few people knew of its existence. The maintenance was mostly done by himself. You can definitely call it one of the best kept secret car collections of Europe. Mo Ostin, the legendary record executive, was best remembered by Neil Young for “supporting artists and their work, all the way through his long life, Mo, the giant among Record Business leaders, backed us all up and let us do what we wanted with our music.” In a rare interview, Ostin echoed this sentiment, explaining that “the artist is the person who should be in the foreground.” Old Dongola (Tungul in Old Nubian) was the capital of Makuria, one of the most prominent medieval African states. Research in this city, initiated by Prof. Kazimierz Michałowski, has been providing groundbreaking results practically every year. Such was the case of the last excavation season of the Starting Grant project “UMMA – Urban Metamorphosis of the community of a Medieval African capital city” financed by the European Research Council and carried out by a team led by Dr. hab. Artur Obłuski from the Polish Centre of Mediterranean Archaeology, University of Warsaw. Vincent van Gogh had a great love for the Brabant landscape, as can be seen in many of his paintings. Over a century after he left his native Dutch province, this landscape is now under pressure. The number of floods is increasing while farmers, cities, industry, and nature lovers are fighting over the available space. Given the complications of the Dutch nitrogen crisis, permit applications for projects in Natura 2000 protected areas have come to a standstill. How can Brabant find the balance between idyll and progress? At the initiative of Midpoint Brabant, MVRDV and the Van Gogh Homeland Foundation developed a meaningful experience that aims to make the public more aware of the region’s coming challenges. By combining knowledge of architecture, landscape design, and sustainability, along with expertise in the leisure industry, the initiators want to reignite the enthusiasm of both young and old people for the Brabant landscape. The ambition is to show, in an attractive and accessible way, how the landscape that inspired Vincent van Gogh 150 years ago can be made more sustainable and greener in the future. Proclamation addressed "To all our loving Subjects of what degree or quality soever", making an appeal in the face of the "generall Distraction and Confusion which is spread over the Whole Kingdome", outlining the terms on which he would return to Britain and assume the throne, "at Our Court at Breda this 4/14 day of Aprill 1660, in the twelfth yeare of Our Reigne", 4 pages, folio (333 x 230mm, watermark of a crowned Medici coat of arms), with papered privy seal, later numbering in ink and pencil ("No 191", "201", and "5", the last cancelled), later neat repairs to nicks and short fold tears affecting one letter of one word, remains of guard, dust staining, creases The Inside Out Centre for the Arts is a not-for-profit foundation, established by artist-photographer Roger Ballen to serve a dual purpose. First, the Inside Out Centre acts as an art exhibition space, presenting shows that explore issues related to the African continent from a distinctively aesthetic and psychological perspective. Second, the Inside Out Centre facilitates a dynamic programme of educational talks, panel discussions, masterclasses and presentations that reflect on the current exhibition and on topics relevant to the arts. We will also have special programmes for high school groups based on the current exhibition. These include programmes for Visual and Dramatic Arts, Language Studies, Social Sciences and project-based learning. “Gerhard Richter. 100 Works for Berlin” shows for the first time the long-term loan of the Gerhard Richter Kunststiftung to the Nationalgalerie. The central work in the exhibition, held in the Grafisches Kabinett of the Neue Nationalgalerie, is the series “Birkenau” (2014), consisting of four large-format, abstract paintings. “Birkenau” is the result of Richter’s long and in-depth engagement with the Holocaust and the possibilities of representing it. Alongside the “Birkenau” series, other works from various phases of Richter’s career will be exhibited, among them “Squatters’ House” (1989), “4900 Colours” (2007), and “Strip” (2013/2016). There is also another large group of works from Richter’s striking series of overpainted photographs, in which he addresses the tension between photography and painting. The exhibition has been realised in close collaboration with the artist. Today, the National Portrait Gallery announces its acquisition of John Barry, O Kelly, Sonny and Richard Moore (2022), a tapestry by leading artist, Michael Armitage, that depicts four refuse collectors at work during the UK’s first national lockdown in 2020. The tapestry was made after Armitage’s painting of the same name, created as part of a public commission in 2020 by the Southbank Centre to recognise the efforts of key workers during the Covid-19 pandemic. Acquired by the National Portrait Gallery, the work will be displayed in its tapestry form for the first time when its building reopens on 22 June 2023, hanging in the newly created The National Lottery Heritage Fund Gallery. The more than 50 per cent original bone material comes from three Tyrannosaurus specimens excavated be- tween 2008 and 2013, from the Hell Creek and Lance Creek formations in Montana and Wyoming. Both sites are known for two of the most important Tyrannosaurus discoveries: ‘Sue’, which sold at auction for $8.4 million in 1997, and ‘Stan’, whose world-record hammer price of $31.8 million in 2020 catapulted dinosaur fossil prices into a realm usually reserved for the most sought-after works of art. Helsinki Biennial 2023 is delighted to share the 29 international artists and collectives participating in its second edition, New Directions May Emerge, curated by Joasia Krysa and produced by HAM Helsinki Art Museum. Opening to the public on 12 June, an annual Helsinki Day celebration in in the Finnish capital, the biennial comprises around 50% new commissions and site-specific works which engage with some of the pressing issues of our time, encompassing environmental damage, political conflict and the impact of technology. For New Directions May Emerge, Krysa has joined forces with five curatorial collaborators: Critical Environmental Data, Museum of Impossible Forms, TBA21-Academy, ViCCA @ Aalto Arts, and an A.I. Entity. The seventh edition of The Art Basel and UBS Global Art Market Report provides a comprehensive, macro-economic analysis of the state of the global art market in 2022. The Art Market 2023 looks closely at how the lingering effects of the pandemic continue to affect the market and forecasts key trends for the year ahead. The Art Market 2023 is written by cultural economist Dr. Clare McAndrew, founder of Arts Economics, and published by Art Basel and UBS. A team of archaeologists have discovered the remains of a lost palace of the kings of Girsu, in modern day Tello, Southern Iraq. Dating back at least 4,500 years to the third millennium BCE, this significant discovery is a result of the Girsu Project, a joint initiative and new holistic approach to saving endangered heritage sites between the British Museum, the State Board of Antiquities and Heritage (SBAH) of Iraq, and Getty. Hugo van der Goes (c. 1440–1482/83) was the most important Netherlandish artist of the second half of the 15th century. His works impress with their monumentality and intense colours as well as with their astonishing closeness to life and emotional expressivity. In March 2023, 540 years after the artist’s death, Berlin’s Gemälde- galerie will celebrate a premiere: for the first time, almost all of the artist’s surviving paintings and drawings will be presented in one exhibition. Today the Seattle Art Museum (SAM) announced a gift of 48 major works by Alexander Calder to the museum from the collection of Jon and Kim Shirley. The gift of the Shirley Family Calder Collection is supported by a $10 million endowment and an annual financial commitment from the Shirleys to support Calder-related exhibitions and research. The Shirleys’ collection is one of the most important collections of Calder’s work in private hands. The milestones reached in past years are product of a transformative model executed by a team led by Manuel Borja-Villel who have understood the needs of contemporary society and have allowed for the redefinition of the museum institution and the reformulation of its relationship with the many different audiences that exist today. This important work of art has been on public display in The Lowry’s galleries since it opened in 2000, on loan from the Professional Footballers’ Association. Following their decision to sell it, there were no guarantees that future owners would share the commitment to keeping the work on public view and free to access. On 24 September, the Royal Museum of Fine Arts Antwerp was officially reopened by Flemish minister-president and minister of culture Jan Jambon. The museum announced a weekend of celebrations on the museum square. We find it inappropriate not to pay attention to the colonial shadow side of the square on the occasion of the reopening. We have tried our best to stay above the chaos, hostility, racism and censorship that have engulfed this edition of documenta. We have tried our best to stay focused and committed to our work and the promises and hopes of the lumbung. We have been resilient and in solidarity with our communities, friends, supporters, hosts and guests... What this article brought up will not go away, but after many conversations with family and friends, I decided to defend myself by speaking out, and of course legally. I will take action against this defamation. However, I’m sure that even if it works legally, the damage will still be there... There is ample evidence that the portrait on vellum auctioned by Christie’s in New York on 30 January 1998 as ‘19th century German’ is nothing of the sort. Pigment and carbon-14 analyses point to a Renaissance dating – as Christie’s had been advised by consignor Jeanne Marchig (whose late husband Giannino worked as a restorer for the Wildensteins). When The University for the Creative Arts announced a week prior that Banksy was going to be awarded an honorary professorship, they likely didn’t expect anyone to walk across the stage and claim the honor. But as the endless register of student names was coming to an end, one student decided to do just that... Two young supporters of Just Stop Oil have glued themselves to the frame of a Vincent Van Gogh painting at the Courtauld Gallery in London, as they call for the government to end new oil and gas and for art institutions to join them in civil resistance. Due to a depiction of a figure in the work People’s Justice (2002) by the collective Taring Padi, which triggers anti-Semitic readings, the collective, together with the management of documenta and the Artistic Direction of documenta fifteen, has decided to cover up the work in question at Friedrichsplatz and to install an explanation next to the work. We, the lumbung community (the artists and members of documenta fifteen), add our collective voices in support of the letter that was published on May 7 by ruangrupa, the artistic team of documenta fifteen, and some curators of the failed forum “We Need to Talk! Art – Freedom – Solidarity,” Many artifacts and works of art have been in the Smithsonian’s holdings for decades or, in some cases, more than 150 years. They recognize that ethical norms and best practices in collecting have changed, particularly with respect to collecting cultural heritage from individuals and communities, and that the Smithsonian has collections it would not have acquired under present-day standards. The Royal Museum of Fine Arts Antwerp (KMSKA) is the first museum in Europe to adopt an innovative funding method to expand its collection. From 27 April, people can buy a virtual share in a piece of fine art in an Art Security Tokens Offering. This allows the museum to strengthen its collection and gives everyone an opportunity to invest in art. The piece will be exhibited at the KMSKA after its grand reopening on 24 September 2022 so that it can be enjoyed by all. For more than 40 years, I have been examining the ways in which human activity influences the Earth and its systems. My goal has been to capture dynamism in each image; allowing the viewer to get up close, understand the scale of our impacts, and form their own intimate awareness. Happiness is in a connection and compassion with others, as a source of hope, empathy, accountability, and authenticity. The real purpose of art is to communicate a feeling. The global experience of the covid 19 pandemic has caused changes in the way society function: working from home, online teaching, meetings on various internet platforms, so establishing interpersonal relationships as "another way(s) of communication" is a challenge. When artworks feature in works of fiction – be it novels, films, theatre pieces, poems, … – they can serve multiple purposes: they can be mere decoration, they can function as a conversation piece, or they can play an important metaphorical role in the video clip for the song 70 Million by the band Hold Your Horses! many artworks are referenced. When artworks feature in works of fiction – be it novels, films, theatre pieces, poems, … – they can serve multiple purposes: they can be mere decoration, they can function as a conversation piece, or they can play an important metaphorical role. In this series Tamara Beheydt takes a closer look at art in fiction, starting with one of her favourites: the film A Clockwork Orange (1971). The Monuments Men Foundation for the Preservation of Art (Foundation), recipient of the National Humanities Medal, presented by the President of the United States for its work honoring the Monuments Men and Women of World War II, has identified a major work of art on view at the Museum of Fine Arts, Houston (Museum), which it believes rightfully belongs to the heirs of a German Jew, Dr. Max J. Emden. The loan of the famed Bayeux Tapestry by the UK from France may not come to pass after a condition report revealed damage to the artwork. The Museums Journal reports that the 230-foot-long work has been found to be in poor condition, with stains and holes among the issues needing attention and repair. "In the few past months of isolation while all kind of performances and concerts were canceled, a public dialogue opened around the support of artists in Athens, Greece. Artists have found themselves again unprotected and full dependent on government decisions and lack of state care for the arts". 'Perhaps it was the influence of Cartier-Bresson, but I’d always been attracted to pictures that included people in their environment. My work as a news photographer had probably encouraged me to go in closer and get to the heart of the matter'.
6840	dbpedia	3	88	https://bluehillcatskills.com/art-center/	en	BLUEHILLCATSKILLS - Denning, New York	https://bluehillcatskill…tskills-logo.png	https://bluehillcatskill…tskills-logo.png	[ "https://bluehillcatskills.com/wp-content/uploads/bluehillcatskills-logo.png", "https://bluehillcatskills.com/wp-content/uploads/claryville-art-center-11.jpg", "https://bluehillcatskills.com/wp-content/uploads/claryville-art-center-09.jpg", "https://bluehillcatskills.com/wp-content/uploads/claryville-art-center-10.jpg", "https://bluehillcatskills.com/wp-content/uploads/claryville-art-center-07.jpg", "https://bluehillcatskills.com/wp-content/uploads/claryville-art-center-08.jpg", "https://bluehillcatskills.com/wp-content/uploads/claryville-art-center-05.jpg", "https://bluehillcatskills.com/wp-content/uploads/claryville-art-center-02.jpg", "https://bluehillcatskills.com/wp-content/uploads/claryville-art-center-01.jpg", "https://bluehillcatskills.com/wp-content/uploads/claryville-art-center-04.jpg", "https://bluehillcatskills.com/wp-content/uploads/claryville-art-center-06.jpg", "https://bluehillcatskills.com/wp-content/uploads/claryville-art-center-03.jpg" ]	[]	[]	[ "" ]	null	[]	2019-03-11T22:33:56+00:00	The Art Center is one of the most beautiful art galleries in upstate New York. Nestled between the Russian Mule Brewery and the Claryville Event Center.	en	https://bluehillcatskill…e-hill-ny-32.png	Blue Hill Catskills	https://bluehillcatskills.com/art-center/	About Claryville Art Center The Art Center is one of the most beautiful art galleries in upstate New York. It houses the permanent collection of world famous Russian born American contemporary artist, Alexander Kaletski, including his Retrospective: “Forty Years in America.” Anna Zorina, the owner of the Anna Zorina Gallery in Chelsea, New York City, is the curator of the Claryville Art Center. Anna coordinates her efforts between her own gallery and the Claryville Art Center which affords her client artists both City and Catskill exposure. The Claryville Art Center has different shows during the year displaying the arts and wares of local artists as well as Anna Zorina artists. Events At The Art Center The Claryville Art Center is connected to the Russian Mule Brewing Company which sits between the Claryville Art Center and the Claryville Event Center. Special events and weddings often utilize all three buildings. Russian Mule Restaurant & Tasting Room The Russian Mule Restaurant & Tasting Room are annexed to, and part of, the Art Center with its own display of art by Alexander Kaletski including his masterpiece “The Russian Mule“, a special commission for the Russian Mule and an amazing 12′ by 6′ oil. So come and enjoy the cultural experiences of art and beer. Art Center’s History The Claryville Art Center opened with great fanfare in July 2014. The building was originally a barn located in the front of the property. The barn was moved to the rear of the property in 2011 and was completely rebuilt into a two story art gallery large enough for the permanent collection of Alexander Kaletski as well as a separate floor for exhibitions.
6840	dbpedia	2	93	https://www.tiktok.com/%40traveling__bliss/video/7374081447076007214	en	Make Your Day			[]	[]	[]	[ "" ]	null	[]	null		en			null
6840	dbpedia	3	30	https://www.nytimes.com/2022/10/19/arts/design/catskill-art-space-james-turrell.html	en	Catskill Art Space Opens With James Turrell and a Lofty Vision	https://static01.nyt.com…41c&k=ZQJBKqZ0VN	https://static01.nyt.com…41c&k=ZQJBKqZ0VN	[ "https://static01.nyt.com/images/2022/10/21/arts/20CATSKILL-ART-SPACE-TURRELL/20CATSKILL-ART-CENTER-turrell-articleLarge.jpg?quality=75&auto=webp&disable=upscale", "https://static01.nyt.com/images/2022/06/16/arts/author-laura-van-straaten/author-laura-van-straaten-thumbLarge-v2.png" ]	[]	[]	[ "" ]	null	[ "Laura van Straaten" ]	2022-10-19T00:00:00	A cultural destination is born in New York’s Sullivan County, featuring world-class art alongside regional talents.	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/2022/10/19/arts/design/catskill-art-space-james-turrell.html	LIVINGSTON MANOR, N.Y. — On Oct. 22, a stretch of Main Street in this hamlet in New York’s Sullivan County will join the list of often unexpected and rural places to see art installations by James Turrell. The Catskill Art Space, a local arts nonprofit that is celebrating its half-centennial with a rebranding as a new art destination, will include not just a Turrell work, “Avaar,” but also two Sol LeWitt wall drawings. The three artworks are semi-permanent loans that will be on long-term view alongside rotating shows of works by artists with connections to the region. “Work by artists of this caliber is certainly a stretch for an organization of our size,” said Sally Wright, the executive director of the organization, which was known for 50 years, until last month, as the Catskill Art Society. It’s also a stretch for a town with a full-time population of under 1,000. Wright, 35, has headed the nonprofit since 2017. “Avaar,” a loan from the Seattle Art Museum, is among the pieces Turrell has called his “Space Division” or “Aperture” works. (There is some debate as to when Turrell conceived “Avaar,” but the Whitney Museum of American Art included it in his solo show that opened in 1980.) The colossal space is separated into a zone where visitors position themselves and look toward a second zone from which the light emits. Unlike some of the artist’s best-known works, which wow with saturations and transformations of color, “Avaar” is achromatic — using only white light. As visitors enter a seemingly pitch-black space, the eyes need several minutes to adjust before the aperture becomes apparent, looming first like a flat field, then seeming to open into a never-ending abyss of pure light. The artist has compared such works to how, shortly after you turn off a porch light, your vision can penetrate the night — an experience Wright quickly points out is common in the countryside. She said those who have seen the work find it “meditative and also really reflective of the Catskills environment,” adding that Turrell has often cited the Hudson River School painters as an influence. Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times. Thank you for your patience while we verify access. Already a subscriber? Log in. Want all of The Times? Subscribe.
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6840	dbpedia	3	47	https://www.nps.gov/thco/	en	Thomas Cole National Historic Site (U.S. National Park Service)	https://www.nps.gov/comm…2BD17332024A.jpg	https://www.nps.gov/comm…2BD17332024A.jpg	[ "https://www.nps.gov/theme/assets/dist/images/branding/logo.png", "https://www.nps.gov/common/uploads/grid_builder/thco/crop16_9/DEF37D48-C958-544B-40F924CBA197B0CF.jpg?width=1300&quality=90&mode=crop", "https://www.nps.gov/common/commonspot/templates/assets/images/branding/nps_logo-bw.gif", "https://www.nps.gov/common/commonspot/templates/assets/images/app-promo/footer-app-promo.png", "https://www.nps.gov/common/commonspot/templates/assets/images/app-promo/app-store-badge.svg", "https://www.nps.gov/common/commonspot/templates/assets/images/app-promo/google-play-badge.svg" ]	[]	[]	[ "" ]	null	[]	null	In 1825, America was still a new nation, just forming its own unique identity and traditions. Thomas Cole invented a new style of art, one that Americans could call their own. His landscape paintings launched the art movement known as the Hudson River School.<br /><br />His groundbreaking achievements took place here in Catskill, New York -- in the "peaceful shades" of his beloved home, Cedar Grove.	en	/common/commonspot/templates/images/icons/favicon.ico		https://www.nps.gov/thco/index.htm	Where American Art Was Born In 1825, America was still a new nation, just forming its own unique identity and traditions. Thomas Cole invented a new style of art, one that Americans could call their own. His landscape paintings launched the art movement known as the Hudson River School. His groundbreaking achievements took place here in Catskill, New York -- in the "peaceful shades" of his beloved home, Cedar Grove.
6840	dbpedia	3	10	https://www.nga.gov/collection/art-object-page.71025.html	en	Art Object Page	https://www.nga.gov/content/dam/ngaweb/icons/favicon.ico	https://www.nga.gov/content/dam/ngaweb/icons/favicon.ico	[ "https://media.nga.gov/iiif/7ce06963-2e5f-4d9e-9a38-3c1b59e80a81/full/!588,600/0/default.jpg", "https://www.nga.gov/etc/designs/ngaweb/images/icons/cc-zero.svg", "https://media.nga.gov/iiif/7ce06963-2e5f-4d9e-9a38-3c1b59e80a81/full/!600,600/0/default.jpg", "https://www.nga.gov/content/dam/ngaweb/imgs/nga-campus-map-icon.jpg" ]	[]	[]	[ "" ]	null	[]	null	National Gallery of Art	en	/content/dam/ngaweb/icons/favicon.ico		null	In the spring of 1826, Thomas Cole met Robert Gilmor Jr., a highly knowledgeable and sophisticated Baltimore collector, who soon commissioned a view of Catskill Mountain House, a popular hotel overlooking the Hudson River Valley. After a summer spent sketching and painting in the area and corresponding with his patron concerning the selection of a new subject, Cole completed Sunrise in the Catskills in early December and had it delivered to Baltimore on Christmas Day. According to the artist, the painting shows sunrise from Vly Mountain, a peak near the eastern headwaters of the Delaware River. Cole chose a daringly elevated vantage point for the work, one where the viewer is poised looking out at several other mountains and at valleys filled with mist shining in the morning light. The foreground is filled with tangled bits of underbrush, contorted and fallen trees, and rough outcroppings of rock precariously situated at the slope's edge. This is not a tamed and cultivated portion of the American landscape but a remote, wild area with no evidence of human presence. Upon receiving the picture, Gilmor wrote immediately to Cole: "It is extremely well painted, with great truth of nature. I have seen a thousand such scenes when in the mountains, and though the task was a very difficult one, yet you have perfectly succeeded in rendering the mists of the valley rising as the sun began to peep over the summits of the mountains." As Cole's first fully expressed wilderness painting and a document of his relationship to his important early patron, Sunrise in the Catskills is a pivotal work in the story of 19th-century American landscape painting, containing the seeds of Cole's later masterpieces and anticipating the great wilderness pictures of his pupil Frederic Edwin Church in the 1850s and 1860s.
6840	dbpedia	3	51	https://www.lohud.com/story/life/2022/04/21/thomas-cole-new-exhibit-showcases-work-hudson-river-school-painter/7310925001/	en	New exhibit of Thomas Cole works reimagines Hudson River School painter's last days	https://www.gannett-cdn.…=pjpg&width=1200	https://www.gannett-cdn.…=pjpg&width=1200	[ "https://www.gannett-cdn.com/appservices/universal-web/universal/icons/icon-instagram_24.png" ]	[]	[]	[ "" ]	null	[ "Karen Croke, The Journal News", "Karen Croke" ]	2022-04-21T00:00:00	Exhibit of 26 Cole paintings, personal items, recreates what his 'New Studio' may have been like at the time of his sudden death in 1848.	en	https://www.gannett-cdn.…ages/favicon.png	Rockland/Westchester Journal News	https://www.lohud.com/story/life/2022/04/21/thomas-cole-new-exhibit-showcases-work-hudson-river-school-painter/7310925001/	Thomas Cole was already the most famous landscape painter in America when he died unexpectedly at the age of 47 in February 1848. One of the Hudson River School of painters, Cole lived and worked in Catskill. His death shook the American art world, according to Franklin Kelly, senior curator of American Paintings at the National Gallery of Art. "It was as if one of the 'grandest summits' of the Catskill Mountains had suddenly disappeared," wrote poet and journalist William Cullen Bryant at the time of Cole’s death. Kelly has been fascinated by what became of Cole's unfinished works — and the studio in which he was working at the time of his death — since he was a graduate student in the early 1980s. Millionaire mystery: In 1970, this Scarsdale man vowed to give away his inherited fortune History: Poughkeepsie's Bartlett Park once home to exclusive girls school Arts: College students created sculptures for Mohonk's annual Tulip Festival Forty years later, he has curated a new exhibition “Thomas Cole’s Studio: Memory and Inspiration,” which looks at the painter's last years and those unfinished landscapes. It opens April 30 at the Thomas Cole National Historic Site in Catskill, and then will travel to the Albuquerque Museum in Albuquerque, New Mexico, in November. The exhibition presents a selection of artwork and artifacts that serve as a reimagining of what visitors would have seen upon entering Cole's "New Studio," including personal items such as his guitar, and souvenirs from his travels. "Every object presented in the exhibition (with the exception of support tables and printed matter) is known to have been owned and used by the artist himself," Kelly said. Also on exhibit will be 26 Cole oil paintings from the collections of the Thomas Cole National Historic Site, as well as from the National Gallery of Art, The Metropolitan Museum of Art, Smithsonian American Art Museum, as well as other museums, public and private collections. "The works included in the exhibition are only a sample of the many more that were in the New Studio after Cole’s death," Kelly said. " &mldr; They do give a remarkably full view of the totality of his achievements as a landscape painter — there are early, mid-career, and late career works. There are finished and unfinished paintings, there are studies, etc. "The exhibition thus provides the opportunity to appreciate what Cole achieved, but also offers insights into his creative process in realizing his vision." Visitors will also be able to experience Cole's working environment in the reconstructed New Studio, said Kelly, who noted that little of its original content is available today. The property remained in the Cole family until 1972, when it and a small plot of land surrounding it were sold, and the studio was demolished, said Kelly. Several years later the family was able to reacquire the land where the studio stood. Eventually, the Thomas Cole Historic Site painstakingly re-created it on its original footprint, using the artist's original design drawings and other information. Opened in 2015, the New Studio serves as a space for exhibitions and educational programing. "There are no photographs known of the interior of the studio from Cole’s lifetime," Kelly said, "but later images show other types of objects that were probably present as well: musical instruments like Cole’s guitar; souvenirs of travel, including rocks and pressed leaves and flowers; and assorted plaster sculptures. "It is thrilling to reassemble a selection of the art and artifacts known to have been in the New Studio and show it to new generations.” After his death, many famed artists of the day, including Jasper Cropsey and Asher Durand, visited the New Studio. Kelly, too, visited the Cole site when he was in graduate school. "I was told that the house was not open to the public, but that it should be okay if I just wanted to go look at the property," he said. "While wandering I came upon a place where clearly there had once been a small building — I could see the vague outline of its foundations. I did not meet anyone while I was at Cedar Grove that day, but at some point someone confirmed that what I had seen was the location of Cole’s New Studio and said that it had been torn down just a few years before." Kelly spent several years assembling the works and artifacts in the current exhibit, but says he is still intrigued by the possibility that many more exist somewhere. "Are there still some unlocated works by Cole that I wish had turned up? Yes," Kelly said. "Cropsey, for instance, mentions an unfinished 'Saint John in the Wilderness,' of which no trace whatsoever is known. "The largest missing piece in Cole’s late career, however, is the trio of pictures he completed for what was to be a five-painting suite called ' '"The Cross and the World.' We have four oil studies for the series in the exhibition, but those large (8-foot wide) canvases have been missing since the late 19th century. ... So, everyone should keep their eyes open for anything that looks like it might be by Thomas Cole. As I always told my students, you just never know what might be out there!" If you go What: “Thomas Cole’s Studio: Memory and Inspiration" When: April 30-Oct. 30, Fridays-Sundays; starting July 1, Thursdays-Tuesdays. Where: Thomas Cole National Historic Site, 218 Spring St., Catskill, 518-943-7465; https://thomascole.org/ Tickets: $16-$18 Highlights Curator Franklin Kelly offered some don't miss suggestions: "Tornado in an American Forest" (1831): This large, dramatic, early landscape has recently undergone complete conservation treatment and is now more legible visually than it has been for many years. As befits its subject, it is dark and turbulent, but all the more effective for it. Don’t miss the figure of the windblown man sheltering behind the shattered tree at the left center of the composition. "View of Schroon Mountain" (1838): This is a superb, energetic oil sketch done in the studio based on drawings Cole made on visiting the site; it served as the basis for a larger work now in the Cleveland Museum of Art that has long been recognized as one of Cole’s greatest masterpieces. "Clouds" (c. 1838): A beautiful, small oil sketch on paper; its immediacy and freshness suggest it was done in the open air. "Frenchman’s Bay, Mount Desert Island, Maine" (1844): A rare seascape by Cole, who did not paint many. Especially effective, although small in scale, in capturing the power of the waves pounding the rocky coast. "Landscape with Clouds" (c. 1846-47): One of several important unfinished canvases that remained in the New Studio; Cole’s usual method of beginning his paintings with the skies is easily seen here, where that section of the painting appears all but complete. The landscape below is only roughly sketched and empty, except for the figures of an angel and a child carrying a cross scratched in the wet paint at the lower left. We do not know for certain what Cole intended the subject for this painting to be, but it is evidence that he was working ambitiously at the end of his life to create a series of major works."
6840	dbpedia	0	90	https://www.iloveny.com/thebeat/post/hudson-river-museums-current-and-upcoming-exhibitions-and-programs/	en	Hudson River Museum’s Current and Upcoming Exhibitions and Programs			[ "https://www.iloveny.com/includes/public/assets/images/common/iloveny-logo.png", "https://www.iloveny.com/includes/public/assets/images/svg/logo.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://assets.simpleviewinc.com/simpleview/image/upload/c_fill,h_140,q_75,w_300/v1/clients/newyorkstate/Hudson_River_Museum_Gilded_Age_Christmas_4c6c01c7-9fd5-482f-94a3-0a010866f25d.jpg", "https://www.iloveny.com/includes/public/assets/images/svg/logo_white.svg", "https://www.iloveny.com/includes/public/assets/images/svg/tripadvisor.svg", "https://www.iloveny.com/includes/public/assets/images/footer/heart_footer.png", "https://www.iloveny.com/includes/public/assets/images/footer/heart_footer_t.png", "https://www.iloveny.com/includes/public/assets/images/footer/heart_footer_m.png", "https://www.iloveny.com/includes/public/assets/images/svg/svlogo.svg" ]	[]	[]	[ "" ]	null	[]	2023-12-06T17:09:59.090000+00:00	Yonkers, NY – The Hudson River Museum is celebrating the holiday season all month long with a series of family-friendly programs! Join museum staff for Glenview Holiday Tours of their Gilded Age historic home decorated for the holidays. Don’t miss Live Opera in Glenview on Sunday, December 10, and a reading of the classic poem “‘Twas the Night Before Christmas” on Sunday, December 17.	en			https://www.iloveny.com/thebeat/post/hudson-river-museums-current-and-upcoming-exhibitions-and-programs/	Yonkers, NY – The Hudson River Museum is celebrating the holiday season all month long with a series of family-friendly programs! Join museum staff for Glenview Holiday Tours of their Gilded Age historic home decorated for the holidays. Don’t miss Live Opera in Glenview on Sunday, December 10, and a reading of the classic poem “‘Twas the Night Before Christmas” on Sunday, December 17. Plus, spend an owl-filled day at All About Owls: A Celebration of Winter on Saturday, December 9, featuring art and science workshops and a live owl show with falconer Brian Bradley. Enjoy the holiday break at the HRM at School’s Out, Stars Are In (SOSI) from Tuesday–Friday, December 26–29 to enjoy everything the Museum has to offer, plus free Planetarium shows! Finally, Pink Floyd’s The Dark Side of the Moon is back on Friday, December 15! Get tickets before it sells out. FEATURED EXHIBITIONS Un/Natural Selections: Wildlife in Contemporary Art Closing January 14, 2024 View press images Wild animals have been present in art since the first artists painted images on cave walls or carved figures in stone tens of thousands of years ago. Today’s artists continue to use animal imagery as a way to address humanity’s interconnectedness with the natural world. Un/Natural Selections: Wildlife in Contemporary Art, organized by the National Museum of Wildlife Art, explores the meaning of these creative expressions within the context of contemporary art. Featuring a diverse group of more than forty artworks from the National Museum of Wildlife Art’s permanent collection, the exhibition offers a wide range of styles in a variety of media, divided into four thematic sections: Tradition, Politics, Science, and Aesthetics. These realms act as overlapping chapters, investigating the ways we use animal imagery to tackle human concerns and responsibilities. The title of this exhibition is a play on Charles Darwin’s concept of natural selection from his pivotal writing, On the Origin of Species (1859). Darwin’s ideas contributed much to the development of wildlife art in the late nineteenth century, as artists began to represent animals in natural habitats, enacting natural behaviors. From Julie Buffalohead and Kiki Smith to Walton Ford and James Prosek, the artists in this exhibition represent another stage in the evolution of animal art: choosing to represent animals in alternative, unnatural spaces—spaces more often directly linked to civilization than to wilderness. Un/Natural Selections: Wildlife in Contemporary Art is organized by the National Museum of Wildlife Art. Generous support provided by Art Bridges. Exhibitions are made possible by assistance provided by the County of Westchester. Kindred Worlds: The Priscila and Alvin Hudgins Collection Through March 2, 2025 View press images Drawn from the private collection of Priscila and Alvin Hudgins III, Kindred Worlds transports an array of contemporary artworks from the walls of their home in Yonkers to the galleries of the Hudson River Museum. This is the first time these works are presented as a collection to the public, demonstrating a dynamic amalgamation of relationships between collector and artist, artist and subject, subject and kin. For the Hudgins, building their collection was a way of building home and community—a practice that Priscila and Alvin take up in more ways than one, as they have become great friends with many of the artists featured in this exhibition. In turn, many of these artists have included images of Hudgins family members in their works. “Our collection is deeply personal and intuitive,” said Priscila and Alvin Hudgins. “We truly love every piece and feel gratitude to the artists that allow us to be guardians of their magical creations during our short time on this physical plane. Our ultimate goal is for future generations to have the ability to enjoy these works. We also hope to inspire people that look like us to realize that they can too, join us in becoming ‘collectors.’” Themes of myth and memory pervade the collection, as artists take up different visual strategies to convey personal histories. Here, artists such as Bony Ramirez, Laurena Finéus, and Naudline Pierre reinterpret classical techniques in order to create otherworldly renditions of femininity, Blackness, and migration. Others experiment with the materiality of art itself. Artists including Chase Hall and David Hammons use coffee beans, cotton, and grease as mediums, invoking specific histories of oppression and resilience—often in relation to the enduring and forceful presence of colonial structures. The exhibition is co-curated by Alyssa Alexander, Independent Curator and Arts Administrator, and Karintha Lowe, HRM’s Mellon Public Humanities Fellow. Alyssa Alexander states, “This opportunity to work with two amazing collectors—but more importantly—two amazing people, has been my absolute pleasure! Their collection, and in turn this show, is the perfect opportunity for visitors of all ages to engage with new perspectives within American art at HRM.” Karintha Lowe adds, “The Hudson River Museum’s history has long been intertwined with ideas of home and community—after all, the Museum’s first site was Glenview, the Trevor family home! Kindred Worlds continues to celebrate the profound staying power of art in building community, and we welcome audiences, from local artists and art enthusiasts to college students, to join us in celebrating this stunning and deeply moving collection of works.” Intimate vignettes provide another throughline across the collection. Drawing inspiration from childhood memories, ethnographies, and family photographs, many of the artists explore how ideas of “home” and “kinship” take on new and unexpected meanings when represented on the canvas. Jordan Casteel, for example, created her MTA series after observing the restful weariness of subway travelers, who find a moment for themselves in the comforting curve of plastic seats. In the midst of the COVID-19 pandemic, Raelis Vasquez turned to his family albums for solace, translating his photographs into painted scenes of quiet connection. And, of course, there’s the ever-present presence of the Hudgins family themselves. We invite you to walk through the exhibition and locate images of Hudgins family members—captured, for example, in Henry Taylor’s gestural brushstrokes and Derrick Adams’s punchy, joyous color palette. These selected works document the Hudgins family’s abiding support of the arts and their vital legacy of Black American collectorship, one that continues to prioritize the success of Black and Brown artists and ensure a more equitable and expansive vision of American art. Featured artists: Derrick Adams • Susan Aparicio • Jordan Casteel • Michael Chuapoco • Kevin Darmanie • Esiri Erheriene-Essi • Laurena Finéus • Chase Hall • David Hammons • Devin N. Morris • Toyin Ojih Odutola • Zéh Palito • Naudline Pierre • Bony Ramirez • Jose Guadalupe Sanchez III • Henry Taylor • Raelis Vasquez • Carlos Vega • Lynette Yiadom-Boakye Kindred Worlds is co-curated by Alyssa Alexander, Independent Curator and Arts Administrator, and Karintha Lowe, HRM’s Mellon Public Humanities Fellow. Exhibitions are made possible by assistance provided by the County of Westchester. Additional support provided by Sarah Lawrence College through a generous grant from the Mellon Foundation. Hip Hop Heroes Through March 3, 2024 View press images Hip Hop Heroes celebrates fifty years of Hip Hop in Yonkers and its neighboring communities, centering the stories of the pioneers and party goers who helped shape it into a global phenomenon. Featuring art and artifacts from community members, Hip Hop Heroes honors Yonkers, the Bronx, and Mount Vernon as sites of New York’s musical innovation, where artists from The Lox to DMX to Mary J. Blige honed their craft and contributed to a thriving Hip Hop scene. Hip Hop is generally thought to be made up of four primary elements: DJing, MCing, breakdancing (or b-boying), and graffiti. Recognizing this multimedia dimension of the culture, the exhibition features work by graffiti writers, muralists, and comic book artists. The exhibition begins with an exploration of how the story of Hip Hop has often been told through the visual arts, featuring works by artists such as Antoinette Legnini and Andre Trenier and an original mural organized by Evan Bishop and painted by local artists including Nancy Mendez, Michael Cuomo, and Marco Barrios. These artworks are further contextualized by cherished memorabilia from community members, including a treasured collection of vinyls, ticket stubs, and flyers. Yonkers-based artist Evan Bishop, who co-curated the exhibition alongside Karintha Lowe, stated, "This exhibition is an important step in the celebration of the 50th anniversary of Hip Hop culture. Yonkers has made a significant contribution and produced iconic artists. Having the Hudson River Museum join in this acknowledgement is huge, and the public will enjoy it. I am honored to co-curate this exhibit with Karintha to make this event a reality. May the architects of the culture be pleased." The exhibition also builds from artist Evan Bishop’s workshop series, Hip Hop Heroes: Create a Comic Book Cover, which was held at the Museum in the winter of 2023 and introduced participants to the relationship between social issues and Hip Hop culture. Original works created in these workshops will be featured in the exhibition, complemented by a documentary about Bishop’s project, filmed by photojournalist Denzel Walters. A special feature of Hip Hop Heroes will be a series of arts workshops, held in the exhibition space, where visitors will have the opportunity to create their own Hip Hop heroes. The resulting art will be considered for inclusion in the comic book section of the exhibition, which will feature a rotating selection of original works, created by and for our diverse audiences. Featured in the Museum’s Community and Partnership Gallery, Hip Hop Heroes is guided by the space’s mission to provide an inviting and experimental place to feature local, regional, and emerging artists as well as artists-in-residence and community-based collaborations. Featured Artists: Tommy The Animator • Robin Alcantara • Marco Barrios • Shanequa Benitez • Michael Cuomo • Antoinette Legnini • Nancy Mendez • NIC 707 • Pose2/MaxxMoses • Lady Slim • Andre Trenier • Katori Walker • Denzel Walters. Memorabilia Contributors: The Benitez Family • Buddy YoMA • Joe Genovese • Tom Ray • Raymond Vasquez. With special thanks to Ken Davis and Dennis Fields. This exhibition is co-curated by Yonkers-based artist Evan Bishop and Karintha Lowe, HRM’s Mellon Public Humanities Fellow. Significant support is provided by the New York State Senate and Majority Leader Andrea Stewart-Cousins. This exhibition is made possible by the City of Yonkers, Mayor Mike Spano; ReStart the Arts administered by ArtsWestchester; and Sarah Lawrence College through a generous grant from the Mellon Foundation. Additional assistance for HRM exhibitions is provided by the County of Westchester. It Takes 2: Unexpected Pairings Through March 2, 2025 View press images The power of an artwork is often amplified when in dialogue or debate with another. It Takes 2: Unexpected Pairings explores the resonances and dissonances that arise when unrelated objects are set side by side. These unlikely companions, drawn from the HRM collection, loans from Art Bridges, and private collections, span different centuries, cultures, and media. Their juxtaposition may reveal overlapping frames of reference, draw out previously unnoticed dimensions, or challenge preconceived notions of universality. In the eight pairings featured here, each explored under a different theme, the artworks stand on their own and also hold a mirror to one another. One poignant pairing reveals two striking explorations of love. Felix Gonzalez-Torres’s Untitled (L.A.), 1991, is installed near an ornate wedding platter from the 1870s. Gonzalez-Torres’s candy-spill work dates from the same year he lost his beloved partner to an AIDS-related illness and is a testament to their relationship. The ceramic dish, produced by W. T. Copeland & Sons, features wedding vows as part of its decoration, including “in sickness and in health, to love and to cherish, till death do us part.” The platter was made to hold food for wedding guests, just as Gonzalez-Torres meant for visitors to consume the commemorative candy. In other juxtapositions, works by Georgia O’Keeffe and Andy Warhol invite us to consider organic forms we can encounter everyday from a fresh perspective, and Winslow Homer’s watercolor of a Florida coastal scene and Catherine Latson’s sculptural dress made of shells suggest changing relationships to nature. Finally, the fantasy realm of children’s play provides a vehicle for artists JooYoung Choi and Mark O’Banks to rewrite history, to upend social injustices through invented worlds and very different artistic sensibilities. Several works in this exhibition are generously lent by Art Bridges, Bentonville, Arkansas, as part of the Art Bridges’ Collection Loan Partnership initiative. This exhibition is made possible by generous support from the New York State Senate and Majority Leader Stewart-Cousins. Exhibitions are made possible by assistance provided by the County of Westchester. ALSO ON VIEW Hudson River Explorers: Prints by Holly Sears Through January 14, 2024 View Press Images Collection Spotlight: Abstraction, 1950–1980 Through January 21, 2024 View press images In Exaltation of Flowers: Edward Jean Steichen Through February 18, 2024 View press images Collection Spotlight: The Hudson River School Ongoing View press images Collection Spotlight: The Art of Skywatching Ongoing View Press Images PROGRAMS All events are free with general admission unless otherwise noted. View program images Friday, December 1, 5–8pm Free First Fridays: Gilded Holiday Glow Image Celebrate the holiday season at our new free evening hours, featuring live music by Diverse Concert Artists. The string quartet will play a mixture of classical, Broadway, holiday, pop, and Hip Hop tunes in the Lobby. Enjoy highlights of Glenview on free special guided holiday tours throughout the evening and sketch a seasonal landscape in a bilingual art workshop with artist Carolina Amarillo. Cash bar with holiday-inspired refreshments. Generous support provided by Art Bridges Foundation’s Access for All program. Friday, December 1, 5:30–7:30pm Stop In & Sketch Image Take your time wandering around the galleries, and note the use of light, color, composition, and narrative in the works on view. Then, grab a pencil, paper, and a stool to make your own work of art in this drop-in drawing workshop led by artist Carolina Amarillo in English and Spanish. Support provided by Art Bridges. Image: Sketch by Carolina Amarillo Saturday, December 2, 2pm Who’s Adapting? Panel Discussion & Book Signing Image Join us for a special program with award-winning ecologist Carl Safina and featured artists James Prosek and Walton Ford, who will address the relationship between animals, humans, and the natural world, and help to promote the necessity of living with native animals in our urban midst and developing mutually rewarding relationships. Their practice in the visual arts, ecology, animal behavior, and environmental activism speak to the themes of Un/Natural Selections: Wildlife in Contemporary Art. Sunday, December 3, 3pm The Color of Sound / The Sound of Color Image Composer and pianist Daniel Kelly guides audiences on a journey to explore the connections between music and art. Kelly and his trio (piano, bass, and drums) will reveal a new musical suite entitled The Color of Sound inspired by works on view by Arthur Dove, Jane Wilson, and Georgia O’Keeffe. The suite includes renditions of twentieth-century works, as well as original compositions by Kelly. Recommended for all ages. Support provided by Art Bridges. Photo: Flynn Larsen Wednesday, December 6, 7pm Artist Talk: Brandon Ballengée on Adaptation & Activism (Virtual) Image Join visual artist, biologist, and environmental educator Brandon Ballengée for a discussion about his interdisciplinary work and Atelier de la Nature, an eco-educational campus and nature reserve in South Louisiana that Ballengée founded in 2017 with his wife, sustainable food educator Aurore Ballengée, and their children. The Atelier de la Nature’s programs use active learning methods that combine art with science and nature-based education as a means to inspire and spark conversation. This virtual event is free, registration required. Support provided by Art Bridges. Saturday, December 9, 11am–5pm All About Owls: A Celebration of Winter Image Spend the day learning all about owls, the nocturnal birds who live in our backyards, neighborhoods, and forests, in a program inspired by Un/Natural Selections: Wildlife in Contemporary Art. Enjoy art and science workshops, readings of Owl Moon by our Junior Docents, and a live owl show with falconer Brian Bradley. Schedule 12–4pm — Pop-Up Storytime: Owl Moon 12–4pm — Family Art Workshop: Feather Prints 12–4pm — Family Science Workshop: Owl Pellets 1:30 & 2:30pm — Night Hunters in Flight Support provided by Art Bridges. Image: Peter Gerakaris (United States, b. 1981). Caravan (Owl), 2012. Oil on canvas. Purchased with funds generously donated by Adrienne and John Mars, National Museum of Wildlife Art. © Peter Gerakaris. M2016.042. Saturday, December 9, 12–4pm Pop-Up Storytime: Owl Moon Image Enjoy the classic story of Owl Moon, written by Jane Yolen and illustrated by John Schoenherr. In the book, which was awarded a Caldecott Medal in 1988, a young girl and her father go on a magical late-night walk in the woods of New England that proves to be fascinating and successful! Read by HRM Junior Docents. Support provided by Art Bridges. Saturday, December 9, 1:30 & 2:30pm Night Hunters in Flight Image Falconer Brian Bradley presents an intimate and exciting showcase of live owls from all over the world that unravels the mysteries of our most secretive night hunter. Are the myths true? Come experience the magic of these incredible birds, both feared and revered, who have adapted to nearly every ecosystem on the planet. Seating is first-come, first-served. Support provided by Art Bridges. Saturday, December 9, 12–4pm Family Art Workshop: Feather Prints Image Create an owl print with paint and real bird feathers in a hands-on art workshop with a scientific twist. Recommended for ages 4+. Saturday, December 9, 12–4pm Family Science Workshop: Owl Pellets Image Dissect owl pellets and reconstruct the bones of the owl’s regurgitated waste. Be a naturalist and learn how scientists can determine what an animal eats by examining its poop. Recommended for ages 6+. Sunday, December 10, 3pm A Gilded Age Holiday: Live Opera in Glenview Image Enjoy a festive concert with internationally renowned soprano Korliss Uecker, baritone and pianist James Rensink, and principal cellist of the Metropolitan Opera Orchestra, Jerry Grossman, in Glenview, which is decked out for the holidays in Victorian splendor. Tickets: $30; HRM and Chaminade Members $25; includes general admission. Advance reservations are strongly encouraged. Co-sponsored by the Yonkers Chaminade Club. Saturday, December 16, 1:30–3:30pm Soundscape Collage Image Create a soundscape collage for the Museum’s beloved Nybylwyck Hall Dollhouse, on view in It Takes 2: Unexpected Pairings, that includes dialogue, sounds from the natural world, and human-made sounds. Write your own or assemble the words, then have fun recording! The workshop is led by Teaching Artist-in-Residence Sarah Provost, a puppetry and theater artist who brings narratives to life through collaborative visual storytelling. Support provided by Art Bridges. Sunday, December 17, 3pm ‘Twas the Night: Reading & Book Signing in Glenview Image Take a seat in the Great Hall of Glenview, the Museum’s 1877 Gilded Age historic home lavishly decorated for the holiday season, and hear historian and author Pamela McColl read the classic poem “‘Twas the Night Before Christmas.” McColl traces the evolution of the holiday season and explores the origins of Clement Clarke Moore’s poem, delving into two centuries of winter traditions. Tuesday–Friday, December 26–29, 11am–5pm School’s Out, Stars Are In (SOSI) Image During the holiday week, students and their families are invited to enjoy all the HRM has to offer. Enjoy the exhibitions on view, watch free planetarium shows under the dome, engage in interactive art and science workshops, and challenge yourself with a scavenger hunt. Take a ticketed tour of our historic home, Glenview, decked out in seasonal splendor. Tuesday, December 26 12pm–4pm — Family Art Workshop: Winter Shadow Box 12pm–4pm — Family Art Workshop: Hudson “Hot Drinks” 12–4pm — Family Science Workshop: Nebula-in-a-Bubble Holiday Ornament 12:30pm — Four Tales of the Sky (FREE) 1pm — Glenview Holiday Tour 2pm — The Sky Tonight: Holiday Edition (FREE) 3pm — Glenview Holiday Tour 3:30pm — Beyond the Sun (FREE) Wednesday, December 27 12pm–4pm — Family Art Workshop: Winter Shadow Box 12pm–4pm — Family Art Workshop: Winter Wonderland 12–4pm — Family Science Workshop: Nebula-in-a-Bubble Holiday Ornament 12:30pm — Four Tales of the Sky (FREE) 1pm — Glenview Holiday Tour 2pm — The Sky Tonight: Holiday Edition (FREE) 3pm — Glenview Holiday Tour 3:30pm — Beyond the Sun (FREE) Thursday, December 28 12pm–4pm — Family Art Workshop: Winter Shadow Box 12pm–4pm — Family Art Workshop: Hudson “Hot Drinks” 12–4pm — Family Science Workshop: Nebula-in-a-Bubble Holiday Ornament 12:30pm — Four Tales of the Sky (FREE) 1pm — Glenview Holiday Tour 2pm — The Sky Tonight: Holiday Edition (FREE) 3pm — Glenview Holiday Tour 3:30pm — Beyond the Sun (FREE) Friday, December 29 12pm–4pm — Family Art Workshop: Winter Shadow Box 12pm–4pm — Family Art Workshop: Winter Wonderland 12–4pm — Family Science Workshop: Nebula-in-a-Bubble Holiday Ornament 12:30pm — Four Tales of the Sky (FREE) 1pm — Glenview Holiday Tour 2pm — The Sky Tonight: Holiday Edition (FREE) 3pm — Glenview Holiday Tour 3:30pm — Beyond the Sun (FREE) SOSI is sponsored by Con Edison. Family Art & Science Workshops Saturdays & Sundays in December, PLUS Tuesday–Friday, December 26–29, 12–4pm Family Art Workshop: Winter Shadow Box Image Create a shadow box puppet theater with a winter forest landscape and shadow puppets. Designed by Teaching Artist-in-Residence Sarah Provost. Recommended for ages 4+. Saturdays & Sundays in December, 12–4pm PLUS Tuesday–Friday, December 26–29, 12–4pm Family Science Workshop: Nebula-in-a-Bubble Holiday Ornament Image Light up the darkest days of the year with miniature, illuminated models of stellar nebulae, the nurseries where stars are born. Base your holiday ornament on a real stellar nebula, or make up your own. Recommended for ages 4+. Tuesday, December 26 & Thursday, December 28, 12–4pm Family Art Workshop: Hudson “Hot Drinks” Image Using paper, cotton, essential oils, and other inedible materials, dream up what you’d imagine to be the best drink to keep you warm during the winter season. Add holiday-themed essential oils to your Hudson “hot drink.” Recommended for ages 4+. This program is offered as part of School’s Out, Stars Are In (SOSI). Wednesday, December 27 & Friday, December 29, 12–4pm Family Art Workshop: Winter Wonderland Image Paint your own winter wonderland and use cotton to make a little snow buddy! Recommended for ages 4+. This program is offered as part of School’s Out, Stars Are In (SOSI). Planetarium Shows Friday, December 15, 7pm Pink Floyd’s The Dark Side of the Moon Image Celebrate the 50th anniversary of Pink Floyd’s iconic album The Dark Side of the Moon with an immersive fulldome planetarium show. The show is organized according to the 10 tracks off the album, some futuristically looking forward and some a retro acknowledgment to Pink Floyd’s visual history, all relating to a time and space experience. It promises to be immersive—an all-encompassing surround sound and visual treat that will take you way beyond the realms of two-dimensional experience. Watch the trailer. Production of Pink Floyd’s official The Dark Side of the Moon planetarium show has been led by the award-winning UK production studio NSC Creative, working closely with Pink Floyd’s long-time creative collaborator Aubrey Powell from Hipgnosis. Recommended for ages 10+; 42-minute show. Advance reservations are encouraged. Saturdays & Sundays in December, PLUS Tuesday, December 26–Friday, December 29, 12:30pm Four Tales of the Sky Image Four cultures, four locations on Earth, four takes on stories in the stars. A mixture of live presentations and beautiful short films that tell stories of constellations, astronomical instruments, and scientific knowledge from various cultures around the world. Produced by One Sky Project, each story is in its own artistic style, featuring the work of international artists. Recommended for ages 6+; 35-minute show plus Q&A. Advance reservations are encouraged. Saturdays & Sundays in December, PLUS Tuesday, December 26–Friday, December 29, 2pm The Sky Tonight: Holiday Edition Image Around the Winter Solstice on December 21, the nights are long and dark, with many beautiful sights waiting in the evening sky. This time of year also features the legends of light, including the Star of Bethlehem, holiday lights, and yule logs. We’ll highlight the astronomical connections to these traditions this month. Recommended for ages 8+; 60-minute live and interactive show. Advance reservations are encouraged. The Sky Tonight is sponsored by Domino Sugar Yonkers Refinery. Saturdays & Sundays in December, PLUS Tuesday, December 26–Friday, December 29, 3:30pm Beyond the Sun Image Celeste is a little girl who thinks she knows all the planets. But when a friendly bunch of celestial sprites arrives with news from beyond the Solar System, she soon learns that the Sun isn’t the only star with planets. There are ocean worlds, super-Earths, demi-Neptunes, and planets that orbit no star at all. Celeste will follow in the footsteps of exoplanet hunters and discover the wonders of the quest for new worlds. Recommended for ages 8+; 25-minute show plus Q&A. Advance reservations are encouraged. Glenview Tours Thursdays & Fridays, 1pm; Saturdays & Sundays, 1 & 3pm PLUS Tuesday, December 26–Friday, December 29, 1 & 3pm Glenview Holiday Tour Image Enjoy the debut of our annual holiday decorations in Glenview, our 1877 home on the National Register of Historic Places, designed by esteemed architect Charles W. Clinton. Learn about the Gilded Age holiday traditions of the Trevor family, explore the six fully restored period rooms on a 45-minute guided tour, showcasing beautiful Christmas trees, antique ornaments and toys, and a holiday-themed tablescape. See the fine woodwork, furnishings, artwork, and magnificent architectural features that rank Glenview as one of the most important early Gilded Age residences open to the public. Glenview appears in Season 1 & 2 of HBO’s The Gilded Age, the popular Emmy Award–winning series from Downton Abbey creator Julian Fellowes. Capacity is limited to 15 visitors per tour. Advance ticket purchase is encouraged. Recommended for ages 8+. Strollers are not permitted in Glenview. Please note, the Billiard Room is temporarily closed. Press contact: Jeana Wunderlich jwunderlich@hrm.org (914) 963-4550 x240 Samantha Hoover shoover@hrm.org (914) 963-4550 x216 ### Hudson River Museum is a preeminent cultural institution in Westchester County and the New York metropolitan area. Situated on the banks of the Hudson River in Yonkers, New York, the HRM’s mission is to engage, inspire, and connect diverse communities through the power of the arts, sciences, and history. The Museum offers engaging experiences for every age and interest, with an ever-evolving collection of American art; dynamic exhibitions that range from notable nineteenth-century paintings to contemporary art installations. The HRM’s new West Wing offers sweeping views of the Hudson River in dedicated exhibition galleries. The campus also includes Glenview, an 1877 house on the National Register of Historic Places; a state-of-the-art Planetarium; an environmental teaching gallery; and an outdoor Amphitheater. Accredited by the American Association of Museums (AAM), the Museum is dedicated to collecting, preserving, exhibiting, and interpreting these multidisciplinary offerings, which are complemented by an array of public programs that encourage creative expression, collaboration, and artistic and scientific discovery. Hours and Admission: Hudson River Museum is open Thursday & Friday, 12–5pm, Saturday & Sunday, 11am–5pm. Learn more at hrm.org/visit
6840	dbpedia	2	66	https://www.loc.gov/programs/national-film-preservation-board/preservation-research/television-videotape-preservation-study/new-york-public-hearing/	en	Television/Videotape Preservation Study	http://www.loc.gov/static/images/favicons/open-graph-logo.png	http://www.loc.gov/static/images/favicons/open-graph-logo.png	[ "https://www.loc.gov/static/images/logo-loc-new-branding.svg", "https://www.loc.gov/static/images/social-media/facebook.svg", "https://www.loc.gov/static/images/social-media/twitter.svg", "https://www.loc.gov/static/images/share/link.svg", "https://www.loc.gov/static/images/share/email.svg", "https://www.loc.gov/static/images/social-media/facebook.svg", "https://www.loc.gov/static/images/social-media/twitter.svg", "https://www.loc.gov/static/images/social-media/youtube.svg", "https://www.loc.gov/static/images/social-media/pinterest.svg", "https://www.loc.gov/static/images/social-media/flickr.svg", "https://www.loc.gov/static/images/social-media/instagram.svg", "https://www.loc.gov/static/images/social-media/itunesU.svg", "https://www.loc.gov/static/images/congress-gov.svg", "https://www.loc.gov/static/images/copyright-gov.svg" ]	[]	[]	[ "" ]	null	[]	null	Hearing Before the Panel of the Library of Congress Sheraton New York Hotel New York, New York March 19, 1996 Report of the Librarian of Congress	en		The Library of Congress	null	Hearing Before the Panel of the Library of Congress Sheraton New York Hotel New York, New York March 19, 1996 Report of the Librarian of Congress Table of Contents Opening Remarks by William Murphy, Coordinator, Current State of American Television and Video Preservation Report Introductory Remarks by James Billington, Librarian of Congress Statements by: John Cannon, President, National Academy of Television Arts and Sciences William Boddy, Professor, Department of Speech CUNY, Baruch College and Graduate Center Deirdre Boyle, Associate Professor, The New School for Social Research Kitty Carlisle Hart, Chairman, New York State Council for the Arts Stan Singer, Manager, NBC News Archives Michael Lang, Senior VP, Business Affairs, ABC Broadcast Operations and Engineering Joel Kanoff, Associate Director, Video Services, ABC News Doug McKinney, Director of Archives, CBS News Donald Decesare, Vice President, Operations, CBS News Jac Venza, Director of Cultural and Arts Programs, WNET-TV Judy Crichton, Executive Producer, The American Experience, WGBH-TV Peter Adelstein (Image Permanence Institute), Chairman, ANSI Technical Committee IT9 Peter Brothers, President, SPECS BROS, LLC Robert Haller, Manager, Anthology Film Archives Duane Watson, Aaron and Clara Greenhut Rabinowitz Chief Librarian for Preservation, New York Public Library Barbara London, Associate Curator, Video, Department of Film, Museum of Modern Art David Weiss, Executive Director, Northeast Historic Film Graham Leggat, President, Board of Directors, Media Alliance Gloria Walker, Community Organizer Television Coordinator, Deep Dish TV Network/Educational Video Center Stephen Vitiello, Director of Distribution, Electronic Arts Intermix Sam Suratt Proceedings James Billington Librarian of Congress Erik Barnouw Professor Emeritus, Columbia University David Francis Chief, Motion Picture Broadcasting and Recorded Sound Division, Library of Congress Mona Jimenez Executive Director, Media Alliance James Lindner President, Vidipax, Inc. Panel Moderator: William Murphy, Coordinator, Current State of American Television and Video Preservation Report MR. MURPHY: Good morning, everyone. Please take your seats, we're about to begin the day's proceedings. I want to first begin the day by turning the microphone over to Dr. James Billington, the Librarian of Congress. DR. BILLINGTON: Thank you. We're pleased to welcome everyone here to the Library of Congress Hearing on the Current State of American Television and Video Preservation. Two weeks ago I presented the Library of Congress to our Congressional Appropriations Hearing and this morning I'm happy to be on the other side of the room facing witnesses. Today's hearing doesn't have the legal and physical implications of a Congressional hearing, but it's a very important event for the Library of Congress and for the archival community generally, and indeed, for everyone who shares concern about preservation of our television legacy. Our first public hearing on this subject was held in Los Angeles on March 6th. The panel heard statements from archives, major studios and educators and others who share this concern over preservation. We heard encouraging reports from the major products of prime time programming because as commercial enterprises they have sufficient economic incentives to maintain their materials under reasonably good conditions, and thus insure availability for future use. On the other hand, we heard from smaller organizations with little or almost no resources to safeguard and preserve the valuable television video materials in their care. This is the second of three public hearings that the Library of Congress is conducting this month and they're intended to develop a report on the current state of American television and video preservation and a plan listing recommendations. Both the report and the plan will be published later in the year as a single document. This activity is authorized under the American Television and Radio Act of 1976--20 years later; it takes a little while to get around to these things in Washington, as you may have heard. But it's being pursued in response to a recommendation more recently from the National Film Preservation Board, which is another Congressionally created body for which we have a responsibility at the Library of Congress, and also from the many groups and individuals who helped draft Redefining Film Preservation, A National Plan, which the Library of Congress published in 1994. Now the American Television and Radio Act of 1976 authorized the Library of Congress to establish and maintain archives whose purpose is to preserve a permanent record of the broadcast programs which are the heritage of the people of the United States and to provide access to such programs to historians and scholars without encouraging or causing copyright infringement. These hearings and the report to follow will help the Library develop and refine ATRA'S policies--that's the acronym for American Television and Radio Archive--to insure that we carry out our work in concert with the other archives and libraries, and with production and broadcast organizations. These hearings and the report then parallel our earlier film preservation study in several important ways. First, we seek the same goals; that is, to preserve the American heritage. In this case, television and video, and make it more accessible for educational use. Second, to obtain a wide range of views and opinions representative of the diverse interest that exists in the creation, preservation and research use of moving images in all its aspects, including arts and entertainment, news and documentary, public affairs, video art, community video, just to name some of the largest categories. Thirdly, we wish to encourage other archives and libraries to work with the Library of Congress to accomplish the very difficult task of preserving television video and making them available. Fourth, we wish to address the problem of funding, television and video preservations programs, both in public archives and industry, no easy task at a time when resources are scarce, relative to the preservation workload ahead. Public and private partnerships are essential and during the course of these hearings we hope to receive your recommendations on how these kinds of partnerships can be established. There are other parallels with the film preservation report worth mentioning. Like American film, much of the early history of television, as I am sure most of you aware has already been lost, broadcasts were live and kinescope or film recordings were used selectively, Ampex introduced a videotape recording technology in 1956, and since then the industry has manufactured or adopted numerous incompatible video formats making technological obsolence a major archival issue. Like nitrocellulose, the staple of the film industry until 1951, videotape has proven to be both a blessing and a curse. We've entrusted our historical and cultural images to videotape and yet it's vulnerable to degradation and destruction. Like film, everything associated with video preservation is expensive, including specialized storage facilities, electronic equipment, a skilled technical staff, and reformatting costs. The very notion of reformatting large collections of videotape is a daunting one because their volume already exceeds the means of most organizations. Yet the rewards for safeguarding and preserving our television and video heritage are immeasurable, no one can fully understand who we are as a people and what we've become as a society without having access to the recordings created by television and video production during the last 50 years. Historians, sociologists and other scholars, even politicians and parents, debate the causal relationship of television to the society-at-large and the future of such debates will be fruitless if the historical evidence to pursue them does not survive. I might say as not just the Librarian of Congress who is responsible to the Congress of the United States but as somebody who has been a resident of Washington for nearly a quarter of a century, it's been amazing to watch how official Washington and all its aspects increasingly feels that it's either legitimize or de-legitimize as sustained, vindicated, elected, dis-elected, whatever, through this media, and therefore, it seems to me that the interest in it and the concern for how it functions, what its legacy is, is only going to increase. So this problem is one that is very much a part of coming to grips with what we are becoming as a nation in the second half of the 20th Century. So in conclusion, the Library of Congress encourages all of you in the audience to write down your opinions and recommendations an we will collect them up to April 29th. We hope to hear from people in writing who don't have a chance to speak today, and today we will hear from a number of distinguished individuals, some professionals in the field, others representing important organizations, that share the goal of preserving American television and video and to which, as I say, we have a special responsibility under the Congressional mandate that we're pursuing here today. Before we begin, I'd like to thank David Francis to my left, our admirable head of the Library's Motion Picture Broadcasting and Recorded Sound Division, and a long-time pioneer in the preservation business on two continents--we're happy that he's on ours right now; and Steve Leggett, extraordinarily industrious, always self-effacing, in the back of the room back there, just does simply wonderful work for the Motion Picture Broadcasting and Recorded Sound Division. I can't say too much for all they're doing. They're real saints in this pursuit of preserving this important part of our cultural heritage, and particularly for their work on this project. And most especially the man to whom I'm going to turn over the microphone, Bill Murphy, on loan from our sister institution, the Washington National Archives and Record of Administration, who is doing an admirable job serving as the project's coordinator, who will moderate today's hearing and to whom I'm pleased to turn over the microphone. MR. MURPHY: Thank you, Dr. Billington. At this time I would like to introduce the members of the panel. You've already met David Francis. To my right is Dr. Erik Barnouw; and next Mona Jimenez, the executive director of the Media Alliance; and last but not least, Jim Lindner, president of Vidipax, Inc. And so let us begin, but before we go into the proceedings, let me state some of the ground rules for the discussion and testimony in the interest of moving the proceeding along expeditiously during the rest of the day. First, we will ask each panel to sit together at the witness table when it is their turn to speak. Second, the speakers will make their presentations in the order listed; and third, each speaker should take approximately ten minutes to give a statement. If you have a longer written statement, that too will be published in the record. If you exceed your time limit, I will try to let you know politely so that you can bring your statement to a conclusion. Fourth, please speak into the microphone so that you can be heard in the back of the room. Your statement and the discussion are being recorded and transcribed and you will receive a copy of the transcript for your review. Fifth, the Library of Congress panel will ask questions and make comments when each group of witnesses has completed their statements. I'm sorry we don't have enough time to accept questions or comments from the floor, from the audience; but I encourage all of you to send us written statements which will be considered in the report. This is all I'm going to say, and so with that let us begin with our first witness, Mr. John Cannon of the National Academy of Television Arts and Sciences. Good morning, Mr. Cannon. MR. CANNON: Good morning. I am the president of the National Academy of Television Arts and Sciences, and first of all let me tell you about who we are. We do represent I think goodness, kindness and we are the embodiment of not-for-profit activity, we are statesmen of the industry; but putting all that aside, we have a remarkable structure. We represent virtually the entire United States. We represent about 95 per cent of television in the United States and the concrete evidence of that is that we make available local awards, local Emmy awards throughout the country. And it is our belief that television is not in New York and Los Angeles exclusively, that television really is people in many, many cities and many, many places, and we, because of our structure, can reach out. I want to talk to you this morning about thinking of preservation of television material, documentaries and recorded history throughout the United States rather than solely thinking about great shows that we all saw on network television. But of course, again by our structure, because we represent the Emmy, the Emmy is the terribly, terribly distinguished award. In the world, anywhere you go, everybody knows the Oscar, everybody knows the Emmy. Now there are very few awards like that. I can give you two or three, four more, but by and large other awards are--they're nice, they're somewhat conveniences for having dinners, and kind of warming up for the main event; but the only people unhappy about Emmys are those who don't win them. Everybody wants an Emmy. And you would have to sit in the office or run from the office, which I frequently like to do, about people calling and saying they should have won and Emmy and how unjust the world is. But putting that aside, we find that--maybe I shouldn't put it aside, but really I find it very flattering and it only emphasizes how truly great this Emmy is. So when we talk about having archives, and this is something very, very good, this is the kind of thing we have a total commitment to at least philosophically, if we can't do it physically which I don't think we can do, but from the very creation of this Academy we have always been proponents of it and we have found that the educational world has been quite marvelous at this and the Academy, which began in Los Angeles and New York, began this kind of activity. I know I was president at one time of the New York Chapter and we had a very active relationship with NYU in preserving materials. But we found that from a national viewpoint that we couldn't possibly do anything meaningful. So we support all kinds of organizations that want to do this and I'm sure you're all aware of the very, very major commitment that the Museum of Radio and Television has, and they have a great deal of money and they just opened, if you saw in The New York Times yesterday, they opened a branch, $16 million in Beverly Hills. And I do know that Mr. Paley, who started this, I don't think he ever made the short walk which is only one block from what is called Black Rock, CBS, over to ABC, it's from 53rd Street to 54th Street, and he never made that walk, but he did one day decide he would go over and see Leonard Goldenson. So he made the walk, went up to see Leonard Goldenson, he said, "Leonard, I want you to support something," and it was his museum. And it never stopped from that point on. I've never seen anything in our industry supported so widely and with such deep pockets as that museum. So what your relationship is with that, I don't know. I will ask you later on what it is. But I would like to focus a bit on some of the things that we have done in our Academy and maybe that we can open up some windows here for your thinking. We had, oh, ten years ago, suggested that each of our chapters encourage their community--let's say Phoenix, Arizona--to establish an archival reposit of what had been the best of television in Phoenix. Now this concept I think has a lot of merit. We can now envision--we have 17 cities and regions which as I tell you covers most of the United States; but I think it's very interesting if you're in Miami to have a place you can go and see what has been the best of Miami television. And I can further see occasions where people would gather in the industry to review their industry and all that's been accomplished there. Cities do this, local television is very, very strong, and people who have made great contributions to television in all the local markets are honored. They're honored by our organization and other organizations. But this is a step further. It's not easy to do. I would also encourage them to send material to the museum; but I think maybe if the Congress, if the Library of Congress would do this, it would have more impetus, it would have more motivation. But I try to open, as I say, open new vistas for you here and I think this is something that I don't think you'll hear from anybody else, of the concept of how much material there is that only those people, generally speaking only those people in their own communities saw and were a part of. But that to me is very, very valid and it fulfills what television should be. We feel that television is--the viewer should be the boss of television. The view is the one who makes all the decisions. And nobody forces anybody to watch anything. Television will never be, or when we say television today we mean all of broadcasting, the telecommunications, whether it be satellite cable--this is all one family, one experience really. But it is the viewer that sets the standard an all the viewer has to do is turn it off. And so television will never be better than the viewer demands it to be and the more we as an Academy, our dedication is to excellence, and we are constantly talking to the people in the community if we can and tell them to be as demanding as they can. We have a project in the Academy called Creating Critical Viewers. This is to educate young people, the high school age, how to watch television. We don't want them to grow up and be couch potatos. So we have made a very major effort and invested very major money in this so that we now have in 17 chapters around the country, we have a paid administrator who does this, and we engage--each chapter engages somebody from the educational world who can communicate with the schools. Television people are good at communicating with the public in general, but they are not educators and they don't quite know how to get into that world. But this is evidence of what can be done, what can be done for the public, and I think that's what we should all think about and that's why we should preserve the best of telecommunications, the best of these efforts for the public, not for private collectors, but for those who can benefit for the most, so we have a true heritage to pass on. And we in the Academy can educate young people so that they come out with a critical eye. We think that's very good. And also it's very encouraging that the management, the station managers around the country encourage this. They do not find it a threat to their commercial profits. They agree that the better view they have, the better television they'll all do. There is no downside to doing good television and there's no downside to having a program that doesn't have a big audience either. In News and Documentary, Dr. Billington was a presenter at our News and Documentary Awards. PBS has always done very, very well in those awards because they dedicate the time to it. And on the commercial networks, sometimes we don't get as high quality, although that varies, there's some very high quality actually in the networks; but if you put aside every so often the profit motive and say what can we do that is the best for the public, it will happen. So what we can do here by talking to you is see if we can give you some ideas and give you a feeling for the whole broad spectrum of television in the 50 States of the United States, with which we have a relationship. I thank you all, and first of all being here is annulus; but particularly to the Library and its effort, I think this is very timely and it's a step forward, and just couldn't be any more admirable. So I thank you very much for listening to my few words and I would be very pleased to talk to you and answer questions. Maybe I'll ask you some questions. MR. MURPHY: Thank you very much, Mr. Cannon. Questions or comments? David? MR. FRANCIS: I was very interested in what you said about the idea, I think you used Phoenix as the example-- MR. CANNON: Yes. MR. FRANCIS: --of selecting in the different chapters the programs which are important as far as that part of the country is concerned, because one of the big problems with television is there is so much of it and it's not all national. Now it seems that this idea could be developed by the Academy so that each area was deciding what they considered were the most important programs. I think that would be a very valuable service, and it could lead to those programs being preserved in that area. What do you think about this? How successful have you been so far? MR. CANNON: Well, it didn't quite work. These things take a great deal of incentive and effort. The fire has to build up, you know. I think though I'm very glad to hear what you say. I think that it's worth another try. Ten years ago when we advocated this, I don't think the Academy was doing all the good things it's doing now. We have a very major scholarship program now, we're giving two $20,000 scholarships and that's pretty good, because I look around and there aren't that many $20,000 scholarships being given out. Most scholarships are for $2,000 and that will buy you books maybe, or $5,000; but we decided to go into this in a very major way. The reason I cite this is that atmospheres change and when people realize what can be done and we're doing these things, maybe this is another step we could take. I really think it's worthwhile. And if we could get a letter particularly from Dr. Billington, if I could get a letter saying we encourage this, this kind of encouragement would be a very good thing for us and might bring this to a meeting and that's the way these things start. We'd have to think out how this can trickle some place, as I wanted to do it with the museum, but I think they've got a pretty full plate over there. Maybe we can do this through you. But we need to have it go somewhere too, as well as--do you agree with that? MR. FRANCIS: Yes, certainly. MR. MURPHY: Jim? MR. LINDNER: You were mentioning the role of education in regard to your membership and there's no question that your membership is certainly the movers and shakers of the television industry in many regards, and I was wondering since the membership is so large whether the Academy has published any brochures or other information to help educate your members on how to take care of their materials? MR. CANNON: No. We never have. No, no. That has never been done and that would never be done because there is no program that would call for it. But again, that's a good idea. What we offer here is an availability if somebody wanted to do that, the Academy has the structure that allows for a lot of communication, if somebody wants to come along and do that. What better way for distribution than to use us. That might be a good joint effort with somebody. MR. MURPHY: Okay. Thanks again, Mr.-- MR. CANNON: Dr. Barnouw, I wanted to-- MR. MURPHY: Go ahead. MR. CANNON: As I was joking with Dr. Barnouw, I said that I read his book since I was three years old, he said I was very precocious when I did that, and I said but he wrote with such clarity, how does he know that I didn't? But I want to take a personal moment here to ask you, Professor Barnouw, of what you do now. Do you lecture still at Columbia? Are you still writing book? I'd like to know that. DR. BARNOUW: I'm not lecturing at Columbia. I've retired some 20 years ago. MR. CANNON: I know that, but I thought-- DR. BARNOUW: I am still writing books, yes. MR. CANNON: All right. DR. BARNOUW: I don't want to make this a personal advertising program. MR. CANNON: Okay. DR. BARNOUW: Yes, I just published a book called "The Media Marathon," essentially a memoir which goes to my life in all the media. MR. CANNON: I'll certainly be looking for that. It's a privilege to be here with you. Yes, Dr. Billington? DR. BILLINGTON: I was wondering if either the Academy or the museum, which you mentioned, you mentioned in connection with the museum deep pockets. One of the fundamental problems with preservation is that there are virtually no pockets at all. MR. CANNON: That's right. DR. BILLINGTON: And I wondered if you had any thoughts as to how first of all you organization, which does have all the prestigious and important people in it, do either they or the museum have any systematic institutional stated commitment to the preservation of the television heritage or have there been any major meetings or pronouncements devoted to it? I just wondered as a matter of history. MR. CANNON: I would highly recommend and I think I mentioned to Mr. Murphy when he came to see me, I highly recommend that you meet with first of all Frank Bennick, who is the chairman of it, and he is the president and CEO of The Hearst Corporation, all of television and all of the newspapers too. I think that would be a very worthwhile visit for you to have. They are the ones who would have that kind of resource and, of course, that's what they are doing. They are preserving television. The Academy no, the Academy does not and I don't think it's likely that the Academy would get resources exclusively for that. Anything could happen, but for when we talk about financial wherewithal and also the structure and actually doing it, I'd say the museum would be my prime target if I were you. DR. BILLINGTON: I see. MR. FRANCIS: Bill, can I ask something? Could I ask one small follow-up? Do you actually manage to preserve the Emmy award programs, the programs to which you give the awards? MR. CANNON: Yes, we do. We keep, one way or another, when we do a--when we do a telecast, by our contract one copy of it comes to us. Generally the networks keeps a copy too, the networks keep copies of things like that. MR. FRANCIS: But the individual programs? MR. CANNON: No, not in--only winning programs or--well, for instance, News and Documentary, we get some marvelous material and it's so much of it that we call up schools and see if they can pick it up or we just have to throw it out. There's just not-- there aren't enough buildings to put all of this in. They are going to take all our news and documentary winning programs and preserve them. So we'd like to find more opportunities like that and we'll find another college, I think we can do it for sports, and this concept of having someone's resource for it--we like the schools, we think the schools are great at this and they give a lot of attention to it and it's very beneficial to them because students of the communications departments can refer to this material and it's quite wonderful. But for an organization such as ours that has no many award structures and so many awards programs to do, our biggest problem is to clean out the shelves and keep it moving out of our premises. We can't find a building big enough to hold all that. MR. MURPHY: Thank you very much indeed, Mr. Cannon. MR. CANNON: Thank you. MR. MURPHY: I think in the interest of time we have to move on and thanks again. MR. CANNON: Thank you. I hope you have a very successful day and a very rewarding experience. It's quite admirable. MR. MURPHY: We've been informed that Kitty Carlisle Hart will be delayed, so we will move on to the next panel of educators and we'll ask those people to come and take a seat. Well, good morning to you, and let us begin with William Boddy. MR. BODDY: Thank you. I'm going to read a five-page statement, so I should be ten minutes. Thank you for the opportunity to speak to you this morning about a subject, television preservation, which is crucial to the work of scholars and educators across many fields and many academic institutions. My words today will, I hope, build-- MR. MURPHY: Excuse me, could you pull the microphone closer? MR. BODDY: Sure. My words today will, I hope, build upon previous testimony in Los Angeles from educators, including Janet Bergstrom who spoke as a representative from the Society for Cinema Studies, an organization I have been actively involved with for over a decade. I would first like to acknowledge the work of the Library of Congress in film preservation, including the hearings which produced a 1994 report, "Redefining Film Preservation, A National Plan." I will defer to the expertise of others here and elsewhere who will speak to you on technical matters of physical preservation and legal practice; what I wish to add is simply the voice from a community of scholars and educators whose work would be immeasurably impoverished without access to the national heritage of television and video material. While occasionally arcane and technical sounding, the work of television and video preservation, I believe, serves to support nothing less than the fundamental need of citizens in a democracy to understand their collective past and to actively shape their own cultural and political futures. I'd like to address the four central issues of storage, access, public/private partnerships, and funding, from the point of view of someone who earns a living teaching and writing about the history of American television. To briefly introduce myself, my work in television history began with a doctoral dissertation at New York University, a dissertation which ended up as a book at the University of Illinois entitled Fifties Television. Since then I have contributed two dozen articles on U.S. broadcast history to scholarly journals and monographs in this country and abroad. The subjects of these have ranged from television broadcasting efforts by CBS and others in the early 1930s to the post-war programming strategies of NBC and CBS, the quiz show scandals of the late fifties, the TV violence campaigns of the early 1960s, the rise and fall of the classic television Western, the contested role of American television programming in the U.S. image abroad, and the history of independent video in the United States. I'm currently writing a book on the social history of electronic technology for Oxford University Press, as well as a book on The Twilight Zone for the British Film Institute's TV Classics Series. Before turning to these larger questions of what we ought to be preserving, allow me first to direct some specific remarks to the four issues of storage, access, public/private partnership, and funding, which were raised in the Library of Congress's report on film preservation. While, it seems to me that these can, in large measure, be addressed in similar terms to those involved in film preservation, there are a number of novel aspects to the world of television preservation. Concerning storage, for example, I believe the Library can make an important contribution by supporting the research and dissemination of optimal methods for the preservation of original materials and the conversion of original materials to new storage media. It might be noted that the term "television preservation" involves original materials ranging from 35mm and 16mm film stocks as well as a plethora of technologically obsolete or endangered electronic recording systems. Unlike theatrical filmmaking, where film formats and viewing technologies have remained remarkably stable historically, television demands the preservation of rapidly changing hardware systems as well as program material. It seems to me that the Library of Congress can lead in the sharing of expertise concerning these historically fragile technological platforms, in order to insure continued access to the programming they support. Likewise, the Library can pool technical expertise in the conversion of these technologically endangered television materials to more permanent and accessible electronic formats, with the recognition that any new formats are themselves likely to prove historically transient. Finally, as in film preservation, it seems to be prudent to pursue both the conservation of original materials and the conversion to new electronic storage systems. The problem of access to television and video materials presents similar continuities and exceptions to the model of film preservation. There are common goals in insuring the widest possible access for scholars and educators to television collections, in simplifying procedures for copyright clearances and fair use, in enabling remote access to information about the holdings of private and public archives, and finally in moving to direct electronic access to non- copyrighted television and video materials. These issues of access are likely to be more complex and vexing than the challenges of physical preservation and storage, and copyright holders need to be protected from unauthorized commercial exploitation of their work, a concern more urgent with the prospect of a commercial Internet trafficking in full motion video and sound. However, and this is the most deeply felt point I would like to make this morning, there is an urgent need to preserve the distinction between educational and commercial uses of television and video archive material, and with that distinction, the practice of fair use of copyrighted material by scholars and educators, whether for research, classroom instruction, presentations at professional conferences or scholarly publication. The Library of Congress could encourage archives to devise donor agreements to maintain this fundamental distinction in order to insure access by scholars to copyrighted deposit material. Issues of copyright may be more complex in television than in film; unlike the model of the studio feature film, networks and station operators rarely own copyrights for the works they broadcast, outside of news and sports. Copyright is more often held by individual production companies operating in an unstable business marked by a rapid turnover of firms. Regarding issues of private/ public partnerships and the funding of television preservation, copyright owners must, I think, assume the major responsibility for insuring the physical preservation of, and scholarly access to, their television and video material. However, the Library of Congress can support these efforts by sharing information about the storage and transfer of primary materials and by encouraging and coordinating remotely accessible databases of archive holdings. Public efforts should also be extended to support the preservation of vulnerable television and video material which is either outside of copyright or which lacks immediate commercial prospects for its copyright holder. A public/private partnership in the form of a federally chartered foundation could also support efforts to preserve the diverse voices of artists and independent video makers whose television work may exist in endangered video formats and equally endangered non-profit institutions. I would like to conclude by speaking not of a ten most-wanted list of disappeared programs, but more generally about the special challenges of television and video preservation in deciding upon what is worthy of preservation. It is clear that television archives confront a fundamental challenge in their collective task; unlike the preservation of the collection of unique one-run theatrical films, the basic definition of a television artifact can be confounding. In the commercial television medium, which thrives on various forms of seriality, ought one to collect series pilots, or some sense of representative episodes, or entire seasons, or multi-year runs of a particular series? Even compared to the thousands of American feature film of the Hollywood era, the universe of television material potentially available for archiving is staggering, even more so in view of the on-going proliferation of program outlets via direct broadcast, satellite, cable, and broadcasting. Despite this multiplication of program sources, many of them recycling material from previous seasons, meaningful scholarly access to television's past cannot be insured to commercial syndication and to advertising supported cable, no matter how single-mindedly devoted to various forms of nostalgia they may be. There is a host of contingencies which determines the entrance and survival of any particular network program in the syndication market, ranging from the original program genre and number of episodes, to the commercial and ideological needs of the current commercial programmer and broadcast advertiser. Television lacks film's cultural memory bank of the repertory cinema or the video shop, and In an understanding of television's role in our nation is impossible without scholarly access to a much wider universe of program materials than those of interest to the demographically minded programmers at Nick at Nite or The Family Channel. Given this situation, let me offer an historian's plea for the preservation of the widest range of television material. Invaluable public institutions like the Museum of Television and Radio have taken on the dual task of both celebrating that which it judges of highest quality in the medium and also of assembling a collection which will illuminate television's role as cultural and political agenda- setter and battleground. However, historians need access not only to the prestigious prime time network hits, but also to less celebrated television material, from low prestige genres, from affiliate fringe time, from independent and community stations, and from the chaotic world of small format video and public access cable. My own scholarly interests have been directed at understanding the role of television programming in wider cultural, intellectual and political contexts, including the shifting definitions of citizenship and the public sphere, the relation of American intellectuals to mass culture, the policy debates regarding broadcast regulation, the effects of television violence, and the international role of American commercial television. Addressing these sorts of questions in an historical context in a meaningful way is not likely to be accomplished by looking at a few critically privileged programs. Instead, understanding how commercial television became entangled in such larger cultural and political issues requires a broad consideration of as many relevant programs as possible; a consideration only possible with access to the resources of private and public television archives. Much of the most productive recent historical work in film and television studies has indeed focused on the culturally marginal and excluded, guided in part by the proposition that what a society pushes to the margins of cultural expression can say a great deal about what is central to its beliefs and practices. Television preservation, therefore, must make available to future researchers and scholars the full range of what is to be found on our nation's screens. Likewise, future historians considering some of today's loudest public and political controversies associated with television, like the debates over the effects of negative political advertising or the cultural consequences of so-called trash TV, will depend on their access to the often culturally denigrated programs which provoked these controversies. My point is simply that contemporary critical taste cannot offer assurance about what future historians will find revealing about our contemporary culture, and absence such assurances, the prudent course seems to be to try to preserve the diversity of our television environment. The challenges of preservation and access to the uncountable hours of our television past and present, a medium of both great cultural and political power and of an almost willful ephemorality, are indeed daunting. While my life in the classroom exposes me to students who bring what seems to be increasingly short cultural memories, there is also a genuine hunger among students and among the public for non-nostalgic confrontations with our cultural history. As television increasingly becomes the medium for historical representation and popular memory, it is vital that its own place in history be available for scrutiny and contestation. The often unglamorous work of television preservation is the necessary ground for such democratic interrogation and we neglect it at our peril. Thank you. MR. MURPHY: Thank you, Mr. Boddy. I think we're going to skip Peter Herford for now and go on to Deirdre Boyle. Good morning. MS. BOYLE: Thank you very much. Thank you for inviting me to speak here today at this hearing. Others will make the case for why broadcast television news and entertainment programming need to be preserved. Rather than add to that resounding chorus, I will simply say that growing up in the '50s, as a member of the first television generation, I responded actively to television. At 12 I appeared on a local children's show to speak out about my gripe, that children should be seen and not heard. Arguing persuasively I believed at the time, that children would never grow up to be effective citizens and responsible adults if they were prevented from expressing their thoughts and testing their ideas; I exercised the power of television to shape public opinion. I thought we all had that right, that that was what television was there for. Because television has not always served as an arena for public discourse and creative expression, members of my generation when presented with the first consumer video technology in the late '60s responded by setting out to re-invent television, to create a parallel system to the then monolithic world of network TV. They were inspired by the ideas of Marshall McLuhan and other media gurus; by the social and political movements sweeping the country at the time-- and the world I should add; and by a revolution in the arts that celebrated process, not product. Some of the most talented members of that first TV generation joined video collectives, not broadcast unions, producing lively video programs seen in Soho lofts, public library basements, community centers, on public access channels, in alternative art spaces, off-off Broadway theaters, and later on, on public television, network TV and eventually pay cable. It was independent video pioneers like TVTV, working outside the industry, who first brought the portapak to a major media event, the 1972 Presidential Nominating Conventions. TVTV demonstrated the versatility of portable video to networks still hardwired to cumbersome quad equipment, propelling the development of the first ENG cameras and the quick transition from vid-film to all-video news departments, and aesthetically influencing the look of television news and documentary programming. Without a consideration of the contributions of video pioneers such as these, any history of American television, not to mention recent American social history, will be incomplete, distorted. The achievements of video artists and documentarists, many of whom worked within the experimental TV labs at public television stations during the '70s and '80s, are co-extensive with television but go far beyond it. Artists like Nam Jun Paike, for instance, produced single and multiple channel video works using video as a sculptural medium, creating environments never designed with television in mind. The task of preserving such art work is perhaps more daunting than tackling single-channel videotapes, but no less important if accurate records of the cultural history of the last half of this century are to be made. My own area of research, the history of documentary video makers in the '70s, led me in 1983 on a cross-country journey in search of historic tapes and their makers. This was my first brush with the already alarming state of video preservation. In New Orleans, I excitedly located a tape I had read about and heard about, only to discover as I opened the black plastic box, a sickeningly sweet smell emanating from the encrusted white crud that covered the unplayable tape. The New Orleans Video Access Center had been inundated and their tape archive, housed in the basement, was badly affected. It was only one of many such disappointments encountered while researching: tapes mislabeled, tapes missing, tapes that played for five minutes then devolved into a series of morse code like black-and-white glitches, tapes made on machines that were unrepairable or nowhere to be found. Housed in garages, basements, in closets and footlockers, the precious record of an historic period lay vulnerable to fire, flood, heat, humidity, carelessness and indifference. I was part of the first wave of video historians, critics and curators who uncovered the array of preservation problems confronting individual artists, media art centers, video distributors, funders and exhibitors. Since then I'm happy to report progress has been made in launching this vast effort at locating historic programs, cataloguing them, providing archivally acceptable storage for these tapes and their playback equipment, developing reliable, low-cost methods for cleaning, restoring, and preserving tapes, and sharing information with others similarly engaged. All sorts of partnerships have been forged. Time prevents me from enumerating them, but in a monograph that I wrote a few years ago for the Media Alliance, Video Preservation: Securing the Future of the Past, I did outline some of this. The very fact that the Library of Congress has agreed to this hearing and to a serious inclusion of video and television programming within its preservation purview, is perhaps the best sign that the times are a-changing. Clearly there are economic incentives that motivate broadcasters' interests in the preservation of classic entertainment programs and the archiving of broadcast news and public affairs programming. But economic reasons should be the least compelling ones when deciding video preservation priorities. Consider, for example, the tapes made by Broadside TV, a unique experiment in local origination cable programming produced by community video activists in Appalachia in the mid-'70s. Although the characters who appear in these tapes are not household names like Lucy or Uncle Walter, they helped extend the concept of oral history to video and gave isolated people living in the hills and hollers of Appalachia a tool to confront strip miners, state legislators, and future generations. From the viewpoint of the social historian, the student of American politics, communications and culture, the value of such tapes is immeasurable, and I'm happy to report that this collection is housed in the Archives of Appalachia in Tennessee. Here's one more scenario to consider. I think few people here would argue that Ken Burns' documentary series on the American Civil War was a signal broadcasting event. By coupling early photographic images--daguerro tintypes, carte-de-visite photos--with readings from the letters and diaries of both famous and ordinary ordinary individuals, Burns evoked the agony of a nation divided. His success depended upon the official documentary photos of battle scenes or of commanders-in-chief shot by artists like Matthew Brady, as well as anonymous portraits of raw recruits produced two for 12-1/2 cents. Burns employed the full range of photography, a visual medium barely 30 years old at the time. Imagine if you will now a documentary producer 100 years from now who is interested in making a documentary about the recent Gulf War. She would need to have access to videotapes; not just to those broadcast as news by CNN or NBC, but those exchanged by military personnel and their families during the war. It was during this war that home video became a favored medium for the intimate exchange of ideas, images and memories, absorbing the functions of photography, letters and diaries. These homemade tapes were just as much a part of the war record as the orchestrated image of high-tech electronic war seen on television. Since videotapes have come to replace snapshots, audio tapes, Super 8 films, letters, and even written diaries for reporting the milestones of our lives, video has become the fabric of our family memories and by extension of our collective social history. We in this room know that video has a limited lifespan. The manufacturers of videotape and recording technology know this, too; but the millions of people who own handicams and record Billy's birthday party, Jennifer's soccer game, and the children's wedding on tape don't know that their precious memories will fade in time to mere snow on a flickering screen. What does this mean to a culture that has become increasingly dependent on visual images for its self-image, its view of the world, and its understanding of what is and isn't true? What does this mean if our databanks of images, those public and collective as well as those private and personal, fade into oblivion? I would argue that, without evidence of the past to re-examine and reconsider, we become increasingly vulnerable to the spin doctors of history who reshaped the past to serve other agendas. The entire spectrum of video recordings, from those professionally recorded for cultural institutions like network television, to those made by you and me to memorialize the events of our lives, demands our attention and concern. Were the public to realize just what is at risk if video as a medium is dismissed as ephemeral or someone else's concern, we would have a considerable lobby behind us and this enterprise. And my last comment is really made as an educator. When I completed the book that I had been working on for 13 years and heaved a sigh of relief, I gave it to my graduate assistant to read to find out how well I was communicating to someone who was born the very year that video and man first went to the moon. Needless to say, Alex was not very conscious of video during the period of time that is the subject of my book. I was gratified that he was very enthusiastic about what I had written and surprised at his amazement to discover that what I had to say about the '60s and the '70s was so different from what he had learned elsewhere in this culture. Bell-bottoms and peace signs and rock music of the period, was pretty much the lingering image of this time for him; and he is a very intelligent and sensitive person. We had a very interesting dialogue, and I shared a number of these tapes with him, and it convinced me that there was indeed a reason to make the images of this time period available to younger people. But more importantly, what really struck Alex was the sense of optimism that pervaded this time period, an optimism that was so much a part of my generation and that is not a part of his generation, a sense that one can change the world, that it is indeed the legacy of youth to feel empowered and to believe that it is possible to make a difference. And I think if for no other reason than this, making these historic materials available is necessary and perhaps increasingly a necessary counter-measure if we are to have a really vital society. Thank you. MR. MURPHY: Thank you very much. Is Peter Herford in the room? Questions from the panel? MS. JIMENEZ: I have one. MR. MURPHY: Yes, Mona? MS. JIMENEZ: Yes, I was wondering if you could describe a little bit more about access to the materials, in addition to the physical problems that you were experiencing. Where do you actually find particularly independently produced video materials? Where do you find them--either one of you actually-- through what kinds of networks and what obstacles do you face in finding the materials? MR. BODDY: You're probably more expert on this. MS. BOYLE: Well, let's differentiate the act of researching and searching for things in the highways from the by-ways. As an educator I turn first to non- profit video distributors like Electronic Arts Intermix and Video Data Bank and a few sources like that, because given the infrastructure within the independent media community, distributors have taken on the role of maintaining, keeping alive, cataloguing, and otherwise making accessible the history of independent production. There has been something of a bias toward art over documentary because art often seems to have a longer life than documentary works. There are other places to turn. I'm not sure if Media Network still has their information service, but it has been a source for locating more fugitive materials like documentaries that haven't always been seen as financially lucrative in terms of distribution. I think that people wind up having to read a great deal in order to find other sources. MR. BODDY: I would add that Electronic Arts Intermix, Video Data Bank, the Museum of Modern Art all have very active circulating collections. In terms of day-to-day teaching, those are the three sources I've used. They also do a very good job in documenting material, providing lots of information, bibliographies on artists and tapes, and are very forthcoming about allowing student access to material not for classroom use. In New York City, the Donnell Film Library, and to a small extent the Museum of Television and Radio, collects and holds this sort of independent work. And I agree that there is a bias toward film or video about artists rather than in community activism and documentary. MR. MURPHY: Dr. Billington? DR. BILLINGTON: One of the things with film we've done is that--well the Congress has done really-- is to create this National Film Registry whereby we pick 25 sort of films for their historical, cultural, aesthetic significance every year, and that's designed to dramatize the need and also to pick out some important illustrative examples for preservation. Do you think something comparable would be possible and useful in the world of television, and related to that is the literature, the academic literature, does it provide a sufficient base of sort of shared critical standards that would enable one to pick such in this much more, in a way miscellaneous and diverse world of television, 25 such or some other number; we found that to be particularly I think a useful way of dramatizing the need for film preservation. Would it be--we always say at the time, it's my responsibility ultimately to pick these on the base of the board's recommendations, of course, and a lot of public input. We always say that it's not the Academy Awards, these are not the Academy Awards, but these are historically, culturally and aesthetic significance, that's the word that the Congressional Act has produced. Do you think it's possible to define such a universe and is it desirable to dramatize the cost of preservation? MR. BODDY: I think that the National Film Registry has had a good effect in the film studies community, particularly because it's obvious that you've looked beyond the Hollywood feature film with the major grosses or the critical successes of a particular year, and broadened the definitions and the cultural memory of film. I think it also provides a kind of window on the work of film preservation. I think those two aspects are important for the task of widening our definitions of television and television's past, especially about recovering the stuff that isn't an Emmy-award winning show, that wasn't aired on a network, that nevertheless may have had an incredible historical impact. So I think that designating a broad range of television material, to have something that was very mainstream and very prominent alongside something like TVTV or something from that independent community, would be very helpful. The other part of the registry program, using public screenings to reinvigorate the theatrical film experience, I don't know if there is an analogy with the work of television preservation. And certainly the basic task of designating, of wading through and coming up with 25 or 75 titles, in television is a bit more daunting. But I think the positive aspects of making the work of preservation more visible and of broadening the cannon, of redefining what it is to think about television, I think that would help. MS. BOYLE: To answer the second part of your question about is there a body of literature extant, I think there is more and more being written and our efforts are somewhat symptomatic of that. But I think that in order to make a selection of titles to preserve, you would have to assemble a body of experts from a fairly wide frame of reference because there are overlapping areas of expertise, but then there are other areas of expertise that don't overlap at all. And there would be considerable contention I think within, say, the wider community of independent video-- perhaps it's not all that different from looking at the tribes within the film community. I think one would have to throw a very wide net. And it may be worth considering in this larger debate criteria around endangered programs rather than only significant programming, or at least to give them some sort of equal status. With film, the problems of nitrate preservation created priorities. With video, I think urgency is less easily defined technically, but there are certainly works that are becoming unretrievable as time passes and there may be some need to factor that into decisions. But like Bill, I would agree to anything that gets public attention: if it's a list, and lists do tend to get people's attention, then by all means, use whatever will work. MR. FRANCIS: Really, this is a follow-up on that question. Obviously the Library itself can only do so much. One of the things we're hoping that will come out of these hearings and out of the study is that we can engage the whole community more in dealing with these problems. We've heard both here and in L.A. of the importance of particularly non-broadcast television to the academic community. Would it be possible for say S.C.S. to come up with a listing of key items, even if it only contains 200 or 500, not currently available which the academic community would like to have, so that the final plan could address some specific programs. Obviously there's a rights issue here as well, but if it was possible for say S.C.S. or any other body to come up with this endangered television list of material that would be widely used if it was available, I think this would be a very valuable step forward because it would give us something concrete which we could concentrate on. Do you think that's a feasible approach? The second part of the question is do you think if there was agreement over this list, that the academic community itself in order to have these materials available, would be prepared to assist in some small way in preserving and making available the programs, subject obviously to copyright owner's agreement? MS. BOYLE: Even though I'm wearing my academic hat here, I wear several others, including that of a curator and a writer and someone who's been involved in other aspects of the independent media community. I think that there are certainly good reasons to go with an organization like S.C.S. in making these choices. But I think it leaves out some of the key players, for example, curators in museums, and the people who have been directors and producers within media arts organizations. While academics may have interests in this area or even have close ties, I think that there would be some problem in having the full breadth of independent media necessarily represented in their choices. Perhaps I'm being overly cautious here, but I think I'm a little reluctant to endorse the idea of turning it over to one academic group. MR. BODDY: Yes, I think that's appropriate. I think it's a good idea and I think that S.C.S. could collaborate with other people. I think those voices are important to bring to that question. So I'll bring it back to S.C.S. people. MS. BOYLE: The other part of your question about whether academic institutions would be willing to lend an economic hand in this matter--I don't know about other academic institutions, but my own doesn't lend economic hands to its own faculty. So I think that one has to then look to large institutions, and perhaps there is an advantage in creating partnerships with well-endowed institutions that permit public access to their collections. But I don't know if it's realistic to expect that this is going to be an overwhelming response. MR. MURPHY: Thanks very much. We're now going to invite Miss Kitty Carlisle Hart to the witness table. Good morning. MS. CARLISLE HART: Good morning. Hello. Any one of these microphones will do? MR. MURPHY: Right in front of your name plate. MS. CARLISLE HART: I see. Now we all know who I am. This is indeed a welcome opportunity to speak to this distinguished panel. The issue of television and video preservation is dear to me personally, as Chairman of the New York State Council on the Arts, because as you probably know-- MR. MURPHY: Excuse me, could I ask you to pull the microphone a little closer? Yes, that's good. Thank you. MS. CARLISLE HART: As you probably know, I spent quite a long time in my life in television. I was on a program called To Tell the Truth for about 17 years and I care a great deal about television. It's turned every town into a small town for me, because people come toward me smiling and they remember me from To Tell the Truth and other shows long before that. So I'm a veteran of Goodson/Todman and the early television, so this is something that I care about. Now speaking in my role as chairman of the New York State Council--can you hear me now? Good. Perhaps a bit of history will clarify why the Council is concerned about television and video preservation. The Council was an early and ardent supporter of independent video. As early as 1966, the Arts Council had already helped experimental artists present video in a variety of performances and exhibitions. I remember the early performances and exhibitions on television, and let me tell you, they were pretty experimental. It was almost incomprehensible, but it was something, and it was the wave of the future, and my people at the Council said we've got to go for it, and I believed them, so we went for it. In 1969, the New York State Council on the Arts provided a grant to start a series of video production networks for young people with the public television stations around the state. When the Council budget increased in 1970, sadly it's decreased remarkably, video flourished, community video centers were established across the state from Buffalo to Port Washington. Other groups emerged to explore the creative potential of the medium and put it in the hands of performing and visual artists. A study was commissioned to create the television lab at WNET, which was really very important. This was a time of tremendous possibility and experimentation. Artists like Nam June Paik and Shirley Clarke were creating a new artistic medium. With small investment public funds, we created a weekly rural cable series in the Catskills and in Jamestown. Partnerships with public television brought the arts home to homes throughout the state and around the country. Innovative documentaries were being produced in ways not possible for film. In the early 1980s the Council was funding over 80 organizations involved in video in New York State. Hundreds of productions had already been created and the Council was not alone in its investment in independent video. Other public funding agencies, the National Endowment for the Arts, the National Endowment for the Humanities, public television, arts councils in many other states, were deeply involved in funding production and acquisition of this work. In the next few years we would hear from museums and from distributors that their collections needed to be transferred to another video format. In a very limited way, the Council began to assist in the conservation of videotapes at the Museum of Modern Art and in the collections of several distributors. The Council felt that it was vital that the work continued to be available to the public in the present and also, obviously, for the future. Where are all these tapes today? Very little is in traditional archives. Work of the most influential community workshops is stored in barns, attics, public library stacks. A few organizations have made heroic efforts in providing safe haven to whole collections, like the Visual Studies Workshop in Rochester. A variety of institutions, scholars and curators are coming forward to assure that the very different creative uses of video are catalogued, conserved, and brought to the attention of the public. Working with Media Alliance, the Council has helped bring these organizations and individuals together to share their knowledge and foster collaborative efforts. Deborah Silverfine, the director of our electronic media and film program, will be submitting a statement of our activities, along with some recommendations for future plans. To touch on some of our efforts, the Council has provided some support for cataloguing so that regional and specialized collections are reflected in the NAMID database being created. The Council has funded both lab costs and storage space, but it can't do it alone. It's not possible. The problem is far too big. We hope that the study being undertaken by the Library of Congress will point toward new partnerships, new solutions, and increased awareness of television and video preservation needs. And, so much of our contemporary culture and our history is being recorded on video by choice or by necessity, it is critical that we find ways for those images and sounds to endure. Have you any questions? It's quite a large subject. We all have a lot of questions. MR. FRANCIS: Miss Hart, the achievements of the Council are well-known and are incredible. It's very sad to hear that funding is more difficult now than it was in the past. MS. CARLISLE HART: Oh, much. MR. FRANCIS: We heard when we were in Los Angeles from one of the people in Florida who said that Florida is operating a state lottery which gives a certain amount of money towards film and television activities. I wondered whether New York State had considered this; and whether you thought it was a feasible approach? You're aware probably of what's happening in the United Kingdom at the moment, that the lottery there is providing a resurgence of funding for all aspects of the arts. I wondered whether on a state level here, and particularly in a state like New York, this was a feasible approach to rebuilding funding? MS. CARLISLE HART: The only time a lottery was approached to me by the lottery director Mr. Quinn was to do a lottery for the arts, and it died aborning, it didn't last very long. It was not properly publicized, it was not taken up properly, and it didn't quite work out. That's the only time. I've always opposed a lottery because I felt that the minute we had a lottery in this state, then the state would stop funding the arts, because they would say you're getting it this way, so we're not going to do it, and I wasn't sure that it would work. MR. FRANCIS: Thank you. MS. CARLISLE HART: I have someone here named Debbie Silverfine, who is head of our electronic media and film, and she's very good about answering questions, if you want to ask any technical questions. DR. BILLINGTON: Let me ask a non-technical question. First of all, thank you very much for being here. MS. CARLISLE HART: Delighted to see you again. DR. BILLINGTON: For all the wonderful work you've done over the years, which would be impossible to fully document, but some day it's going to obviously become part of our--not merely New York, but our national history. MS. CARLISLE HART: Thank you. DR. BILLINGTON: So we're really honored and pleased to have you. But as a public personality, how do you feel--this is a very non-technical question, but a rather essential one, perhaps second only to funding and perhaps even more important--how does one, someone who's been extraordinary successful in relating to the broader public and yet at the same time maintaining your own very high standards, how does an issue like this get across to the public? I mean the public watches television, but I've never seen an announcement on television saying could you help; we have phone-a- thons for everything else. Is there some way that television itself could contribute to its own preservation? MS. CARLISLE HART: If you've been watching television, you will realize that not only would they not be interested, they're not interested in decent, first-class programming. I hope the press is here. I find the whole television spectrum a disgrace and I find that my friends only watch news, one or two programs, WNET, CNN, and some of the cable things like history; but it has fallen into total disrepute and the standard is so much lower than when I first came into television, that it is a disgrace. So to ask a television studio to even understand what video, public or experimental television is, I don't know how you would get it across to them. I despair. DR. BILLINGTON: But how then does one communicate about this to the general public? Surely it would be helpful in terms of the general, national consciousness of television to have a little more full knowledge of the richness and variety of what has actually already been achieved, albeit small ways and in various peripheral ways to the main enterprise perhaps. But that would seem to be all the more important for getting a broader range of the television experience preserved and made public. How does one dramatize the importance of that if television itself can't help? MS. CARLISLE HART: I agree. I think that's absolutely true. The only thing I can think of is some cable stations that might be more open to this kind of suggestion. The networks certainly are not. But cable is beginning to come into its own, as you know even CBS and NBC are going into cable and there will be stations that will be interested, I'm sure. And one has to find them, you have to--we have to go after that. It's a very good idea. Debbie, where are you? Why don't you come up here and tell us what you think? MS. SILVERFINE: I think I'm not invited to speak today, but I will write them a statement. MS. CARLISLE HART: What do you think could be done to broaden the spectrum? MS. SILVERFINE: I'm Deborah Silverfine, I'm the director of electronic media-- MS. CARLISLE HART: I've explained. MS. SILVERFINE: --fine. We will be submitting some recommendations. But if we do find any partners who can make the plea, really do help us, and I think the work that American Movie Classics has done about raising the consciousness of the issues of film preservation are very helpful for the American public. And, they can be doing even more, talking about various aspects like the role of sound in film, the documentary, etc. And I think they might be one of our partners actually in bringing this consciousness to the fore about television history. DR. BILLINGTON: Who is they in this case? MS. SILVERFINE: They, meaning the cable stations that repackage earlier programming. I agree with Mrs. Hart that we need to look to our public television stations and a number of the cable stations, and I think the networks might be more helpful if called on the right way. They will be important partners in this effort, because that's where people watch television. MR. MURPHY: Speaking of the networks, we do have to move on to the next panel. MS. SILVERFINE: They're up next. MS. CARLISLE HART: They're up next? Oh, good, I'll stay and listen. MR. MURPHY: I want to thank you very much for your statement. MS. CARLISLE HART: Thank you. MR. MURPHY: And please do stay and listen. MS. CARLISLE HART: I'm delighted to have had the chance to meet you all, and my friends again. Thank you. MR. MURPHY: Can the Broadcasters Panel A please take the witness table? Good morning to everyone. We'll start with Mr. Singer from NBC. Good morning, Stan. MR. SINGER: Good morning. I have a brief statement, just sort of a general overview. I'll be happy to answer any questions on what we're doing afterwards. MR. MURPHY: Could you speak closer to the microphone please? MR. SINGER: Yes, I will move it closer. MR. MURPHY: Thank you. MR. SINGER: I'm Stan Singer, I'm the manager of the NBC News Archives. The NBC News Archives is responsible for preservation of news film and videotape, archival databases, film and tape libraries and warehouses worldwide for NBC News. NBC News has relied on its archives as a support mechanism for over 50 years. What began as a way of keeping a collection of major news events became a way to present broadcasts in a cost-efficient manner. If one show shot an image, a second show was not required to send a camera crew out to record it again if the archives could turn a clean, well-preserved copy quickly. Needless to say, our images are used every day, in every news show that airs on NBC. We also feel this great responsibility towards keeping the recorded history of this country during the second half of the 20th Century. Additional attention has been focused on the collection, heightened by the rise of the number of our outlets, including the NBC Super Channel in Europe and the Microsoft joint venture. Cable and the Internet are just two growth areas that could produce an unlimited number of access points for the consumer. The problem is there is not an equal amount of programming to go with it; thus, the archives provides NBC with enormous flexibility to produce high-quality programs at a reasonable cost. But this new world is also fraught with perils for archives and I'll talk about that in a second. The NBC News Archives is currently involved in a number of special projects to improve our collection. We've spent two years designing a powerful new database that will allow NBC personnel to perform sophisticated searches on the editorial content of the archives via visual write-ups, transcripts, and key words. They will be able to view or hear digitized portions of the collection and place electronic orders for the original material to our libraries and warehouses around the globe. We are designing a new facility to allow better climate controlled storage for our film and tape, as well as offering us the ability to separate duplicate copies of our broadcasts to prevent catastrophic loss. For the past three years we've been transferring our oldest tape formats. Our two-inch tapes will be completely transferred to an analog and digital copy by the end of the year. Shortly we will begin the enormous task of transferring our 3/4-inch cassettes. The reason why these are the first on our list of preservation items are two-fold. The two-inch tape, though generally of good quality, will no longer have the hardware to play back in a very short amount of time. While there is an abundance of 3/4-inch hardware, these tapes have shown the most dramatic decay of any portion of our collection. Jimmy Carter and Ronald Reagan are rapidly fading. This does not mean that other tape formats are much better; all videotape will require transfer in the not-too-distance future. This will present, as the previous speaker mentioned, an enormous crisis for the country and the world if we broaden the scope to include all consumer videotape that's in everyone's possession. The digital era may help all this and I certainly will be the first to cheer when we leave the videotape era. But there's also this peril. We are feeling our way through the new mediums. In the process, the focus has been on producing, not preserving. What will happen to all those web sites? What will be a cost-effective way of archiving cable channels? What will be compatible to what? There are many ideas as to what is digital and many hope that computer and television meld together into one great unified and standardized entity. But there is also the chance that the climate that produced the two-inch and the 3/4-inch videotape will simply repeat itself. During that period, the old medium film was being replaced by the first videotape, but that two-inch tape was too expensive and most was recorded over as a cost savings. This is similar to what we hear about high quality digital disks. Then other formats developed, some better than others, some that failed rather quickly, just like what's happening now. Libraries became splintered as different groups controlled their own formats. Much was lost because production groups did not focus on preservation. Much was lost when experimental formats were abandoned. Much was lost because hardware evolved. All the while, new information came pouring in and new ways with ever greater volume. All these scenarios are occurring today and it's important that the Library take a leadership role. For you to set the standards of how best to preserve all tape formats and to keep a storehouse of the hardware, as well as the cassettes. Beyond this, the Library must anticipate the results of this next revolution and try to assist in setting guidelines for retention of all that is being produced in non- traditional ways, with multiple digital hardware and software formats, and to work towards a unified digital format, and to best determine how to save all the 24- hour per day streams of information. We will face this at NBC and then much more, and we look forward to working with the Library and others in the field in sharing our experience. MR. MURPHY: Thank you. Mr. Lang? MR. LANG: Thank you. In June of 1993, the senior corporate management of ABC gave its enthusiastic support to a project intended to ensure that the network's vast archive of own video material would be preserved. In the over two and a half years-- MR. MURPHY: Closer to the microphone please? MR. LANG: In the over two and a half years since then, representatives from ABC News, Sports, Entertainment and broadcast operations and engineering, have worked together to build the foundation of what eventually will be a unified network film and tape archive carefully houses, properly maintained, and consistently indexed. The magnitude of this task is daunting. ABC now holds approximately one million separate reels and cassettes of network-owned material, most but not all of it news footage. At the time we began contemplating the creation of a unified archive, these massive holdings had long been balkanized into different collections, located in different places, operated by different divisions or departments, catalogued in different ways and to different standards, and stored with different levels of care. Even worse, we soon realized that some unknown percentage of this material was in danger of being lost. For example, during preparation for a retrospective Barbara Walters special, a number of field tapes were retrieved from storage for viewing as possible source material. Damage caused by adhesives once used in the assembly of reels was discovered on one important interview tape; other two-inch and even newer one-inch reels were found to be dirty, brittle and flaking; and there was mysterious warping damage that caused tracking problems on an interview tape that was only seven years old. It soon became obvious that no easy fix for this problem would be forthcoming. Even with all our resources, we could find no technological Heracles capable of quickly cleansing these, our video Augean stables. Instead, ABC Broadcast Operations and Engineering, the technical arm of the network, proceeded to design and construct the ABC Media Conservation Facility (the MCF) which is exclusively dedicated to the on-going process of preserving the network's videotape assets. Attached to our written submission is a description of the MCF prepared by David Chilson, the engineer who designed it. But I would like to briefly discuss in general terms both the facility and the way it works. The physical space, approximately 2,000 square feet, is divided into two basic functional areas: one for screening and the other for dubbing. The screening area, which is not yet operational, will be where representatives from ABC News, Sports and Entertainment preview, when appropriate, endangered tapes in order to determine whether any of the existing material need not be dubbed to fresh stock. For example, unlike film, videotape cameras are often rolling several minutes before a newsmaker arrives at the podium or in the doorway, and sometimes reporters doing "stand-uppers" don't get it "right" the first time. When multiplied by the myriad of news field cassettes in the ABC inventory, excising repetitive shots of unoccupied podia or pre-occupied reporters may in the end save thousands of hours of dubbing time, which translates into hundreds of thousands of dollars in materials and labor costs. The costs of raw stock alone is almost $100 an hour: $75 for D-2 and $25 for beta oxide one hour cassettes. In the dubbing area of the MCF, in order to satisfy operating requirements as well as meet our obligation to insure the long-term preservation of valuable material, two copies of each endangered tape are being made: an analog beta copy and a digital D-2 copy. Each fresh beta copy is returned to the shelves of the working library from which it was plucked, and the D-2 copy, the long-term archival storage copy, will be placed in an appropriate facility either on or off the company's premises, where it can quietly reside until another working copy is required. During our initial planning process, all parties had agreed that the deteriorating copy, once it had been dubbed afresh, could be discarded. Even a mildly skeptical observer, however, might easily conclude that only the intense pressure of overflowing shelves will force this cleansing the deaccession to occur. Although D-2 is our initial choice of format for long-term archival storage, it almost certainly won't be our last. For the moment, at least, considering the massive quantity of material with which we have to deal, it meets our most pressing criteria; it's digital, it's reliable, and it isn't ridiculously expensive. As other options become viable, disk-based media for example, we may move away from D-2. Indeed, when disks become economically competitive with tape, the random access capability of the disk format, plus the likelihood of a very extended shelf life, would certainly make it an attractive successor format. Unfortunately, with a perpetual archiving process that will involve changes in the selected storage medium, one of our most troublesome concerns is how to ensure that we continue to possess and maintain the technical equipment required to permit the playback of electronically stored images. Unlike printed paper which presents itself directly to the human eye, analog and digital signals are incomprehensible until played back through an electronic mediating device that converts them into recognizable pictures and sound. As formats evolve, the greater risk lies not in the eventual deterioration of properly stored archival media, but in the probable unavailability of the equipment, including spare parts, needed to play the stuff back. Like Proteus, formats and media will continue to change. But great caution should be exercised before scrapping one established archival storage medium and substituting another. Considering the volume of material with which we must deal, the possibility of reconverting all previously archived material to each successor medium to maintain some neat consistency and eliminate the need for more than one sort of playback device, would be both impractical and uneconomic. For entities like ABC, with several hundred thousand hours of material on hand, the desire to achieve preservation at a reasonable cost is obvious. We must, therefore, seriously consider the possible use of compression. Compression technology would permit a radical reduction in the amount of both the storage medium required and the space in which to house it. The issue of whether it is archivally responsible to compress video material is, we understand, a highly charged one. Some opponents of compression pronounce it anathema, maintaining that to use it is to needlessly throw away a percentage of the material which we are committed to save. But what is the material to be preserved? Is it the analog magnetic signal, or in the case of digital formats all those ones and zeros resting on the tape? Or is it instead the pictures and sound which are created when these invisible elements are processed by an electronic mediating device? If what we mean to save are the images and sounds, and if they can be created, using less electronic information, to a degree virtually undetectable by any human being, then we have preserved everything of value. It is even possible to compress to a higher standard than that of human comprehension. Using so- called "lossless" compression, which is probably slightly under two to one, image creation can occur to a degree that preserves levels of sharpness and color well beyond the capability of the human eye to discern. And the difference between an uncompressed image and one created at this low level of compression would be virtually undetectable even to an electronic monitoring device. In either case, the pictures and the sounds will have been saved--at a significant savings. Obviously, for material which may be used for production purposes involving much editing or other electronic manipulation, the less compression the better. But for material which most likely will not be subjected to intensive processing, the notion of a compressed archival format should not be ruled out. It would surely benefit ABC and the many other public and private organizations who have decided to preserve their respective videotape holdings, if these and similar issues could be discussed on some continuing basis. A forum is called for in which ideas and information pertaining to the preservation of videotape records can be shared. We certainly hope that one outcome of these hearings will be periodic gatherings at which the archival problems, both technical and conceptual, which we encounter individually, can be discussed and perhaps even solved together. Thank you. MR. MURPHY: Thank you, Michael Lang. Joel Kanoff? MR. KANOFF: ABC News is a for-profit commercial network news organization providing news and public affairs programming. Although not widely seen at that time, the television network offered its first newscast in 1948. This was followed in 1952 by a weekly program called All Star News, and in the fall of 1953, eight months after ABC's merger with Paramount Theaters by Leonard Goldenson, ABC started a regular Monday through Friday news program anchored by veteran newsman John Daly. ABC broke new ground in the fall of 1958 with the introduction of early and late evening news programming, and in the late '60s, ABC joined the other networks and increased its evening news program to 30 minutes. Barbara Walters became the first anchorwoman of a network evening news broadcast in 1976. Under Rune Arlege's leadership, innovative programs were introduced, such as World News Tonight, 20-20, Prime Time Live, This Week with David Brinkley, and Nightline, the first regularly scheduled late-night newscast of its kind to use satellite technology to bring together leaders and experts for in-depth discussions on the top stories of the day. Over the years, ABC News has built a unique and far-reaching news gathering organization domestically and throughout the world. Currently among other capitals there are bureaus in Beijing, London, Moscow, Paris, Tel Aviv, and Tokyo. As you may well imagine, preservation of footage from past events and programming is of great importance in a television network news universe. While the majority of footage used is certainly newly shot, each show contains archival footage. In a typical World News Tonight edition, almost every spot contains older footage used to put a fine point on a subject, supply background, develop its history, or just remind us of the continuity of our way of government or of life itself. ABC News will continue to collect the wide variety of materials that reflect U.S. and international news events, history and cultural trends, religion, science and technology, environment and wildlife. Our preservations efforts extend to footage of events of every day society and every level of magnitude. Footage of people from the most famous to the obscure, the entire range of human social activities, flora and fauna from everywhere, landscapes and even still lifes of objects. That is to say besides news, the collection includes a great deal of generic footage, children in schools, people working in factories, ships and airplanes, beauty shots, aerials, all of which can be reused in a wide variety of stories. Our core collection consists of approximately 850,000 units of film and tape dating to 1960. Another 60,000 tapes and kinescopes are off-air records of programs, current programs, as well as all but forgotten programs such as Scope, Directions, ABC Reports, The Reasoner Report, and Now. The core collection is film-based through 1975, mostly 16mm color reversal. Mixed film and eumatic through the late '70s, eumatic until 1986, and beta cam to the present. Roughly 12 per cent of the core collection is film; about 47 per cent of the collection is beta cam; the rest 3/4-inch. That is the core news collection used by all programs for production. We also have many millions of feet of film and many thousands of video cassettes in storage. These are trends and production elements for documentaries and magazine segments. The further use of these production elements is more restricted, so they do not circulate freely. Roughly speaking, we save over 4,000 tapes a month, about 5,000 in a political year such as this one. No, we don't save everything, there just isn't space. We immediately recycle a roll with a correspondent's stand-ups, since we don't feel it's important to save rehearsals for the final take, which is of course preserved on the air history anyway. We recycle graphic builds and multiple camera set-ups of minor importance to the event recorded. But, with regard to subject matter, because we try no to prejudge and therefore not to dictate what will be important to producers in the future, we tend to err on the side of inclusivity. By necessity, however, we do have to make some difficult choices. Moreover, one shot may serve for dozens of diverse future production requirements, provided that the computerized description is sufficient for it to be located objectively. Keeping these issues in mind, library staff carefully evaluate materials turned in by producers and camera crews at all our bureaus and decide what materials to permanently archive or to recycle. News production demands swift, accurate access of archive materials. However, the richness of the videotape recording greatly reduces the effectiveness of standard archival cataloguing methods. Key words and brief subject classifications at best do not do justice to, and at worst misstate and distort the moving image. For that reason, an extensive account of the visual an auditory contents of the recording is necessary. Producers, researchers and writers at ABC News rely on their ability to quickly get a functional, verbal likeness of the recorded image from our computer system. In proposing retrieval requests to the system, these users may cast their net as narrowly or as broadly as they like. They may call up specific documents or thousands of documents, although they may not request thousands of tapes. Unlike the comparatively more relaxed research done by documentary filmmakers, the television news producer is forever working against the tightest of deadlines to get the footage cut into that evening's broadcast. Full text retrieval is practically worthless without the hand of the diligent cataloguer. In the ABC News idiom, cataloging refers to the descriptive shot listing of the footage. The content field of a typical 20-minute field recording can go on for pages, depending on the substantive density of the footage. In this scenario, catalogers must ask themselves among the many things I see and hear, what is important to describe here? Also, how might this material be utilized again and within the guidelines of the classification method, the style sheet and the established lexical thesaurus, how will an army of different producers seek to access it? That is, what descriptive language will they use? Cataloguing is a lengthy and continuing process an the focus and dedication required enjoins us from being as comprehensive as we would like. At present we are able to fully shotlist on a percentage of the new footage we acquire. Decisions must be made as the potential usefulness of the work and ultimately the significance of the story. Remember, everything does get a record in the computer, but only the top stories are catalogued. Nevertheless, cataloguing brings in the clients. In the news film tape world, the operative variant on "build it and they will come" is "describe it and they will use it." It is axiomatic that there is a direct proportional relationship between the quantity and quality of catalogue detail and the use of particular tapes and film. We have traditionally provided and continue to provide access to outside producers for the purpose of stock footage sales and research. In 1989, it occurred to us that what was lacking was a portable index to our holdings. This was in the dawn of CD Rom technology and in that format we were able to provide an excellent word-searchable index to our footage with retrieval software every bit as powerful as the Stairs application that runs on our mainframe. We distributed this to the outside source and sent many without cost to libraries and information resources throughout the world. Still, CD Rom disks are out of date from the moment they are cut and we look to the Internet and Worldwide Web to provide the means to distribute information about our collection to outside stock footage customers and to researchers in general. Right now the entire CD Rom catalogue of news footage, available for licensing from ABC News Video Source is available on FootageNet on the Web. We have great hopes for the future of electronic data, and in coming years even retrieval of footage itself on the Desktop. Unquestionably, the greatest benefit there will be the provision of low-cost footage access to educators at schools, universities, and non-profit organizations throughout the country. As I have said, the archive is a very meaningful part of the production fabric. In fact, the television news moving image collection has matured into occupying a rather enviable status. It is not by chance that now at the end of this century of the moving image and electronic communication, that the television library has found new friends and loyal partisans. Having earlier learned the painful lesson that you can't go out and reshoot history, the networks are now more respectful of these valuable corporate assets and resolute that they endure. Besides the historical significance of this footage, there is an economic consequence. While the use of library holdings has enabled shows to keep costs down, entire program concepts like the 20th Century project at ABC and documentaries that we produce for cable, have been developed around pre-existing footage. Cost center libraries have become profit center libraries. Michael Lang has explained the MCF in detail, so I won't go into that, except to say that the news division in general and the news film library in particular, having a big stake in the success of the Media Conservation Facility, participated in the planning of the facility from the earliest stages and we are confident that appropriate, careful procedures are in place for the preservation in logical stages of the footage in our charge. However, I should like to call your attention to the fact that the preservation of footage in active TV news archives commences well before the preservation dubbing takes place. The term archive here tells only half the story. The other half is best characterized by the words circulating collection. In this respect, we are also quite distinct from other types of circulating TV collections like entertainment collections because of the volume of circulation and the extent of reuse. At any one time, we have an average of close to 90,000 pieces in circulation, and much like a public library, when original materials circulate off the library premises, they are at risk and we have to be concerned. Circulating tapes means tapes getting worn, damaged, or worst, lost. Each run across a recording head shave some of the magnetic stratum off a tape. Unlike published materials, much of the footage we collect is irreplaceable. It is true that we are at the outset of technological changes which will obviate the term wear and tear; that is, the optical disk for storage of master materials, as well as the concept of actual physical circulation. That is, images will be distributed electronically and digitally. Yet, for many years to come, we will be circulating our tape, there's so much of it. So the point here is that we often can't wait for the scheduled preservation project to complete its good work, for we will always be beleaguered by physics as well as by the user who critically suffers amnesia when it comes time to remembering what he or she did with a cassette. MR. MURPHY: Can you bring your statement to a conclusion? MR. KANOFF: Sure. MR. MURPHY: Thank you. MR. KANOFF: With the advent of the ABC News 24-hour channel, the library is again taking a vanguard role in expanding its operations and facilitating the use of the footage it maintains in ever more challenging ways. A nexus of technological, cultural and business advantages now in evidence, including the Internet, HDTV, Interactivity, new digital video formats, recent mergers, and an end of millennium public that gives news a privileged place in every day living, makes this a time of extraordinary opportunity for the television news collection. At this juncture it is especially important for the Library of Congress, the National Archives and other government institutions to work more closely with the network archives to sponsor specialized discussions or conferences devoted to the problems of the TV news collection in particular and to cooperatively establish criteria for the on-going deposit of network news materials. MR. MURPHY: Thank you, Joel. Doug McKinney? I'm sorry, Donald DeCesare will go first? MR. DE CESARE: Thank you very much. We say DeCesare, by the way, although it defies linguistic practice. Good morning, and thank you for allowing me and my colleague from the CBS News Archives to participate in this important hearing. First I ought to give you a little background on myself. I've just completed six years as the executive in charge of the archives; if not the biggest, certainly one of the most respected collections of broadcast material in the world. While not a professional archivist myself, I've had to face many of the same challenges that the professionals in our organ
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Find out who's playing and when. Get tickets and learn more.	en	https://www.fitzgeraldsn…icon-150x150.png	FITZGERALDS	https://www.fitzgeraldsnightclub.com/shows/calendar/
6840	dbpedia	3	8	https://www.artchive.com/artwork/the-clove-catskills-thomas-cole-c-1827/	en	The Clove, Catskills (c. 1827) by Thomas Cole – Artchive	https://www.artchive.com…BLUE-1-32x32.png	https://www.artchive.com…BLUE-1-32x32.png	[ "https://www.artchive.com/wp-content/uploads/2023/03/cropped-ARTCHIVE-LOGO-MARK-BLUE-200x66.png", "https://www.artchive.com/wp-content/uploads/2023/03/cropped-ARTCHIVE-LOGO-MARK-BLUE-200x66.png", "https://www.artchive.com/wp-content/uploads/2023/04/The-Clove-Catskills-Cole-Thomas-c.-1827.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/Genesee-Scenery-1847-by-Thomas-Cole.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/Thomas-Cole.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/Mount-Aetna-From-Taormina-1844-by-Thomas-Cole.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/The-Voyage-of-Life-Old-Age-Cole-Thomas-1842-3.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/View-on-the-Catskill-Early-Autumn-Cole-Thomas-1837-2.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/The-Voyage-Of-Life-Childhood-1842-by-Thomas-Cole.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/Godiva-1856-by-William-Holman-Hunt.jpg", "https://www.artchive.com/wp-content/uploads/2024/03/andreas-garbe-sunset-behind-blue-rocks-2018.jpeg", "https://www.artchive.com/wp-content/uploads/2023/04/Portrait-Surrounded-By-Artistic-Devices-1965-by-David-Hockney.jpg", "https://www.artchive.com/wp-content/uploads/2024/03/jos-coufreur-point-cartwright-queensland-australia-2023.jpeg", "https://www.artchive.com/wp-content/uploads/2023/09/04-Akt-Dreierkonstellation-copyright-Eva-Strautmann-Oil-On-Papier-Mache-70-cm-x-100-cm-scaled.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/Bust-of-Costanza-Bonarelli-Bernini-Gianlorenzo-c.-1636-37.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/The-Postman-Cheval-by-Max-Ernst-1932.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/The-Side-Show-Seurat-Georges-1888.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/David-c.-1444-46-by-Donatello.jpg", "https://www.artchive.com/wp-content/uploads/2024/04/les-caloges-etretat-henri-matisse-1920.jpg", "https://www.artchive.com/wp-content/uploads/2023/04/Beverly-Hills-Housewife-Hockney-David-1966.jpg", "https://www.artchive.com/wp-content/uploads/2024/04/les-genets-henri-matisse-1905.jpg", "https://eep.io/mc-cdn-images/template_images/branding_logo_text_dark_dtp.svg" ]	[]	[]	[ "" ]	null	[]	null		en	https://www.artchive.com…BLUE-1-32x32.png		https://www.artchive.com/artwork/the-clove-catskills-thomas-cole-c-1827/	Thomas Cole’s painting, The Clove, Catskills, is a notable work in American art history, currently located at the New Britain Museum of American Art. Cole, the founder of the Hudson River School, is considered the leading landscape painter of the first half of the nineteenth century. He captured the essence of the natural environment by painting en plein air, which allowed him to convey the sense of place that he experienced while creating the artwork. The painting, created in 1827, is a part of the Romanticism genre and features natural elements, including mountains, forests, and trees. It reflects the beauty and the majestic scenery of the Kaaterskill Clove, which became a source of inspiration for many artists in the Hudson River School, including Cole, Durand, Church, Gifford, and McEntee. The Clove, Catskills painting is a detailed and intricate representation of the natural world, with exceptional execution of light, shadow, and color. Overall, The Clove, Catskills is an exceptional artwork that showcases Thomas Cole’s extraordinary talent in landscape painting. His ability to capture the spirit and mood of the natural environment paved the way for many other painters to follow in his footsteps, creating a unique artistic style that portrays the beauty and majesty of nature. This painting is a testament to the power of art to inspire, motivate, and move people through the beauty of nature.
6840	dbpedia	0	28	https://www.learningwoodstockartcolony.com/post/norma-morgan-in-the-lands-of-the-moors-and-catskills	en	Norma Morgan: In the Lands of the Moors & Catskills	https://static.wixstatic…e0c04474~mv2.jpg	https://static.wixstatic…e0c04474~mv2.jpg	[ "https://static.wixstatic.com/media/48eaf2_6b3c1dd0c1c94723a21ac920e0c04474~mv2.jpg/v1/fill/w_155,h_197,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_6b3c1dd0c1c94723a21ac920e0c04474~mv2.jpg", "https://static.wixstatic.com/media/a27d24_b87185671b6349c2a75ee807f896c280~mv2.jpg/v1/fill/w_147,h_94,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/a27d24_b87185671b6349c2a75ee807f896c280~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_9b4a5c9683bd4ddd82a465ce08ca7471~mv2.jpg/v1/fill/w_77,h_99,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_9b4a5c9683bd4ddd82a465ce08ca7471~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_debe20bd13994ec39a5b692d1f858df9~mv2.jpg/v1/fill/w_144,h_85,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_debe20bd13994ec39a5b692d1f858df9~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_d193bf09fe9f453789228a1d2bb8a750~mv2.jpg/v1/fill/w_95,h_53,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_d193bf09fe9f453789228a1d2bb8a750~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_9b6eccb0799547ac9564445f06b52718~mv2.jpg/v1/fill/w_147,h_82,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_9b6eccb0799547ac9564445f06b52718~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_3d56c5eab11646829a0d868b9ca805b3~mv2.jpg/v1/fill/w_53,h_104,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_3d56c5eab11646829a0d868b9ca805b3~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_7607482a9bfa4a3baa9458bcf966338f~mv2.jpg/v1/fill/w_147,h_92,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_7607482a9bfa4a3baa9458bcf966338f~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_ef77c65c0cca4664b8440561b1fd6c67~mv2.jpg/v1/fill/w_100,h_66,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_ef77c65c0cca4664b8440561b1fd6c67~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_364fefa5ff244ed79eb73a263aff4659~mv2.jpg/v1/fill/w_93,h_70,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_364fefa5ff244ed79eb73a263aff4659~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_502accb339d545be96aa91b59c171fff~mv2.jpg/v1/fill/w_74,h_103,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_502accb339d545be96aa91b59c171fff~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_3b48d307ee0b49478b06a1654c9431a3~mv2.png/v1/fill/w_53,h_57,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_3b48d307ee0b49478b06a1654c9431a3~mv2.png" ]	[]	[]	[ "" ]	null	[ "Bruce Weber" ]	2020-10-10T14:48:21.378000+00:00	By Bruce WeberFor anyone interested in the artist Norma Morgan I wanted you to know that I have recently organized an exhibition of her work at the Woodstock Arists Association and Museum and have authored a more extensive essay on her work for the fully illustrated catalog. May 2023Geoffrey Clements (?-?)Norma Morgan, 1966Archives of American ArtNorma Morgan (1928-2017) was a fascinating painter and printmaker who lived and worked intermittently in Woodstock over the course of 1969 to about 2	en	https://static.parastorage.com/client/pfavico.ico	Woodstock Art Colony	https://www.learningwoodstockartcolony.com/post/norma-morgan-in-the-lands-of-the-moors-and-catskills	By Bruce Weber For anyone interested in the artist Norma Morgan I wanted you to know that I have recently organized an exhibition of her work at the Woodstock Arists Association and Museum and have authored a more extensive essay on her work for the fully illustrated catalog. May 2023 Geoffrey Clements (?-?) Norma Morgan, 1966 Archives of American Art Norma Morgan (1928-2017) was a fascinating painter and printmaker who lived and worked intermittently in Woodstock over the course of 1969 to about 2010. Little remembered or written about in recent years, Morgan had an active and highly successful career in New York City. One of the few African American artists to spend much time working in Woodstock during the course of the era, there remains surprisingly little trace of her presence in the area. This blog aims to help return Morgan to public view and relate some of the pertinent details of her life, career and interests. Norma Morgan was born in New Haven, Connecticut in 1928. Her mother Ethel became pregnant with her at the age of fifteen, and was forced to leave home by her father Grant W. Morgan. Norma’s father died before she was a year old, and soon after her mother found employment as a domestic worker in the home of the Reverend Stuart Means and his wife Katherine Elizabeth Gower Means. Ethel and Norma lived with the Means for many years. Norma liked to draw as a child, and first picked up a brush at the age of nine when she retouched wallpaper flowers which had been damaged by mildew. While attending Hill House High School, Morgan was introduced to the African American illustrator, cartoonist and author Elton C. Fax, who later devoted a chapter to her work in his book Seventeen Black Artists.(1) In the book Morgan mentions her passion for drawing sailboats while she was in high school, and recalls loving “the feeling of being free to sail away in my imagination to all sorts of strange places.”(2) Hans Hofmann Teaching in Provincetown, c. 1956-1957 [Woodstock artist and collector Jean Young is the woman at far left in the striped t-shirt] Following graduation from high school in 1945, Morgan attended the Whitney School of Art in New Haven, which offered classes in drawing and painting in oil and watercolor. In 1947, she moved with her mother to Manhattan, where they lived in an apartment in the Phipps housing development on West 63rd Street, where the great jazz pianist and composer Thelonious Monk was one of their neighbors. For two years Morgan attended the morning life class of Julian E. Levi at the Art Students League, and spent afternoons studying with the renowned artist and teacher Hans Hofmann at his school in Greenwich Village.(3) Hofmann taught his students to comprehend objects and the figure as a system of intersecting planes, and to develop the ability to convey the dynamic play of tensions in space, which surround and interact with these forms. Morgan later related that“I knew how to paint . . . but [Hofmann] taught me the relationship between color, [and] one object to another.” (4). Fax explained that Levi’s class “held the greater emotional appeal for Morgan, [though she] was no less attentive to her work with Hofmann.”(5) Norma Morgan (1928-2017) Turning Forms, 1950 Color engraving and aquatint on wove paper National Gallery of Art, Washington, D.C. One of the models in Levi’s class at the Art Students League reached out to Morgan and suggested she would benefit by joining Atelier 17, which was founded in Paris in the 1920s by English painter and printmaker William Stanley Hayter. On departing Europe for the United States in 1940, Hayter ran Atelier 17 in New York City for a decade. Morgan was one of two female African American artists to join the workshop; the other was Evangeline St. Claire.(6) Hayter helped revive interest in intaglio techniques (engraving, etching, and drypoint), and encouraged the development of new methods such as soft-ground etching and color viscosity. At Atelier 17 he also incorporated practices from movements such as Surrealism—particularly psychic automatism. Art historian and curator Joann Moser has noted that at the time of re-establishing Atelier 17 in New York, Hayter’s “involvement with automatism, abstraction, and experimentation reflected some of the most advanced tendencies in art.”(6) Morgan developed a major interest in engraving. She explained that she taught herself the engraving process “because Atelier 17 was not a formal classroom but a workshop situation. I looked at what the others were doing and I learned from them.” (7)She also related that she “always painted slowly, so engraving seemed like a solution for me. . . . I engrave from my sketches and from my imagination. My work has always been a combination of both sources.”(8) The color engraving and aquatint Turning Forms dates from Morgan’s period at Atelier 17. This experimental plate reflects Hayter’s general influence and guidance . The lively abstract composition features dense patterns of deeply cut lines, which are punctuated by dark areas of relief, and vibrant tones of red and yellow. At some period during her career Morgan also worked at the African American artist Robert Blackburn’s Printmaking Workshop in New York City. This workshop has provided generations of American artists a place to experiment and perfect their printmaking skills. Morgan spent most of the period from 1951-1953 and 1961-1966 working in England and Scotland. In 1951, she received a fellowship for study abroad from the John Hay Whitney Foundation. Upon receiving the fellowship she immediately made “plans to visit the setting of the novels by [Thomas] Hardy and [the] Brontë [sisters]. The British Information Center provided me with addresses of lodgings and farmhouses where I could stay.”(10) In addition to the writings of Hardy and the Brontë sisters she was drawn abroad by her admiration for the romantic landscapes of Scotland by the 19th-century African American painter Robert S. Duncanson, whose work was the subject of an important article by the African American historian, artist and teacher James A. Porter that appeared in 1951 in the periodical Art in America.(11) Robert S. Duncanson (1821-1872) Scottish Landscape, 1871 Smithsonian American Art Museum In Great Britain, Morgan abandoned abstraction and became devoted to picturing the dramatic landscape of South West England and the Scottish Highlands. Her works feature craggy terrains and windswept moors, as well as vistas of rugged hills dotted with stone cabins. Her bold and moody pictures are composed of strong shapes, and striking contrasts of dark and light. Storms clouds often are visible in the distance. Norma Morgan (1928-2017) Wild, 1952 Copper engraving on paper Norma Morgan (1928-2017) Moor Lodge, c.1955 Engraving on paper Dolan/Maxwell Gallery Morgan emphasized physical decay and erosion. She believed this added a further dimension to “the visual scene. Old buildings, hills and the like all yield a good source for exploration.”(12) Fax conjectured that “one is tempted to believe that [Morgan’s] deliberate choice of decaying, eroding subject matter—her harsh, desolate English countryside and her strong handling of it— are symbolic. Who is to say that the restrictions imposed upon her as a woman who is also black have not evoked this kind of stark creative response?”(13) Norma Morgan (1928-2017) David in the Wilderness, 1955-1956 Engraving on paper The 1950s and 1960s were the high point of Morgan’s career, and her work was exhibited widely in the United States and abroad in these decades and after. In 1955, her engraving Granite Tor won the first purchase prize at the annual print show in Philadelphia and became part of the collection of the Philadelphia Museum of Art. Shortly after the Museum of Modern Art acquired an impression of this print as well as the engraving David in the Wilderness. In the mid-1950s, the artist had a solo exhibition at the Pachita Crespi Gallery in New York City, and was commissioned to create prints by the Library of Congress and Associated American Artists. In 1959, Morgan had a solo exhibition at Bodley Galleries, a prominent gallery in New York that specialized in contemporary and modern art. Among the other artists to show there at the time were the young Larry Rivers and Andy Warhol. Morgan’s work was featured at the First World Festival of Negro Arts, which was held in Dakar, Senegal in 1966, as part of the exhibition Ten Negro Artists from the United States. This was an important moment for the presentation of contemporary African American visual art on a global stage, and raised the profile of black artists within the United States and abroad. Beginning in the late 1960s, Morgan was championed by Bertina Carter Hunter. Hunter was the founder and president of the Counterpoints Guild, which was formed in 1967 to provide a forum for the work of African American artists. She later became the founding director of the Norsam Gallery in New York, which represented chiefly African American artists. Morgan exhibited regularly at the Counterpoints Guild and Norsam Gallery. Hunter was an avid art collector, and donated many works to institutions, including pictures by Morgan. Norma Morgan (1928-2017) Stormy Clove, Catskill Mountains, 1974 Engraving on paper Historical Society of Woodstock In 1969, Morgan began to divide her time between New York City and Woodstock.(14) She was drawn to the area by her love of the local landscape. and her interest in hiking, camping, swimming and cross country skiing. For a period she lived in an apartment on the second floor of 5-7 Rock City Road. Morgan traveled to Woodstock by bus (she didn’t drive), and the apartment was a short and convenient walk to the stop In the center of the village. It is not known whether Morgan developed any close relationships or friendships in town. Longtime resident artists Paula Nelson, Daniel Gelfand, and Richard Pantell, and poets Mikhail Horowitz and Teresa Costa, recall seeing her around town or at gallery openings. Walter Petrucci, who organized an exhibition of Morgan’s work in 1979 at his gallery in nearby Saugerties, unfortunately recalls few details about their interchange or work together. Following the initial publication of this piece on October 10th, 2020, the longtime Woodstock resident John Lavalle sent me an email relating that when he owned and operated Sight & Sound in Woodstock from 1969-1981 "Norma was a regular and very valued customer [for our custom photographic services]. We assisted her with enlargements that she used in her work. A kind and gentle women and the only woman artist of color among our clients." Norma Morgan (1928-2017) A Catskill Winter, 1983 Engraving on paper Norma Morgan (1928-2017 Hyad's Bath & Shelving Rock - Kaaterskill Clove, 1994 Watercolor on paper Dolan/Maxwell Gallery From 1969 through about 2010, Morgan created paintings, watercolors and prints of the Catskills in the romantic spirit of her English and Scottish landscapes. In 1983, she was honored with the Woodstock Artists Association’s annual print award, which resulted in a commission to create an edition of one-hundred-and-one impressions of her engraving A Catskill Winter. In a recent telephone conversation, the artist Daniel Gelfand recalled assisting Morgan with the printing of this engraving. Among her other pictures of local subjects are the evocative and atmospheric black and white engraving Stormy Clove, Catskill Mountains, and her large painting Fawn’s Leap, which pictures the Kaaterskill Creek waterfall cascading over large boulders, and includes an image of her mother singing in the company of two female musicians. Morgan’s mother Ethel frequently accompanied her to the Catskills. Norma Morgan (1928-2017) A Troll. Kaaterskill Clove, 1987 Watercolor on paper Dolan/Maxwell Gallery In the 1980s, Morgan began to incorporate imaginary images of trolls, wood sprites and elfs into her soft green and emerald-toned oils and watercolors - a reflection of her humorous point of view. The writer Sandra Lewis Smith felt that the imaginary creatures appealed to Morgan’s mystical side.(15) Harriet Tanin (1929-2009) Norma Morgan, 1981 Gelatin silver print Samuel Dorsky Museum of Art Teresa Costa recalls that Morgan always had a smile on her face. Harriet Tannin captured Morgan’s cheerful disposition in her photograph of 1981, which depicts the artist holding up her engraving My Grandfather (from 1972), one of a small group of portrait and figurative works that Morgan created over the course of her career. The group includes engraved portraits of her mother, and of the African American abolitionist and political activist Harriet Tubman, a rare work by Morgan touching on a key figure in African American history. In a letter of July 22, 1959 to the writer and biologist Cedric Dover she explained her general aversion to depicting subjects dealing with African American life and history, and related that her “idea of poetry and art . . . is to rise above the situation . . . . I hope that my art does not limit itself by even national boundaries but can be enjoyed on an international basis, and by all people and age groups.”(16) Morgan’s grandfather Grant eventually resolved his differences with his daughter Ethel. In 1985, the artist referred to herself as “a very wealthy woman. I still have my family, my grandfather and my mother, and I have my work. I have all of this.” (17) Around 2010, Morgan stopped coming to Woodstock. Her mother died in 2011, and four years later she moved into a retirement facility in New Britain, Connecticut. Morgan died in October of 2017. In his review of her print exhibition at Walter Petrucci's Work of Art Gallery in Saugerties in 1979, the artist and writer Bernard X. Bovasso applauded her talent and strength as an artist, and astutely commented that Morgan “found the mystic stones, the dolmens and megaliths of Albion’s prehistory [wherever she looked] and challenged them with her burin.”(18) (1) Cynthia Hawkins, “Norma Morgan,” African American National Biography Online. See https:/dol.org/10.1093/acref/9780195301731.013.384081. (2) Elton C. Fax, Seventeen Black Artists (New York: Dodd, Mead, 1971), p. 254. (3) Morgan is quoted in Sandra Lewis Smith, “Norma Morgan: A Matter of Balance,” Black American Literatue Forum, vol. 19, no. 1 (Spring 1985): 34. (4) Fax, p. 258. (5) Christine Weyl, The Women of Atelier 17: Modernist Printmaking in Mid-Century New York (New Haven, Connecticut: Yale University Press, 2019), p. 248 (6) Joann Moser. “The Impact of Stanley William Hayter on Post-War American Art,” Archives of American Art Journal, vol. 18, no. 1 (1978): 5. (7) Fax, p. 259. (8) Smith, p. 34. (9) Moser, p. 8. (10) Fax p. 259. (11) Ibid. p. 264. (12) Morgan is quoted in E. Exler, “Norma Morgan – Romanticism and Printmaking,” Sagaletter (Summer 1990): 5. (13) Fax, p. 259. (14) Hawkins, “Norma Morgan.” (15) Smith, p. 35. (16) Morgan's letter to Dover is quoted in Nico Slate, The Prism of Race: W. E. Du Bois, Langston Hughes, Paul Robeson, and the Colored World of Cedric Dover (London: Palgrave Macmillan, 2015), p. 129. (17) Morgan is quoted in Smith, p. 35.
6840	dbpedia	1	72	https://www.frick.org/sites/default/files/FindingAids/PeterDavidsonRecords.html	en	Finding Aid for the Peter H. Davidson & Co., Inc. Records, 1951-1991 (bulk 1970-1984) MS.04			[]	[]	[]	[ "" ]	null	[]	null			../../../../sites/all/themes/frick/favicon.ico		null	Series I: Subject Files, 1966-1988 Â Â Â 2.5 Linear feet Scope and Content Note The subject files are predominantly composed of correspondence; however, some files contain newspaper clippings, brochures, photographs, shipping invoices, exhibition loan agreements, sales invoices, or consignment agreements. The subject files document the business interests of Peter H. Davidson's art gallery, and generally regard attempts to acquire or sell artwork. Artists and artwork have been noted when mentioned. Box Folder Date 1 1 A.M. Adler Fine Arts, Inc., New York, N.Y. Â Scope and Contents note Contains consignment receipts for Charles H. Ebert paintings: Old Lyme, Â Autumn Oaks, Â Junk Store, Â Majestic Tree, and Â Fisherman's Hut. 1982 1 2 Adamick, Joseph Â 1971 1 3 Adams, Jerry V. (Mr. and Mrs.) Â Scope and Contents note Contains picture invoice for Andrew Wyeth Portfolio. 1974 1 4 Adams-Davidson Galleries, Inc., Washington, D.C. Â 1971 1 5 Akrami, Nader Â Scope and Contents note Correspondence regarding potential client contacts in Iran. 1975 1 6 Appleby Bros. Ltd., London Â Scope and Contents note Regarding General George Washington and Â General Nathaniel Greene by Thomas Stothard. Includes photos. 1972 1 7 Atchison, Topeka and Santa Fe Railway Company, Chicago, Ill. Â Scope and Contents note Regarding Santa Fe paintings. 1974 1 8 Auchman, Tyla Â Scope and Contents note Regarding contacts in Brazil. 1973-1982 1 9 Baer, Ellen D. Â Scope and Contents note Regarding four unidentified paintings of country scenes believed by Baer to have possibly been stolen from Knoedler. undated 1 10 Baird, Mrs. Robert B. Â Scope and Contents note Regarding Thomas Meehan book, Native Flowers and Ferns of the United States. 1977 1 11 Baker, James Â Scope and Contents note Regarding Open and Closed by Andrew Wyeth. 1973 1 12 Bartholet, Mrs. E. Ives Â Scope and Contents note Regarding John Sloan paintings, John Singer Sargent drawings, and The Phonograph by Jan Maltuka. 1974-1979 1 13 Barton, Gordon R. (Sporting Gallery, Inc.) Â Scope and Contents note Regarding George Wright drawing. 1977 1 14 Beardsley, Barbara (Art Conservation Laboratory, Inc.) Â Scope and Contents note Regarding conservation performed on Hicks artwork. 1982 1 15 Bender, Mrs. William Â Scope and Contents note Regarding her collection of American paintings, including works by Charles Demuth, Marsden Hartley, and Ernest Lawson. 1974 1 16 Beresford, James A. (Mr. and Mrs.) Â Scope and Contents note Regarding Erickson and Â Sea Boots by Andrew Wyeth. 1976 1 17 Bernard Danenberg Galleries, Inc., New York, N.Y. Â Scope and Contents note Regarding Portrait of a Woman in Maurer's Studio and Â CafÃ© Scene by Alfred H. Maurer. 1973 1 18 Bessemer Trust Company, Newark, N.J. Â Scope and Contents note Regarding Open and Closed by Andrew Wyeth. 1972-1974 1 19 Blaine, Nell Â 1972-1976 1 20 Bogner, Howard F. (Colonel) Â 1973 1 21 Bosshard, Mrs. Peter (mother of Jorge Guinle) Â Scope and Contents note Regarding Frank Stella lithograph, River of Ponds I. 1974-1975 1 22 Bradley, Mrs. Harry L. Â 1976 1 23 Brady, John, Jr. Â Scope and Contents note Regarding Marsden Hartley artwork and The Ascension by Tintoretto. 1976 1 24 Brandywine Gallery, Albuquerque, N.M. (John Miller) Â Scope and Contents note Regarding Open and Closed by Andrew Wyeth. 1973 1 25 Brasher, Rex Â Scope and Contents note Contains newspaper clipping. 1981 1 26 Brisco, James Price Â Scope and Contents note Regarding Albert Bierstadt painting. 1974 1 27 Brockhurst, Mrs. Gerald Â Scope and Contents note Regarding Gerald Brockhurst artwork. 1979 1 28 Bruning, Paul J. Â Scope and Contents note Regarding Carlotta by Georges Rouault, Â Nature Morte au Verre de Vin by Auguste Renoir, Â Rendez-vous de la Poste by Maurice Utrillo, and an Alexander Calder sculpture. 1975-1976 1 29 Buckman, Richard C. Â 1973 1 30 Byrd, Caruth Â Scope and Contents note Contains newspaper clipping. undated 1 31 C.G. Sloan Co., Washington, D.C. Â Scope and Contents note Contains newspaper clipping. 1977 1 32 Calabi Associates, Newton Centre, Mass. (Sonja Calabi) Â Scope and Contents note Regarding Maurice Prendergast paintings, Street Scene and a village scene in Brittany. 1977 1 33 Carr, Ambrose Â Scope and Contents note Regarding building faÃ§ade on 57th St. featuring The Knight, Death and the Devil by Albrecht Durer. 1974 1 34 Carter Administration Â Scope and Contents note Contains newspaper clipping. 1977 1 35 Case, Richard W. Â Scope and Contents note Regarding Madame Frieseke by Frederick Carl Frieseke. 1973 1 36 Cernuschi, Alberto (Galerie Cernuschi) Â Scope and Contents note Invitation to opening of Armand Nakache exhibition. 1976 1 37 Chace, Sherman Peter Â Scope and Contents note Regarding Alfred Bricher painting and other consignment pieces. 1973-1979 1 38 Chapin, Peter Â Scope and Contents note Includes four Christmas cards featuring artwork by Peter Chapin. 1973 1 39 Chemical Bank, New York, N.Y. (James Woodward) Â Scope and Contents note Regarding Charles H. Ebert paintings. 1982 1 40 Childs, Francis S. Â Scope and Contents note Regarding efforts to locate French painter, Constant Meyer [exact name unknown]. 1982 1 41 Cody, Margaret Â Scope and Contents note Regarding artist Carroll Jones. 1980 1 42 Coe, Mrs. Henry H.R. Â Scope and Contents note Regarding Frederic Remington watercolor. 1975 1 43 Coe, Jay Â 1980 1 44 Collins, Richard J. Â Scope and Contents note Regarding Potentia by Arthur B. Davies. 1979 1 45 Cornell, John R. Â 1974-1978 1 46 Country Art Gallery, Locust Valley, N.Y. (Clarissa H. Watson) Â 1977-1978 1 47 Country Store Gallery, Inc., Austin, Tex. (Raymond Brown) Â Scope and Contents note Regarding Andrew Wyeth and Pablo Picasso paintings. 1976 1 48 Craig and Tarlton, Inc., Raleigh, N.C Â Scope and Contents note Regarding artist A.J. Loemans. 1975, undated 1 49 Cravzow, Roy Â 1978 1 50 Cromwell, James H.R. (Mr. and Mrs.) Â Scope and Contents note Regarding George Washington by James Sharples. 1976 1 51 Dalzell Hatfield Galleries, Los Angeles, Calif. Â Scope and Contents note Regarding Rondo Capricioso, Â The Finish, Â Early Morning, and Â At the Bar by Grigory Gluckmann. 1976-1978 1 52 Danenhower, Mrs. John Â 1973-1974 1 53 Daniel, Charles Â Scope and Contents note Regarding Raphael Soyer drawings. 1970 1 54 Daniels, Ruth L. Â Scope and Contents note Regarding The Roses by Emil Carlsen. 1971-1972 1 55 Dauber, Florence (Zeitlen and Ver Brugge Gallery/Bookseller) Â Scope and Contents note Regarding Albert Bierdstadt; Stanley William Hayter Portfolio, L'Apocalypse; signed Wassily Kandinsky lithograph, 1922; Witherington; and Marc Chagall watercolor. 1972-1974 1 56 Davis and Long Company, New York, N.Y. Â Scope and Contents note Regarding Rooftops, Provincetown by Charles Demuth and Maurice Prendergast monotypes exhibition. 1975-1978 1 57 Davis, Barbara Â Scope and Contents note Regarding Newell Convers Wyeth painting. 1973-1975 1 58 De Silva, Ronald Â Scope and Contents note Regarding Charles Balthazar Julien Ferret de Saint-Memin artwork. 1976 1 59 Delaware Antiques Show, Wilmington, Del. Â 1981 1 60 Delaware (State of) - Division of Historical and Cultural Affairs Â Scope and Contents note Regarding Charles Balthazar Julien Ferret de Saint-Memin drawing, Joseph Barker. 1976 1 61 Dermott, Leonard H. Â Scope and Contents note Regarding Alexander H. Wyant landscape. 1974 1 62 Detroit Institute of Arts, Detroit, Mich. (Graham Hood) Â Scope and Contents note Regarding John Wollaston, Wyeth tempera, and Mount Hood in Oregon by Albert Bierstadt. 1972-1985 1 63 Dickinson, Farleigh S., Jr. Â Scope and Contents note Regarding Andrew Wyeth tempera. 1975 1 64 Dillon, Douglas C. Â Scope and Contents note Regarding Robert Field miniature of Alexander Hamilton. 1980 1 65 Dohna, Lothar Â Scope and Contents note Regarding George Inness and Hart paintings. 1974 1 66 Dorrance, Nesta Â Scope and Contents note Regarding artwork by John Henry Twachtman, John La Farge and Theodore Robinson. 1981 1 67 Downtown Gallery Acquisition Memorandum Â Scope and Contents note Peter Davidson's proposal to acquire the Downtown Gallery. The proposal concludes with some biographical information about Peter Davidson. Includes an article, "The Rising Market for American Art," by Joseph Poindexter, Auction Magazine, November 1971; and the introduction to Â Edith Halpert and the Downtown Gallery by Marvin S. Sadik, Museum of Art, University of Connecticut, 1968. 1972 1 68 Draper, William F. Â Scope and Contents note Regarding Ibero-American Collection of pre-Columbian artifacts. 1976 1 69 Duesberry, Joellyn (Joellyn Duesberry, Ltd., New York, N.Y.) Â Scope and Contents note Regarding Pablo Picasso and Amedeo Modigliani commissions. 1975-1976 1 70 Durand-Ruel and Cie Â Scope and Contents note Regarding Dancers by Edgar Degas and Â Bras de Seine pres de Giverny, Church at Bennecourt by Claude Monet. 1974-1975 1 71 Edgerton, David R. Â Scope and Contents note Regarding Erickson, Â The Porch, Â Dam Breast, and Â The Captain's House by Andrew Wyeth and Â Island Wharf by Jamie Wyeth. 1975-1977 1 72 Eiseman, Alvord L. Â Scope and Contents note Regarding provenance of Charles Demuth work and George Luks. 1977-1979 1 73 Elliman, David D. Â Scope and Contents note Regarding Georges Rouault. 1976 1 74 Ellsworth, Mrs. Lincoln Â Scope and Contents note Regarding Downing the Nile Leader by Frederic Remington. 1976 1 75 Ely, John Â undated 1 76 Evans, Dorinda Â 1971 1 77 Evans, J.D. (Roy Miles Gallery, London) Â Scope and Contents note Regarding Jamie Wyeth artwork. undated 1 78 Farnham, Emily Edna Â Scope and Contents note Regarding provenance of Folger and his Girl Friend, Â Acrobats, Â Wildflowers, and Â Rooftops, Provincetown by Charles Demuth. 1973-1974 1 79 Felleman, John M. Â 1977 1 80 Ferguson, Robert K. Â Scope and Contents note Regarding Open and Closed by Andrew Wyeth. 1972-1973 1 81 Field, Charles Â Scope and Contents note Regarding The Captain's House by Andrew Wyeth. 1975-1980 1 82 Fields, Barbara Â Scope and Contents note Regarding Jean-FranÃ§ois Raffaelli paintings. 1977 1 83 Finn, Martin P. (Mrs.) (See also: Charles S. Rhyne) Â Scope and Contents note Regarding Bridge on the Mole by John Constable. 1981 1 84 Fitton, Vaden Â 1976 2 1 Flexner, James T. Â Scope and Contents note Contains newspaper clipping. 1973 2 2 Forum Gallery, New York, NY (Bella Fishko) Â Scope and Contents note Regarding Bernard Karfiol painting. 1980 2 3 Frank K. M. Rehn Gallery, New York, N.Y. Â Scope and Contents note Regarding New Gotham Burlesque by Reginald Marsh and Â Boatyard, Â Summer Evening, and Â Shipyard, Rockland by Edward Hopper. 1973-1978 2 4 Franklin Mint (Patrick Robinson) Â 1970-1971 2 5 Friedman, Robert Â 1975 2 6 Friend, Mrs. Theodore Wood, Jr. Â Scope and Contents note Regarding Frederic Remington bronze, The Rattlesnake. 1975 2 7 Gardner, Gibson Â Scope and Contents note Regarding Walt Kuhn bronze relief. Includes photographs. 1973 2 8 Gardner, Milton Â 1975 2 9 Gardiner, John H. Â Scope and Contents note Regarding John Singleton Copley and Rembrandt Peale portraits. 1975-1976 2 10 Gilder, Rosamund Â 1980 2 11 Gold, William Buchanan, Jr. Â Scope and Contents note Regarding art belonging to Mrs. Parke E. Edwards: Thomas Sully; Rembrandt Peale; Currier and Ives; Portrait of Mrs. Eakins, likely by Charles Bregler; and un-authored painting perhaps by John James Logue. 1974 2 12 Goldberg, Verna Â 1974 2 13 Goldfield, Edward (Goldfield Galleries, Los Angeles, Calif.) Â Scope and Contents note Regarding American School Snow Scene by George Inness and Â Madame Frieseke by Frederick Carl Frieseke. Photographs of a sculpture are included. 1971-1972 2 14 Graphikos Associates, New York, N.Y. Â Scope and Contents note Regarding numerous joint investments/ventures between Peter H. Davidson and Graphikos: Study for Jeanne and Â Outdoor CafÃ© by Alfred H. Maurer and Â Landscape, Â Reclining Nude, Â Portrait of Madame Frieseke, Â Girl with Flowers, Â Girl with Mirror, and Â The Garden Parasol by Frederick Carl Frieseke. 1971-1976 2 15 Greenbaum, Dorothea Â Scope and Contents note Regarding Yasuo Kuniyoshi artwork. 1973 2 16 Gussman, Herbert Â 1971-1976 2 17 Hall, Mary (Mrs. Jesse C., Jr.) Â 1974 2 18 Hall, Robert Â Scope and Contents note Jasper Cropsey painting sale receipt. 1975 2 19 Harriet Griffin Gallery, New York, N.Y. Â Scope and Contents note Regarding Hanka Zborowski by Amedeo Modigliani. 1975 2 20 Hart, Jeane Overbury Â Scope and Contents note Regarding George Overbury "Pop" Hart artwork. 1964, undated 2 21 Harwood, M.K. (Mrs.) Â Scope and Contents note Correspondence (photocopies) and provenance information regarding portraits of Governor Robert Hunter (died 1734) and his wife, Lady Hay. 1916-1918, 1966, 1974 2 22 Hendricks, Marshall Â Scope and Contents note Regarding photograph of Still Life by Auguste Renoir sent to Mrs. Kiniyo Otsuka in Tokyo. undated 2 23 Herder, Addie Â 1976 2 24 Holt, Henry B. Â Scope and Contents note Regarding Wavertree by Charles Lundgren. 1979 2 25 Holt, Henry, Jr. Â Scope and Contents note Regarding Negro and Alligator by Thomas Hart Benton. 1980 2 26 Hoss, Phoebe Â Scope and Contents note Regarding Massachusetts Landscape by George Inness and Â Old Man and Boy in an Interior Setting (portrait of John C. Chandler and Hoss' grandfather, Philip J. Wilson) by Eastman Johnson. 1971-1980 2 27 Hull, Mrs. George R. Â Scope and Contents note Regarding Joseph Barker by Charles Balthazar Julien Ferret de St-Memin, Â Baltimore Harbor by Francis D. Millet, and Â Architectural Study (of the Capitol, Washington, D.C.) by Etienne Sulpice Hallet. 1934, 1975-1980 2 28 Huntington, Chris Â Scope and Contents note Contact information only. undated 2 29 Hurd, Nancy Albright (Shaker House Antiques, East Aurora, N.Y.) Â Scope and Contents note Regarding John J. Albright (of Buffalo) and His Two Daughters by Edmond C. Tarbell. 1976-1977 2 30-31 Ibero-American File [Ernesto Franco de Castro (of Ecuador), Edgar Franco Zaldumbide, Luis Hidalgo LÃ³pez, Fernando Zea] Â Scope and Contents note Regarding 52 cases of Pre-Columbian Ibero-American Museum Collection. Includes photographs. 1966, 1973 2 32 Ingersoll, R. Sturgis Â 1974 2 33 Iran Â Scope and Contents note Correspondents include Edward Sprague Jones, Jill Harrison-Smith, Miasca Investment Finance Co., Houshang Nahavandi, Hormoz Sabet, Donna Stein, Gulf Associates, Inc., the Cabinet of Her Imperial Majesty, and the Shahbanou of Iran. Regarding Deux Femmes et L'Enfant a la Fontaine by Pablo Picasso, Â The Dancers by Edgar Degas, and Â Church at Bennecourt by Claude Monet. 1975 2 34 Irwin, John N., III Â Scope and Contents note Regarding The Garden Parasol by Frederick Carl Frieseke. 1973 2 35 Iselin, John Jay Â 1981 3 1 Jackson, May P. Â Scope and Contents note Regarding De Witt Clinton Boutelle and Boathouse and Pond at Van Cortland Park by Anthony Biester. 1974 3 2 James, Douglas Â Scope and Contents note Regarding Thomas Hill, Jane Peterson, F. Ballard Williams, the Hudson River School, Lila Moore Keen, and J.F. [Morvly]. 1972-1974 3 3 Jay, John Â Scope and Contents note Regarding Gilbert Stuart and John Jay by John Trumball. 1973-1974 3 4 Jenkins, Schuyler Davis, Rev. Â Scope and Contents note Regarding the portraits Cornelius Schuyler, Harriet [Hillham?] Schuyler, and Â Jane Cuyler Schuyler McMaster, age 31 by Abel Buel Moore; and "hand-sewn memorial" believed made by Zilpha Palmer in memory of her father, Beriah Palmer. Includes two negatives and one photograph. 1972-1976 3 5 Jessica Dragonette, New York, N.Y. Â Scope and Contents note Regarding Adolfo Muller-Ury. 1972 3 6 Jessup, Richard S. Â Scope and Contents note Regarding American School genre painting. 1979 3 7 Joan Michelman Ltd., New York, N.Y. Â Scope and Contents note Regarding Charles Demuth; Summer Evening by Edward Hopper; Â Anger, Man With Wild Flowers by Ben Shahn; and Â Captain's House by Andrew Wyeth. Photographs of Â Hunter's Gun, Hat and Ducks Hanging on a Door by R. La Barre Goodwin. 1974-1975 3 8 Johns, Ernest Â Scope and Contents note Regarding John Wollaston; Portrait of Mrs. Ramsbottom, and Â The Red Boy by Sir Thomas Lawrence. Includes photographs. 1978-1987 3 9 Johnson, Belton K. Â Scope and Contents note Regarding George Caleb Bingham. 1978 3 10 Jones, Mildred E. Â Scope and Contents note Regarding View on the Schuykill River by Thomas Moran. 1976-1978 3 11 Jordan, Frieda Â 1973 3 12 June, Orrin W. Â Scope and Contents note Regarding Portrait of a Man by Waldo and Jewett; and an American School watercolor of Niagra Falls. 1975 3 13 Karger, Nicholas A. Â Scope and Contents note Regarding Old Mulford House by Childe Hassam. Includes three photographs of paintings signed by Bombois and one by [Dury]. 1974 3 14 Ken Miller and Son, Inc., Northfield, Mass. Â Scope and Contents note Regarding Julian Alden Weir. 1980 3 15 Kirstein, Lincoln Â Scope and Contents note Regarding Nadelman, and Diana by Augustus St. Gaudens. 1972, 1979 3 16 Kountze, Leslie Thorne Â Scope and Contents note Regarding By The Shimmering Sea by Olaf Brauner. 1979-1980 3 17 Lay, Agnes (Mrs. Oliver) Â Scope and Contents note Regarding Julian Alden Weir portraits of Anna Baker Weir. 1971-1972 3 18 Layton, Richard Â Scope and Contents note Regarding Newell Convers Wyeth artwork. 1983 3 19 Lee, Hannibal Â Scope and Contents note Regarding Rocky Landscape and Â Portrait of a Boy by Cecilia Beaux. 1981 3 20 Levine, Joseph Â Scope and Contents note Regarding Carousel at Nahant by Maurice Prendergast. 1972 3 21 Levine, Marsha Â Scope and Contents note Regarding Portrait of Bishop Antoon Triest by Sir Anthony Van Dyck. Includes photograph. 1980 3 22 Lieberthal, Bud Â Scope and Contents note Regarding Bachelor's Child and Â Black Vase With Leaves by Yasuo Kuniyoshi. 1973 3 23 Likes, Phil Â undated 3 24 Lincoln's Tomb, State Historic Site, Springfield, Ill. Â Scope and Contents note Regarding George Grey Barnard sculpted portrait, Abraham Lincoln. 1978 3 25 Lipsitz, Paula Â Scope and Contents note Regarding Frederick Carl Frieseke, Alfred H. Maurer, and John Singer Sargent. 1975 3 26 Lock, Charles K. Â Scope and Contents note Regarding Open and Closed by Andrew Wyeth. 1973 3 27 Lombard, Mrs. Richard D. Â Scope and Contents note Regarding Charles Demuth vaudeville watercolor. 1975 3 28 London, Robert Â 1974-1975 3 29 MacFarland, Lon P. Â Scope and Contents note Regarding Portrait of a Young Man by Eastman Johnson. 1975 3 30 Madden, William J. Â Scope and Contents note Regarding Jesus et la Samaritaina by Odilon Redon. Photograph included. 1976-1981 3 31 Mallory, Clifford D., Jr. Â 1973 3 32 Malone, Cynthia Â Scope and Contents note Regarding Henri de Toulouse-Lautrec, and Open and Closed by Andrew Wyeth. 1973 3 33 Mann, Michael Â Scope and Contents note Regarding W. Richards and W. Walker. Includes photographs. 1971 3 34 Manoha, Mrs. Jacques Â Scope and Contents note Regarding Landscape by Gustave Loiseau. 1977 3 35 Marse, John Â Scope and Contents note Regarding Leon Gaspard, Daniel Ridgway Knight, and E.I. Couse. 1975 3 36 Marriot, Doreen Â Scope and Contents note Regarding Albert Bierstadt, Ecce Homo by Hieronymus Bosch, and Thomas Sully portraits. 1975 3 37 McNeil, Henry Â Scope and Contents note Regarding Thomas Moran oil painting of the Schuylkill River, William Wickham Mills Smith and Â The Thomas H. Mills House by William Sidney Mount, and a Thomas Eakins sketch. 1978-1980 3 38 McCormick, Mrs. Cyrus Â Scope and Contents note Regarding New York Street Scene and Â CafÃ© Scene by Robert Henri; Â Central Park and Fifth Avenue by Everett Shinn; and Â Traveling Carnival, Santa Fe by John Sloan. Photograph included. 1973 3 39 McNulty, Nancy G. Â Scope and Contents note Regarding James Desvarreux-Larpenteur painting. 1982 3 40 Melville, Ward (Mrs.) Â Scope and Contents note Regarding small landscape of Mills Pond House and William Sidney Mount portrait. 1980 3 41 Menikoff, A.L. Â Scope and Contents note Regarding paintings attributed to Soutine and Chase. 1972 3 42 Messmore, Mrs. Carman Â 1975 3 43 Middleton, Robert W. Â Scope and Contents note Regarding paintings attributed to Soutine and Chase. 1980 3 44 Midwestern Galleries, Inc., Cincinnati, Ohio (Harry A. Lockwood) Â Scope and Contents note Regarding Trapper and Scout by Harvey Dunn and possible business with Steven Straw, Bob Weimann, and Frank Gesner. 1974-1976 3 45 Milch, Harold Â Scope and Contents note Regarding At the Bar, Â The Finish, Â Early Mornin, Â Rondo Capricioso, and Â Clown with Mandolin by Grigory Gluckmann. 1978-1979 3 46 Miller, Kay Â Scope and Contents note Regarding Albert Bierstadt painting. 1975 3 47 Millet, J. Bradford Â Scope and Contents note Regarding Frank Millet study of ships entering the harbor. 1978 3 48 Millonzi, Robert I. Â Scope and Contents note Regarding Symbol #4 and Â Symbol #5 by Marsden Hartley. 1979 3 49 Mirando, Felix Â Scope and Contents note Regarding Boy Playing Flute by Norman Rockwell. 1980-1981 3 50 Mittleman, David Â Scope and Contents note Regarding On the Meadows by J.F. Murphy; Â Sailboat by William Edward Norton; Â Box at the Opera and Â Grand Canal by Edzard Dietz; Â A Scene in Paris by Bruck Lajos; and Â Course a Longchamps, Â Races in Paris, and Â Bois de Boulogne by Gabriel Spat. 1975 3 51 Mizne, Marcus Â Scope and Contents note Regarding Severinni painting. 1982 3 52 Mongerson Gallery, Chicago, Ill. Â Scope and Contents note Regarding Madame Frieseke by Frederick Carl Frieseke. 1975-1976 3 53 Morini, Frank Â Scope and Contents note Regarding Claude Monet painting that belonged to cousin of Prince Nicholas Makaeff. 1974 3 54 Morningstar, Ann Scott Â Scope and Contents note Regarding Church exhibit at Smithsonian. 1972 3 55 Mount Gulian Society, Beacon, N.Y. Â Scope and Contents note Includes photographs of badly damaged painting with plaque: Washington Crossing the Delaware. undated 3 56 Mueller, Karl Â 1974 3 57 Muskavitch, Charles Â Scope and Contents note Regarding Paysage by Jean Pougny. 1974-1976 3 58 Naselli, Giovanni, Countess Â Scope and Contents note Regarding Nadelman bronze sculpture, Kneeling Dancer. 1973 3 59 National Endowment for the Arts, Washington, D.C. Â Scope and Contents note Regarding press announcement for Museum Conservation/Renovation Grants. 1973 3 60 Nebenzahl, Kenneth Â Scope and Contents note Regarding Grand Voyages, parts I through IX by De Bry. 1975 3 61 Niehoff, Richard Â Scope and Contents note Contact information and note regarding interest in Marsden Hartley. undated 3 62 Noonan, Lois C. (Bixby Memorial Free Library, Vergennes, Vt.) Â Scope and Contents note Regarding drawing of Vergennes attributed to Kensett. 1974 3 63 Nordstern Insurance, New York, N.Y. Â Scope and Contents note Correspondence regarding art brokerage arrangement: Peter H. Davidson proposed to "establish regional service centers or curatorial service centers tied to New York that would act in concert with local museum and private collectors." 1982-1983 3 64 Norton Simon, Inc., Los Angeles, Calif. Â 1975-1980 3 65 Novak, Barbara Â 1983 3 66 Office Temporaries, New York, N.Y. Â undated 3 67 Old Lyme Expedition, South Lyme, Conn. (Lyme Academy of Fine Arts) Â Scope and Contents note Regarding fundraiser art show featuring work by J. Alden Weir. 1982-1983 3 68 Olson Art, Inc., Larchmont, N.Y. (Olaf Packer) Â Scope and Contents note Regarding J. Buttersworth painting of a ship at sea, J. Trumball portrait of a man, Portrait of a Gold Prospector by Lawrence Carmichael Earle, and a John Peto painting. Photographs included. 1981, undated 3 69 O'Reilly, William Edward (Plaza Art Galleries, Inc.) Â Scope and Contents note Regarding Paris Street Scene by Robert Henri. 1976 3 70 Osuna Gallery, Washington, D.C. (Raymond Osuna) Â Scope and Contents note Regarding Paysage de Fontenay by Diego Rivera and Â My Hell Raising Sea by John Marin. 1978-1982 3 71 Paine, Edward G. Â Scope and Contents note Regarding three miniatures thought to be portraits of Alexander Hamilton. 1976 3 72 Paul Moro, Inc., New York, N.Y. Â Scope and Contents note Regarding restoration of Bernard Karfiol oil. 1979 3 73 PB Eighty-Four, New York, N.Y. Â Scope and Contents note Regarding Cottage Scene by N. Smith, Â Moonlight Scene by J. Onderdonk, Â Mountain Landscape and Â Fete de Femme by V. Kirtland, Â Portrait of Lady by Alfred Goes, and Â Mother and Child by Bernard Karfiol. 1977-1980 4 1 Peirce, John W. Â Scope and Content Note Regarding Berlin, Number 49 by Marsden Hartley. 1974 4 2 Perrine, Mary Â Scope and Content Note Regarding Van Dearing Perrine artwork. 1979-1980 4 3 Peters, William Wesley Â Scope and Content Note Regarding two Japanese screens owned by Peters, attributed to Momyma, and formerly owned by Frank Lloyd Wright. 1974-1975, undated 4 4 Peters, Z. M. Â Scope and Content Note Regarding Portrait of St. Peter by Jusepe de Ribera, Â Portrait of a Nobleman by Ludgar Tom Ring, and Â Landscape by Josse de Momper. 1972 4 5 Pharr, Walter Nelson Â 1974 4 6 Photographers (Stuart Friedman, Gregory Kitchen, Steven Tucker) Â Scope and Contents note Regarding photographic services, quotes, and fees. 1981, undated 4 7 Pick, Mrs. James Â 1974 4 8 Plaza Art Galleries, Inc., New York, N.Y. (William E. O'Reilly) Â Scope and Contents note Regarding engraving by Pablo Picasso. 1978 4 9 Pollack, Peter and Creilly Â Scope and Contents note Regarding Maine Seacoast by Ivan Albright, litho of Albright watercolor, Â Silent Waters by Lillian Genth, Â October Eve by Charles Warren Eaton, Â First Steps by Edward Potthast, and Â Summer Evening by George Bellows. 1974-1982 4 10 Pool, Nelda Lee Â 1976 4 11 Pratt Institute Â 1981 4 12 Preminger, Mary Gardner Â 1974 4 13 Print Collector's Newsletter (Jacqueline Brody) Â 1976 4 14 Quinnipiac Club, New Haven, Conn. Â Scope and Content Note Regarding The Palisades by George Bellows and Â Seascape by Chauncey Ryder. undated 4 15 R.H. Love Galleries, New York, N.Y. Â Scope and Contents note Regarding Gunther Hartwick painting and Morning View on Grand Canal Venice by George Loring Brown. 1980 4 16 Ragsdale, Rodney Â Scope and Contents note Regarding his work: Lady Walking, Â Morning Mist, Â Reflection, and Â Patterns. 1979-1984 4 17 Rainone, Carl F. (Fine Art Investment, Arlington, Texas) Â Scope and Contents note Regarding Frederick Carl Frieseke, Eastman Johnson, and a Charles Demuth Vaudeville watercolor. 1973-1974 4 18 Rathbone, Perry T. (Christies) Â 1973 4 19 Real Estate Offerings Â 1981-1982 4 20 Redmon, Norman Silas Â Scope and Contents note Regarding Louise Nevelson sculpture, Carlotta by Georges Rouault, Â Still Life by Oudry, an Albert Bierstadt painting, and a Frederick Hendrik de Haas painting. 1975-1980 4 21 Reese, Jean Â Scope and Contents note Regarding Rocky Mountain Storm Scene, Â Apotheosis of the West, and Â Woodland Scene by Albert Bierstadt and Â The Isle of Shoals by Frederick Hendrik de Haas. 1974-1980 4 22 Renner, Frederic G. Â Scope and Contents note Regarding The Marauder (wolf), Â Bear, and Â Ashtray with Buffalo Skull, three bronzes attributed to Charles M. Russell. Also contains information about fake C.M. Russell bronzes. 1975-1977 4 23 Rhyne, Charles S. Â Scope and Contents note Regarding Bridge on the Mole by John Constable. 1983 4 24 Rhys, Hedley Howell Â Scope and Contents note Regarding Maurice Prendergast watercolor. 1976 4 25 Rich, Daniel Catton Â Scope and Contents note Regarding Augustus St. Gaudens, Reclining Nude by Frederick Carl Frieseke, and Â Storm in the Rocky Mountains by Albert Bierstadt. 1974-1976 4 26 Rifkin, Mrs. Harold Â Scope and Contents note Regarding Take Him Out, Â Evening, and Â Basketball by George Bellows. 1977-1978 4 27 Ritchie, M. H. W. Â Scope and Contents note Regarding Maurice Prendergast and John Singer Sargent artwork. 1972-1974 4 28 Robert Osborne Galleries, New York, N.Y. Â Scope and Contents note Regarding Charles Willing by Robert Feke. Includes photographs. 1970-1973 4 29 Robert Pfeiffer Associates, Inc., New York, N.Y. Â Scope and Contents note Regarding valuation for portrait by Eastman Johnson and severed ties between Monique Knowlton Gallery and Pfeiffer Associates Inc. 1973-1978 4 30 Robertshaw, Marion Â Scope and Contents note Regarding Candido Portinari paintings. 1980 4 31 Robinson, Sheila Â Scope and Contents note Regarding M. B. Priors of the Fords. 1975 4 32 Robinson, Ann W. Â Scope and Contents note Regarding Charles Demuth watercolor; Marsden Hartley oil; and Man With Wildflowers, Â Anger, Â Riot, and Â Atlantic City by Ben Shahn. 1974-1975 4 33 Rollins, James A. Â Scope and Contents note Regarding Spring Blossoms by George Inness and Â The Beginning, Â The Brook, Â The Fence, and Â Coming In (engravings of the Northampton Grand National Steeplechase) by Charles Hunt. 1980-1981 4 34 Rose, Peter Â Scope and Contents note Regarding Benton murals at the New School. 1981-1983 4 35 Rosenthal, Mrs. Alan H. Â Scope and Contents note Regarding New York at Night No.3 by John Marin. 1977 4 36 Rosner, Sidney A. Â Scope and Contents note Regarding Norfolk Meadows by Ernest Lawson. 1974 4 37 Rothbert, Ida Â 1979 4 38 Rothko Estate Court Settlement Â Scope and Contents note Contains newspaper clipping. 1975 4 39 Ruiz, Francisco Fernandez Â Scope and Contents note Regarding "American impressionist" painting. 1974 4 40 S. J. Shrubsole Corp., New York, N.Y. Â Scope and Contents note Regarding four George III silver candlesticks. 1975 4 41 Salzman, John Â 1978 4 42 Samuels, John S., III Â Scope and Contents note Contains newspaper clippings. 1975, undated 4 43 Satterfield, Phil (Chameleon Gallery) Â Scope and Contents note Regarding Wyeth painting and The Seven Deadly Sins by Hieronymus Bosch. 1974-1975 4 44 Schrecker, Frank Â Scope and Contents note Regarding Aelbert Cuyp artwork. 1976 4 45 Schwartz, Barbara Fog Â undated 4 46 Scott, Charles F. Â Scope and Contents note Regarding Ralph Earl portrait. 1983 4 47 Scott, Dwight, H. (Mrs.) Â Scope and Contents note Regarding Hasbrouck watercolors and Charles P. Gruppe. 1975 4 48 Scott, Henry C. Â Scope and Contents note Regarding Charles Ewing (portrait of Scott's great grandfather) by Thomas Sully. 1973 4 49 Scull, Barclay (estate of) Â 1974 4 50 Senior, John L. Â Scope and Contents note Regarding Tom Thumb Coach. 1981-1983 4 51 Sevilla Art Studio, Ltd., New York, N.Y. Â Scope and Contents note Regarding Tropical Moss by Ernest Lawson. 1978, undated 4 52 Shaw, Mrs. John E. B. Â 1974 4 53 Shepardson, Betsy Â Scope and Contents note Regarding 2 Nudes on Green Paper by Mahonri Young. 1981-1983, undated 4 54 Sherk, Lincoln A. Â Scope and Contents note Regarding Robert Salmon and Hart artwork. 1975 4 55 Shippee, Nathan M. Â Scope and Contents note Regarding Helen M. Hinds portrait of child and baby, 1891. Photograph included. 1973-1973, undated 4 56 Shoenberg, John M. Â 1973 4 57 Shrecker, Vera Â 1976 4 58 Shufro, Judy Â 1979-1980 4 59 Simon, Charles Â Scope and Contents note Regarding Untitled by Patrick Henry Bruce and Â Overseas Highway by Ralston Crawford. 1978-1979 4 60 Singer, Al Â Scope and Contents note Contains contact information only. undated 4 61 Singer, Nancy Â 1972 4 62 Sirak, Howard Â Scope and Contents note Regarding "Gauguinesque" artwork by Pablo Picasso. 1975 4 63 Skal, Susan Â Scope and Contents note Contains contact information only. 1980 4 64 Skowhegan School of Painting, New York, N.Y. Â Scope and Contents note Regarding Sailboat and Â Evergreen by John Marin. 1975-1977 4 65 Sligo, The Marquess of, County Mayo, Ireland Â 1972 5 1 Sloan, Dorothy Â Scope and Contents note Regarding Battle of San Saba, attributed to Jose de Paez. Includes photographs. 1987-1988 5 2 Smith, Gregory B., Sr. Â Scope and Contents note Regarding Raeburn portrait. 1976-1977 5 3 Smith and Watson, New York, N.Y. Â Scope and Contents note Photograph of Chippendale carved dining chairs. undated 5 4 St. John Art International Inc., New York, N.Y. (Bruce St. John) Â 1972, 1980-1981 5 5 St. L. O'Toole, James Â Scope and Contents note Regarding Davidson's opinion that O'Toole's "Stuart material" is not work of Gilbert Stuart, but a copy. 1973 5 6 Stanford, Charles W. Â Scope and Contents note Regarding Edward Hopper, John Wollaston, and Jasper Cropsey artwork. 1973 5 7 Sterling Management Corporation, New York, N.Y. Â 1977-1980 5 8 Steven Straw Co. Â Scope and Contents note Regarding Edgar Degas commission and Straw's bankruptcy scandal. 1976-1980 5 9 Stolen Bronze Â Scope and Contents note Regarding information about stolen bronze by Rodin from resident of Miami Beach, Fla. 1981 5 10 Sturbridge (Old Sturbridge Village, Henry J. Harlow) Â Scope and Content Note Regarding Ralph Earl portraits. 1976 5 11 Sussman, Lila Â Scope and Contents note Regarding Straits of Messina by Warren Sheppard. 1980 5 12 Taylor, Dorothy (Mrs. H. Lloyd) Â Scope and Contents note Regarding Jo Davidson busts. 1971-1972 5 13 Taylor, Peter Â Scope and Contents note Regarding Rembrandt Peale portrait of Thomas McKean. 1976-1980 5 14 Teze, Blanche Fabry Â Scope and Contents note Regarding Duex Femmes Et Enfant A la Fontaine by Pablo Picasso. 1976 5 15 Thayer, Walter N. Â 1973 5 16 Thompson, J.J. Â Scope and Contents note Regarding Victory by Augustus St. Gaudens. 1974-1975 5 17 Tikoo, Ravi Â Scope and Contents note Newspaper clipping only. 1974 5 18 Towers and Ruben Galleries, Cold Spring Harbor, N.Y. Â Scope and Contents note Regarding Scallop Boats at Peconic Bay by Irving R. Wiles. 1981 5 19 Towers Gallery Â Scope and Contents note Regarding The Actor by John White Alexander. 1980 5 20 Trenton, Pat Â 1975 5 21 Tudor, Tasha Â Scope and Contents note Regarding Eastman Johnson painting. 1977-1978 5 22 Turner, Oliver E. Â Scope and Contents note Regarding Pennsylvania Township by John Kane. 1971 5 23 Turner, Sally Â Scope and Contents note Regarding Frederic Remington bronzes. 1971 5 24 Union Club Â Scope and Contents note Regarding The Trooper by Frederic Remington. Photograph included. 1975 5 25 United Electrical, Radio, and Machine Workers of America Â 1982 5 26 Usui, Bumpei Â Scope and Contents note Regarding Reclining Nude by Yasuo Kuniyoshi. 1978 5 27 Van Rensselaer, Mrs. H.B., Jr. (Anne Winston Botsford) Â Scope and Contents note Regarding John Singleton Copley paintings. 1971-1974 5 28 Vanacore, Michael Â 1979 5 29 Vandervelde, Lee Â Scope and Contents note Regarding Dancers by Edgar Degas and Â Portrait of Mme. Zborowski by Amedeo Modigliani. 1975 5 30 VanDeventer, Anne (Baltimore Museum of Art) Â Scope and Contents note Regarding Carroll portraits. 1974 5 31 Vigmostad, Rolf Â Scope and Contents note Regarding Jasper Cropsy landscape painting. 1974 5 32 Vydra, Jana Â Scope and Contents note Regarding George Pock painting. 1975-1979 5 33 Wachenheim, Edward, III Â Scope and Contents note Regarding Pan, Emersed by K. Noland. 1985 5 34 Walker, Dorothy Â Scope and Contents note Regarding Yasuo Kuniyoshi lithographs, Head of a Women by Andre Derain, Â Head of a Woman in Profile by Pablo Picasso, Â Portrait of Verlaine and Â Portrait of a Man(Pere Ubu series) by George Roualt, Â Delmonico Building by Charles Sheeler, and Â Seated Woman by Raphael Soyer. 1973-1978 5 35 Walker, Maynard Â 1972-1986 5 36 Wallace, Ansley W. (Addison Ripley Gallery Ltd.) Â 1983 5 37 Wanderman, Dorothy (Mrs. Seymour S.) Â Scope and Contents note Regarding Caravaggio painting. 1978-1979 5 38 Ward, Clare McVickar Â Scope and Contents note Regarding estates of Albert Bierstadt and Frederik Hendrik de Haas. 1979 5 39 Wasserman, Helene Â undated 5 40 Webster, James (James Webster Associates) Â Scope and Contents note Contains contact information only. undated 5 41 Waterbury, Lester E. Â 1974 5 42 Weitzner, Nicholas H. Â 1972-1983 5 43 Wyeth family Â Scope and Contents note Correspondence with Nicholas Wyeth, newspaper clippings, and some photographs of Andrew Wyeth's work. 1975-1986 5 44 Wyeth family - Bregler Collection of Thomas Eakins Â 1985 5 45 Zogbaum, Rufus Â Scope and Contents note Regarding his Gettysburg murals. 1984 5 46 Miscellaneous Â Scope and Contents note Contains correspondence with Donald Fothringham, Robert C. Lawrence III, and Andrea Henderson. undated Return to Top Â» Series II: Edward Sprague Jones Correspondence, 1975-1977 Â Â Â 0.25 Linear feet Scope and Content Note This series contains mainly outgoing correspondence of Edward Sprague Jones, an employee of Peter Davidson, though some incoming replies are included. The correspondence consists of Jones' attempts to find prospective art pieces or purchasers, and several letters that refer to completed purchases. Box Folder Date 6 1 B - C Â Scope and Contents note Correspondents include: Barnes, Thora (Mrs. Richard) Clemente, Alexander O. (Erie Public Museum and Planetarium) Cook, Christopher (Addison Gallery of American Art) Coudert & Brothers (William Rand) Cushing, Harry C. IV Cutler, Mrs. Alexander B. (University of Maine at Orono Art Galleries) Cutler, Robert (Acoustiguide) 1975-1977 6 2 D - F Â Scope and Contents note Correspondents include: Dodworth, Allen (Boise Gallery of Art) Doty, Robert (Akron Art Institute) Driskell, David C. (Carl Van Vechten Gallery of Fine Arts, Fisk University) Duane, James (James Duane & Co.) Duell, Charles Emery, John J. Francis, Rev. Elmer F. 1975-1977 6 3 He - Ho Â Scope and Contents note Correspondents include: Hedin, Gordon Henderson, Gertrude (Mrs. Ralph) Hendrickson, William H. Henning, Robert, Jr. (Museum of Fine Arts) Hickman, Ronald (Phoenix Art Museum) Holland, Eugenia Calvert (Maryland Historical Society) Holverson, John (Portland Museum of Art) 1975-1977 6 4 Ho - I Â Scope and Content Note Correspondents include: Hotton, Julia (Brooklyn Museum) Howard, Frank (Provident National Bank) Humphrey, Rev. Gerald W. Hurley, Donald J. (Goodwin, Procter & Hoar) Iglehart, I. W. Ingersoll, Paul M. (Provident National Bank) Institute of Heraldry (Adel Richey, Charles Spittler) 1975-1977 6 5 J - Ke Â Scope and Contents note Correspondents include: Jewett, George F., Jr. Jones, Claude E. E. Jones, Louis C. (New York Historical Association) Kansas (University of Kansas Museum of Art, Gridley M. Smith) Karro, David Kelly, William Boulton 1975-1977 6 6 Ki - Ko Â Scope and Contents note Correspondents include: Kidder, Henry M. (Seward & Kissel) Kins, Gloria Klemmer, Raymond J. Kley, Ronald J. (Maine State Museum) Knight, Betsy (Barn Gallery Associates, Inc.) Kojic, Zorin Kowalek, Jon W. (Tacoma Art Museum) 1975-1977 6 7 L Â Scope and Contents note Correspondents include: Labanish, John (Western Pennsylvania Historical Society) Lansdown, Robert R. (Woolaroc Museum) Lee, Philip Henry, Jr. Lesser, Bud Levy, David E. (James Duane & Co.) Library of Congress Lincoln Center for the Performing Arts (Amyas Ames) Little, Nina Fletcher (Mrs. Bertram K.) Loring, Augustus 1975-1977 6 8 Ma - Me Â Scope and Contents note Correspondents include: Magee, Christopher W. Magee, David (Morgan Guaranty Trust Company of New York) Malone, Mary E. Manske, Cecilia (Gibbes Art Gallery) Martin, John Rupert Masters, R. H. Mayhew, Brandon Melfe, Thomas 1975-1977 6 9 Mi Â Scope and Contents note Correspondents include: Michels, Joseph P. (Museum of Fine Arts) Middendorf, W. Kennedy Middlebury College (John Spencer) Milbank, Mrs. Wetmore Milin, M. Miller, Jo Miller, Jozach IV 1975-1977 6 10 Mo - Mu Â Scope and Contents note Correspondents include: Moon, John C. (Colonial Williamsburg) Moore, Benjamin Allston, Jr. (Buist, Moore, Smythe & McGee) Moore, Roger (Ropes & Gray) Morrin, Peter, (Vassar College Art Gallery) Mundt, Alice (Worcester Art Museum) Murray, F. S. Key 1975-1977 6 11 Na - Ni Â Scope and Contents note Correspondents include: Nassau County Museum (Edward J. Smits) National Museum Finland Near, Pinkney (Virginia Museum of Fine Arts) Neely, Mark E., Jr. (Lincoln National Life Foundation) Nickerson, Adams H. (Nickerson and Waterman) Nickerson, Martin H. 1975-1977 6 12 No - O Â Scope and Contents note Correspondents include: Norton, Mrs. Richard W. (R. W. Norton Art Gallery) Noyes, Hugh Nozynski, John Henry (Tennessee Fine Arts Center) O'Brien's Art Emporium Osgood, William B. Ostrow, Stephen E. (Museum of Art, Rhode Island School of Design) 1975-1977 6 13 Pa - Pe Â Scope and Contents note Correspondents include: Page, Addison Franklin (J. B. Speed Art Museum) Parker, Harry S., III (Dallas Museum of Fine Arts) Parker, Michael Patton, John M. S. Patton Museum of Cavalry and Armor (Richard D. Healy) Pearman, Sir James (Conyers, Dill & Pearman) Peltz, Dallas. 1975-1977 6 14 Pe - Pu Â Scope and Contents note Correspondents include: Peters, Barbara Petree, Jay Peyser, Frederick M., Jr. Pierson, Richard N., Jr. Poole, Alan K. Pulling, Thomas L. Purrington, Philip F. (Old Dartmouth Historical Society Whaling Museum) 1975-1977 6 15 Ra - Ri Â Scope and Contents note Correspondents include: Rahnema, Maryam Randall, Richard H., Jr. (Walters Gallery) Redmond, Sara D. Rentschler, Henry A. Rentschler, James P. Richter, Horace. 1975-1977 6 16 Ro - Ru Â Scope and Contents note Correspondents include: Roosevelt, Elizabeth E. Rosa, Joyce Rousmaniere, J. A. (National Art Museum of Sport) Rovetti, Paul F. (William Benton Museum of Art) Russell, Archibald Russell, W. Hamilton Russell, Mariette Rutkowski, Walter (Cohen Memorial Museum of Art) 1975-1977 6 17 Sa - Sc Â Scope and Contents note Correspondents include: Sadik, Marvin S. (National Portrait Gallery) Sailer, Henry P. (Covington and Burling) Salm, Peter A. Samson, Hugh Samuels, John S., III Sands, James Scanlon, Carole (National Trust for Historic Preservation) Schlageter, Robert W. (Cummer Gallery of Art) Schulte, Anthony M. (Alfred A. Knopf, Inc.) 1975-1977 6 18 Se - Sm Â Scope and Contents note Correspondents include: Selje, Richard Simmons, Richard J. Simpson, William F. Slack, W. Cameron (Maryland National Bank) Slavin, Richard E., III (Fenimore House) Smith, C. Arthur, Jr. Smith, Ralph K. (Sage, Gray, Todd & Sims) 1975-1977 6 19 Sp - St Â Scope and Contents note Correspondents include: Spear, Richard E. (Allen Memorial Art Museum) Spencer, John (Middlebury College) Stanton, Louis L., Jr. (Carter, Ledyard and Milburn) Stewart, William A. W., III Stott, Frederic A. Stryker, Mrs. A. Bartlet 1975-1977 6 20 T - V Â Scope and Contents note Correspondents include: Talbot, William S. (Cleveland Museum of Art) Teilman, Herdis B. (Museum of Art, Carnegie Institute) Thomas, M. W., Jr. (Fenimore House) Thompson, Tina (Mrs. Henry Burling III) True, Leroy (Nantucket Historical Association) Union League of Philadelphia (Maxwell Whiteman) United States Cavalry Museum Vroman, Barent S., Jr. (Maine National Bank) 1975-1977 6 21 Wa - We Â Scope and Contents note Correspondents include: Wall, Alexander J. (Old Sturbridge Village) Wall, Charles Cecil Wallower, William Warrum, Richard L. (Indianapolis Museum of Art) Webb, Bryan Webber, Pat (Mrs. Rex Payson) Weekes, James H. Weekes, Townsend U. 1975-1977 6 22 We - Wi Â Scope and Contents note Correspondents include: Weldon, Jack West, Charles West, Richard V. (E.B. Crocker Art Gallery) Whitlock, John J. (Brooks Memorial Art Gallery) Williams, Mrs. Douglas Wilmerding, James W.W. Windels, Arthur Windels, Mary Ann (Mrs. R.) Winton, Michael 1975-1977 6 23 Wo - Wr Â Scope and Contents note Correspondents include: Wohl, Alice (Mrs. Helmut) Wolfe, Townsend, III (Arkansas Arts Center) Woolverton, Ethel (Mrs. William H.) Workman, David T. Wright, William B., Jr. 1975-1977 Return to Top Â» Series III: Artist Files, 1971-1991 Â Â Â 7.0 Linear feet Scope and Content Note The artist files contain information about artwork offered by Peter H. Davidson & Co. They are arranged first by artist and then by artwork. At a minimum, the files usually include a photograph of the artwork and a description. The descriptions usually include the artist name, birth and death dates, title of the piece, medium, size, date of execution, short narrative, list of previous owners, and a list of exhibitions the piece appeared in. Some files may also contain research notes and material about the piece, invoices for restoration, correspondence regarding provenance research or restoration, or in rare cases, exhibit loan agreements. There is a notebook containing information about photographs for re-ordering purposes, as well as a folder of slides at the end of the series. Box Folder Date 7 1 Alexander, John White, 1856-1915 - The Actor Â Scope and Contents note Folder marked: sitter E.A. Southern? undated 7 2 American School - Hancock Memorial engraving Â undated 7 3 American School - Ice Fishing Â undated 7 4 American School - Niagara Falls Â undated 7 5 American School - Portrait of a Man Â undated 7 6 American School - Portrait of Philip Titus Heartt Â undated 7 7 American School - Three Boys Playing Â Scope and Contents note Folder marked: attributed to James Henry Beard? undated 7 8 Arms, John Taylor, 1887-1953 - From Knoedler's Window Â undated 7 9 [Bariand], H. - Portrait of a Young Girl With Book Â undated 7 10 Barnard, George Grey, 1863-1938 - Abraham Lincoln Â undated 7 11 Beal, Gifford, 1879-1956 - The Circus Performer on Horseback, Bringing Home the Christmas Tree Â Scope and Contents note [no photograph] double-sided painting undated 7 12 Beal, Gifford, 1879-1956 - Bird Hunting in Winter Â Scope and Contents note [no photograph] undated 7 13 Beaux, Cecilia, 1855-1942 - New England Landscape Â undated 7 14 Becker, Otto - Custer's Last Fight Â Scope and Contents note [no photograph] 1988 7 15 Bellows, A. F. (Albert Fitch), 1829-1883 - Untitled (boy on beach) Â Scope and Contents note [no photograph] undated 7 16 Bellows, George, 1882-1925 - Basketball Â 1978 7 17 Bellows, George, 1882-1925 - Evening Â 1978-1979 7 18 Bellows, George, 1882-1925 - Nude Reclining Â 1978 7 19 Bellows, George, 1882-1925 - Polo at Lakewood Â 1979 7 20 Bellows, George, 1882-1925 - The Rescue Â 1978 7 21 Bellows, George, 1882-1925 - A Stag at Sharkey's Â 1979-1980 7 22 Bellows, George, 1882-1925 - Take Him Out Â undated 7 25 Berman, Eugene, 1899-1972 - Rigoletto Â 1980 7 27 Bierstadt, Albert, 1830-1902 - Mount Hood, Oregon Â 1982-1986 7 28 Bierstadt, Albert, 1830-1902 - Mountain Landscape Â undated 7 30 Bierstadt, Albert, 1830-1902 - Woodland Scene - Early Autumn Â 1978 7 31 Bierstadt, Albert, 1830-1902 - Apotheosis of the West Â 1974-1975 7 32 Bierstadt, Albert, 1830-1902 - Woodland Scene Â 1978 7 33 Bingham, George Caleb, 1811-1879 - Interior With Figures: Night Scene Â undated 7 34 Bingham, George Caleb, 1811-1879 - Lighter Relieving a Steamboat Aground Â 1971-1978 8 1 Bodmer, Karl, 1809-1893 - Head of an Antelope (Male Pronghorn) Â undated 8 2 Bodmer, Karl, 1809-1893 - Pasesick-Kaskutau, an Assiniboin Indian Â undated 8 4 Bonnard, Pierre, 1867-1947 - Paravent A Quatre Feuilles Â Scope and Contents note [no photograph] undated 8 5 Bonington, Richard Parkes, 1801-1828 - Palace of the Dodge, Venice Â undated 8 6 Boudin, EugÃ¨ne, 1824-1898 - Ãtaples Â 1985 8 7 Bourdelle, Emile Antoine, 1861-1929 - The Archer Â Scope and Contents note [photograph only] undated 8 8 Bourdelle, Emile Antoine, 1861-1929 - Head of Apollo Â 1977-1980 8 9 Bourdelle, Emile Antoine, 1861-1929 - The Sculptress Resting Â 1977 8 10 Brandt, Carl Ludwig, 1831-1905- Souvenir of Mexico Â 1989 8 11 Brauner, Olaf M., 1869-1947 - By the Shimmering Sea Â Scope and Contents note [no photograph] 1981-1982 8 12 Brewort, Sellin - Connecticut Landscape Â undated 8 13 Bricher, Alfred Thompson, 1837-1908 - Marine Scene Â 1978 8 14 Bricher, Alfred Thompson, 1837-1908 - Coastal Scene Â undated 8 15 Bristol, [?] - New Hampshire Landscape Â Scope and Contents note [photograph only] undated 8 16 Brown, George Loring, 1814-1889 - Morning, A View of Mount Pellegrino and Portion of the Harbor of Palermo, Italy Â undated 8 17 Bruce, Patrick Henry, 1881-1936 - Peinture / Nature Morte Â 1978-1979 8 18 Brush, George de Forest, 1855-1941 - Portrait of Mittie Â Scope and Contents note [no photograph] undated 8 19 Buffalo Bills Wild West Show, Paris, 1889 (photographs) Â 1977-1979 8 20 Burchfield, Charles Ephraim, 1893-1967 - Sunflower Â undated 8 21 Burt, James, fl. 1835-1849 - The Mill Pond Â undated 8 22 Calder, Alexander, 1898-1976 - Standing Sculpture Â Scope and Contents note [photographs only] undated 8 23 Caravaggio, Cecco del, fl. ca. 1610-1620 (attributed to) - Two Musicians Â 1950-1979 8 24 Carlsen, Emil, 1853-1932 - Still Life With Dead Game Â 1983-1985 8 25 Carmiencke, Johann Hermann, 1810-1867 - Harbor View - Narrows From Staten Island Â Scope and Contents note [no photograph] 1988-1989 9 1 Cassatt, Mary, 1844-1926 - Portrait of a Baby in a High Bonnet Â undated 9 2 Cassatt, Mary, 1844-1926 - Boy Standing in Tall Grasses Â 1972, 1978 9 3 Cassatt, Mary, 1844-1926 - Mother Berthe Holding Her Baby Â Scope and Contents note [no photograph] undated 9 4 Cassatt, Mary, 1844-1926 - Mrs. Robert Simpson Cassatt Â Scope and Contents note [no photograph] undated 9 5 Cassatt, Mary, 1844-1926 - Tondo Mural for Harrisburg Statehouse (no. 1) Â undated 9 6 Cassatt, Mary, 1844-1926 Â Scope and Contents note [no photographs] 1977 9 7 Chadwick, Lynn, 1914-2003 - Parachutist Â undated 9 8 Champney, Benjamin, 1817-1907 Â 1979 9 9 Chappel, Alonzo, 1828-1887 - The Battle of Lexington Â Scope and Contents note [no photograph] undated 9 10 Chase, William Merritt, 1849-1916 - Near the Beach, Shinnecock Â undated 9 11 Child, Edwin B. Â undated 9 12 Chinese School Â undated 9 13 Cobb, Cyrus, 1834-1903 - Portrait of a Standing Girl Â undated 9 14 Cole, Thomas, 1801-1848 - Mount Merino, Near Hudson Â 1987-1988 9 15 Cole, Thomas, 1801-1848 - Sunset on the Arno Â undated 9 16 Colles, Gertrude - Edna Monroe Barnard Â undated 9 17 Coomer, Mark - Cante Flamenco Â 1978 9 18 Constable, John, 1776-1837 - Suffolk Â 1986-1988 9 19 Copley, John Singleton, 1738-1815 - Mrs. Duncan Stewart Â Scope and Contents note [no photograph] undated 9 20 Copley, John Singleton, 1738-1815 - Captain Timothy Folger (Foulger) Â 1989-1990 9 21 Copley, John Singleton, 1738-1815 - Portrait of Hugh Montgomerie, 12th Earl of Eglinton (1739-1819) Â undated 9 22 Crawford, Josephine Marien, 1878-1952 Â undated 9 23 Cropsey, Jasper Francis, 1823-1900 - Autumn Â 1987-1988 9 24 Cropsey, Jasper Francis, 1823-1900 - View Near Greenwood Lake Â 1975-1978 9 25 Curran, Charles C. (Charles Courtney), 1861-1942 - In the Orchard Â undated 9 26 Curran, Charles C. (Charles Courtney), 1861-1942 - Plow Scene Â Scope and Contents note [photographs only] undated 9 27 Cuyp, Aelbert, 1620-1691 - Landscape: Evening Effect - The Flight Into Egypt Â 1976-1977 10 1 Davies, Arthur B. (Arthur Bowen), 1862-1928 - Nude Reclining Woman Â undated 10 2 Davies, Arthur B. (Arthur Bowen), 1862-1928 - Potentia Â Scope and Contents note [no photograph] undated 10 3 Davis, Stuart, 1892-1964 - Ivy League Â Scope and Contents note [no photograph] 1977 10 4 DebrÃ©, Olivier, 1920-1999 - Nature Morte Â undated 10 5 DebrÃ©, Olivier, 1920-1999 - Figure, vert jaune Â undated 10 6 Degas, Edgar, 1834-1917 - Dancers Â undated 10 7 Degas, Edgar, 1834-1917 - La Toilette Â Scope and Content Note [no photograph] undated 10 8 De Glehn, Wilfrid-Gabriel, 1870-1951 - Sherrewogue Pond Â 1989 10 9 de Haas, Mauritz Frederik Hendrik, 1832-1895 - Isle of Shoals, Maine Â 1978 10 10 de Haas, Mauritz Frederik Hendrik, 1832-1895 - An Offshore Breeze, Isle of Shoals, Maine Â 1978-1979 10 11 Delin, Charles, 1756-1818 - Portrait of a Man Â Scope and Contents note [photograph only] undated 10 12 Demuth, Charles, 1883-1935 - Acrobats Â 1979 10 13 Demuth, Charles, 1883-1935 - Rooftops, Provincetown Â 1979 10 14 Demuth, Charles, 1883-1935 - In Vaudeville: Soldier and Girlfriend Â undated 10 15 Demuth, Charles, 1883-1935 - Wildflowers and Â Seascape (double-sided painting) Â 1979 10 16 Derain, AndrÃ©, 1880-1954 - Head of a Woman Â undated 10 17 Dewing, Thomas Wilmer, 1851-1938 - Idealized Head Â 1986 10 18 Dewing, Thomas Wilmer, 1851-1938 - Seated Woman Â undated 10 19 Dickinson, Preston, 1889-1930 - Grain elevators and Â Architectural Theme (double-sided painting) Â 1978 10 20 Dickinson, Preston, 1889-1930 - High Bridge Â 1978-1979 10 21 Dickinson, Preston, 1889-1930 - Water Tower at High Bridge Â 1977-1987 10 22 Dunn, Harvey, 1884-1952 - The Scout Â 1977 10 23 DuprÃ©, Jules, 1811-1889 - Landscape with Church Spire Â undated 10 24 Durand, A. B. (Asher Brown), 1796-1886 - June Â 1979-1980 10 25 Duveneck, Frank, 1848-1919 - Portrait of a Man Â 1979-1980 10 26 Duveneck, Frank, 1848-1919 - Portrait of a Young Woman Â 1979 10 27 Eakins, Thomas, 1844-1916 - The Artist and His Father Hunting Reed-Birds, Perspective Study Â 1982-1983 10 28 Eakins, Thomas, 1844-1916 - Sketch for the Agnew Clinic Â undated 10 29 Eakins, Thomas, 1844-1916 - Phidias Studying for the Frieze of the Parthenon Â Scope and Contents note [photograph only] undated 10 30 Eakins, Thomas, 1844-1916 - Portrait of Monsignor James P. Turner Â Scope and Contents note [no photograph] undated 10 31 Eakins, Thomas, 1844-1916 - William Rush and His Model Â Scope and Content Note [folder 1 of 2] 1980-1985 11 1 Earl, Ralph, 1751-1801 - Boys in a Park Â undated 11 2 Earl, Ralph, 1751-1801 - Girls in a Grape Arbor Â undated 11 3 Earl, Ralph, 1751-1801 - Susanna Young (Mrs. Gershom Burr) Â undated 11 4 Ebert, Charles H., 1873-1959 - Abandoned Dory Â Scope and Contents note [no photograph] undated 11 5 Ebert, Charles H., 1873-1959 - Along Shore, Greenwich Â undated 11 6 Ebert, Charles H., 1873-1959 - The Beach Â Scope and Contents note [no photograph] undated 11 7 Ebert, Charles H., 1873-1959 - Circa 1790 Connecticut Â undated 11 8 Ebert, Charles H., 1873-1959 - Country Store, Monhegan Â Scope and Contents note [no photograph] undated 11 9 Ebert, Charles H., 1873-1959 - Early Spring Shower Â Scope and Content Note [no photograph] undated 11 10 Ebert, Charles H., 1873-1959 Â Scope and Contents note [no photographs] undated 11 11 Ebert, Charles H., 1873-1959 - Fog Â Scope and Contents note [no photograph] undated 11 12 Ebert, Charles H., 1873-1959 - May, The Ebert House of on Lyme Street Â Scope and Contents note [no photograph] undated 11 13 Ebert, Charles H., 1873-1959 - Monhegan Harbor, ca. 1911 Â Scope and Contents note [no photograph] undated 11 14 Ebert, Charles H., 1873-1959 - Monhegan Harbor, ca. 1929 Â Scope and Contents note [no photograph] undated 11 15 Ebert, Charles H., 1873-1959 - Old Homestead Â undated 11 16 Ebert Studio Collection Â undated 11 17 Ecuadorian School - Chorrera figure Â Scope and Contents note [photograph only] undated 11 18 Eicholtz, Jacob, 1776-1842 - Samuel Baillie and Â Mrs. Samuel Baillie Â 1980 11 19 Ensor, James, 1860-1949 - Ensor at the Harmonium Â Scope and Contents note [no photograph] undated 11 20 European School - Antique pedestal, 15th century Â Scope and Contents note [no photograph] undated 11 21 Fanning, William H. W. (William Henry Windsor), b. 1861 - Niagara Falls with Rainbow Â 1988-1989 11 22 Farny, Henry FranÃ§ois, 1847-1916 - The Buffalo Trail Â undated 11 23 Farny, Henry FranÃ§ois, 1847-1916 - Buffalo Trail over the Divide Â undated 11 24 Farny, Henry FranÃ§ois, 1847-1916. - New Territory Â 1980 11 25 Farny, Henry FranÃ§ois, 1847-1916 (attributed to) Â undated 11 26 Feke, Robert, ca. 1705-1750 - Captain William Stoddard Â 1989-1990 11 27 Feke, Robert, ca. 1705-1750 - Charles Willing Â 1977 11 28 Fery, John C., 1859-1934 - Jackson Lake Wyoming Â undated 11 29 Field, Robert, 1769?-1819 - Alexander Hamilton Â 1977-1979 11 30 Flannagan, John Bernard, 1895?-1942 (attributed to) - Cat and Kitten Â Scope and Contents note [photographs only] undated 11 31 Flannagan, John Bernard, 1895?-1942 - Cobra and Mongoose Â undated 11 32 Forain, Jean Louis, 1852-1931 - Avocat Au Tribunal Â 1977-1979 11 33 Fraser, Charles, 1782-1860 - Niagara Falls From Above - Figure with Parasol Â undated 11 34 Fraser, Charles, 1782-1860 - Niagara Falls From Below - Figures and Boats Â undated 11 35 Frieseke, Frederick C. (Frederick Carl), 1874-1939 - The Garden Parasol Â undated 11 36 Frieseke, Frederick C. (Frederick Carl), 1874-1939 - Girl with Mirror Â Scope and Contents note [photographs only] undated 11 37 Frieseke, Frederick C. (Frederick Carl), 1874-1939 - Landscape: France Â Scope and Contents note [photographs only] undated 11 38 Frieseke, Frederick C. (Frederick Carl), 1874-1939 - Portrait of Madame Frieseke Â undated 11 39 Frieseke, Frederick C. (Frederick Carl), 1874-1939 - Portrait with Vase of Flowers Â undated 11 40 Frieseke, Frederick C. (Frederick Carl), 1874-1939 - Reclining Nude Â undated 12 1 Furness, John Mason, b. 1763 - Judge Samuel Barrett Â undated 12 2 George, Eric, b. 1881 - Portraits of Mr. and Mrs. Hite Â undated 12 3 Gifford, Sanford Robinson, 1823-1880 - Kauterskill Clove, In the Catskills Â undated 12 4 Gluckmann, Grigory, 1898-1973 - At the Bar Â undated 12 5 Gluckmann, Grigory, 1898-1973 - Early Morning Â undated 12 6 Gluckmann, Grigory, 1898-1973 - The Finish Â undated 12 7 Gluckmann, Grigory, 1898-1973 - Rondo Capricioso Â undated 12 8 Gridley, Enoch G. - George Washington Â 1975 12 9 Grose, Daniel Charles, 1838-1900 - Black Canyon of the Gunnison, Colorado Â undated 12 10 Hajdu, Etienne, 1907-1996 - Petit Personnage Â undated 12 11 Hallett, Ãtienne Sulpice, 1755-1825 - Architectural drawing - The Capital, Washington D.C. Â undated 12 12 Hamlin, Louise - Fruit Stand 4 and Â Fruit Stand 7 Â Scope and Contents note [no photographs] undated 12 13 Hart, William, 1823-1894 - Coastal Scene Â undated 12 14 Hartley, Marsden, 1877-1943 - Berlin Abstraction Â 1976-1978 12 15 Hartley, Marsden, 1877-1943 - Military Â Scope and Contents note [no photograph] 1977 12 16 Hartley, Marsden, 1877-1943 - Painting no. 50 Â undated 12 17 Hartley, Marsden, 1877-1943 Â 1977-1978 12 18 Hartwick, George Gunther, fl. 1847-1877 - Landscape Â Scope and Contents note [photograph only] undated 12 19 Hartwick, George Gunther, fl. 1847-1877 - Skating Near New Haven Â undated 12 20 Hassam, Childe, 1859-1935 - Duke Street, Newport Â 1979 12 21 Hassam, Childe, 1859-1935 - Late Afternoon Â 1983 12 22 Hedley, Ralph, 1848-1913 - Colonel Fox Showing the Duke of Cambridge His New Bayonet Exercise Aldershot Â Scope and Contents note [no photograph] undated 12 23 Henner, Georg, fl. 1775-1788 - Study of a Woman Â Scope and Contents note [photograph only] undated 12 24 Henri, Robert, 1865-1929 - The Dancer Â 1987 12 25 Henri, Robert, 1865-1929 - M. Knoedler, M. Kronberg, M. Henri Â undated 12 26 Hitchins, H. - New England Cornfield Â undated 12 27 Homer, Winslow, 1836-1910 - Crossing the Pasture Â undated 12 28 Homer, Winslow, 1836-1910 - The Grand Discharge, Lake St. John Â 1978 12 29 Homer, Winslow, 1836-1910 - Looking Out Â Scope and Contents note [no photograph] undated 12 30 Homer, Winslow, 1836-1910 (attributed to) - Pasture Scene Â undated 12 31 Homer, Winslow, 1836-1910 - Landlock Salmon (Uncle Willie's Fish) Â undated 12 32 Smith, Francis Hopkinson, 1838-1915 Â Scope and Contents note [photographs only] undated 12 33 Hopper, Edward, 1882-1967 - Shipyard, Rockland (Maine), 1926 Â undated 12 34 Hopper, Edward, 1882-1967 - Summer Evening Â undated 12 35 Hopper, Edward, 1882-1967 - Two Comedians Â 1978-1979 12 36 Hudson, Cary - Boats on the River Â undated 12 37 Hudson, Cary - The Clipped Hedge Â undated 12 38 Hutson, Charles Woodward, 1840-1936 Â Scope and Contents note [no photographs] undated 13 1 Ingham, Charles Cromwell, 1796-1863 Â undated 13 2 Inman, Henry, 1801-1846 Â undated 13 3 Inness, George, 1825-1894 - Etretat, Normandy Â undated 13 4 Italian School - 17th Century - Grand Canal, Venice and Â Still Life Â Scope and Contents note [photographs only] undated 13 5 Italian School - Grotto Scene Â Scope and Contents note [no photograph] undated 13 6 Ives, Chauncey Bradley, 1810-1894 Â Scope and Contents note [no photograph] undated 13 7 Jennys, William, fl. 1795-1807 - Portrait of a Man Â 1978 13 8 Johnson, Eastman, 1824-1906 - Dr. Wybrandus Hendricksz Â 1971-1990 13 9 Johnson, Eastman, 1824-1906 - James Brown Family Â undated 13 10 Johnson, Eastman, 1824-1906 - John Carter Chandler and Philip Johnson Wilson as a Boy Â undated 13 11 Johnson, Eastman, 1824-1906 - The Brown Family Â Scope and Contents note [photographs only] undated 13 12 Jones, Purcell - Dressing the Bride Â undated 13 13 Jones, Purcell - Lady Standing In Landscape Â undated 13 14 Jones, Purcell - Lady and Two Gentlemen in Theatre Setting Â undated 13 15 Jones, Purcell - Man in Red Tights, Two Women and Boy Â undated 13 16 Kane, John, 1860-1934 - Pennsylvania Township Â undated 13 17 Karfoil, Bernard, 1886-1952 - Mother, Child and Goat Â 1979 13 18 Kensett, John Frederick, 1816-1872 - Beverly Beach Â undated 13 19 Kensett, John Frederick, 1816-1872 - Evening on the Hudson Â undated 13 20 Kent, Rockwell, 1882-1971 - Vermont Â 1985 13 21 Kuhn, Walt, 1877-1949 - Clown with Drum Â undated 13 22 Kuhn, Walt, 1877-1949 (attributed to) - Clown with Mandolin Â 1977-1978 13 23 Kuhn, Walt, 1877-1949 - Peaches on Blue Cloth Â undated 13 24 Kuhn, Walt, 1877-1949 - Rose Clown Â undated 13 25 Kuhn, Walt, 1877-1949 - Study for Roberto Â undated 13 26 Kuhn, Walt, 1877-1949 - Tumbler Â undated 13 27 Kuniyoshi, Yasuo, 1889-1953 - Actress Â Scope and Contents note [photographs only] undated 13 28 Kuniyoshi, Yasuo, 1889-1953 - Bather with Cigarette Â undated 13 29 Kuniyoshi, Yasuo, 1889-1953 - Bull Â Scope and Contents note [photographs only] undated 13 30 Kuniyoshi, Yasuo, 1889-1953 - Cow Â undated 13 31 Kuniyoshi, Yasuo, 1889-1953 - Cow Milking Â Scope and Contents note [photographs only] undated 13 32 Kuniyoshi, Yasuo, 1889-1953 - Landscape Â Scope and Contents note [photographs only] undated 13 33 Kuniyoshi, Yasuo, 1889-1953 - Landscape with House Â Scope and Contents note [photographs only] undated 13 34 Kuniyoshi, Yasuo, 1889-1953 - Reclining Nude Â undated 13 35 Kuniyoshi, Yasuo, 1889-1953 - Skaters Â Scope and Contents note [photographs only] undated 13 36 Kuniyoshi, Yasuo, 1889-1953 - Still Life, Bowl of Fruit Â undated 13 37 Kuniyoshi, Yasuo, 1889-1953 - Still Life with Open Drawer Â Scope and Contents note [no photographs] undated 13 38 Kuniyoshi, Yasuo, 1889-1953 - Three Generations Â 1977-1978 13 39 Kuniyoshi, Yasuo, 1889-1953 - Vase of Flowers Â undated 14 1 Lachaise, Gaston, 1882-1935 Â Scope and Contents note [photographs only] undated 14 2 La Farge, John, 1835-1910 - On the Bayou Teche, Louisiana Morning Â undated 14 3 La Farge, John, 1835-1910 - Derby Window Â undated 14 4 Lamb, Adrian, 1901-1989 (copy after Alfred Jacob Miller) - Sir William Drummond Stewart Threatened by the Crow Indians Â 1986-1991 14 5 Lawrence, Thomas, Sir, 1769-1830 - Portrait of Mrs. Ramsbottom Â undated 14 6 Lawson, Ernest, 1873-1939 - Connecticut Landscape Â undated 14 7 Lawson, Ernest, 1873-1939 - Landscape, Segoria Â Scope and Contents note [photograph only] undated 14 8-9 Lawson, Ernest, 1873-1939 - White Woods Â undated 14 10 Lawson, Thomas Bayley, 1807-1888 - Portrait of Daniel Webster Â Scope and Contents note [photograph only] undated 14 11 Loemans, Alexander FranÃ§ois, ca. 1817-1898 - Landscape with Grand Teton Peak Â undated 14 12 Luks, George Benjamin, 1867-1933 - The Cabby Â Scope and Contents note [photograph only] undated 14 13 Luks, George Benjamin, 1867-1933 - Day Nurse Â 1985 14 14 Luks, George Benjamin, 1867-1933 - Little Gray Girl Â 1977 14 15 Lynch, James - The Apache Â 1977 14 16 Lynch, James - A Fifth of July Â 1988 14 17 Lynch, James - Halloween Â undated 14 18 Lynch, James - Malibu Â undated 14 19 Macrum, George Herbert, b. 1888 - Snow and Steam Â Scope and Contents note [photographs only] undated 14 20 Manship, Paul, 1885-1966 - Indian and Pronghorn Antelope Â Scope and Contents note [no photograph] undated 14 21 Marin, John, 1870-1953 - Boats: Lake Champlain Â 1988 14 22 Marin, John, 1870-1953 - My Hell-Raising Sea Â undated 14 23 Marin, John, 1870-1953 - Sailboat and Evergreen Â undated 14 24 Marin, John, 1870-1953 - Movement - Sky and Grey Sea Â 1978 14 25 Marquet, Albert, 1875-1947 - Marseille, 1912 Â undated 14 26 Marquet, Albert, 1875-1947 - Sargent de Ville Â undated 14 27 Marsh, Reginald, 1898-1954 - New Gotham Burlesk Â Scope and Contents note [no photograph] undated 15 1 Maurer, Alfred Henry, 1868-1932 - The Black Cape Â 1978 15 2 Maurer, Alfred Henry, 1868-1932 - Cafe Scene Â undated 15 3 Maurer, Alfred Henry, 1868-1932 - Jeanne Â 1977 15 4 Maurer, Alfred Henry, 1868-1932 - Mademoiselle Renee Â Scope and Contents note [no photograph] 1981 15 5 Maurer, Alfred Henry, 1868-1932 - Study for Jeanne Â 1977 15 6 Mayer, Constant, 1831-1911 - Girl Selling Flowers Â undated 15 7 Melrose, Andrew, 1836-1901 - New York Harbor and the Battery Â Scope and Contents note [no photograph] 1977 15 8 Metcalf, Eliab, 1785-1834 - Portrait of Francis Holland Nicoll Â Scope and Contents note [photograph only] undated 15 9 Micou, Virginia - View of Niagara Falls Â Scope and Contents note [verso photograph only] undated 15 10 Millet, Francis Davis, 1846-1912 - Baltimore Harbor Â undated 15 11 Millet, Francis Davis, 1846-1912 - The Widow Â 1989 15 12 Modigliani, Amedeo, 1884-1920 - Portrait of Mme. Zborowska Â undated 15 13 Monet, Claude, 1840-1926 - Belle-Isle-En-Mer Â undated 15 14 Monet, Claude, 1840-1926 - Bras de Seine pres de Giverny, 97 Â undated 15 15 Monet, Claude, 1840-1926 - Church at Bennecourt Â 1975 15 16 Monet, Claude, 1840-1926 - Portrait of a Child Â undated 15 17 Moore, Abel Buell, 1806-1879 - Portrait of Harriet Lane Hillhouse Â undated 15 18 Moore, Abel Buell, 1806-1879 - Portrait of Cornelius Cuyler Shuyler Â undated 15 19 Moran, Thomas, 1837-1926 - Grand Canal, Venice Â Scope and Contents note [photographs only] undated 15 20 Moran, Thomas, 1837-1926 - Schuylkill River Â 1978 15 21 Mount, Shepard Alonzo, 1804-1868 - Portrait of Eliza Ann Mills Â undated 15 22 Mount, Shepard Alonzo, 1804-1868 - Portrait of William Wickham Mills Â Scope and Contents note [photographs only] undated 15 23 Mount, Shepard Alonzo, 1804-1868 - Portrait of Charlotte Smith Â undated 15 24 Mount, Shepard Alonzo, 1804-1868 (attributed to) - Side of a Barn #1 Â 1978 15 25 Mount, Shepard Alonzo, 1804-1868 (attributed to)- Side of a Barn #2 Â 1978 15 26 Mount, Shepard Alonzo, 1804-1868 - Study of a Negress Â 1978 15 27 Mount, William Sidney, 1807-1868 - The Cove Â 1978 15 28 Mount, William Sidney, 1807-1868 - Creek With Row Boat Â 1978 15 29 Mount, William Sidney, 1807-1868 - The Edmund Thomas Smith Place Â undated 15 30 Mount, William Sidney, 1807-1868 - The Farmhouse at St. George Manor Â undated 15 31 Mount, William Sidney, 1807-1868 - Kitchen in Old Seabury House, Setauket, L. I. Â 1984-1988 15 32 Mount, William Sidney, 1807-1868 - The Lucky Throw Â Scope and Contents note [no photograph] 1979 15 33 Mount, William Sidney, 1807-1868 - Manor House Â undated 15 34 Mount, William Sidney, 1807-1868 - Old Woodhill Homestead Â 1978 15 35 Mount, William Sidney, 1807-1868 - Portrait of Edmund T. Smith (Ned Smith) Â undated 15 36 Mount, William Sidney, 1807-1868 - William Wickham Mills Smith Â 1979, 1985 15 37 Mount, William Sidney, 1807-1868 - Portrait of Mrs. Edmund T. Smith (Amanda M. Smith) Â Scope and Contents note [photographs only] undated 16 1 Mount, William Sidney, 1807-1868 - The Thomas H. Mills House Â Scope and Contents note undated 16 2 Mount, William Sidney, 1807-1868 - The Thomas Strong Farm Â Scope and Contents note undated 16 3 Mount, William Sidney, 1807-1868 - Winding Up Â Scope and Contents note 1977 16 4 Nadelman, Elie, 1882-1946 - Circus Woman Â Scope and Contents note 1977 16 5 Nadelman, Elie, 1882-1946 - Man in Top Hat Â Scope and Contents note [no photograph] 1981 16 6 Nadelman, Elie, 1882-1946 - Tango: A Pair of Figures Â Scope and Contents note [no photograph] undated 16 7 O'Keeffe, Georgia, 1887-1986 - Black Cross with Red Sky Â Scope and Contents note [no photograph] undated 16 8 O'Keeffe, Georgia, 1887-1986 - Skunk Cabbage Â Scope and Contents note [includes photocopies of O'Keefe letters] undated 16 9 Oudry, Jacques Charles, 1720-1778 - Musician's Studio Â Scope and Contents note [no photograph] 1976-1978 16 10 Peale, James - Fruit in Dish Â undated 16 11 Peale, Raphaelle, 1774-1825 - Portrait of Mr. De Haven and Â Portrait of Mrs. De Haven Â undated 16 12 Peale, Rembrandt, 1778-1860 (attributed to) - Portrait of a Man Â 1978 16 13 Peale, Rembrandt, 1778-1860 (attributed to) - Thomas McKean Â undated 16 14 Peale, Sarah Miriam, 1800-1885 - Portrait of a Woman Â Scope and Contents note [no photograph] 1978 16 15 Pennell, Joseph, 1857-1926 - Across East River Â undated 16 16 Pennell, Joseph, 1857-1926 - Pennelliana (collection of correspondence, sketches, etc.) Â undated 16 17 Pennell, Joseph, 1857-1926 - Charing Cross Station, London Â undated 16 18 Pennell, Joseph, 1857-1926 - Colleoni Statue, Venice Â undated 16 19 Pennell, Joseph, 1857-1926 - Philadelphia etchings Â Scope and Contents note [no photographs] undated 16 20 Pennell, Joseph, 1857-1926 - Lower Broadway Â undated 16 21 Pennell, Joseph, 1857-1926 - Pall Mall East London Â undated 16 22 Pennell, Joseph, 1857-1926 - The Putney Bus Â undated 16 23-25 Peto, John Frederick, 1854-1907 Â undated 17 1 Peto, John Frederick, 1854-1907 - Still Life with Orange Â 1982 17 2 Peto, John Frederick, 1854-1907 - Tabletop with Violin Â undated 17 3 Peto, John Frederick, 1854-1907 - Rack Picture with Portrait of Lincoln Â 1984-1989 17 4 Picasso, Pablo, 1881-1973 - Head of a Woman Â Scope and Contents note [photographs only] undated 17 5 Pock, G. - Christ and His Disciples Â Scope and Contents note [photographs only] undated 17 6 Pollack, Jackson, 1912-1956 - Bowl (enamel on Limoges porcelain) Â 1978-1981 17 7 Prendergast, Charles, 1863-1948 - Study for a Rug Â undated 17 8 Prendergast, Maurice Brazil, 1858-1924 - Docks, East Berlin Â undated 17 9 Prendergast, Maurice Brazil, 1858-1924 - Gloucester Â Scope and Contents note [no photograph] undated 17 10 Prendergast, Maurice Brazil, 1858-1924 - Merry-Go-Round Â undated 17 11 Prendergast, Maurice Brazil, 1858-1924 - Old Town, St. Malo Â undated 17 12 Prendergast, Maurice Brazil, 1858-1924 - Paris Scene, School Girls with Nun Â 1986 17 13 Prendergast, Maurice Brazil, 1858-1924 Â undated 17 14 Pupini, Biagio (attributed to) - Madonna and Child Â 1977-1978 17 15 RaffaÃ«lli, Jean FranÃ§ois, 1850-1924 - Les Buvears D'Absinthe Â 1977 17 16 Remington, Frederic, 1861-1909 (attributed to) - Cowboy on Horseback Â Scope and Contents note [photograph only] undated 17 17 Remington, Frederic, 1861-1909 - Downing the Nigh Leader Â Scope and Contents note [no photograph] 1978 17 18 Remington, Frederic, 1861-1909 - Horse's Head (study for larger version of Â The Bronco Buster) Â 1978 17 19 Renoir, Pierre Auguste, 1841-1919 - Madame Renoir et son fils, Pierre Â undated 17 20 Renoir, Pierre Auguste, 1841-1919 (attributed to) - Nature Morte au Verre de Vin Â undated 17 21 Renoir, Pierre Auguste, 1841-1919 - Still Life - Melon and Flowers Â undated 17 22 Rivera, Diego, 1886-1957 - Paysage de Fontenay Â undated 17 23 Robinson, Theodore, 1852-1896 - The Miller's Daughter Â undated 17 24 Rockwell, Norman, 1894-1978 - Boy, Dog, and Cow Â 1980 17 25 Rouault, Georges, 1871-1958 - Carlota Â undated 17 26 Rouault, Georges, 1871-1958 - Pere Ubu Â Scope and Contents note [photograph only] undated 17 27 Rouault, Georges, 1871-1958 - Portrait of Verlaine Â Scope and Contents note [photograph only] 1980 17 28 Rush, William, 1756-1833 - Benjamin Franklin Â 1981 17 29 Russell, Charles M. (Charles Marion), 1864-1926 - The Ambush Â Scope and Contents note [no photograph] 1981 18 1 Saint-Gaudens, Augustus, 1848-1907 - Diana Â 1981 18 2 Saint-Gaudens, Augustus, 1848-1907 - Diana (bronze half-size model) Â 1981-1990 18 3 Saint-Gaudens, Augustus, 1848-1907 - Diana (cement) Â 1978 18 4 Saint-Gaudens, Augustus, 1848-1907 - Diana of the Tower (head) Â undated 18 5 Saint-Gaudens, Augustus, 1848-1907 - Diana of the Tower Â Scope and Contents note [no photograph] 1978 18 6 Saint-Gaudens, Augustus, 1848-1907 - Silence Â 1982-1983 18 7 Saint-Memin, Charles Balthazar Julien Ferret de, 1770-1852 - Portrait of Joseph Baker Â undated 18 8 Salmon, Robert, 1775-ca. 1848 - Outward Bound, Long Island Head Â 1979 18 9 Sargent, John Singer, 1856-1925 - Millicent, Duchess of Sutherland Â 1982-1986 18 10 Sargent, John Singer, 1856-1925 - Mother of Tom McMahon Â Scope and Contents note [photograph only] undated 18 11 Shahn, Ben, 1898-1969 - Anger Â undated 18 12 Shahn, Ben, 1898-1969 - Atlantic City Â undated 18 13 Shahn, Ben, 1898-1969 - Man with Wildflowers Â undated 18 14 Shahn, Ben, 1898-1969 - Riot on Carol Street Â undated 18 15 Sheeler, Charles, 1883-1965 - Delmonico Â Scope and Contents note [photograph only] undated 18 16 Soyer, [?] - Seated Woman Â 1982-1986 18 17 Spangenberg, Friedrich - Triumph of the American Union Â 1986-1991 18 18 Stella, Joseph, 1877-1946 - Slender Green Stalk Â undated 18 19 Stella, Joseph, 1877-1946 - Thistle and Flowers Â Scope and Contents note [no photograph] undated 18 20 Stella, Joseph, 1877-1946 - works sold at auction Â Scope and Contents note [no photographs] undated 18 21 Street, Robert, 1796-1865 - Portrait of Two Boys and a Dog Â 1981 19 1 Stuart, Gilbert, 1755-1828 - Madame Jerome Bonaparte (Elizabeth Patterson) Â Scope and Contents note [no photograph] 1978 19 2 Stuart, Gilbert, 1755-1828 - Portrait of John Jay Â undated 19 3 Sully, Thomas, 1783-1872 - Little Red Riding Hood Â Scope and Contents note [photograph only] undated 19 4 Sully, Thomas, 1783-1872 - Marquis de Lafayette Â undated 19 5 Sully, Thomas, 1783-1872 - The Nereid Doto Â undated 19 6 Sully, Thomas, 1783-1872 - Portrait of a Young Man Â undated 19 7 Sully, Thomas, 1783-1872 - Study for the Nereid Doto Â Scope and Contents note [no photograph] undated 19 8 Sully, Thomas, 1783-1872 (attributed to) - Helen, Charlotte and Caroline Otis Â 1970 19 9 Sully, Thomas, 1783-1872 - Philip J. Schuyler Â undated 19 10 Sully, Thomas, 1783-1872 - Mrs. Philip J. Shuyler Â undated 19 11 Sully, Thomas, 1783-1872 - Portrait of Mr. Tevis and Â Portrait of Mrs. Tevis Â undated 19 12 Terry, Luther, 1813-1869 - Italian Girl in a landscape Â 1970 19 12b Theus, Jeremiah, ca. 1719-1744 - Daniel Ravenel at Chelsea Â undated 19 12c Theus, Jeremiah, ca. 1719-1744 - Mrs. Daniel Ravenel at Chelsea Â undated 19 13 Thompson, Jerome, 1814-1886 - Noonday in Summer Â undated 19 14 Tom Thumb Coach Â undated 19 15 Toulouse-Lautrec, Henri de, 1864-1901 - drawing Â Scope and Contents note [no photograph] undated 19 16 Twachtman, John Henry, 1853-1902 - Connecticut Landscape Â undated 19 17 Twachtman, John Henry, 1853-1902 - End of the Pier, New York Â undated 19 18 Twachtman, John Henry, 1853-1902 - prints file Â 1981-1985 20 1 Utrillo, Maurice, 1883-1955 - Ancien Logement du Gouverneur Â undated 20 2 Utrillo, Maurice, 1883-1955 - Paris Street Scene Â Scope and Contents note [photographs only] undated 20 3 Heemskerck van Beest, Jacoba van, 1876-1923 - Seascape with a Union Ship Capturing a Slave Ship Â Scope and Contents note [no photograph] 1988-1989 20 4 Van Gorder, Luther Emerson, 1857-1931- Landscape Â undated 20 5 Vedder, Elihu, 1836-1923 - Mediterranean Coastal Scene -- Coast on a Windy Day Â undated 20 6 Velde, Bram Van, 1895-1991 - Composition Â 1978 20 7 Vibert, J. G. (Jehan Georges), 1840-1902 (attributed to) - African Warrior Â undated 20 8 Whittredge, Worthington, 1820-1910 - Platte River Landscape Â undated 20 9 Witkowski, Karl, ca. 1860-1910 Â undated 20 10 Wollaston, John, 1710-1775? - Charles Carroll of Duddington Â undated 20 11 Wollaston, John, 1710-1775? - Mary Carroll (Mrs. Ignatius Digges) Â 1977-1979 20 12 Woodhouse, Betty Burroughs Â Scope and Contents note [no photograph] undated 20 13 Wyeth, Andrew, 1917-2009 - Antler Crown Â Scope and Contents note [no photograph] undated 20 14 Wyeth, Andrew, 1917-2009 - Blizzard Â Scope and Contents note [no photograph] undated 20 15 Wyeth, Andrew, 1917-2009 - The Captains House Â Scope and Contents note [no photo] undated 20 16 Wyeth, Andrew, 1917-2009 - Dam Breast Â 1975 20 17 Wyeth, Andrew, 1917-2009 - The Duel Â undated 20 18 Wyeth, Andrew, 1917-2009 - Equinox Â undated 20 19 Wyeth, Andrew, 1917-2009 - Line Banks Â 1977-1979 20 20 Wyeth, Andrew, 1917-2009 - Open and Closed Â undated 20 21 Wyeth, Andrew, 1917-2009 - The Porch Â undated 20 22 Wyeth, Andrew, 1917-2009 - Tomorrow the Outer Shoals Â Scope and Contents note [no photograph] undated 20 23 Wyeth, Andrew, 1917-2009 - Wood Scoot Â undated 20 24 Wyeth, Andrew, 1917-2009 - New Ice Â undated 20 25 Wyeth, Andrew, 1917-2009 - Erickson Â undated 20 26 Wyeth, N. C. (Newell Convers), 1882-1945 - Indian and Panther Â 1986-1987 20 27 Wyeth, N. C. (Newell Convers), 1882-1945 - Illustration (man with pipe and telescope) Â undated 20 28 Wyeth, N. C. (Newell Convers), 1882-1945 - Met Life murals Â 1986 20 29 Wyeth, N. C. (Newell Convers), 1882-1945 - Pastoral of the Southwest Â undated 20 30 Zogbaum, Rufus Fairchild, 1849-1925 - Hunter Shooting a Deer Â undated 20 31 Photograph Record for Re-Order (notebook) Â undated 20 32 Slides Â undated Return to Top Â» Series IV: Stock Books, undated Â Â Â 0.5 Linear feet Scope and Content Note The stock books contain photographs and descriptions for works of art offered by Peter H. Davidson & Co., Inc. The descriptions usually include the artist name, birth and death dates, title of the piece, medium, size, date of execution, short narrative, list of previous owners, and a list of exhibitions in which the piece appeared in. In most cases, these materials are mirrored in the Artist Files series above. Box Folder Date 21 1 Current Stock - Volume I - American - Gallery Set Â undated 21 2 Current Stock - Volume I - American Â undated 21 3 Current Stock - Volume II - American Â undated 21 4 Current Stock - Volume IV - American Â undated 21 5 Current Stock - Volume VI - American Â undated 21 6 Sold Stock - Volume I - American Â undated 21 7 Sold Stock - Volume II - American Â undated 21 8 Sold Stock - Volume III - American Â undated 21 9 Sold Stock - Volume I - European Â undated Return to Top Â» Series V: M. Knoedler & Co., Inc. Material, 1942-1972 Â Â Â 1.25 Linear feet Scope and Content Note This series contains materials originating from M. Knoedler & Co., Inc. It is unclear whether the materials were used by Peter during his tenure at the firm, or if they belonged to his father, William F. Davidson, or both. The materials include artist files, research files, two account ledger books, and two files regarding personal art collections. Box Folder Date 22 1 Artist Files - Chadwick, Lynn Â Scope and Contents note Contains biographical information, photographs of artwork, and sales sheet noting purchaser and date for each piece sold. 1961-1968 22 2 Artist Files - LaMotte, Bernard Â Scope and Contents note Contains biographical information, photographs of artwork, and sales sheet noting purchaser and date for each piece sold. 1967-1968 22 3 Artist Files - Lanskoy, Andre Â Scope and Contents note Contains biographical information, photographs of artwork, and sales sheet noting purchaser and date for each piece sold. 1966-1968 22 4 Artist Files - Oudot, Roland Â Scope and Contents note Contains biographical information, photographs of artwork, and sales sheet noting purchaser and date for each piece sold. 1965-1968 22 5 Artist Files - Rubens, Peter Paul - Daniel in the Lions Den Â Scope and Contents note Contains correspondence, photographs, and other documents pertaining to controversial American purchase of painting. Four mounted photographs (some color) and five duplicates are stored in MS Oversize Box A. 1960s 22 6 Artist Files - Viera Da Silva Â Scope and Contents note Contains biographical information, photographs of artwork, and sales sheet noting purchaser and date for each piece sold. 1966-1968 22 7 Collection of Electra Havemeyer Webb Fund Â Scope and Contents note Contains restoration details and photographs of works before and after restoration. Artists include Edouard Manet, Claude Monet, Rembrandt and Jean Baptiste Camille Corot. undated 23 1 Ledger Â Scope and Contents note Records sales, commissions, and other incoming and outgoing payments. 1951 23 2 Ledger Â Scope and Contents note Records sales, commissions, and other incoming and outgoing payments. 1952-1953 23 3 Prints and Negatives Â Scope and Contents note Contains several "sporting" photographic prints. Eight packets of negatives were removed to cold storage. undated 23 4 Research Files - Dance, George (portrait drawings) Â Scope and Contents note Contains lists of George Dance drawings and biographies of portrait subjects. 1959 23 5 Research Files - Eur. (European portraits) Â Scope and Contents note Contains reports, notes, source material, and biographical information. 1960 23 6 Research Files - James I Â Scope and Contents note Descriptions and provenance of portraits of James I and family. undated 23 7 Research Files - Maximilian Collection (Brazilian ethnology) - memorandum and prospectus Â 1972 23 9 Research Files - Maximilian Collection (Brazilian ethnology) - partial translation of Maximilian's book Â 1964 23 8 Research Files - Maximilian Collection (Brazilian ethnology) - related publications Â 1970 24 1 Research Files - Modern French Artists Â Scope and Contents note Biographical chronologies of Modern French artists such as Cezanne and Degas. 1957 24 2 Scrapbook of "Paintings in the Collection of Lily Pons and or Andre Kostelanetz" Â Scope and Content Note Contents removed from book. Contains photographs and sales receipts. Artists include Pierre Auguste Renoir, Edgar Degas, Raoul Dufy, Georges Roualt, Joan Miro, Camille Pissarro, and Marie Laurencin. 1942-1946
6840	dbpedia	1	25	https://blog.mam.org/2016/05/24/from-the-collection-anders-zorn-and-etching/	en	From the Collection: Anders Zorn and Etching	https://blog.mam.org/wp-…/05/dp814514.jpg	https://blog.mam.org/wp-…/05/dp814514.jpg	[ "https://blog.mam.org/wp-content/uploads/2020/01/logo-mam_wordmark_stacked.png", "https://blog.mam.org/wp-content/uploads/2016/05/r_m1924_141.jpg?w=198", "https://blog.mam.org/wp-content/uploads/2016/05/dt400.jpg?w=191", "https://blog.mam.org/wp-content/uploads/2016/05/cur-m1981-204.jpg?w=300", "https://blog.mam.org/wp-content/uploads/2016/05/r_m1924_141.jpg?w=640", "https://blog.mam.org/wp-content/uploads/2016/05/dp814514.jpg?w=271", "https://blog.mam.org/wp-content/uploads/2016/05/r_m1924_135.jpg?w=640", "https://blog.mam.org/wp-content/uploads/2021/07/catherine-sawinksi_21-1024x767.jpg", "http://www.mam.org/include/footers/images/footerLogo.jpg" ]	[]	[]	[ "" ]	null	[]	2016-05-24T00:00:00	The current exhibition in the European works on paper rotation space (on view until July 31) is Anders Zorn: Sweden’s Painter-Etcher. Featuring all 18 prints in the Milwaukee Art Museum’s collection by Zorn, the exhibition is the first time ever that they have been on view at the same time. This is the first in a…	en	https://s0.wp.com/i/webclip.png	Milwaukee Art Museum Blog	https://blog.mam.org/2016/05/24/from-the-collection-anders-zorn-and-etching/	The current exhibition in the European works on paper rotation space (on view until July 31) is Anders Zorn: Sweden’s Painter-Etcher. Featuring all 18 prints in the Milwaukee Art Museum’s collection by Zorn, the exhibition is the first time ever that they have been on view at the same time. This is the first in a series of posts focusing on the exhibition. Did you know that Anders Zorn might be the most famous artist you’ve never heard of? During his career, which spanned about 20 years before and 20 years after 1900, Zorn was in high demand for painted portrait commissions in Europe and in the U.S. In fact, he was in direct competition with John Singer Sargent (American, 1856–1925), one of the best known portrait painters at the turn of the twentieth century. So, who was Anders Zorn? Anders Zorn was born in 1860, the son of a German brewer and one of his Swedish employees. His parents were not married, and Zorn’s father was not very involved in his son’s life, although he did leave Zorn a small inheritance when he died. Zorn was raised by his mother’s parents on their farm, in Mora, about 160 miles northwest of Stockholm. His modest, rural upbringing was to be a major influence upon him throughout his life, and was something of which he was very proud. His artistic talents appeared early. When a boy, he began carving figures in wood and made sketches. The inheritance from his father meant that, at the age of 15, he was able to enter the Royal Academy of Fine Arts in Stockholm. While still a student there, be began selling his watercolors. Encouraged by his success and unhappy with the coursework at the Academy—which he felt was outdated—Zorn left school before finishing his degree. In search of an international clientele, he decided to move abroad. He first traveled to London, staying there until 1885. He returned to Sweden to marry, then traveled to Constantinople through Italy and Greece on his honeymoon in 1886. During this time, Zorn continued to focus on watercolor. (Some of my favorite examples are Summer Vacation and Our Daily Bread.) Then, in 1887, Zorn returned to England and ended up in St. Ives in Cornwall. There, two important things happened: he became friends with a number of American artists who made up an artists colony in the village (and they helped him establish contacts with American patrons), and he was introduced to oil painting. One of his first finished oils was Fishermen at St. Ives, which, in 1888, he showed at the Paris Salon (the official exhibition of the Académie des Beaux-Arts) and sold to the French nation. This coincided with Zorn’s move to Paris, where he really came into his own as an artist. He was clearly influenced by a number of factors from the avant-garde art scene, such as modern life, bold color, and active brushwork. Despite his interest in the art movements of France, he never became part of any one group. Zorn was particularly popular in the U.S. He made seven extensive visits to fulfill many portrait commissions, such as the great Boston art patron Isabella Stewart Gardner, wealthy socialite Virginia Bacon (at right), and three U.S. Presidents (Grover Cleveland, William Howard Taft, and Theodore Roosevelt). So, Zorn’s paintings were very popular and a critical success. He was showing his paintings regularly in the salon in Paris and in international exhibitions. His important role in the art world was recognized by his homeland, which named him Commissioner of the Swedish art exhibition at the World’s Columbian Exposition in Chicago in 1893 and Commissioner of the Swedish art section at the Exposition Universelle in Paris in 1899. But although portraits paid many of the bills and made his fame international, Zorn was more than a portrait painter. Back in 1882, when he a young artist trying to make his way in London, he became friends with a Swedish artist named Axel Herman Haig (1835–1921). It seems only natural that Zorn would find a fellow countryman in an unfamiliar city. A generation older, Haig had spent most of his career in London. He had trained as an architect, and his talent in drawing led him to specialize in making the detailed views needed for customers to understand architectural plans. He worked for 15 years with English architect William Burges (English, 1827–1881) on projects in the Victorian Gothic Revival style. Two examples of Haig’s lovely watercolors are a tower addition that was part of the renovation of the medieval Cardiff Castle and the campus of Trinity College in Hartford, Connecticut. Haig, however, is probably best known for his large, detailed prints of famous buildings. This second career came after he learned to etch in order to illustrate a book on Scotland’s medieval architecture. These etchings were extremely popular with the public. The Milwaukee Art Museum has one in the collection, which is on view in the exhibition (at left). It shows the Church of St. Francis in Assisi and is a masterpiece both of documentation and of mood. As you might imagine, it was from Haig that Zorn learned to etch. In fact, Zorn’s first etchings were portraits of his teacher. You can see one of them here, in the collection of the Art Institute of Chicago. The influence of his teacher’s etching style is clear in the earliest of Zorn’s etchings. There is a soft, moody appearance to the lighting and a velvety look to the ink. Zorn recognized his debt to Haig, and they remained life-long friends. We are very lucky to have four prints in the collection that are personally inscribed as gifts from Zorn to Haig. Haig was a founding member of the Royal Society of Painter-Etchers and Engravers, which strove to raise the status of etching to that of painting and promoted etching as an original artform. They offered opportunities for their members to exhibit prints, which in turn gave aspiring print collectors the chance to purchase them. Although Zorn was not a member of the English group, when he moved to Paris, he became associated with the French version. These “painter-etchers,” saw themselves as part of the tradition of master artists such as Rembrandt, and they used etching to explore and show the world in a new way. You might be asking at this point, what exactly is an etching? Etching is a printmaking technique that uses metal plates and acid. The plate, a sheet of copper, is first covered in a layer of acid-resistant material (often containing wax) that is called the ground. The artist uses an etching needle to draw the image through the ground, exposing the copper beneath. The plate is then immersed in an acid bath, which reacts with the metal and “bites” the drawn lines into the copper. Multiple baths can be done to further deepen the cuts into the copper, resulting in darker and more distinct lines in the finished print. After the ground is removed, the plate is spread with ink and then wiped so that only the grooves hold the ink. Dampened paper is placed on top of the plate and both are run through an etching press, transferring the ink to the paper. Here is a great video that shows you how an etching is made. Etching is a popular printing method with artists because it allows them to draw the image more naturally relative to other printing methods, which require many specialized tools. One of those other types of printmaking is engraving, which we explored in an earlier post on Albrecht Dürer. Etching and engraving are both a type of printmaking called intaglio. Intaglio is an Italian word used to describe any printing technique that holds the ink in grooves on a plate and requires pressure to transfer the ink to the paper. In the 19th century, there was a renewed interest in etching, which is often called the etching revival. The painter-etcher movement was one part of this phenomenon. Artists were experimenting in many ways and were attracted to the possibilities of etching. Some artists, such as Charles Meryon (French, 1821–1868) and Félix Bracquemond (French, 1833–1914) worked almost entirely in etching. Etching is also forgiving, because plates can be reworked after printing a proof, and the process can be combined with other printmaking techniques to achieve a greater range of effects. You can see evidence of this in Zorn’s prints, which includes things like drypoint, aquatint, roulette, and even engraving. The period’s focus on the artist as creator makes it fitting that the earliest print in the Milwaukee Art Museum’s exhibition is a self-portrait of Anders Zorn (below). He shows himself sitting at a table, at work, intently studying a subject in the distance. He holds a sheet of paper and an etching tool. Just the sliver of a lamp is seen on the right hand side, which casts light upon his work surface. Behind him stands his wife, her hand on hip, looking off in a slightly different direction. The story of Zorn and his wife is an interesting one. Her name was Emma Lamm, and she came from a wealthy Jewish family in Sweden. The two met and fell in love when Zorn was hired to paint a portrait of Emma in 1881. Their different social statuses—remember, Zorn was the illegitimate son of a brewer who was raised on his grandmother’s farm—resulted in a secret four-year engagement. This long engagement allowed Zorn to establish his career before they wed, in 1885. It was clear from the start that the marriage formed a powerful business and artistic partnership. Emma was an intelligent, well-connected woman who functioned as her husband’s critic and financial administrator, and she was crucial for forming and maintaining the social contacts with patrons and other artists that are essential for any important artist. The composition of this print is based upon a self-portrait Rembrandt made that included his own wife, Saskia (see right). This is probably no surprise, since this was a print that was in Zorn’s personal collection of Rembrandt prints; he owned 180 by the time he died. In both prints, the artist is at work with his wife behind him. In Zorn’s version, however, the setting is more developed, and Emma’s presence is more interesting. You can see the influence of Rembrandt’s technique on Zorn in the use of active lines and crosshatching. It is clear, though, even this early in Zorn’s career, that he approaches the medium with an active and dramatic gesture. He is masterful at using lines and tone to make the image appear almost magically from seeming unrelated shapes. Many critics and collectors saw this as Zorn’s genius. Another print in the exhibition illustrates an additional Rembrandt technique that Zorn employed: selective finish. This is one of Zorn’s most famous prints, a portrait of the religious historian Ernest Renan (below). Zorn has chosen to show Renan as a great big man composed of heavy, dark lines; this, in a way, reflects Renan’s importance, for he built his career by writing on heady topics, such as the historical answers for why religion has such power over mankind. From his studies, Renan attempted to form philosophical ideas that would lead to the ideal French political system. Renan was well-known throughout France as a man who helped form French national identity in the second half of the nineteenth century. Although Renan soon died after Zorn made this print, the scholar is actively thinking with a critical and intelligent mind. The great scholar is still at work; the evidence are in the piles of the books and papers that fill not only his desk but also the mantelpiece behind him. The books and papers are sketched in with as few lines as possible, which illustrates Zorn’s use of selective finish. The lighter areas provide a pleasing visual contrast to the bulky figure of Renan himself. Zorn was famous for his virtuosity of etching technique. His quick lines and sketchy quality suggested that he would sit down at a plate and dash off an etching in one short burst of action. Indeed, one art critic popularized a story about the portrait of Ernest Renan that clinched Zorn’s genius as an etcher. This story says that Zorn made this etching directly on the plate during a single, one-hour sitting. Although it promoted Zorn as a talented etcher, the story is discounted both by Zorn, who said that he had three sittings with the historian, and by two existing pencil studies. Now that we’ve gotten an introduction to Zorn, next time we’ll take a closer look at a few more of his etched portraits!
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Featuring work by Osi Audu, Alta Buden, Shari Diamond, Kerry Downey, Stevenson Estime, eteam (Franzisa Lamprecht and Hajoe Moderegger), Aki Goto, Adam Henry, Matthew Kirk, Niki Kriese, Melora Kuhn, Catherine Lord, Sean Sullivan, and Audra Wolowiec. Purple Haze: Art and Drugs Across the Americas Curated by Estrellita B. Brodsky with Raúl Martínez September 9 - December 10, 2023 Morgan Anderson Gallery Purple Haze: Art and Drugs Across the Americas examines the Americas’ ambiguous relationship with drugs and their representation in the media and the public imagination. Conceived as a collaboration with the Dorsky Museum and building on the 2018-2019 exhibition,Comfortably Numb: A Critical Investigation into the Cultural Impact of Drugs and Narcoticspresented at ANOTHER SPACE in Chelsea, Purple Hazewill bring together works by multigenerational international artists in a broad range of media, including video, photography, and installation. The exhibition will survey the pervasive presence of drugs in Americans’ daily lives as well as their impact on social,political, and economic relations throughout the two continents, north and south. BFA & MFA Thesis Spring 23 Curated by the Department of Art and The Dorsky Museum April 28 - May 21, 2023 Alice and Horace Chandler and North Galleries At the end of each semester, the Dorsky Museum is proud to exhibit new artwork by students earning Bachelor of Fine Arts and Master of Fine Arts degrees. The thesis exhibitions are the culmination of the students' fine art studies, akin to the final exam, research project, or dissertation required of students earning liberal arts or science degrees. BFA I Opening Reception: Friday, April 28, 5 - 7 pm Alemir Beltre, Bianca Cabrera, Cy Hinojosa, Parker Parenti, Joli Perfit, Nia Scott, Daryn Seiden, Brooke Vissichio, Conrad Wickham BFA II Opening Reception: Friday, May 5, 5 - 7 pm Sarah Boudinot, Kayla Boyle, Raegan Cole, Rachel Gee, Talula Evan Baer, Hunter Larson, Jeremy McEvoy, Natalie Thomas, Jacob Wilt MFA Opening Reception: Friday, May 12, 5 - 7 pm Bear Cooper, Yuting Du, Michael Fortenberry, Max Hodson, Joseph Kattou, Ibrahim Khazzaka, Jennifer Levine, Sofia Rock, Viktorsha Uliyanova Hudson Valley Artists 2022: The Material, The Thing Curated by Nicole Hayes June 22 – November 6, 2022 Alice and Horace Chandler Gallery and North Gallery The Material, The Thing, the 15th annual Hudson Valley Artists exhibition, considers how artists understand and reimagine the material culture we live in. Every time we walk into a big box store we are inundated by meaningless disposable things. We have collectively lost an understanding of the materials that make the things we live with. Who even knows how plywood is made, or what microcrystalline cellulose is, but we all have it in our homes. In this cultural moment artists and artisans become an essential conduit of understanding the materials and the things in our society. Participating artists: Miguel Braceli \| Louis Brawley \| Royal Brown Jr. \| Sydney Cash \| Adam Chau \| Monica Church \| Melissa Dadourian \| Shoshana Dentz \| Dan Devine \| Adriana Farmiga \| Daniel Giordano \| Romina Gonzales \| Meg Hitchcock \| Laetitia Hussain \| Will Hutnick \| Niki Lederer \| Elisa Lendvay \| Ashley Lyon \| Patricia Miranda \| Joel Olzak \| Courtney Puckett \| Jordan Rosenow \| Julie Torres \| Katharine Umsted \| Melissa Weaver \| Millicent Young Benjamin Wigfall & Communications Village Curated by Drew Thompson in consultation with Sarah Eckhardt of the VMFA September 10 – December 11, 2022 Morgan Anderson Gallery, Howard Greenberg Family Gallery, and Sara Bedrick Gallery This exhibition provides the first retrospective of Benjamin Wigfall’s art, from his early career in Virginia in the 1950s to his founding of Communications Village, a community art space in Kingston, New York, in the 1970s. It will also feature works by important artists with whom Wigfall collaborated during his career, including Benny Andrews, Mavis Pusey, Betty Blayton, Charles Gaines, Joe Ramos, Ernie Frazier, Mel Edwards, Bob Blackburn, Romare Bearden, and Ernest Crichlow. Benjamin Wigfall & Communications Village is organized by the Samuel Dorsky Museum of Art, in partnership with the Virginia Museum of Fine Arts. Mary Frank: The Observing Heart Curated by David Hornung February 5 – July 17, 2022 Morgan Anderson Gallery and Howard Greenberg Family Gallery As part of our Hudson Valley Masters series, this exhibition presents Mary Frank’s powerful artwork from over six decades, which has always centered on the twin themes of social justice and the preservation of the natural world. Acclaimed artist/activist Mary Frank has been making art in her Manhattan and Hudson Valley studios for over sixty years. She is an independent spirit who emerged during the years of rising feminism in the early 70’s and has always followed a personal vision distinct from prevailing art world fashion. Mary Frank: The Observing Heart is a gathering of sculpture, painting, drawings, prints, and photographs from throughout her illustrious career. The Dorsky at 20: Reflections at a Milestone (Part II) Curated by Wayne Lempka February 5 – July 17, 2022 Sara Bedrick Gallery Continuing to mark our 20th anniversary, we share more recent and promised gifts to the Museum’s permanent collection. It not only reflects on our twenty years of being an important cultural force in the region, but honors and celebrates the important individuals who have so generously given exceptional art gifts in order to ensure The Dorsky Museum will continue to be an abundant resource not only for the SUNY New Paltz campus community but for visitors far and wide. This exhibition will be the second rendition of a two-part series where we reflect on our history, plan for our future, and honor all those who have helped to shape The Dorsky Museum into what it is today. Somewhere in Advance of Nowhere: Freedom Dreams in Contemporary Art Curated by nico wheadon February 5 – April 10, 2022 Alice and Horace Chandler and North Galleries Somewhere in Advance of Nowhere: Freedom Dreams in Contemporary Art lauds the vital role of artists in dismantling broken systems, envisioning new shared realities, and building future alternatives. Drawing inspiration from Robin D.G. Kelley’s seminal book, Freedom Dreams: The Black Radical Imagination, the exhibition takes up his provocation that “without new visions we don't know what to build, only what to knock down.” From interactive, site-specific installations to meditative photographs, videos, and works on paper, the featured works pose a series of existential questions, including: What are we trying to change? What must be built and what must be knocked down to best advance our efforts? What wisdom can be borrowed from the past in charting new paths forward? And, How do we manifest bold futures envisioned by people of color amidst systemic imbalances in structural power? Life After the Revolution: Kate Millett’s Art Colony for Women Curated by Anna Conlan September 11 – December 12, 2021 Morgan Anderson Gallery and Howard Greenberg Family Gallery In the early 1970s, with the advance from her recently published book, Sexual Politics, writer and visual artist Kate Millett (1934–2017) bought an old farmhouse on a parcel of land just outside of Poughkeepsie. By the late 1970s, plans for a women’s art colony were underway. Women came to the Farm to help renovate the buildings and make living quarters, a dark room, a sculpture studio, and screen-printing facilities. Millett described this colony of artists working together as “life after the revolution,” where women could experience communal living and freedoms that weren’t yet possible elsewhere. This exhibition will share Millett’s vision for the Farm, featuring her artwork, and that of the artists who visited. A catalog accompanies the exhibition. The Dorsky at 20: Reflections at a Milestone Curated by Amy Fredrickson and Wayne Lempka September 11 – December 12, 2021 Sara Bedrick Gallery To mark our 20th anniversary, we share an exhibition of recent and promised gifts to the Museum’s permanent collection. It not only reflects on our twenty years of being an important cultural force in the region, but honors and celebrates the important individuals who have so generously given exceptional art gifts in order to ensure The Dorsky Museum will continue to be an abundant resource not only for the SUNY New Paltz campus community but for visitors far and wide. This exhibition is the first rendition of a two-part series where we reflect on our history, plan for our future, and honor all those who have helped to shape The Dorsky Museum into what it is today. Hudson Valley Artists 2021: Who Really Cares? Curated by Helen Toomer July 7 – November 14, 2021 Alice and Horace Chandler and North Galleries For the 14th annual Hudson Valley Artists exhibition, curated by Helen Toomer, we invited artists to submit artwork that deals with the challenges of the past year and the re-imaginings of years to come, responding to the question “Who really cares?” asked by Marvin Gaye fifty years ago on the monumental album, “What’s Going On.” The exhibition will feature a diverse group of twenty-eight local artists, chosen from over 380 applications: Sharon Bates \| Natalie Baxter & Julia Norton \| Sean Bayliss \| Natalie Beall \| Vernon Byron III \| Randy Calderone \| Maureen Drennan \| Jen Dwyer \| Echo Goff \| Carl Grauer \| Norman Magnusson \| Katrina Majkut \| Christopher Manning \| Maeve McCool \| Patrick Meagher \| Paul Akira Miyamoto \| Ocean Morisset \| Liz Nielsen \| Richard Pantell \| Gina Randazzo \| Ransome \| Macon Reed \| Marcy Rosewater \| Kristen Schiele \| Renee Stanko \| Amelia Toelke \| Karen Whitman Kathy Goodell: Infra-Loop, Selections 1994—2020 Curated by Andrew Woolbright February 6 – July 11, 2021 Morgan Anderson Gallery and Howard Greenberg Family Gallery Infra-Loop explores the artistic practice of Kathy Goodell, whose work remains a mysterious synthesis. Associated with many movements and contemporaries, Goodell’s career charts a path and fills in the gaps of what we think about art in the ‘90s, ‘00s, and the present. Her practice has determined itself through a kind of non-specificity, one that resists easy classification and interpretation. The meaning of her work, and context through which we are to understand it, is simultaneous and withheld—west coast spiritualism meets east coast abstraction; procedural non-objectivity blends with painterly biomorphism; protean theosophy informs post-modernist contemporary. This survey of work explores the through-lines in Goodell's practice as a moving target, examining an artist that is constantly challenging and reinventing her practice. Support for this exhibition was provided by a Foundation for Contemporary Arts Emergency Grant. We Wear the Mask: Race and Representation in the Dorsky Museum Permanent Collection Curated by Jean-Marc Superville Sovak September 12 – November 22, 2020 Seminar Room Gallery Taking its cue from Paul Laurence Dunbar’s 1895 poem, We Wear the Mask pairs artwork from the Museum’s collection in a series of trans-historical, multi-cultural dialogues, using “remixing” as a strategy to unmask the ways racialized identities are presented and perceived. We Wear the Mask stages the contradictions inherent in representations of race and in American culture as a whole—as exemplified by the Dorsky Museum Collection. Featuring a range of artwork and artifacts that span almost three-thousand years—from ancient Egyptian funerary figures to polaroid photographs by Andy Warhol, — eighteen works selected from the over six-thousand objects in the Dorsky Museum collection are paired into distinct juxtapositions. A trans-historical, multi-cultural “remixing,” this exhibition seeks a third space of meaning to better represent and understand racial diversity in this moment of cultural and political reckoning. Dos Mundos: (Re)Constructing Narratives Curated by Juanita Lanzo and Stephanie A. Lindquist September 12 – November 22, 2020 Sara Bedrick Gallery Dos Mundos: (Re)Constructing Narratives is a curated exhibition, organized to present the photographs of 12 artists of color who are recipients of En Foco's Photography Fellowships. The current Dos Mundos theme is inspired by the 1973 Dos Mundos exhibition, and hopes to not only capture the contemporary duality of traditions and cultures in immigrant and ethnic communities, but to also revisit and demonstrate the challenges of systemic exclusion from the mainstream as described by the 1973 exhibition. Featuring: Damarys Alvarez \| Laylah Amatullah Barrayn \| Tau Battice \| Yu-Chen Chiu \| Anthony Hamboussi \| Daesha Harris \| Erika Morillo \| Danny Ramon Peralta \| Antonio Pulgarin \| Roger Richardson \| Cinthia Santos-Briones \| Aaron Turner Jan Sawka: The Place of Memory (The Memory of Place) Curated by Hanna Maria Sawka and Dr. Frank Boyer February 8 – November 22, 2020 Morgan Anderson Gallery & Howard Greenberg Family Gallery Jan Sawka (1946–2012) was a noted contemporary artist of Polish origin and global reach. His work is in the collections of over 60 museums worldwide. Sawka lived and worked in the mid-Hudson Valley from 1985 until his death, conceiving of and producing many of his most notable works in his High Falls, NY, studio. This exhibition is made up of works that illuminate two aspects of his practice, his fascination with human consciousness, in this case, with memory, and his interest in place, and the places through which a human life passes. Sawka’s working method and artworks are truly visionary, in the sense that he always worked from mental images. Every work he did is open to his thoughts, his emotions, his mental associations, and, above all to memory. Hudson Valley Artists 2020: New Folk Curated by Anna Conlan September 12 – October 25, 2020 Alice and Horace Chandler Gallery and North Gallery This year’s annual Hudson Valley Artists juried show features twenty-nine local artists in a vibrant exploration of craft, cultural heritage, and the communities we create together. New Folk showcases artwork that distinctively captures the spirit of contemporary folk practice in the Hudson Valley today. It offers a vision of what folk art can be—highly skilled, locally-sourced, idiosyncratic, and resourceful. New Folk is also a catch-all for the long history of visitors and immigrants in our region, and the exhibition explores the inherited cultural traditions that “new folk” bring with them. Collecting Local: Twelve Years of the Hudson Valley Artists Annual Purchase Award Curated by Anna Conlan February 8 – July 12, 2020 Sara Bedrick Gallery Every year The Dorsky invites local artists to share their work through our juried Hudson Valley Artists exhibition. From hundreds of submissions, curators select artwork that resonates with a chosen theme. The aim is to gather exciting new work in a cohesive exhibition, whilst demonstrating the strength and diversity of contemporary art across the eleven counties. Each year artwork from the Hudson Valley Artists exhibition is chosen for the Purchase Award and becomes part of our permanent collection. Collecting Local allows the public to see these outstanding artworks displayed together for the first time. Artists in the Exhibition: Curt Belshe and Lise Prown \| Laura Cannamela \| Sharon Core \| François Deschamps \| Richard Edelman \| Charles Geiger \| Holly Hughes \| Patrick Kelley \| Barbara Leon \| Deborah Lucke \| Nestor Madalengoitia \| Mollie McKinley \| Stephen Niccolls \| Libby Paloma \| Gilbert Plantinga \| Elisa Pritzker \| Adie Russell \| Thomas Sarrantonio \| Jean-Marc Superville Sovak \| Amy Talluto Stay Home, Make Art: Hudson Valley, NY, Edition Curated by Anna Conlan April – July 2020 online At the beginning of April 2020, The Dorsky Museum asked Hudson Valley artists, how are you being creative during social distancing? We were humbled by the remarkable response we received. Over 250 Hudson Valley artists have shared what they have been making and we are exhibiting their art on the Museum social media channels. Stay Home, Make Art is a virtual exhibition that addresses how the COVID-19 pandemic has impacted creative practice, keeps local artwork visible, and promotes safe social distancing. To view Stay Home, Make Art: Hudson Valley, NY, Edition visit us on Instagram or Facebook at @dorskymusem War! Curated by Wayne Lempka February 8 – Juy 12, 2020 Seminar Room As our world becomes increasingly chaotic, the threat of war occurring on our home soil appears more likely to be a reality rather than a possibility. Since the beginning of time, both major and minor conflicts between individual ethnic groups and nations has had a significant impact on the course of history and on the power to shape and change our world. Was there ever a time in history when there was not some warring faction facing off against another group of people? One would be hard pressed to find a time period when the world was completely free of conflicts. Beginning with primitive man in the bronze age, to the earliest battles in ancient Mesopotamia, to medieval Europe, to today’s wars in the Middle East and beyond, armed conflict has been a primary preoccupation throughout history and its use has become deeply rooted in our culture. Totally Dedicated: Leonard Contino 1940–2016 Curated by Anna Conlan January 22 – April 5, 2020 Alice and Horace Chandler Gallery and North Gallery Leonard Contino was a Brooklyn-born, self-taught abstract artist whose tenacious exploration of pictorial space spanned a fifty-year career. In 1959 at the age of 19, Contino was severely injured in a diving accident. Paralyzed from the shoulders down, he retained some mobility in his arms and hands, and needed to use a wheelchair for the rest of his life. While in rehabilitation at the Rusk Institute in New York City, Contino met a fellow patient, the sculptor Mark di Suvero, who would become a lifelong close friend. Di Suvero challenged him to start making art. Until this point, Contino’s creativity had been mostly directed to “pinstriping” decorative lines onto hot rod cars in his Brooklyn neighborhood. With di Suvero’s encouragement and the help of a metal brace to support his wrist, he began to draw and then to paint. Contino went on to create extraordinary art for the next five decades. He became devoted to his daily practice of painting from morning to evening, and often then making collages late into the night. Contino later observed that being an artist was like a religious calling, you had to be “totally dedicated.” Featuring over eighty artworks, Totally Dedicated is the largest exhibition of Contino’s work to date and encompasses large hard-edge geometric paintings, playful collages, delicate reliefs and sculptures from the 1960s through the 2000’s. It also includes two painted steel sculptures that di Suvero and Contino made together. BFA/MFA Thesis Exhibition Spring 2020 Curated by art faculty and students April 24 – May 19, 2020 Alice & Horace Chandler Gallery and North Gallery At the end of each semester, the Dorsky Museum is proud to exhibit new artwork by students earning Bachelor of Fine Arts and Master of Fine Arts degrees. The thesis exhibitions are the culmination of the students' fine art studies, akin to the final exam, research project, or dissertation required of students earning liberal arts or science degrees. Under normal circumstances, BFA and MFA students have worked with one another, faculty advisors, and the Museum team to plan this exhibition, each student designing and installing their own work. We will showcase the talent of these emerging artists at the end of the 2020 Fall semester. You can see the work of the Spring 2020 MFAs at this web site: https://hawksites.newpaltz.edu/fridaym/ BFA: Elizabeth Berger \| Amanda L. Bogatka \| Emily W. Cavanaugh \| Miranda J. Crifo \| Robert D.Cusack \| Mary K. Flana \| Taylor C. Gephard \| Amanda Greenfield \| Alexa M. Guevara \| Shabiha Jafri \| Kejiayun Ke \| Samantha A. Leiching \| Huaqi Liu \| Naira N. Luke-Aleman \| Sam E. Mazzara \| Ella E. Nares \| Joel Olzak \| Paige E. O’Toole \| Megan E. Reilly \| Claudia Rosti \| Jiabin Zhao \|MFA: Min Jae Eom \| Stefan Gougherty \| Karen Jaimes \| Jung Yun Choi \| Kehan Wan (Yoky) \| Maxine Leu \| Li Lin-Liang \| Rosa Loveszy \| Jessica McDonnell \| Sariah Park \| Nicholas Rouke \| Jamie M. Scherzer \| Bruce Wahl \| Corina Willette \| Xuewu Zheng \| Paper Media: Boetti, Calzolari, Kounellis Curated by Francesco Guzzetti August 28 – December 8, 2019 Sara Bedrick Gallery On loan from Magazzino Italian Art, this exhibition will bring together the work of three artist who are part of the Olnick Spanu Collection: Alighiero Boetti (1940–1994), Pier-Paolo Calzolari (b.1943) and Jannis Kounellis (1936–2017) and will feature mixed media works on paper. Magazzino Italian Art is a museum located in Cold Spring, New York, devoted to Postwar and Contemporary Italian art. Magazzino, meaning "warehouse" in Italian, was co-founded by Nancy Olnick and Giorgio Spanu. Organized by the Samuel Dorsky Museum of Art and Magazzino Italian Art Foundation. The Ukiyo-e Movement: Gems from the Dorsky Museum Collection of Japanese Woodblock Prints Curated by Elizabeth Brotherton, Associate Professor, Art History, SUNY New Paltz August 28 – December 8, 2019 Seminar Room Gallery Ukiyo-e, translated as "pictures of the floating world," while not strictly a movement in the sense of being the product of closely aligned artists setting out to make an artistic statement, do comprise a constantly evolving body of works that could only have been produced in the unique context of Edo Japan (1600–1868) and its mingling of newly confident artisans, leisured samurai, and a growing urban audience. This exhibition, drawn from the Dorsky Museum collection and held in conjunction with the 2019 meeting of the New York Conference on Asian Studies, includes a range of ukiyo-e woodblock prints that were mostly produced during the later stages of this movement, when the shifting function of the prints, combined with greater censorial control of their content by the government, brought about an increasing variety in type and subject matter. Between roughly 1750 and 1850, ukiyo-e prints moved well beyond the representation of their core subject matter of courtesans and actors (through which they helped create a celebrity culture with similarities to our own), and broadened out to include such themes as literary illustration and commentary, traditional folk tales that often had political subtexts, landscapes, and eccentric self-expression. Madness in Vegetables: Hudson Valley Artists 2019 Curated by Alyson Baker and Candice Madey June 15 – November 10, 2019 Alice and Horace Chandler Gallery and North Gallery The 2019 edition of the Hudson Valley Artists series is titled Madness in Vegetables: Hudson Valley Artists 2019. It calls for works that address the political and civic implications of choosing a rural life; the enticing beauty and repellant brutality of nature; our ever-changing climate; the wild character of plants, gardens, forests, and fauna; the relevance, power and forms of anthropomorphic mythmaking; and poetic and fantastical interpretations of the woodlands. Exhibiting artists: Bob Barry \| Julie Evans \| Mara Held \| Virginia Lavado \| Elisa Lendvay \| Scott Serrano \| Claudia McNulty \| David Nyzio \| Phyllis Gay Palmer \| Libby Paloma \| Lauren Piperno \| Jackie Shatz \| Linda Stillman \| Jean-Marc Superville Sovak \| Christina Tenaglia \| scrap wrenn \| Roberta Ziemba BFA/MFA Thesis Exhibition Spring 2019 Curated by art faculty and students April 26 — May 21, 2019 Alice & Horace Chandler Gallery and North Gallery At the end of each semester, students earning Bachelor of Fine Arts or Master of Fine Arts degrees exhibit art work in the Museum. The thesis exhibition is akin to the final exam, research project, or dissertation required of students earning liberal arts or science degrees. The BFA and MFA students have worked with one another and with faculty advisors and museum staff to plan these exhibitions; each student has completed the design and installation of their own work. BFA: Kaitlyn Antoniadis \| Amanda Aponte \| Julia Betts \| Kaitlyn Burch \| Jack Burnham \| Marissa Contelmo \| Julianne Farella \| Brandon Fiege \| Sari Friedman \| Shale \|Zhike Gan \| Isa Karis \| Joseph Kattou \| Liz Leupold \| Brendan Komarek \| Jingdi Ma \| John William Murphy \| Arielle Ponder \| Irene Raptopoulos \| Jonathan Renino \| Alejandra Salinas \| Marco Venegas MFA : Sylvie Lissa Alusitz \| Julia Arvay \| Emily Brownawell \| Xiao Chen \| B Jensen Hale \| Tamar Hedges \| Amanda Heidel \| Lynn Herring \| Bora Kim \| Geuryung Lee \| Betsy Lewis \| Ruizhi Li \| Rosa Loveszy \| David Munford \| Megumi Naganoma \| Heather Rosenbach \| Jolynn Santiago \|Andrew Sartorious \| Sharon Strauss Just My Type: Angela Dufresne Curated by Melissa Ragona and Anastasia James February 9 – July 14, 2019 Morgan Anderson Gallery and Howard Greenberg Family Gallery What’s in a face? In Angela Dufresne’s hands, a face is sometimes stretched to its absolute limits, becoming landscape, becoming monstrous, becoming pure color. Just My Type is a study in the topology of the face, as it transforms and morphs, never standing still long enough to zero in on a fixed “type.” The typologies in her paintings are hybrid machines; they threaten “categories” that identify us by normative names or force us into vulnerable positions. Dufresne wields heterotopic narratives that are non-hierarchical and perverse and poignantly articulate, porous ways of being in a world fraught by fear, power, and possession. Known for her impressive tableaux vivants that are both grandiose and humble, Just My Type: Angela Dufresne will feature intimate and rarely exhibited portraits of the artist’s friends, family, and community, as well as phantasmagoric beings that challenge our understanding of what makes a type. In Celebration: A Recent Gift from the Photography Collection of Marcuse Pfeifer Curated by Wayne Lempka February 9 – July 14, 2019 Sara Bedrick Gallery Through the generosity of former New York City gallery dealer Marcuse Pfeifer, The Dorsky Museum is the recipient of a major gift of 19th and 20thcentury photographs representing some of the leading artists in the history of the medium. This exhibition will showcase over fifty photographs from the Pfeifer gift while tracing both the evolution of the medium and celebrating the generosity of the donor. Beginning in the late 1970s, Marcuse Pfeifer was one of the first gallery dealers in New York City to exclusively show photographs. Her gallery gained the reputation as being one of the very few spaces where one could not only view but purchase images from both well-known and up-and-coming artists. Through Pfeifer’s efforts she was instrumental in helping to promote the medium of photography as an art form. Mohonk Mountain House at 150 Curated by Kerry Dean Carso February 9 – July 14, 2019 Seminar Room To celebrate the 150th anniversary of the founding of Mohonk Mountain House, this small exhibition features art, photographs, postcards, and ephemera related to Mohonk and the Shawangunks, with contributions from students in Professor Kerry Dean Carso's fall 2018 art history course, "Art of the Hudson Valley." In 1869, Alfred Smiley made his first visit to Lake Mohonk and convinced his twin brother Albert to purchase Stokes Tavern, an inn on the lake. Under the Smiley family’s management, the tavern evolved into Mohonk Mountain House, an eclectic architectural assemblage of towers, balconies, and porches. A wonderland of picturesque carriage trails dotted with rustic summerhouses allowed guests to explore the mountain and lake scenery. Today Mohonk Mountain House transports guests to the heyday of the mountain house era, while also providing modern amenities. Students have researched and written about images from the early days of Mohonk to the recent past, exploring themes such as art and architecture, landscape design, and recreational activities. Linda Mary Montano: The Art/Life Hospital Curated by Anastasia James January 23 – April 14, 2019 Alice and Horace Chandler Gallery and North Gallery Linda Mary Montano (b. 1942, Saugerties, NY) is a pioneer in contemporary performance art and her work since the mid 1960s has been critical in the development of video and performance by, for, and about women. Attempting to dissolve the boundaries between art and life, Montano’s work explores her own art/life through shared experience, role adoption, and intricate life altering ceremonies, some of which last for many years. This exhibition highlights Montano’s rarely screened video work, alongside new commissions and a performance that address acts of healing and issues surrounding death.
6840	dbpedia	2	71	http://sites.rootsweb.com/~nygreen2/some_more_postcards.htm	en	Some More Postcards			[ "http://sites.rootsweb.com/~nygreen2/artistshalls.jpg", "http://sites.rootsweb.com/~nygreen2/earlton.jpg", "http://sites.rootsweb.com/~nygreen2/lanesville.gif", "http://sites.rootsweb.com/~nygreen2/highpeakhouse.jpg", "http://sites.rootsweb.com/~nygreen2/some_m6.gif", "http://sites.rootsweb.com/~nygreen2/some_m7.gif", "http://sites.rootsweb.com/~nygreen2/rolandlindeman.jpg", "http://sites.rootsweb.com/~nygreen2/some_m9.gif", "http://sites.rootsweb.com/~nygreen2/hotelwalters.jpg", "http://sites.rootsweb.com/~nygreen2/some_m14.gif", "http://sites.rootsweb.com/~nygreen2/some_m15.gif", "http://sites.rootsweb.com/~nygreen2/some_m16.gif", "http://sites.rootsweb.com/~nygreen2/breakingice.gif", "http://sites.rootsweb.com/~nygreen2/coxsackielighthouse.gif", "http://sites.rootsweb.com/~nygreen2/some_m19.gif", "http://sites.rootsweb.com/~nygreen2/some_m20.gif", "http://sites.rootsweb.com/~nygreen2/some_m21.gif", "http://sites.rootsweb.com/~nygreen2/some_m22.gif", "http://sites.rootsweb.com/~nygreen2/musikanttearoom.jpg", "http://sites.rootsweb.com/~nygreen2/some_m12.gif", "http://sites.rootsweb.com/~nygreen2/some_m13.gif", "http://sites.rootsweb.com/~nygreen2/some_m23.gif", "http://sites.rootsweb.com/~nygreen2/prattsrock2.jpg", "http://sites.rootsweb.com/~nygreen2/prattsrock1.jpg" ]	[]	[]	[ "" ]	null	[]	null					null	Some More Postcards from the Past Click on the postcard to make it bigger More Postcards from the Past Postcards from the Past Even More Postcards from the Past Catskill Cats 1. 2. 3. 1. Artist's Hall Studio, Palenville, circa 1908 2. Earlton Main St. 3. Lanesville Department Store 1. 2. 3. 1. High Peak House, East Windham, circa 1920 2. Catskill Game Farm, circa 1941 3, O'Hara House, Lexington, courtesy of Carole Truesdell 1. 2. 3. 1. Roland Lindemann of the Catskill Game Farm 2. Rips Outlook, Rip Van Winkle Trail, circa 1930 3. Hotel Walters Square, Cairo, circa 1914 1. 2. 3. 1. Catskill Game Farm, Main Gates 1953 2. End of Paradise Alley, Hiking in the Catskills 3. St. Patrick's Church, Catskill 1. 2. 3. 1. Breaking the Ice Gorge at Coxsackie, circa 1907 2. Coxsackie Lighthouse 3. Cairo Railroad Depot 1. 2. 3. 1. Logs, Logs, Logs, near Windham 2. Shinglekill Falls, Purling, circa 1907 3. Grandview Hotel, Kaaterskill Junction, near Hunter 1. 2. 3. 1. Musikant's Tearoom, Hunter, circa 1910 2. Main St, Tannersville 3. Rip Van Winkle Asleep 1. 2. 3. 1. Catskill Creek, courtesy of Mark Van Hoesen 2. Pratt's Rock, Prattsville 3. Pratt's Rock, Prattsville, another view The postcard images of Pratt's Rocks in Prattsville are courtesy of Joe Travis . The postmark is 1905 and the recipient is Mary Berthena Irish, Joe's maternal grandmother. She would later marry Jay Ichabod Kissock, son of Charles Sabra Kissock who had a stone-cutting business in Windham. In contact with the Zadock Pratt Museum, they recognize Charles Sabra Kissock as one of the many persons who carved on the rocks. The name of James Kissock, Charles' father, was also found among records at the Zadock Pratt Museum and he is likely to have carved on the Rocks also. James Kissock had a stone-cutting business in Roxbury and the work of both is identified on headstones at the Sutton Hollow/Mountain Valley Cemetery outside of Ashland.
6840	dbpedia	0	87	https://greatwesterncatskills.com/women-and-the-arts/	en	Women and the Arts	https://greatwesterncats…eGWC2-scaled.jpg	https://greatwesterncats…eGWC2-scaled.jpg	[ "https://greatwesterncatskills.com/wp-content/themes/great_western_catskills/_img/logo.svg", "https://greatwesterncatskills.com/wp-content/uploads/2019/05/I_love_ny-300x300_01.png", "https://greatwesterncatskills.com/wp-content/uploads/2023/02/HawkHiveGWC2-1500x1125.jpg", "https://greatwesterncatskills.com/wp-content/uploads/2023/02/CHW06AbyAdriannaNewell.jpg-800x501.webp", "https://greatwesterncatskills.com/wp-content/uploads/2023/02/WKCentreGWC2.jpg", "https://greatwesterncatskills.com/wp-content/themes/great_western_catskills/_img/logo.svg", "https://greatwesterncatskills.com/wp-content/uploads/2019/05/I_love_ny-300x300_01.png", "https://greatwesterncatskills.com/wp-content/uploads/2022/06/DCEDlogoWEB-300x300.jpg" ]	[]	[]	[ "" ]	null	[ "zaybra thurgood" ]	2023-02-23T17:34:46+00:00	Delaware County is home to some fantastic women artists and women run arts organizations that bring art to the community. From those programming for children, running art studio tours and much more, we are highlighting some of the wonderful women artists of the Great Western Catskills	en	https://greatwesterncats…_img/favicon.png	Great Western Catskills	https://greatwesterncatskills.com/women-and-the-arts/	Delaware County is home to some fantastic women artists and women who run organizations that bring art to the community. From those programming for children, running art studio tours and much more, we are highlighting some of the wonderful women artists of the Great Western Catskills. We asked these artists a few questions to get a better understanding of the arts community in Delaware County and how these women have contributed to it. Here is what they had to say: Jayne Parker– Owner, Hawk + Hive “We opened our gallery in 2021, with the intention of creating a gathering place for creative people and those interested in the arts in Delaware County and the Catskill region. We endeavor to show local artists as much as possible, alongside established artists from further afield. We work hard to collaborate with and help promote other creative and entertainment businesses in our area. We run the Andes Community instagram account. Our gallery and art show receptions are open to the general public and are free to all.” Hawk + Hive 61 Main Street Andes, NY 13731 Instagram Tabitha Gilmore-Barnes– Artist, tapestry weaver and recent coordinator for AMR Artists Open Studio Tour “I am a tapestry weaver, using locally sourced Shetland wools that I dye and hand spin. Consider tapestry weaving as ‘drawing in wool’. My involvement in the arts in Delaware County comes from both entering and being invited to participate in art exhibits, and in grant writing and coordinating arts programs for the Catskill Mountain Artisans Guild and AMR ARTISTS, INC. As the coordinator for AMR ARTISTS, INC.’s annual Open Studios Tour and for Catskill Mountain Artisans Guild’s summer CRAFTS FOR KIDS at Pakatakan Farmers’ Market, I saw many visitors (both first timers and repeats) and second home owners very appreciative of seeing art being made in an artist’s studio and of providing youth with hands on creativity experiences.” AMR Artists, Inc hosts an Annual Open Studios Tour that showcases the work and studios of over 30 local artists in Delaware County. With a thorough studio map and directions, patrons can take themselves on a self-guided tour through-out the Great Western Catskills. AMR Open Studios P.O. Box 443 Roxbury, NY 12474 info@armopenstudios.org Tabitha’s work is presented alongside artist Liza Oesterle at the Headwaters Arts Center in the show “Bold and the Beautiful” from March 10 through May 6. Headwaters Arts Center 66 Main Street Stamford, NY 12167 Christina Hunt Wood– Artist and organizer with Get Woke! Catskills, Living Archives Project and Bushel Collective “I am a founding member and the manager of Get Woke! Catskills, which is an organization founded in 2017 that uses the arts as a vehicle for conversations about race and identity. In my role, I organize film screenings, book discussion groups, and artist talks. Most recently, I produced a podcast called ‘From Here’ which profiles members of our creative community with a focus on people from historically underrepresented groups.” “I am also the Lead Artist for the Living Archive Project, which is funded by a Creatives Rebuild New York Grant. I organize and teach workshops, conduct interviews, and other programs that focus on documenting the lived experiences of people in the Northern Catskills. And I’m a Bushel Collective member…many hats.” “I grew up in this area. I went to high school just over the Delaware County border in Jefferson. I think my first group show was probably the one for high school kids at the Cyr Center at the Rexmere (Stamford) in the early 90s.” “In my art practice, I focus on themes around everyday expressions of power and ways the status quo is maintained using various cultural tools. The theme overrides formal medium for me, so I use whatever makes sense to communicate the ideas I’m trying to convey. Currently, I’m using photography, video, and beer cans in my work. The cans (‘road soda’ litter) are found in ditches throughout rural Upstate NY and are deconstructed and reimagined into material for my art. The cans act as evidence of the collective impact of many small aggressions on the land. They are a metaphor for microaggressions in general.” Attend upcoming events by these three arts organizations: Get Woke! Catskills Website Instagram Living Archives Project Website Instagram Bushel Collective 106 Main Street Delhi, NY 13753 Website Instagram Caroline Fay– Artist, teacher and owner of Big Little Art Studio “I am a Walton based artist from Ireland. I’m trained in Fine Art from DIT in Dublin and studied painting at the Art Students League of New York…I paint predominately in oils but also work in other media from large scale murals to small lino prints.” “As well as being an artist, I own and operate a studio in Walton called BLAS (aka Big Little Art Studio). Originally an old general store, the studio is a mixed use space; my own personal painting studio, a gallery and a welcoming workshop space where people can unleash their creativity while connecting with other art loving folk..” “Both on a professional artistic level and on a community level, I am passionate about encouraging people to take an active role by enhancing the arts in Walton and Delaware County. One way I can do this is by creating opportunities for people to engage in creative processes and events through workshops, exhibitions, community murals and most importantly, to me, through my art!” Caroline Fay Art Big Little Art Studio 51 North Street Suite 4 Walton, NY 13856 Other amazing women running the arts in Delaware County: Jenny Rosenzweig– Executive Director, Roxbury Arts Group Roxbury Arts Group (RAG) hosts classes, workshops, performances and much more. They are proud to administer the Delaware County Arts Grant, a re-grant program of the New York State Council on the Arts. RAG has been proudly participating in this re-grant program since 1986. Attend an upcoming show or workshop at one of Roxbury Arts Group’s two locations. Roxbury Arts Group and Walter Meade Gallery 5025 Vega Mountain Road Roxbury, NY 12474 Headwaters Arts Center 66 Main Street Stamford, NY 12167 Saira McLaren– Executive Director, West Kortright Centre Siri Bertelsen– Assistant Director, West Kortright Centre West Kortright Centre hosts workshops, summer programs and performances in a beautiful, historic church in East Meredith. West Kortright Centre 49 West Kortright Church Road East Meredith, NY 13757 Patricia Buckley– Executive Artistic Director, Franklin Stage Company Franklin Stage Company produces professional, admission-free theater that brings together audiences and artists to create community and celebrate the enduring power of stories. Attend one of the many performances they are hosting this summer. Franklin Stage Company 25 Institute Street Franklin, NY 13775 Beatrice Georgalidis– Executive Director, Bright Hill Press and Literary Center for the Catskills Bright Hill Press is dedicated to increasing audiences’ appreciation of the writing arts and oral traditions that comprise American literature. They encourage and further the tradition of oral poetry and writing in the Catskills and beyond.
6840	dbpedia	1	24	https://nbmaa.wordpress.com/2010/07/21/gallery-tours-the-hudson-river-school/	en	Gallery Tours: The Hudson River School	http://i773.photobucket.com/albums/yy11/CuratorialIntern/ColeThomasTheCloveCatskills1826.jpg	http://i773.photobucket.com/albums/yy11/CuratorialIntern/ColeThomasTheCloveCatskills1826.jpg	[ "https://i0.wp.com/i773.photobucket.com/albums/yy11/CuratorialIntern/ColeThomasTheCloveCatskills1826.jpg", "https://i0.wp.com/i773.photobucket.com/albums/yy11/CuratorialIntern/Indian.jpg", "https://i0.wp.com/i773.photobucket.com/albums/yy11/CuratorialIntern/durand_SundayMorning.jpg", "https://secure.gravatar.com/blavatar/21de2c3671097563f4c64352d9e091342e7b4735e67bf5f9d04a34c19dbba51e?s=48", "https://0.gravatar.com/avatar/3e286eb75c74f3b061da3f0ad40670f2f6e39461cb5522a5e053b8decfb516b9?s=48&d=identicon&r=G", "https://live.staticflickr.com/8338/8200571330_825b407036_s.jpg", "https://live.staticflickr.com/8480/8200571402_a498458108_s.jpg", "https://live.staticflickr.com/8337/8200571460_8e4c8ed060_s.jpg", "https://secure.gravatar.com/blavatar/21de2c3671097563f4c64352d9e091342e7b4735e67bf5f9d04a34c19dbba51e?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/21de2c3671097563f4c64352d9e091342e7b4735e67bf5f9d04a34c19dbba51e?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2010-07-21T00:00:00	The Hudson River School was not an actual school but a group of like-minded landscape painters who worked in a similar style from about 1825 to 1865. The growing number of crowded industrial cities in the East gave rise to an appreciation for pictures of the landscape untouched by man. The movement was fueled by…	en	https://secure.gravatar.com/blavatar/21de2c3671097563f4c64352d9e091342e7b4735e67bf5f9d04a34c19dbba51e?s=32	New Britain Museum of American Art	https://nbmaa.wordpress.com/2010/07/21/gallery-tours-the-hudson-river-school/	The Hudson River School was not an actual school but a group of like-minded landscape painters who worked in a similar style from about 1825 to 1865. The growing number of crowded industrial cities in the East gave rise to an appreciation for pictures of the landscape untouched by man. The movement was fueled by the poetry of Ralph Waldo Emerson (1803-1882) and by the conviction that God had given the American people an abundance of natural resources as a source of wealth and prosperity. In the summer of 1825 Thomas Cole (1801-1848) took his first sketching trip up the Hudson River, an event that would prove momentous for the development of American landscape painting. Cole and artists such as Thomas Doughty (1793-1856) and Asher Brown Durand (1796-1886) began to depict the valley’s lakes and rocky gorges as well as the vast forests of the Catskill Mountains. They created works that were intended not only to memorialize the grandeur of the American landscape but also to serve as instruments for spiritual contemplation, as they believed that nature could heal the human spirit. Landscape painting came to dominate the art scene during this period, and the Hudson River School is credited with making landscape a legitimate subject for the canvas and for conveying a sense of place that was uniquely American. Thomas Cole began his life in the cradle of the Industrial Revolution in Lancaster, England. At the age of seventeen, he immigrated to Philadelphia. After learning the rudiments of painting from an itinerant portraitist and working as an engraver, he studied at the Pennsylvania Academy of the Fine Arts. In 1825 Cole made his first trip up the Hudson River, completing sketches that would establish his reputation. By 1826 he had exhibited at the National Academy of Design and was well on his way to becoming the premier landscape painter of the early nineteenth century. Throughout his career, Cole continued his sojourns through the Catskills, Adirondacks, White Mountains, and Old Northwest Territory. “To walk with nature as a poet,” Cole wrote, “is the necessary condition of the perfect artist.” Unlike other Hudson River painters, such as Asher B. Durand and John Kensett (1816-1872), Cole enjoyed exploring the raw intensity of nature. Establishing man’s insignificance before nature was always a priority. He used rough brushstrokes to capture the ruggedness of a scene and exaggerated gloom and brightness in a manner that was more emotional than realistic. Cole’s shadows are much darker than those in nature, and light often comes from undeterminable sources. These romantic contrasts exemplify the wild and overpowering sublime as described by the British statesman and philosopher Edmund Burke (1729-1797) a century before. The Clove, Catskills is regarded as a masterpiece of the artist’s early career. The painting looks east toward the Berkshires in Massachusetts and is constructed using Cole’s familiar sharp, diagonal lines. The bold composition combines one hillside blanketed by the darkness of an impending storm and another hillside with foliage still brilliantly lit. Essentially, the picture is a study in contrasts: contorted, ravaged tree versus fresh vegetation; serenity versus advancing storm; brightness versus darkness; and life versus death. Cole frequently employed nature’s cycles as a symbol of the secrets of creation and decay. Humans, if included at all, are often small, faintly detected details. Here, the lone Native American poised at the center of the canvas represents the nineteenth-century noble savage, locked in an earlier stage of development and thus closer to nature, he is more a part of nature “unsullied” by civilization. After learning the rudiments of engraving in his father’s watch-making shop in New Jersey, Asher B. Durand apprenticed for five years with engraver Peter Maverick (1755-1811). He became interested in engraving bank notes, book illustrations, and portraits he had seen painted by John Vanderlyn (1775-1852), Thomas Sully (1783-1872), Charles Ingham (1796-1863), and others. By the time John Trumbull (1756-1843) commissioned him in 1820 to engrave his Declaration of Independence (1786–97), Durand had become known as the country’s best engraver. After his 1840-41 trip abroad, Durand turned to landscape painting, working outdoors, which was unusual at the time. His development reflects a series of consciously defined solutions to such problems as the relationship of the artist to society and the significance of man to nature. Having an enduring concern with the visual formulation of a national ethos, Durand meant for his art to promote “the moral perfection of mankind.” While president of the National Academy of Design (1845-61), he published an important formal statement on his theory of art in nine Letters on Landscape Painting, which appeared in The Crayon in 1855. Sunday Morning was painted for the noted collector W.T. Walters (1820–1894) of Baltimore. Since Durand was trained as an engraver, it is natural that fine precise line and a sense of tone should be the basis of his art; yet his painter’s eye led him toward ultra-clear light. The gnarled forms of foreground rocks and trees draw aside to reveal and set off the mirror like river, the undulating hills, and the endless space of an ideal world dominated by breathless and consecrated silence. John Durand described his father’s pictures as an “ideal of American scenery, which may be considered as the culminating point of the artist’s ability. . . . This work embodies all the beauty and poetry of nature, long and faithfully studied.” Have you visited the Hudson River School Gallery yet? Do you have a favorite painting or artist? Why or why not? How do the paintings comment upon man vs. nature? What has been accurately recorded by the artists? What has been altered with artistic license?
6840	dbpedia	2	26	https://www.instagram.com/myddoa/reel/C8sy61RC6mf/	en	Instagram	https://static.cdninstag…/VsNE-OHk_8a.png	https://static.cdninstag…/VsNE-OHk_8a.png	[]	[]	[]	[ "" ]	null	[]	null		en	https://static.cdninstag…/VsNE-OHk_8a.png		null
6840	dbpedia	3	9	https://www.hrm.org/press/2019-thomas-coles-refrain/	en	Hudson River Museum Presents Thomas Cole’s Refrain: The Paintings of Catskill Creek	https://www.hrm.org/wp-c…82-2048x1504.jpg	https://www.hrm.org/wp-c…82-2048x1504.jpg	[ "https://hudsonriver.wpenginepowered.com/wp-content/uploads/exhibitions/thomas-coles-refrain/on-view-exhibitions-thomas-cole-2-e1574367646182-2048x1504.jpg", "https://hudsonriver.wpenginepowered.com/wp-content/themes/hrm-dev/assets/social-yt.svg", "https://hudsonriver.wpenginepowered.com/wp-content/themes/hrm-dev/assets/social-ig.svg", "https://hudsonriver.wpenginepowered.com/wp-content/themes/hrm-dev/assets/social-fb.svg", "https://hudsonriver.wpenginepowered.com/wp-content/themes/hrm-dev/assets/social-tw.svg" ]	[]	[]	[ "" ]	null	[]	null	The Hudson River Museum is the largest cultural institution in Westchester County with galleries, planetarium, amphitheater, and educational spaces.	en	https://hudsonriver.wpen…e-touch-icon.png	Hudson River Museum	https://www.hrm.org/press/2019-thomas-coles-refrain/	View press images here. YONKERS, NY, October 17, 2019 — Thomas Cole’s Refrain: The Paintings of Catskill Creek, explores, for the first time as a series, Cole’s extraordinary Catskill Creek landscapes, which he created again and again from 1827 to 1845—virtually the whole course of his mature career. His fascination with Catskill Creek, which enters the Hudson River at Catskill, New York, speaks volumes about his artistry and his commitment to the environment. These iconic images—as timeless and timely as ever—are essential to understanding this pioneering artist and proto-environmentalist who captured nature’s beauty and underscored the essential need to protect the environment. The exhibition was organized by the Thomas Cole National Historic Site in association with the Hudson River Museum. Created during an eighteen-year period that spans Cole’s mature career, the artist’s paintings of Catskill Creek constitute the most sustained sequence of landscapes he ever made. The views in the paintings are all anchored along a stretch of Catskill Creek near the Village of Catskill, where Thomas Cole lived and worked. Part of this waterfront, located less than a mile and a half from the Thomas Cole National Historic Site, has been preserved as a public park by the land conservancy groups Scenic Hudson and Greene Land Trust. Cole’s repeated attention to Catskill Creek signifies his love of the views near his home and illustrates his development of a profound sense of place. The exhibition considers these paintings as a series unified by place as well as their stable composition and recurring motifs, even as they exhibit variations reflecting changes in the artist’s life and times, including intrusive development of the landscape. During Cole’s lifetime, Catskill Creek was increasingly threatened by industry, which is represented in the paintings by significant details. The exhibition is based on new scholarship developed by H. Daniel Peck, Exhibition Curator and John Guy Vassar, Jr., Professor Emeritus of English at Vassar College, in his book of the same title, published by Three Hills, an imprint of Cornell University Press. “The exhibition tells the story of Cole’s discovery of Catskill Creek, with its Catskill Mountain background, and his ever-deepening attachment to it over the course of eighteen years. The paintings contain mysteries—enigmatic figures, evocative human structures, and symbolic landforms—that tell stories of their own,” notes Peck. Masha Turchinsky, Director of the Hudson River Museum states, “Just as Thomas Cole identified with Catskill Creek and the mountain scenery around his home, so too do we feel re-energized in our landscape along the Hudson. Cole’s revolutionary creativity and his perceptions of the wildness inherent in American scenery not only continue to reward our close looking, but inspire our ongoing environmental advocacy. We invite all to join us and to discover something new in these absolutely beautiful paintings.” Exhibition Overview The exhibition includes original oil paintings by the artist. Represented, as well, are paintings of the Catskill Creek scene by leading nineteenth century artists who were inspired by Cole: Asher B. Durand, Frederic Edwin Church, and Charles Herbert Moore. The exhibition features Thomas Cole paintings from private collections that have rarely been seen in public: Crossing the Stream, 1827, View Near Catskill, 1828–29, Settler’s Home in the Catskills, 1842, as well as major works from the collections of the New-York Historical Society, Yale University Art Gallery, the National Gallery of Art, Albany Institute of History and Art, Olana State Historic Site, the Frances Lehman Loeb Art Center at Vassar College, and the Currier Museum of Art. The exhibition first appeared at the Thomas Cole Historic Site from May 4 to November 3, 2019, receiving superb reviews from The New Yorker, The Wall Street Journal, and other notable press. Exhibition Catalog The exhibition is accompanied by a 186-page publication written by H. Daniel Peck, with forewords by Elizabeth Jacks, Executive Director of the Thomas Cole National Historic Site, and Masha Turchinsky, Director of the Hudson River Museum. With new scholarship and interpretations of both Cole’s major and little-known works, the publication also features maps and aerial photography identifying the artist’s vantage points along Catskill Creek for the various paintings. Professor Peck is the author of books about writers Henry David Thoreau and James Fenimore Cooper and has published on painters Asher B. Durand and Georgia O’Keeffe. His work on this project was supported by an Andrew W. Mellon Emeritus Fellowship. The recipient of several NEH and ACLS fellowships, Professor Peck has chaired the Modern Language Association’s Division on Nineteenth-Century American Literature and has served as director of Vassar College’s American Studies Program. Thomas Cole’s Refrain: The Paintings of Catskill Creek is published by Three Hills, an imprint of Cornell University Press, and is available for purchase at the Hudson River Museum and the Thomas Cole National Historic Site. At the Hudson River Museum, major sponsorship is made possible by The Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts. Additional support is provided by Generation Yonkers and the Ann and Arthur Grey Foundation. The exhibition was also supported by the National Endowment for the Arts, Wyeth Foundation for American Art, Marshall Field V, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, Empire State Development’s I LOVE NEW YORK program under the Market NY initiative, Greene County Legislature through the County Initiative Program of the Greene County Council on the Arts, the Bank of Greene County, the Bay & Paul Foundations, the Enoch Foundation, the Educational Foundation of America, Joan K. Davidson through the J. M. Kaplan Fund, and the Kindred Spirits Society of the Thomas Cole National Historic Site. Related Programs Include: Saturday, December 14, 21, 3:30–5pm Sunday, January 5, 3:30–5pm Let’s Talk About: Place and Story Examine the natural world that surrounds us, from New York to the West, in this reading and discussion series. Through poetry, fiction, and journalism, readers will engage with perspectives that capture the complicated relationship Americans have with the land and living things around them. Join environmental educator Troy Thompson as he leads stimulating conversations over the course of five sessions. Expand your knowledge while you enjoy connecting with new people. This program, which is free and open to the public, is made possible through the support of Humanities New York’s Reading and Discussion Program. Saturday, November 23, 1:30pm What Happened at Catskill Creek: A Musical Sarah Lawrence College Theater Outreach program presents a new musical for all ages about a family seeking a deeper connection with nature. An urban family visits Catskill Creek, where they encounter and interact with the ghost of famed landscape painter Thomas Cole, a mysterious nature photographer with a large camera, and an orange-vested, contemporary landscape painter. With lyrics by Sarah Lawrence College Theatre Outreach Director, Allen Lang, and music by Sarah Lawrence Faculty William Cantanzaro. Saturday, November 30, 1:30–3:30pm Art Workshop: Sense of Place HRM Teaching Artist-in-Residence Jia Sung will guide visitors in analyzing the ways in which artists have captured moments and moods through their use of color and language. Then, participants practice these very methods by making their own notebooks out of recycled paper, filling them with observational drawings, drawings from memory, and journal entries. Sunday, December 1, 1:30 pm Tour of Thomas Cole’s Refrain: The Paintings of Catskill Creek Join Laura Vookles, Chair of the Curatorial Department, for a tour, and explore the deeper meanings of Thomas Cole’s Catskill Creek paintings. Vookles will discuss Cole’s importance to the development of American landscape paintings, as he laid the groundwork for many of the artists in our collection, for the Hudson River preservation movement of the 20th century, and for artists such as Janelle Lynch and James McElhinney today, who combine a deep love of nature and art with environmental consciousness. Sunday, December 8, 2pm Sunday Scholars: Thomas Cole’s Refrain, the Curator’s View H. Daniel Peck, exhibition curator and the John Guy Vassar, Jr., Professor Emeritus of English at Vassar College, shares the new scholarship behind this unique and illuminating collection of masterpieces from major museums and private collections. The deeper meanings of Cole’s Catskill Creek paintings are explored in Thomas Cole’s Refrain: The Paintings of Catskill Creek, published by Three Hills, an imprint of Cornell University Press. This program is supported by Jennifer Krieger and Eric Siegel. Saturday, December 14, 1:30–3:30pm Hudson River Haiku Join poets from Ars Poetica for experiential poetry in the galleries inspired by our special exhibitions, the Museum’s dramatic river view, and your personal relationship to the landscape of the Hudson Valley. Tell them your topic (any word or idea will do) and within 120 seconds you will have a short poem of your own to keep, composed on their vintage typewriters. Sunday, December 29, 3pm The Tribe and the River The HRM sits on traditional lands of the Leni Lenape, the First Peoples to inhabit the lower Hudson Valley. The Leni Lenape made use of the valley’s vast natural resources and network of waterways. Watch a performance by Turtle to Turtle, members of the Ramapough Lenape Nation, and learn about their history and relationship to the Hudson River through stories, artifacts, music, and drumming. Join in to learn the dances and songs that reflect their connection to nature, the earth, and the river. Saturday, January 11, 1:30–3:30pm Stitch Diary Create an embroidered artwork on recycled fabric with Teaching Artist-in-Residence Jia Sung. Practice the basics of working with needle and thread to create an image, and playing with color choices that convey mood. This ancient and meditative craft offers a relaxing way to recover after the rush of the holidays, while the native plants and animals of the Hudson River provide a wonderful source of subject matter. Participants are encouraged to bring in their own scrap fabrics, and we’ll provide the rest! Sunday, January 12, 2pm The Recursive Landscape: Cole and Beyond William L. Coleman, Ph.D., Director of Collections & Exhibitions at the Olana State Historic Site, speaks on the broader phenomenon of artists who have shown sustained devotion to a specific landscape subject over many different canvases. This talk places Cole’s repeated responses to the scenery of Catskill Creek in the context of a long tradition of landscape painters who have found sustained challenge and reward in a particular locale, both before and since his time, and shows the particular importance artists’ houses have played in this practice. Sunday, January 26, 1:30pm Follow the Flute: Experience Art Through Music Travel through the landscapes of Thomas Cole, James McElhinney, and Janelle Lynch, along with the cityscapes of Self in the City with regional and national award-winning flutist Adam Ray, principal flute for the Lehman College Symphony Orchestra and second flute and piccolo for the Yonkers Philharmonic Orchestra. He also appears as a soloist for The College of New Jersey’s Jazz Ensemble, the Westchester Band, Michael Ray & the Cosmic Krewe and the Con Brio Ensemble. Of special note: Adam Ray is a graduate of the Museum’s Junior Docent program! Sunday, February 2, 2pm Nexus Hudson River: History, Science, and American Landscape Art A discussion moderated by Laura Vookles, the Chair of HRM’s Curatorial Department, with artist James McElhinney, art historian Katherine Manthorne, and Frances F. Dunwell, Hudson River Estuary Coordinator at the NYS Department of Environmental Conservation. The panelists will discuss the dynamic and interdependent underpinnings of our Hudson Valley environment, across time, space, and consciousness. The exhibition will be featured on Facebook, Instagram, and Twitter via the hashtags #ThomasCole #ThomasColesRefrain, and #HRM100. Press Contacts: Samantha Hoover, shoover@hrm.org, (914) 963-4550 x216 Jen McCaffery, jmccaffery@hrm.org, (914) 963-4550 x240 Image: Thomas Cole. On Catskill Creek, Sunset, ca. 1845–47. Oil on panel. New-York Historical Society, Collection of Arthur and Eileen Newman, Bequest of Eileen Newman, 2015.33.8. ###
6840	dbpedia	2	67	https://seedyroad.com/nanuet/remember.htm	en	Nanuet: Do You Remember...?			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My NANUET pages are doing exactly what I hoped they would do; I have gotten some wonderful emails from people who have generously shared their own memories of our humble hamlet. I've also been contacted by some long lost old friends. Please feel free to share your memories with me. Anything about Nanuet before 1976 (my Bar Mitzvah year) is welcome, pictures too. I won't upload a single word without your permission, and if you wish to remain anonymous, that's fine too. IF YOU WRITE, PLEASE TELL ME IF IT'S OK TO POST YOUR COMMENTS. IF YOU WOULD LIKE ME TO LINK TO YOUR EMAIL ADDRESS (not recommended), ALSO, PLEASE LET ME KNOW. Thanks! -Dan Nanuet: Do you remember... Compiled with help from the Edsall Avenue Jew Crew: Mike Goldfarb (now Goldmann), David and Victor Eisenberg, my brothers Ethan and Jerry Silverman, and honorary member Barry Schein. Larry Segall, January, 2024: HI EVERYONE FROM 1962,1963,1964 ONLY 61 YES, ON DEC 29TH I BECAME A FIRST TIME GRANDDAD WITH MY GRANDSON MILO JASPER, WEIGHED IN AT 6 LBS 13 OZ, 19 INCHES TALL.AT 79 YEARS YOUNG I AM OVER THE MOON. REMEMBER NHS FONDLY, BEING SCHOOL PRESIDENT, ON THE CHAMPIONSHIP BASKETBALL TEAM, CLOSE TO MY FELLOW 74 HS GRADUATES AND MISSING SOME OF MY PEERS WHO HAVE DIED AND MANY WHO I HAVE NOT SEEN SINCE OUR 50TH REUNION. LOVE TO HEAR FROM YOU. LARRY SEGALL lcsegall@gmail.com 203-722-7763 HERE IN CT. James Pratt, May, 2023: The other day I was looking at my father's (John Root Pratt, Sr.) old "pond yacht"...model of Sir Thomas Lipton's America Cup challenger "Shamrock IV". Great uncle John Steingester won a bet with Shamrock's captain Turner and settled for the boat. My dad kept it in front of the fireplace at 31 N. Middletown rd. until his dog (Chiefie) had an accidental injury while playing ball. Dad carried the boat down to the garages and put it in the loft for 60 or 70 years. A long while back, I restored it, wife Debbi made new sails and it still sits in our den in Charleston, SC. My great aunt Elizabeth Steingester Knapp and my mother were active in the Rockland County Historical Society and were wondering if it could find a home somewhere. We had homes at 29 & 31 N. Middletown (and up the road at the Steingester summer place ). Aunt Ellie lived in an old (pre-revolutionary war home in New City (200 Brewery Road). Family has been around for a long time (Pratt: HMS Sparrow 1622, Root: HMS Increase 1635, Sorenson 1525 etc). I enjoy your tribute to Nanuet. It certainly brings back fond memories. Bless you & the contributors. Jim Pratt Eleven shots of Jim's days at Highview etc.: Paul Doniger, January, 2023: Memories of growing up in Nanuet: We moved to Nanuet in 1958 when I was three years old. I graduated from NHS in 1973. That summer, when I was only 17, a girl I barely knew asked me if I would give her a ride to Colorado to visit her girlfriend who had moved to Denver recently. Of course I said OK. I remember throwing all my stuff in my Chevy, pulling up to her house, and picking her up. Can't believe her parents were okay with that but I guess people trusted people back then. So we drove to Colorado and stayed at KOA campgrounds. Spent the summer of '73 exploring Colorado. Then I ended up moving to Boulder CO in January '74 and I've lived out here ever since. I lived on Highview Ave and walked every day to Highview Elementary. I sometimes stopped on the way at Bobby Schmidt's house and we'd walk to school together. I remember one day when I stopped to get Bob, Mrs Schmidt said, "you look like one of those "Beatles" (because I had let my hair grow a little longer). My 1st Grade teacher was Miss Oxley. Had her again for 3rd grade but her name had changed to Mrs Maui (I think she got married in Hawaii). I had Mrs Pepper in 2nd grade (she was strict) and Mr Merkle 5th grade (he was a hoot - had been a comedian in Florida before becoming a teacher). All my teachers in Nanuet Public Schools were excellent. I got a great education even though I wasn't the best student in Middle School and High School. Our class was the first 6th grade class to attend Nanuet Middle School when it first opened. I had a great art teacher there, Connie Frazier. She went on to become the Rockland County Human Rights Commissioner. You can read about that here: https://www.lohud.com/story/news/local/rockland/2020/01/09/rockland-human-rights-anti-semitism/4422886002/ Mr Schubert was a fabulous teacher a NHS. When I took Art Appreciation in college I already knew most of the material from what he taught us. In middle school I had a dumb idea that I should try out for the football team. One hot humid summer day during practice I went out for a long pass and was hit so hard I flew a few feet in the air and "saw stars''. I really came down hard and they had to use smelling salts to wake me up. Needless to say that was my last day of football, ever! I still have a pain in my back from that hit. Thanks for that Howieâ¦ http://www.nanuethalloffame.com/inductees_detail.php?recordID=20101124092151 I remember the Nowickis had a sign at their pool that said, "We don't swim in your toilet so don't pee in our pool". Janice Crofoot and Katie Nowicki boarded their horses in New City and I loved watching them practice English jumping. My friend Tom O'Brien and I once siphoned gas out of his parent's car and we drove my VW to Times Square to watch the ball drop on New Year's Eve during the gas shortage. I remember we couldn't find my car afterwards because we drank too much! I just pulled out the 1973 Excalibur this evening because I was reading this blog last night. When I opened it and was flipping through the pictures my wife said, "How do you remember all of their names?" It's kinda weird because I'm 67 now and feel like my memory isn't so hot, but I could put a name to almost all the faces. Way too many to list here. During High School I was a gas attendant at the garage next to Jolene's. It was before credit cards and I always had a huge wad of cash on me. Looking back, that probably wasn't too smart. In high school I felt like I didn't fit in and Iâve had some regrets that I didn't participate more. Never went to prom, etcâ¦ Does anyone know if there is a 50th high school reunion this summer? The "old lady" who sold antiques was actually my brother Andy's girlfriend Mary's Mom, Mrs Tartanian. They were a really nice family. Her brother Randy was studying to be an auto mechanic, I at BOCES. He taught me how to rebuild engines, do tune ups, etc. We actually built a VW that I drove in High School. We made one car out of two junk VWs! Mrs. T made the best sausage and pepper subs ever! FYI, I liked Jocar's slices better than Rex. Peter Jeuck, November, 2022: We lived immediately next door to the Caruso's, 81 Blauvelt Rd. The Smiths were on the other side to us next door. Fred seemed much older than my brothers and me but I remember him. He used to trap for muskrats down at Nauraushaun Brook which ran behind our homes. Mr Caruso worked at Lederle third shift so he slept during the days. My parents kept telling us to play in the yard quietly because Mr. Caruso slept during the day. If your mother was Fred's sister, then she must be Phyllis who on occasion baby sat my brothers and me back in the 1960s. I seem to recall that Fred had joined the Air Force during the mid 60s and his plane had crashed at sea and as a survivor was found only after some time after a search had begun. My recall is hazy and the news about the crash came from my mother who wasn't very reliable in getting details correct. After Fred did his military service I don't think he ever returned home. But I do seem to remember Phyllis being part of a traditional Juniors vs Seniors Egg Fight during Halloween or Gate Night. Again hazy memories. But I do remember egg fights were common during Gate Night. Are my recollections incorrect? Jennie Redling, January 2022: Prospect Avenue vs. Prospect Street Hi, I grew up from Kindergarten (Mrs. Horowitz) at Highview Ave. through the new High School (still under construction) in 1964. We lived at 94 Prospect Avenue across the street from playmates in the Leo Family, Suzanne and Joan. The high schoolâs field is named for their little brother Jerry who died in a wrestling accident. I am a professional playwright and former actress, moved to Manhattan in 1972 a few years after college and returned to Rockland in 1998. Surprised that my street was renamed aside from other things I watched when I visited my twin sister who never left Rockland. I have lived in Suffern with my husband for the past 18 years which is quite nostalgic with the Lafayette movie theatre and the Hines Building owned by my great grandmother after whom I am named, Jennie Hines. Itâs enjoyable reading this account of our little Hamlet. I was just describing Boggianoâs and Johnsonâs to my husband and how my sister and I used to walk there every few weeks to get comic books (her: Archie, me: Little Lulu). Also the candy selection at Boggianoâs and how Marie, the sales lady would be furious if you called her âMrs. Boggianoâsâ and if you perused the toys in the back of the store, sheâd shadow you to make sure you wouldnât shoplift. Dan, you might want to correct the misspelled Johnsonâs âstationaryâ store to âstationery.â Those brothers were very sweet. We always bought our TV guide there - they kept them in a pile at the cash register. I remember seeing Elvis Presley on the cover and thinking he was a lady! My first grade teacher was Mrs. DiLisi, second grade, Mrs. Kramer. I remember receiving a mimeographed menu for the week and a choice of A or B lunches with a red triangle plastic token and a black octagon one depending on which you chose. As I couldnât stand the food I either brought my lunch which was mostly a bologna sandwich on white bread and Mayo - the bread slightly stale since all we had was wax paper and the bread was not like today - no calcium propionate âto retard spoilage.â One of the things I appreciated when living in London one year was the food market bread aisles smelled like a bakery in contrast to America where bread aisles smell like chemicals. While walking home from the Highview school I sometimes saved my lunch money and heedless to calories, stopped at the house across from the fenced in playground across the street where the lady living there had turned her downstairs into a store/soda fountain and Iâd treat myself to a 25 cent chocolate ice cream soda. I also stopped at the Nanuet Bakery for a chocolate cruller or a jelly donut 10 cents or a brownie 12 cents. Later in high school Iâd enjoy the cosmetics in the drug store - Revlon lipsticks and Max Factor pan stick, cake makeup and a fantastic eyeliner with refills just like a mechanical pencil. My girlfriends and I were thrilled when Korvetteâs opened with its vast assortment of cosmetics, perfume and clothing. My aunt owned the Spring Valley movie theatre - the Valley Theatre - which sadly burned down in the 60âs so I saw numerous films free and in high school worked behind the candy stand. It was tragic that the beautiful seats, carpeting and wonderful mural upstairs of Diana and her hounds were destroyed by fire. As a junior in high school I began acting more professionally at the Antrim Playhouse. My favorite teacher, Mrs. Mary Warner came to see me perform in Arthur Laurentâsâ âA Clearing in the Woods.â I treasure my memories of Miss Nanuet deeply - thank you for keeping her alive. Jenired@optonline.net Doug Smith, June 2021: Hello, Dan- I was turned onto the Nanuet site by my sister Chris. It is a remarkable diary of Nanuet experience, accumulating since 2007. Just wanted to say thanks for having the foresight and energy to put this together. Being reconnected to childhood experiences is good for the soul. The photos of the band marching in front of Buy Rite were awesome. Being 'of a place' is powerful, but there is much in modern society that undervalues it. Thanks for tipping the scales in the other direction. Doug Smith Thomas Rock, August 2020: Does anyone from the Highview Avenue area remember sledding in the Schmidt's back yard in the '70s? Every winter, kids from all around the area would walk to the Schmidt's house and spend all day sledding down the giant hill that was their back yard. Like most of the kids, I never met anyone from the Schmidt family, but looking back now I can imagine that they probably enjoyed watching a bunch of kids sledding in their back yard as they sipped their morning coffee on those cold winter mornings. Speaking of Highview, is there anyone here who was a "Highview" kid when the Highview School shut down and we were all sent to G.W. Miller Elementary School? All of us originally from Highview were always known as "Highview kids" to those who were always "Miller kids", but once we got into middle school (A. MacArthur Barr), we were all just a bunch of Nanuet kids. thomasrockny@gmail.com Joshua Ollinger, August 2020: 242 W. rte 59 Nanuet: My Parents' business was at the above mentioned address all through the 1960's. Also what about the Hub Bowling alley? That place was an icon and many top bowlers of the day went there. I once bowled a 260 at that place. What great memories of that town. Anonymous, July 2020: I am looking for pictures of a large property and house and family who lived in Nanuet inÂ the 1940s. It was owned by Mary Daly Slattery and her husband, Fred Slattery. Fred was born in Ireland. The property had a name on the sign which started perhaps with an A and perhaps was a Gaelic name? A friend Â of mine spent summers there as a child and she would like to find out if it still exists. Â Henry Conklin, January 2020: I was born in Nanuet in 1940. We lived in a house on Main Street, across from Higgins Funeral Home from 1940 to 1944. Then my dad bought a house on the corner of Church Street and Blauvelt Road. In 1948 he sold the house to Swiss Trudy for $8,000, and bought a home in Oakbrook Division. I graduated from Clarkstown High School in 1958. Got Married in 1960. Moved to California for 30 Years. Then moved to Florida for 23 years. I now live in North Carolina. My wifeâs grandfather built the big house across from Higgins funeral home. Mary Marino, January, 2020: Love this website. I lived in Nanuet (Central Drive called Oakbrook section) from 1949 - 1958. You don't make any mention of the taxi building that was behind the Nanuet National Bank. I remember sitting in there with my mother after getting off the bus from Nyack or Spring Valley and waiting for a taxi to take us home. Anita, July 2019: I don't see that anyone has mentioned the teen music hangout in the late 60's called "The Hullabaloo" that was located down the street from St. Anthony's Church on Route 59A/West Nyack Road. I lived near there but at around 16 years of age was prohibited by family from attending. I still live in Nanuet after these many years and enjoy reminiscing about what was but also like some of the changes. Hey we're getting an Aldi's in the old Pathmark (EJ Korvettes) Shopping Center shortly! Joe Farsetta, March 2019: My grandfather, Angelo Farsetta, used to own the shoe repair shop (the original one) next to Charlies Meat Market. For many years it was the Flower Peddler and recently closed. My grandfather, and his helper Mike, were older gentlemen who both spoke broken English. They did all sorts of shoe repair work. Neither were devout Christians nor did either try and convert anyone to Christianity. Neither walked with a limp, so I am unsure where either characteristic came from. Nevertheless, the original shop was there for many years. Originally, my grandfather worked for St. Dominick's home, also as a shoemaker for the children and nuns. I remember the barber shop and Perrino's had a deli/convenience/candy store on the corner of the building. The Perrino family moved the deli to West Nyack a few years later when they opened Elmwood Market. I believe the Boggiano's also owned the building which housed his store. Anonymous, December 2018: Hi Dan. I saw the movie Green Book last evening and felt compelled to write about the racism that appeared even in the north and yes in New York State in 1964. During the summer of 1964, Requa Lake had a sign posted at the entrance that said âno dogs or Jews allowedâ. The sign was removed by the next summer. I would like to remain anonymous but feel free to share this information so that our memories are not glorified but accurately depict the history as regrettable as it was. A reminder for today sadly. Cal Schupner, December 2017: I graduated from Nanuet Grammar School in 1949. Nanuet didn't have a high school back then; we had a choice of Spring Valley, Nyack, or Pearl River. I chose Spring Valley because my buddy, Eugene Dworkin, chose Spring Valley. He was Jewish and SVHS was the only school in the county that was closed for the Jewish holidays. I wasn't Jewish, but I certainly didn't mind the extra time off. I was on the Spring Valley High bowling team that won the Section 9 championship in 1952. I lived with my parents at 13 Kemmer Lane from 1942 to 1958 when Madalan and I got married. (Still happily married, by the way, with 2 adult children, 3 adult grandchildren and 3 great grandchildren). I drove truck for Faist & Westervelt Lumber in Spring Valley and ended up as an accounting clerk in Lederle. Attended night classes at RCC, then transferred to Pace where I earned my BBA. Got my MBA at Nova University and my CPA in Florida. While working at Lederle I drove part-time for Billie's Taxi (Ray Roth) in Nanuet, picking up handicapped kids in Tuxedo and Sloatsburg and driving them to Camp Jawonio in New City. Hung out with Gene Dworking, Duane VanderBogart, Phil Stevens, Fred Williams and Walter Saunders. Did a lot of bike riding and ping ponging. Gillian Brown, December, 2017: Hello Daniel, My family live in Nanuet on Pacific Avenue from 1962-1972 when we moved to the Washington D.C. area for my fathers work. My family have kept in touch with two longtime Nanuet friends to this day. I was wondering if anyone in the group would remember Mary Eberling of Pacific Avenue who lived with her mother Joan, brother John and Aunt Betty for a while before moving to another Nanuet location. Our family also kept in touch with Bob & Cookie Lyle, Mr. Shawstack, Mrs. Grushkin of Pacific Avenue. And behind us Bill Sarmiento and the Slater Family especially to remain friends to this day along with the Rooney family in the area. My memories of Nanuet were up till age 7. I remember attending Highview school, having very nice teachers, air raid (bomb) practices in the hallways, the playground across the street. Attending Knolls Day Camp. I was a Brownie at a local troop (very nice leader) and my mother was involved with a few community ladies organizations. My father worked in Manhattan before we went to Washington. I was born in Sufferin NY but my parents are Canadian. Happy memories of Nanuet! Thanks for all your work on the site Daniel! Kind regards, Gillian Brown Chris Yee, December 2017: Does anyone remember the name of the garden nursery on the westbound side of Middletown Rd, East of 59, West of Cropsey Farm? Billy Feyen, October 2017: Hi, moved to nanuet in 1960 from the Bronx, wow what a culture change. Graduated in 1968. My classmates do you remember SLOPE senior lauching of pumpkin and eggs, black bull pub, OD'S triangle pub. I remember bring some things my dad from the bronx to our house in Nanuet and my dad saying dont blink son you will miss main st. How about ice skating on schwins pond,playing sports behind highview school. EJ KORVETTE of course, does anyone out there know what EJ KORVETTE stands for? i do if you would like to know let me know! Rob Vlosky, October 2017: Haha - I'm a Pearl River native and my friend Joe Contrino from Nanuet sent me your link, which I think is wonderful. All the places you list are familiar to me, especially Om, where we used to pick bits of pot off the carpet in the black-light poster room. Was I the only one who did that? I was out there on the corner of Rt. 59 and Middletown Road with my grandmother Lena Vlosky. She was there EVERY week for many years - I was very proud of her. Zoey, August 2017: Hi Dan - Great site with lots of memories! I know this is probably a long shot but I am looking for anyone who may have worked at the NYS Thruway toll booth in Spring Valley during the Fall of 1967. If so please email me! @ zoeymop2@gmail.com. Thanks ! Meg Holden, July 2017: Hi! I found your site while doing some ancestry research for my mom. Her mother (my grandmother)'s cousin was married to Swiss Trudy! We really don't know much about that cousin, and nothing really about her either. I have seen the postcards online. Do you have any stories or a description of Swiss Trudy's Alpine Village? I saw the picture of the building. I know her name was Gertrude Drittenbass Rust Sampson and she was born in Switzerland. My grandmother was a Rust. We are just curious!! Thanks! Peter Jeuck, June 2017: My wife and I have lived in Hewitt NJ for 18 years now on Greenwood Lake. I found this site some time ago and reminisced about what it was like back in the 60s when I was growing up. I was born in Nyack Hospital in April 1955, and my recollection of Nanuet in those days is very sketchy. My family lived on Blauvelt Rd. across the street from Lauren Court. Our driveway was on Elks Drive behind our house, and the old rail spur that ran to Camp Shanks ran practically through my backyard. My two younger brothers and I used to run out every time the train came by because the engineer would toss out packages of candy to us as we waved when the train crossed Elks Drive. Our family moved to Monroe NY right after I graduated Nanuet Senior High in 1973, but I worked at the Sear Automotive Center from 1972-1978. I wasn't a stellar student, and my guidance counselor said I wasn't college material. I proved him wrong. After I met the stunningly beautiful girl from Virginia who became my wife, I decided to go to school and graduated Rutgers with High Honors and was inducted into Phi Beta Kappa. i got my Masters of Science in Environmental Engineering and have been working as an Environmental Engineer for a major Pharmaceutical Company for many years. Getting close to retirement. I'm sure I'm not the only one in that boat from the class of 73. I can't remember when they removed the rails, but those tracks provided a pathway to town, and to the homes of my friends Mickey Baer and Craig Stockdale who lived on Viola Dr. Some 15 years ago I took my wife for a walk down the rail bed of the tracks. There used to be a trestle over Narashaun Brook deep back in the woods past Middletown Rd heading towards 40 foot hole. The trestle was mostly removed except the cerement supports. On the other side was a large golf course where there used to be woods. The rails went over the Palisades Parkway, over an old stone arch bridge that went over Sickletown Rd. and another bridge that went over the Hackensack River at 40 foot hole. At one time I understand that spur was used to provide supplies to Camp Shanks to the men stationed there just before being mustered to Europe during WWII. Now its impossible to walk down the old rail bed segments in Nanuet and Pearl River. But when I was real young, back in the late 50s, 58 or 59 I can remember steam engines before they switched over to diesel. They must have been among the last steam engines ever used. The trains that used that rail line were never long. Typically no more than 5 or 6 cars including a caboose. I have no idea why they would keep those trains running into the 1970s. They ran by twice a day, once to Orangetown and once back. Back in the 1950s I think there was a television show that was filmed in Pearl River...just looked it up, the show was called Norby. My mother told me about the show. I never saw it. The Nauraushaun also passed immediately back behind my home. There used to be a stone arched bridge over the creek right behind my house. Then in the early 70s they built homes in the field that was behind my house so we couldn't directly access the brook anymore. My brothers and I caught all kinds of critters in that brook, leopard frogs, crayfish, painted turtles, wood turtles etc. There were even muskrats back there. My father fly fished for trout. Today I don't think you could catch anything but a disease in that brook. Well, I see its been a few years since I last posted on this blog. Last October I suffered a heart attack in Texas. My wife and I were supposed to be attending my nephew's wedding and my wife got very sick with double pneumonia. We decided to drive home since she still wasn't well by the time we were to leave. Docs said it wasn't a good idea for her to fly, so I rented an SUV and we were going to drive home. Got the SUV at San Antonio and we drove as far as Houston when I started getting bad chest pains. I pulled off the highway to an ER that was right at the next exit, and they told me I was suffering a heart attack. They then rushed me to a Regional Hospital and they immediately put two stents in. The doc made sure I understood how lucky I was to be alive. He told me four separate times, three during the operation. So I'm getting nostalgic. I've been to cardiac rehab, did pretty well. My wife and I walk four or five days a week for a couple of hours a day, but I simply don't have the energy I had before the attack. They did say I did well in my cardiac rehab, and I luckily haven't had much in the way of chest pain since. But I nearly checked out. Puts a different perspective on life. Even at the ripe young age of 62. Well, I think I'll check in more frequently before checking out. Pete Jeuck Joseph Komonchak, February 2017: In reply to Janetâs query about the house on the north-west corner of Rte. 304 and Route 59A. It was indeed the residence of John and Bertha Maier and of their son, Robert J. Maier. They were the proprietors of Johnnyâs Gas Station located across the street, that is, on the northeast corner of the same intersection. The Maiers bought the business in 1929. My family lived practically across the street from the gas station, so we were quite familiar with it. A large sign facing Rte. 59 proclaimed: âJohnnyâs Gas Station.â Besides selling gas, Johnnyâs Gas Station also included a building that had a bar on the left side and on the right a refreshment stand where they sold snacks, candies, etc. The Maiers were very friendly and helpful. My brother Andy remembers bringing his bike over and Mr. Maier helping him with it. When my family moved from West Nyack to Nanuet, our old dog Butch liked to sleep in the store and eventually he abandoned our house for their building. It was also the bus stop for the Red and Tan Lines bus that ran from Nyack to Suffern. For a while the house served as the Nanuet police station. Unfortunately for the Maiers, when Rte 304 was widened and re-alligned, it was made to run right through the middle of their property, and the gas station went into decline. I have a memory that some part of the service bay was donated to the Smithsonian museum in Washington. Bobby Maier lived for a long while in the now abandoned house. He died in Florida, June 14, 1995. Mrs. Maier died in 1949. --- During the last year of the Korean War (1953-1954), my father, Joseph B. Komonchak, edited a newsletter for members of the Nanuet Fire Department and other citizens of the hamlet who were serving in the military to keep them informed about doings in the Fire Department and elsewhere in Nanuet and indeed all over Rockland County, N.Y. I have copied and scanned the issues of the newsletter, which provide a series of snapshots of local history in the early 1950âs. Most of them are easily legible, but some issues were mimeographed on colored paper and are more difficult to read. I realize that most of the people who have sent in memories of Nanuet will not remember how things were back in the 1950s, but I suspect that there are some who do. In any case, many familiar names and places appear in these pages. I hope you enjoy them, and would love to hear from you if you do. You can find them at my blog: https://jakomonchak.wordpress.com/2013/05/13/nanuet-fire-siren-1953-1954/#more-1082 Fran (Siegel) Marcus, January 2017: Sure hope you don't still have the "Letter People"! I love reading the postings of your website, although I am far from done. The site itself is wonderful. (Besides, I love seeing my name.) Daniel Silverman, you do me proud and I simply had to tell you. Your first grade teacher, Fran (Siegel) Marcus Jim Drumm, January 2017: Hello Nanuet friends, lots of very kindly thoughts posted here. I grew up by the "big woods" on Steep Hill and Briar Rd. We actually all had rifles and and we shot up beer cans and things. Bruce Palmenberg actually got shot in the hand by Bobby Stumpf but he went on to survive. The biggest thing I remember about the Steep Hill/ Briar Rd. woods was the "skunk tree". It was at least 4' in diameter and was long dead even in the 60"s but hung and stayed there like a legacy. Many a girl had her first kiss there. Steven, December 2016: My brother and I (spring valley 1966-87) came upon your site after googling in search of the name of the record store we used to go to (it was tapeville USA). Many great memories! I saw that you have book recommendations so here's one more: "foreskins lament" by shalom auslander. He grew up in an ultra-orthodox community in Monsey and wrote about that experience (one memorable passage was about a visit to rickel's home center where I recall going with my dad). It's a great read. Michael Gillespie, November 2016: Would anyone have any information or photo's of Miss.Wight's School that was located across from Highview Elementary School? I belive it closed just before the turn of the century. Sue M., October 2016: I loved seeing so much of Nanuet that was there in the 1950 & 60s . I know the "If you knew Highview" song. Can still sing it. But no one put in the High School Song... "Come raise a song to Nanuet...Nanuet High, alma mater, we now sing our praise to thee...to thee whose name will live forever..." Laura, October 2016: Hey Dr. Dan, i recently discovered your website, and as time permits I've been enjoying memories of Nanuet - Thank you! I grew up in New City and spent lots of time in Nanuet :) Can you tell me what the address of the OM was? There is a Chiropractic & Podiatry office that is relocating from Pomona to 259 So. Middletown Rd, Nanuet. I beleive that this building was once the OM. My girlfriends and I loved hanging out at he OM (and Bamburgers) when we were 15 or 16 ! Best regards, Laura Jason Baisley, June 2016: Hello there. I'm trying to find a family in nanuet or a family name. I recently just found out my grandfather was not my mothers birth father. She has since died and I'm sort of looking on my own. I only know the name jack morrow or marrow. He was married to my grandma Jean slapp. Just didn't know if I could get that out there and see if anyone knew anything of a family in that area. Thank you My email is Jasonalan3@yahoo.com Janet, May 2016: hi, i am a nanuet resident. i wanted to ask if you know anything about the house (which is now abandoned) that is near the Honda car dealership? I heard that the man who lived there was Bob Mayor or John Mayor. If you any information about them or the house please tell me, I am very interested in learning more about it. Also I live near St.Agatha and I really want to know what used to be there and just more about it in general. I remember when I was younger passing by St.Agatha and seeing a church-looking building and what my parents said was a orphanage. These building got torn down as the years passed by and now its a park that has barns. My friend and I went near the barns and saw these large flat stones that looked like gravestones on the ground. They were really in the ground and hard to move. I wanted to ask if you would know what they are. Please email me back if you know any information about any of these topics. Thank you Bob Wells, March 2016: My best friend and I went to the White Birch Inn in 67 on a dare. We may have been the only white boys in the place. The music was fantastic and everyone was friendly. Went back a couple more times in 68 before moving west. Fond memories. Emma, February 2016: This is for Robin Bassett who posted in May, 2015 that she would like to speak to anyone who remembers Club 59. I also worked there in 1968 and have wonderful memories. At the time, I lived in Hackensack. If you are still interested, please contact me through my email. Ted Stephens, November 2015: Back in 1975 - 1976 I worked on a old construction "Site" where the construction company used to store their equipment and steel beams. Company I worked for was hired to remove all the metal from yard and sell it in Hunts Point scrap metal yard. Rumors had it the old building on site were from civil war period but when I look at Historic aerial topographic maps it looks like that area was not developed back then. The main building there was old...had tree trunks as beams and doors had counterweights to open an close. It is now what is the Versailles condos. I would send you an aerial shot I have from years ago but don't see a way to attach it here. Would you happen to know anything about this property? Looks like condos were built approx 2001 Dan, November 2015: Do you remember what the name of the BBQ restaurant that was on Rte 59 in Spring Valley across from the BMW dealer. Thanks Dan Ian Ackroyd-Kelly, October 2015: Although I have followed your site for a while, I just took the opportunity to look at the pictures for the first time the other evening. You have a picture there that is of "The Pines" with a comment that you weren't sure where or what it was. I could be mistaken, but my memory - now much dulled by the passage of time -- tells me that the wall in the picture lay along the south side of Convent Road, east of St. Agatha's and across from Caravella lane and Grandview Avenue. Later on it became known as Knolls. Beyond that wall was at one time what appeared to be a track for horses. Over the years, the area grew in with trees and brush. I think they also kept cattle on the property as occasionally they would get loose and wander up onto out property on Duryea Lane, and my parents would call them up to come and repatriate them. Again, I cannot be absolutely certain of the above, but I believe it to be true Charles Laggan, October 2015 Hutton & Johnson, Nanuet, NY Doing some historical research on the Hutton & Johnson Company in Nanuet, NY and came upon your site with all those remembering Nanuet years ago. Some great memories there. I grew up in northern NJ in the 1950's and 1960's and made many trips thru the Nanuet area and love that part of our country. I'm wondering if any of your folks can fill me in on any of the history of Hutton & Johnson Co (i.e. what their business was, how large did it get, are any portions remaining today, etc.). Â c.laggan@sbcglobal.net Rich Hogan, September 2015: My family lived at 15 Fenner Lane in the late Fifties. We used to walk through the woods to the gas station at the corner of Middletown Road and the highway. From there, if my big brother or my parents were with me, we could cross Middletown Road and walk to Saint Anthony's school, or we could cross the highway and visit the hotel/Italian Restaurant or the bakery. Other than those businesses, and the Higgins funeral parlor--Danny went to Saint Anthony's and was in my class through fourth grade, I don't remember much. I did visit Nanuet again in 1982-4, when I was a postdoc at Rutgers, and I have been using maps and other materials that I can find online in my Community Organization class. It would be nice to have access to a local history and a blog that I could in class with my students, to show how people can study their home towns--even when they are far from home. Gary, July 2015: Do You Remember Nanuet? Sure, I remember. I remember the great pizza at the Nanuet Restaurant and the summer day camp at Requa Lake where I learned to swim and hit the bullâs eye in archery. There were several different Day Camp groups there. They had names like Penguins, Turtles, Porcupines and Otters. I wonder why I remember that without remembering the name of my own group. Although we lived in Rockland County, most of the other kids there lived in the city. Iâd ask where someone lived and expect to hear something like âHaverstraw,â but get replies like â7th and 45th.â I played Little League baseball and went camping in the Ramapo Mountains. I rode my bike to Airmont School. I fished in the Mahwah River. My parents owned the Dairy Queen in Monsey from 1956 to 1969 where the Kosher Castle is now, next door to the long closed Rockland Drive-In. Iâm glad the screen and sign survived the one-two punch of HBO and video rentals. Even if the Drive In had survived those two it never would have survived Netflix. Are there any Drive-ins left in America? We saw several movies there while it was still in operation - the Music Man, Exodus, and Barefoot in the Park and probably more. I remember wondering if âItâs a Mad, Mad, Mad, Mad Worldâ would have been just as mad if they had called it âItâs a Mad, Mad, Mad World.â I remember buying car models and baseball cards at EJ Korvetteâs, Bazooka Bubble Gum at the Hi-Health and getting haircuts at the shop across the street. My mother collected S&H Green stamps from the Grand Union. I was watching from the parking lot as Shopperâs Paradise burned down for the last time and was at Shea Stadium the day Pete Rose attacked Ken Harrelson. He wouldnât have gotten my vote for inclusion at Cooperstown even before the new evidence was revealed. We had a wall of photos of famous people who lived in the area and had bought ice cream from us beside the âwalk-in boxâ refrigerator. Among others there was Burgess Meredith and Wally Cox whom Iâd recognize as Batmanâs âPenguinâ and Mr. Peepers, respectively. There was also an actor that I didnât recognize from the screen but remembered from his many visits to the store. Many years later Iâd recognize (on the screen) the girl and boy heâd frequently send to the window to pick up his order - the ones Iâd come to know as Ellen and Jim. The âkidsâ were now appearing on Cagney and Lacey and Wings and acting under their middle names - Tyne and Tim â actor James Dalyâs daughter and son. I remember the time I got new skates and crashed through the thin ice in a pond at Bon-Aire Park and being pulled out by Jerry Johnson. I remember delivering newspapers (even though The Record thought I was too young for my own route) as a substitute for Jonah Shacknai â someone who would also find time in the publicâs eye -though Iâm sure we both wish he hadnât. It has been many years since then. A family move to Florida in 1969, a stint in the Army, college, a successful marriage and career and 14 different addresses in 3 different states with lots of foreign travel have all intervened. Now as I write this approaching retirement, despite all Iâve recalled, Iâm trying to recall where all the time went. These things I remember were only yesterday, werenât they? Steve Cuppek , July 2015: Hey Dan I lived in Hastings-on-Hudson during the 50's & 60's. Our Recreation Dept. use to have several trips each summer to Requa. We had some great times there! I remember the pool behind the diving boards. The water was like 10 degrees colder than the main lake. I kept going back through my late teens and into my 20's. We continued in the 70's with my kids.It was a great place for families. BTW, I saw the Bee Gees in (late 60's early 70's) in Theatre In the Round. The lead in group for them at the time was Hall & Oates (no one had ever heard of them). Irene Kittrell, June 2015: Hello, I'm enjoying the memories shared on your blog. I grew up in N.J. and when I was about five, my parents made me to go to "Camp Penguin" in Monsey, N.Y." It was located at Lake Requa, supposedly surrounded by the 300 acre Monsey Country Club. The camp director was George J. Koch. I wonder if you ever were a "Penguin" or if you knew anyone who was. Strange not to find anything about the lake on the Internet other than your blog. Does it still exist? Thanks in advance for any information you may be able to share! Robin Bassett, May 2015: Club 59 Nanuet 1969 I have been actively searching for the name of this bar for over 2 years and waiting for 27 years! I would very much if possible like to speak to ANYONE that has memories of CLUB 59 in Nanuet. My mother worked at the club and met my father there back in 1969. He was a police officer that worked security at the door off duty. My father lived in Pearl River and resided off of Middletown Road at that time. I was born in Ridgewood, N.J. In 1970 and lived in the town of Waldwick. I moved to Arizona when I was 5 with my family and have been here ever since. I very much appreciate anyone's memories and assistance. Reid Holloway, May 2015: Dan, What I think your site captures is the "New Yorkness" of New York. And you can't explain that to somebody who doesn't already understand it; you can only exchange notes with someone who does.Â I grew up and went to school upstate.Â Then I lived in Europe.Â Then I moved to the city and spent the better part of three decades there that I loved prior to moving to Connecticut up in the Northwest Corner not too far from the Massachusetts border.Â These are all living experiences that together provide a kind of parallax to what the New York experience is and means over a lifetime of experience and growth.Â As a kid, the railroads were still a major part of the upstate region in people transport which they are not today.Â The Thruway was as "space age" an idea as the iPhone is now.Â The Erie Canal was a visual and striking presence that provoked curiosity as to its roots and what it meant about New York history and the connection between the upstate and downstate regions.Â My dad did business in the city and either took the train from upstate overnight in a sleeper car, arising in the morning to a shower and breakfast passing through places like Nanuet and getting ready for his meetings in Midtown.Â If you drove to the city you passed by Nanuet coming over the absolutely amazing engineering marvel of the Tappan Zee bridge.Â These things were mind boggling in an era when a dial phone was cutting edge because you could dial direct on what was once known as a long distance call.Â New York has a feel to it that is absolutely unique, in its appearance, its geography, its economy, its people--and all these things are connected in a uniquely New York way.Â New Yorkers are conscious that their history--as with New England's--is nearly as lengthy prior to the formation of the United States, as colonies, as our history as part of the United States.Â There is historical and temporal depth here that is not observable out West.Â The epitome of that New York feel is the Hudson Valley, from its junction with the Erie Canal up in Albany, down to and through Sleepy Hollow, and then down into the city and the upper and lower harbor.Â The way that you have captured this look and feel in your photos is massively evocative.Â Almost all the places you have depicted photographically are not only places I've visited, but done so on foot or by bicycle or both--and that includes your Catskill shots (like The Apple Restaurant), your Bear Mountain area shots, and even the snow in Cobble Hill.Â I do not believe it is an exaggeration to say that when somebody my age looks at what the once impressive "Borscht Belt" resorts have become, he is having a "New York version" of appreciation for the history of civilization that is in microcosm what looking at the ruins of the Coliseum in Rome is in macrocosm.Â Water--the lakes, ponds, rivers, especially the Hudson itself--are such a huge element of this feel and your Hudson Valley shots are excellent.Â Dan, you are a New Yorker through and through and you know your environment and your love of it and your family experience comes through.Â It is very much a "flesh and blood" thing.Â Sharing it with you is a pleasure and so aesthetically informative and pleasing.Â Thank you so much. ... Did you ever read any Jack Finney, such as "Time and Again?"Â Very clever stuff he has done, but embedded in it some very thought-provoking ideas about time and how we conceive of and represent time with mechanical devices such as clocks and with concepts such as history.Â I am not at all surprised that Finney chooses New York as a setting for some of his best stuff.Â Finney indirectly contends (as I read him, anyhow) that time is misconceived when it is viewed as simply an accumulation of age and the accretion of revolutions of hands on the clock, so to speak; that we miss the significance of what time is when we see it in this literal and linear fashion.Â I first read some of Finney's stuff when I was in college, and I took his assertions with a large grain of salt.Â But then I also recalled from a course called "The Philosophy of History" that it is very different to make sense of many things by telling the story of actual events in the same sequence as they occurred.Â Many times the meaning and the context only fall into sensible and perceivable place when actual sequence is altered in order to provide context and decipherability.Â So my views about time have matured and changed "over time."Â Heh-heh. Now let's put that little tidbit about Finney back in the file folder and come back to your photos and what we have been talking about.Â I remember many times playing a little game with myself when I lived in Manhattan, and sometimes I still play this game up in Connecticut too.Â I would take my fingers and hands and cover my eyes in such a way--let's say while looking southwest from the Hudson shoreline at the 79th Street Boat Basin--so that no building was visible on either the Jersey or New York sides, no trace of anything man-made or "modern" was in my field of view.Â And then I would say to myself, "Here I am, standing in the midst of one of the largest and most concentrated urban populations on planet earth, and I have constructed an edited view that is virtually if not literally the same as it was "before time began."Â Note that phrase, before time began, and what its use in this construct, in this little nutty exercise, demonstrates about time, and you can see for yourself that it has nothing to do with the way in which we usually conceive of time as an elapsing of units of existence.Â Time in this context is synonymous with the activities of human beings, or lack thereof, over an era or eras. Now if you conducted this little exercise, say, in the backwoods of Arkansas--especially with a New Yorker's sarcastic and condescending attitude--you might walk away muttering "What's the difference?Â Of course it looks the same as it did 2,000 years ago.Â Nothing has ever happened in this part of Arkansas.Â It is as though time has stood still."Â Now there is an interesting phrase.Â Is it time standing still, or is it human progress (or absence of same)?Â And what exactly do we mean by progress when we're looking at the toll time has taken on a place like Hackensack (as one example)? Now come back to your photos, especially the ones of the ponds, the lakes, the water--and you can readily see that some of these have that quality.Â Had they been taken 200 years ago they would have looked much the same.Â And yet they are things observable right in the general proximity of one of the greater concentrations of activity in the course of human history.Â That's noteworthy, as far as I am concerned.Â It is a huge component of the experience of looking at a photo like that and what it means.Â To wit, you are not just looking at a pond per se.Â it is far more than that.Â You are looking at a very interesting phenomenon about time, and in New York the phenomenon resides at the extreme end of that phenomenon's scale of noteworthiness. This I think is what Finney means when he says time is more of a "mountain range" than a mere chalking up of moments.Â And it is a phenomenon in bas-relief in New York.Â It is perhaps the most esoteric yet simultaneously the most dramatic aspect of the "New Yorkness" of New York.Â You stand in front of Federal Hall, for example, and you are at one and the same "time" seeing where George Washington was sworn in as president.Â You are looking at what was once a neighborhood with farms in the vicinity.Â You are in the middle of throngs of financiers texting messages to far-away places like Hong Kong and can be thinking about how during Revolutionary times and, say, the battle for Long Island, it might have taken most of a day for a messenger to move communications back and forth between Washington and his collaborators. Reid. Robert C. Alfieri, May 2015: Was looking in your Nanuet Books section, and I noticed one not there. If you can, look up "Born Again Irish" by Fred Caruso, which is on the cover as "O'Caruso". In the early chapters, he mentions growing up in Spring Valley and Nanuet. I know this because he is my mother's brother. He lived for a time at 79 Blauvelt Road before moving west. In your letters section, I remember someone mentioning being cautioned because "Mr. Caruso" was sleeping, because he worked nights at Lederle Labs. My grandfather. smiles Someone I can blame my night owl tendencies on. Wonderful site. Wish I was back there. Thank you for your efforts. Richard Colwell, February 2015: Being a life long resident of Nanuet (1946-present) I have seen many changes over the years. We live at 211 Main Street, across from Keyrouce's Pharmacy where the Nanuet Restaurant now stands, my grandmother sold the property to the restauant and we moved up to Demarest Avenue near the Overmeyers & Goldsteins. I was a member of the first class to go though the entire Nanuet School system from K (Miss Buckman)-12 (Ms Meyer) graduating in 1965, in the past many students had attend another school for 7th and 8th grades. I remember ice staking on Starks pond and sled riding between Charlies butcher shop or on the hill above Demarest Avenue. The wonder time spent at Summer Playground with a weekly trip to Davies Lake or Memorial Day parade which ended by the base of Church Street. I had wonderful close friends as the Campbell's and the Krentz's. After my time in the service I lived in Arizona for a short time, then returned to Nanuet. I joined the Nanuet Vol. Fire Department in 1984. I still reside at my current address on Demarest Avenue. Alan Moskowitz, January 2015: Enjoyed the "Nanuet Milk Farm" postcards. Who knew? My Dad's Uncle Harry at one time owned Eagle Day Camp, and lived in a big white house at the far end of the block where it dead-ended against the Thruway Property. His grounds and landscaping were always beautiful, and now I guess they were remnants of the milk farm. I spent a lot of time there as a kid, and went to "Eagle" early 70's as one of two non-orthodox kids (interesting), after my Uncle Harry sold the camp to a Rabbi from Brooklyn. Very Cool. Ian Ackroyd-Kelly, November 2014: Dr. Silverman, I am responding to the inquiry from Dolores Fitzsimons concerning her ancestor who was a nun at St. Agatha's in the early part of the last century. My family lived on the top of Duryea Lane in the property that adjoined St. Agatha's Cemetery until my parents sold part of our lands to the Diltz family in the mid-1950's. I used to play in, and around, the cemetery quite often as a child and used to observe the occasional interments there. There is a list on the internet of Rockland County cemeteries, by township and, then, by town (hamlet). Under that there is a further listing for St. Agatha's and searching that I came across a reference to the burial of a Mary Mark Fitzsimmons who died on 21 May 1947, (no birth date is given for any of the nuns.) This might be the person for whom Ms. Fitzsimons is seeking information. I enjoy reading your site; especially the reader responses. I lived in Nanuet from birth until I went off to college, and my family lived there from 1909 until 1990. Dolores Fitzsimons, November 2014: Hi, Firstly congratulations on the wonderful site which I came across while searching for St. Agatha's home, I really enjoyed the old pictures. I live in Dublin Ireland and believe my Grand Aunt was a religious sister in St Agatha's in the early 1900's. Her name was Bridget Fitzsimons born in Virginia, Co.Cavan, Ireland and she is in the 1940 census aged 60 in St.Agatha's Nantucket. I have very little information about her but think her religious name was Sister Thomas I don't know which order she was in. Could you advise me about where to search for further information, perhaps you know of a website or if you know which order of nuns ran the home are they still in Nanuet. I would appreciate very much any information you can give me. Yours sincerely, Dolores Fitzsimons Brian Kearsey, November 2014: I lived in Stony Point but went to Albertus and had friends in Nanuet. In the early 70's there was a small "head shop" on Middletown Road just south of Route 59 where you could buy rolling papers, etc. I can still hear the Led Zepplin playing... Janine Rose Curry, August 2014: Your site is some of the best nostalgia I've had the pleasure to read. I grew up on my grandfather Charles Rose's farm known as Linley Farm on Scotland Hill near Pascack Road, which he bought from David Herring in 1893. I was Born in Good Samaritan Hospital delivered by Dr. Henry J. Kaplan. Attended Nanuet grammar in the early 1950s on Highview where my grandmother had taught in the 1920s Nanuet was such a beautiful area. All the stores and businesses mentioned by your responders are so familiar to me. My uncle Charles worked at the Nanuet Dairy, my uncle Morgan worked at Lederle. My dad Ernest worked at Camp Shanks after the war. We used to sleigh ride down Scotland hill with the nuns from St. Agatha's convent in the winter. Thank you for the opportunity to contribute. Gus Umlauf, May 2014: Dan, I love coming to your site. I always end my visit with pangs of nostalgia. The most recent posts about Requa Lake raise a number of memories. While a resident of Lakeside School in the early 50's, I managed to land a summer job at Driscoll Cherolet (Hwy 59) and arranged to live with the wonderful Dennis family at the corner of Saddle River Rd. and Old Nyack Tnpke. I worked six days each week and I looked forward to sneaking the back way through the woods to Requa which was less than two miles distant. It rained nine of the ten Sundays I lived there and swam only once as chronicled in my just released memoir "Ouda' Brooklyn." The 400+ page hard cover can be obtained only through me at a cost of 25. It continues the chronicle of my nine years in foster care and the years subsequent as I sought the Brass Ring. Gus Umlauf Poke1@windstream.net Jay Sclar, April 2014: While searching the Internet for information about a restaurant my family had gone to when I was a kid, I found Lee J. Lloyd's question on the same place posted here in October 2013. I now live in Bergen County, and a week ago I went up to New City, where I remembered Jerry Carnegie's had been. I knew it wasn't still there, but hoped that some landmark, like the church visible in the postcard image would give me a clue, but to no avail. I contacted members of the Historical Society of Rockland County, and they knew the answer. Jerry Carnegie's had been at the SW corner of Congers Road and American Legion Way where a modern building housing attorneys Neimark and Neimark now is located. The church I had looked for was St. Augustine's Catholic Church which is now the County Animal Hospital. I also remembered the aviation memorabilia in the restaurant, and found a reference on the Internet that Jerry had been a pilot during WWI. The Historical Society people also mentioned that after Jerry's passing, the restaurant had been renamed Ye Olde Tavern, and later Adie's, before it burned down. Don Erskine, April 2014: Sometimes you find a jewel just stumbling around the internet. I was looking at Google Earth and spotted Nanuet. I worked at a day camp there in 1963. Also looked around Monsey for Requa Lake. My family used to go there EVERY Sunday in the early 50's. I was about 10 or 12. Thanks for the old photos. Emma Anderson, March 2014: Club 59 in Nanuet. Hi Dan. Came upon your site today and saw an old post from "Kathy" dated January 2012. She asked if anyone remembered the Club 59. I certainly do remember, Kathy. I was a dancer there on weekends (1968-1969). Before that, I danced at the Hi Ho in Nyack. There were a lot of great bands at the Club 59. It was a lot of fun and I have great memories. Was so sorry when I learned it had burnt down. I also am from NJ, but spent lots of time "upstate" during the 60's. Donna Martemucci, March 2014: I have been searching for info on Requa Lake for years. We went with family and friends many time during the 50's and 60's. I am oldest of 5 from Jersey City. I am now 61 Requa Lake has for me some of my best memories of summer. I remember there was a certain way my parents and friends gained entry...some secret word or something...really. We would leave at the crack of dawn...travel up 17N...then some road I don't remember but the homes were unbelievable and very few...the picture showing the snack area burning made me sad but I figured it was gone long before 1990...Thanks for photos Rich Mauro, February 2014: I was thinking aloud to my wife today of the most wonderful memories I had from visiting Requa as a boy and later through my wifeâs and I dating back in the seventies. I decided to search the internet to see if there were any like-minded souls in search out there in the void. The few pictures you have posted on the Nanuet site brought those memories rushing back. I believe that we still have a few photos ourselves tucked away. We were shocked to find housing developments in place after having missed a few years and returning. Your picture of the Rec hall fire is a tragic revelation. Hereâs something you may or may not know or recall: there was another swimming pool out beyond the lake and picnic area which Iâd found while following the creek back out into the forests. Oh, those were such beautiful times. Once we passed the Heller Post up on the hill and saw the Wooden sign and the big hill it was a day of bliss ahead for us. BTW, Iâm sixty three years old, originally from Jersey City. There were times when we could find half our city block up there in Monsey, all guests of the same fictional member of the association. What supreme joy!! Thank you so much... Cindy Costello, December 2013: My sons went to a sleep away camp in Nanuet 1967-1969. My older son has been trying to locate the site for many years. I believe it was through a church on Third Avenue in the Bronx. Possibly through the catholic charities. All he remembers is trees, cabins, and a lake. I would appreciate any information you could give me. I spoke to a nun that I knew and she believed it was around St.Anthony's church. Pamela Ann Martin, December 2013: I just came upon your website by chance! This is terrific. When I have more time I will read all of the posts. I was born a Good Samaritan Hospital in 1951. We moved from Pearl River to 6 Terrace Avenue in 1956. The school division went right through my bedroom and I ended up going to Bardonia Elementary and Clarkstown schools! I remember the Nanuet Diner, the old bowling alley, W.T. Grant (on the corner of Middletown Road and Rt. 59). Robert Vaughn (Solo on "The Man From U.N.C.L.E.) and the Cowsills were I remember along Middletown Road there was a victorian-looking house - rumor was that a woman was killed there. When I would walk to town, I would run past that house! I worked at the original Nanuet Mall when it was first built (Bamberger's!). About 33 years ago I lived in Miami. I went to a women's business club luncheon and started up a conversation with the woman seated next to me. She asked where I was from. When I said it was a little town she probably never heard from, and then said Nanuet, she pressed me me for the street name. I said Terrace Avenue. She asked what number. I said 6. She had lived down the hill on Terrace Avenue. What were the chances? I remember a girl named Nancy Taylor. Did anyone know her? I used to walk all the way to her house! Does anyone remember the Weiher family? Or Wein? Brian Henkel, November 2013: My guess is Kiddie Land closed in about 1972 latest. I Believe I went there three times. Although I always wanted to go, (before and during kindergarten), I used to have nightmares about the place. I remember vividly what the park looked like. More than half the rides would be broken. Different rides would be working or not working everytime you'd go there. There was a big ferris wheel that was usually not running and a very small ferris wheel for small children that would be running, but would smoke and have a puddle of oil leaking from it. Many horses on the merry-go-round had the tails broken off and they would have peoples initials carved into them. The little boat ride would be one of maybe three rides working that day and was scary because of how old it was and how dirty the water was. Just recently I saw an episode of "The MONKEES" and it looked like they were posing an goofing around infront of the entrance to it during one of the music segments of the show. All that stands there now is West Nyack Dump. I heard they left one ride standing, but I doubt its true. I never went that deep into the dump to investigate it. I recently moved to Tuxedo NY. It is about 15 minutes from where Jungle Habitat used to operate. Deep in the woods that surround Greenwood Lake Airport, in West Milford NJ, It's still there. I spent 2 hours walking around in it. Took some pictures, but couldnt figure how to display them on this site. It closed in 1976. Here's a few pics I took that day. I lost a great one of what looked like could have been a small souveneir shop. It was literally just the frame made of branches and has probably crumbled since that day. The first is the main entrance, the 2nd is what looks like they may have kept some type of reptiles or something and the 3rd is the track the little zebra painted jeeps used to run on ! Sorry it took so long for me to get back to you with the pictures. For those of you who used to go to The Catskill Game Farm, which closed on Columbus Day 2006 after 73 years of buisness, the entire piece of land spans over 900 acres. 206 acres used for the main game farm and surrunding woods.The rest of the land was used for the animals to run free and breed. It turns out a young married couple bought the 206 acres and are turning 80% of it into a camping area for people with campers or big RV'S. The remaining 20% is the original entrance of the game farm which will have a Catskill Game Farm Museum and the petting zoo where you can feed small animals that run free, with crackers and baby bottles will re-open! Lee J. Lloyd, October, 2013: Does anyone you remember or have any information about a Restaurant/Bar called Jerry's. My family went there in the mid 1950's on Sundays. It had a very large fireplace and many artifacts from the crash of the Hindenburg in Lakewood, NJ. The owner, Jerry, would walk around the bar and talk about the crash. He had collected many items from the crash and displayed them throughout the restaurant. It was in Nanuet, or Spring Valley or Nyack ... not sure. I was born in 1946. Any info you might share would be appreciated! Lee J. Lloyd Grew up in Oradell, NJ Peter Jeuck, September 2013: I'd like to ask a question. My younger brother George (now deceased) had a second or third grade teacher Mrs Cross who taught at George Miller Elementary School. I remebered him saying that as a child she was one of the Our Gang Rascals. She used to tap dance for her class. She had two sons who went to Nanuet, one was Jeff Cross. I looked online for the cast of Our Gang but couldn't find her listed/mentioned. Does anyone know more definitively whether Mrs Cross was indeed a child actor with Our Gang...Little Rascals? Someone mentioned the rock at Lederle. I heard a completely different story about the rock. All myths I think. But adds to the mystique of an area whose development dates back to Dutch colonization. The story I heard was that two children were lost in the woods and climbed to the top of the rock for protection from wolves. The story had them die on the rock before being saved. Their ghosts supposedly haunted the rock. Then another story I heard related to an Indian Princess who also died on the rock. Maybe this story was mixed up with Spook Rock in the Tallman area. Supposedly her ghost haunted the rock. Whatever the case there are stories a out that rock. My girlfriend Holly Gleason lived in apartments across Middletown Rd. just a couple hundred ft from the rock. We sat on the rock many times during the five years I dated her. Lederle was an institution in Pearl River and Nanuet. My neighbor Mr Caruso worked graveyard shift there. My mother always told my brothers and me to play quietly so we wouldn't disturb Mr Caruso who slept during the day. When I was very young my mother worked on a packaging line at Lederle. In 1992 I got a job with Lederle as an environmental engineer. I saw many old schoolmates who worked there for many years... Especially Louis Mazzucca who went to George Miller school with me from Kindergarden (1960) through to Middle School. Debra Roth also worked there when I did. I left Lederle in 1994 when I took a job at Hoffmann LaRoche in Nutley. Both Lederle and Roche have closed. I'm involved in the remediation work at Roche now. Roche plans to sell the plant site in 2015. I don't know what happened with the Lederle site. If it is being sold or what. I do know they have some old landfills that date back to the beginning of operations there in 1906. Old apothecary bottles used to wash out of the landfills every so often when it rained hard. Some of those old bottles were types used in the 19th century and would have some historic value if not also having monetary value. I would imagine many if not all the buildings at Lederle will be razed and the property sold for housing developments in the not too distant future. That's what is happening to many old manufacturing sites. Change... Nothing stays the same. That's why web sites like this are important. To keep the memory alive. Bob Fullem, September 2013: Thanks for your blog about Nanuet. I lived at 53 Church St. from the late '40's until October of 1961 when we move to Strawtown Rd in West Nyack, and I transferred from the new Nanuet H.S. to Clarkstown H.S. I recall many of the names that others have mentioned in your blog, the stores and teachers and families. Edgar Milford's post reminds me of some times we spent together at my home and his. The long-gone pond next to our house was a constant fascination and Lake Nanuet a summer joy. The main shopping, though, was in Nyack, with Lulich's Bakery a big hit, especially those fresh crumbuns. The only correction I have to your posting is that the Nanuet public library started in a Main St. storefront. Geoff Knafou, August 2013: I remember the Memorial Day parade, I would play taps on the trumpet on the high school roof. Also, Chicken Unlimited where me and Alan Kostetsky ate them out of business. Sadly, Alan was murdered by one of his employees (who was stealing) when only in his twenties. Lederle Rock where Chief Nanuet was supposedly buried. Jocar, Rex, Nanuet Pizza, Fordham best pizzerias in Nanuet and Jimmies in Spring Valley.Nyack and Good Samaritan hospitals---spent lots of time there to my parents delight. Seems like any high spot in Rockland when the leaves were off the trees you could see the NYC skyline...Incredible. I worked at Marshalls as a stock boy, wonder if it is still there----Geoff Knafou, class of 76 grk003@att.net Bob Renino (Bobby), August 2013: Hi Dan- I came across your website by accident yesterday. Wow, talk about nostalgia! Great job, and I wish I had something to add but everything I could think of was in there. Your brother Ethan and I would often go to Rex's pizza on our bikes after school (slices were 30 cents) and I would "ruin" my dinner at home by eating too much pizza in the afternoon. I smoked my first cigarette in one of those "woods" off of Edsall Ave. (and gagged like mad). I remember how I felt when I saw those Steep Hill woods razed in the 90's (my sister and her husband bought one of those houses, they have since moved). There were displaced animals running around all over the neighborhood- fox, deer, muskrats, etc. Nanuet is practically unrecognizable to me now. It looks like Paramus NJ. Paula Royak, July 2013: Just finished watching a doc about photographer Bob Gruen who is known for working with rock & roll stars. He talked about Elephants Memory; Lennon's back up band from NY. Am I dreaming or is it possible that I saw them play when I was in Rockland County using my fake ID at a bar? It was somewhere in between 1969-71. Nanuet is where I see on your site they lived for a short time so does anyone else remember or was it just a dream? Mary McCarthy, April 2013: Is there anyone out there old enough to remember the Reservoir in Congers, when it was homes, and a creek we used to swim in? Remember when West Nyack was a swamp, and there were signs everywhere, FREE DUMPING, and now there are million dollar homes there, and that is why the Palisades Mall is always flooded, and the Three Corners in Nanuet is under water every Spring? If anyone out there knows of Ralph Guglielmo, from SV, he was the Roadie for The Elephant's Memory, I was his "straight" old lady, LOL. Say hi for me. From Mary "Jones" LOVE your site, glad I found it, boy the stories I could tell you! LOL Born in Congers in 1945! LOL August (Gus) Umlauf, April 2013: Your Blog popped up during a search and I commend you for a valuable effort. I lived in Nanuet for only a short time with Don Sleight and his parents on Blauvelt St. However, both my wife (Sheila Sullivan-Congers) and I were long-time Rockland residents. Most of my years were as a resident of Lakeside School while attending SVHS. The notes and pictures from others are outstanding. Sheila and I had our first "date" at the Mapleways when she was bowling for the Lederle's house team. We bought our first crib and stroller at Buy-Rite, our first piece of furniture at Grant's, our son's first bike at Grandway, and thought there was no better pizza in the world than that offered at the Nanuet Hotel. Mary Eberling Venezia (posting below) is a dear friend from those years. Her posting jogs memories at an important moment for me as I conduct research. I have finished my first memoir entitled "By Way Of Canarsie" which concerns my earliest years in foster care and am embarked on the second book due out this summer. The Title is "Outta' Brooklyn" and traces my journey through five different foster homes as I move from Brooklyn to a farm in upstate NY and, eventually to Spring Valley. It ends when I meet my meet wife-to-be while we both worked at Lederle. To say I would enjoy hearing from anyone from that era, would be an understatement. August "Gus" Umlauf poke1@windstream.net Cal Mendelsohn, December 2012: What an absolutely wonderful site and trip down memory lane. Way too much to say! Still live here, and I remember most of the oplaces at the top of your column--great memories of Hogan's, Mini golf, Mapleways Bowling Alley, pickup baseball games at the AC Field behind the Mall. Also, I remember fondly the interesting characters that inhabited my childhood, some of whom Jamie Kempton mentioned and who could regularly be seen saddling up to the Red Rail and other local gin joints on Main Street. I remember the Memorial Day Parades, pizza at Jocar, haircuts at Phil's Barber Shop and the opening of the Nanuet Mall in 1967, which was preceeded by a mass exodus of turtles that found their way crossing my yard on Prospect Street for about a year. Very glad to see Ron Lugo and Barbara Thomas's piece on Lisa's murder--she was a neighbor and friend and I'm glad that the effort to find herÂ killer(s) goes on even now. I hope everyone is in good health and spirits. Great to "catch up" on some of the doings of those who grew up here that I knewÂ directly or knew of through siblings or otherwise. Thanks for letting me go on! All the best, Cal Mendelsohn cal@nativeweb.net Kevin Sullwold, November 2012: Hey Dan, nice website! I grew up in Valley Cottage/Nyack and was around Nanuet in the 1980s/90s/00s a lot before moving to Dutchess County in 2008 (I am 31 years old). I love figuring out where things used to be and seeing how they evolved. The question that I have on my mind at the moment is the fate of the Buy-Rite store. I see in the photos and descriptions that it was on the SW corner of Route 59/Middletown Road. I know the Ferretti's home (which is slated to be destroyed) is shown in the photos as well and I can only surmise that the Buy-Rite was on the corner when Route 59 was a much narrower road. I suppose that during the Route 59 expansion, Buy-Rite was demolished and the Ferretti house was suddenly at the corner of the newly expanded intersection. Is this correct? Thanks so much! Joe Komonchak, November 2012: All the members of my large family have enjoyed your website devoted to memories of Nanuet. I am attaching three class photos taken at Highview Elementary School. They show my graduating class of 1952 in the fifth through the seventh grade. Feel free to post them on your website. (I am the priest in the family, and not my brother Andy, as someone said. I am retired now and live with Andy in Bloomingburg, N.Y., two exits past Middletown on Route 17.) Patti Heydeman, October 2012: Dear Daniel, your site rekindled so many memories of my nanuet.Â My Dad was Louis Heydeman who owned the gunshop right in the center of town, near Keyrouses Drug Store who sold the most wonderful tasting cough syrup that realy worked, it had a licorice flavor.There was ice cream to. I remember the day when I got to have a sundae. something went very wrong with the container that had to be shaken firmly before whipped cream was ready, the thing got loose and sprayed whipped cream all over the place.Will add moreÂ at a later time.I'd love to hear from anyone. Diane Agostino Lillie, September 2012: My memories of Nanuet are of a quiet rural town with glorious fall and spring seasons and winter wonderlands. I lived there from 1950 until 1967. Many times as a child I would walk in the woods behind my home on Highview Avenue picking blackberries in the summer and sledding down the winding path in winter. I remember the sledding hill at Lederles during Christmas vacation and straining in early morning to hear the siren that signaled "no school" during winter storms. Lake Nanuet was a refuge for me in summer and the woods became the perfect hiding place for me during troubled times at home. Many on this website have shared many wonderful memories of Nanuet but mine are a mixed bag. I do fondly remember Ms Buckman who was kind and caring and how I cried when she left. Through the good memories and the painful, God in His faithfulness always held me in the palm of His loving hand and continues to do so. The last time I visited Nanuet was in 1996 but the quaint small town I remember had vanished. The home I grew up in that seemed so big then was now not as big as I remembered. We visited our neighbors and their home was the same as it was years ago. Edgar Milfred, I remember you well and enjoyed reading your post. I remember walking in the woods with you and Ellen Kushner and that you lived on Middletown Rd and I think you mother taught school. I attended Highview Elementary School and still have my class pictures. God bless you all. Jim Muller, August 2012: Dan, Thank you for all your hard work putting this together. It brings back SO many memories for me, not only the images, but the name of those who have posted before me. My dad, Larry Muller, was the postmaster in Nanuet for many years. Mom, Kay, got her first job at Highview Luncheonette (formerly Elliotâs). Later Mom went to work at an insurance office in Pearl River with "Aunt" Janie Mills. Mom eventually worked at NYNEX in White Plains until her death in 1988. ManyÂ of the close friends they had, so close in fact that they were all "Aunt and Uncle" to us kids have been mentioned here, or their children have posted here. We lived on Kemmer Lane, behind the Holiday Inn and in fact spent many a summer day sneaking into their pool for a swim. The entire area is now the Home Depot Expo Center. I used to walk the train tracks and cross the trestle over the Thruway to an old abandoned pond in the woods. It used to be a swimming pool for the Juzek family before the Thruway was built. The Juzeks were our neighbors andÂ it was one of the Juzek family that built the house I grew up in. I remember a couple of times when the swamps behind Grandway would flood and the entire parking lot, and most of 59 just below Dykes Park Road would be under several feet of water. I wonder if they ever solved that little problem. My Grandmotherâs house on College Ave, just a couple doors down from 59A, across from St Anthonys was still there the last time I was home. It was a Century 21 Real Estate office I believe. I canât believe how much has changed over the years, but itâs good to know I can still share others memories of home. Seth Mendelson, August 2012: Hi. Just found your site. I see some old friends here and even my own brother. I have some answers to some questions. Since I worked at the Journal News as a sports and news writers for a couple of years after college in the early 1980s, I can tell you that College Ave. was named becasue there was plans to build a college there in the late 1800s. Buy-Rite toy store was owned by my uncle Leonard Kurtzman. Yes, it was a dusty store, but it had a great selection and was the best thing around in the days before Toys R Us. Some other thoughts: I love the Nanuet Restaurant and still visit, making a 30 mile trip from New Jersey every once in a while for a well-done mushroom and meatball pie. Do you all remember our first good varsity football team. In the fall of 1972, I think we went 5-3-1 (tied Ramapo) and one of the Berich boys (I think it was Don) was a star running backÂ as a sophomore. I remember the Journal News called our game against North Rockland the game of the season. We lost and Coach Abeling was angry taht the marching band left at halftime because it was cold. I loved Elliot's and went there after school at Highview. Mr. Merkle & Mrs. Rosenthal, who was my teacher in second AND third grade. She moved up with us. Mr. Abt, Mr. Rizzuto, Mr. Burke... Beating Pearl River Daryl Brown and that great basketball team. He lives in Dallas now. Tony Harlin and the shot-put. The Nanuet Mall....basically lived there for a few years during my teens....i would leave empty pistachio nuts shells on teh floor until i got caught by a security guard who made me clean many up. NicholsÂ Hill The Schwinn bicycle shop in Spring Valley. Jack in the Box in Spring Valley Maximus in New City The Ground Round right by the train trestle on Route 59 *Knolls Day Camp And much, much more...Hello to my old friends back home. Cliff Cortland, August 2012: Dan, Thank you so much for starting and maintaining this web site. I lived in Nanuet from 1960 to 1982 with a few years away at college in California; graduated Nanuet High in 1975. Donna Schubert-Thibault mentioned the Golfariâs farm at the end of Park. I have always wondered who owned that area. We lived at 38 Freund Drive in the development Donna mentioned. Mr. Boardman was the name of the builder and Freund was his lawyerâs name thatâs how the street got itâs name. The development backs up to what was the Nanuet Golf land, miniature golf and driving range owned by Ernie Morrow. Ernie didnât want us to walk up along the driving range to play miniature golf because he was afraid we would get hit with a golf ball. All we had to do was call and he would send down one of his sons in the jeep they used to pick up golf balls and they would pick us up. There were also batting cages with pitching machines. Ernie died in the 60âs and land was sold for the theater in the round. We saw a lot of great shows there, the Temptations, Frankie Valley and The Four S easons. I met a woman a month ago when she learned I was from Nanuet she said, âI played there at a theater, I was on of the backup acts I was one of The Gold Diggers.â Small world. My memories of Nanuet are fond ones. It was a small town back then and a great place to grow up. Our family would ride bicycles down to the Memorial Day parade on Main Street and then off to Nanuet High for the carnival. When I was at Highview you could go to Elliotâs for lunch if you had a note from your parents. Mom would give me a dollar and remind me to leave a tip. I would get a cheeseburger, fries, a vanilla coke, leave a tip and buy some penny candy. A dollar went a lot further back then. So many great memories; thanks for keeping them alive. Feel at liberty to print any or all of this and share my contact information. Cliff Cortland ccortland@msn.com Donna Schubert-Thibault, June 2012: Hi Dan ,I know it has been forever but I was looking at "our site" and came across a Mary Eberling. If you hear from her ask her if she is related to the Eberlings from New City.My mom was the oldest of Hamilton and Sarah Eberling.I just found out about an old neighbor from Park Avenue that has passed away. She was Violet Hunter (her husband was Ted Hunter).She was a great friend and neighbor. My Mom and her worked at Lederle during the war and ended up next door neighbors.Also I wanted to mention that my father worked for Orangeburg Pipe for 30 years after the war. He was a millwrite A( all I know is that he worked maintenance. While there he met my freshman English teacher Mr. Burns.He would work there during summer vacation. Well Mr Burns loved telling us a few war stories in class and my Dad grabbed him and told him to stop the stories(he was only kidding) but English was a bit more boring when he stopped. Also I remember Miss Schroedor, my first grade teacher coming to my home one day. I thought I was in trouble but apparently my Mom used to babysit her as a child. I sure wish I could get a copy of the Eberling Drive sign,located at the County Courthouse in New City.I have heard that my grandfather and his father donated the land for the courthouse. I also want to mention Mike Higgins of Higgins Funeral Home on N.Middletown Rd(Main st to us)This dear man helped us bury many family members and was highly re guarded by my family.Did you know the Golfari's farm at the end of Park Avenue. They were there when I was very young until one day they were gone and they put the "New development" in. When we went down Nichol's hill we would go into the woods past Park .What a ride.I am hoping to stroll down Nanuet's memory lane before I go, so if the Lord lets me I will bring back more stories as I go around town and places jog my memory. If I have any more musings, I will write again soon Thanks- Donna Ron Lugo, June 2012: Hey Daniel, my name is Ronald Lugo, you may recall some time ago I submitted several photos of the pascack brook that ran through St. Agatha home. Well again I'd appreciate your consideration in posting what may very well be the most heartwrenching story in the history of Nanuet. I'm sure most longtime community residents including many of the individuals that have postings on your Nanuet page are aware of the occurrence in 1974 Lisa Thomas grisly murder behind what use to be the Nanuet Mall/Bambergers. The criminal/s are still at large and as a result of community outcry the case was recently reopened. Barbara Thomas has set forth a Facebook campaign "Justice for Lisa Thomas" in hopes that someone will come forward with any information pertaining to investigation. I've been doing what I can to help in the cause and In light of the recent stir I created a touching Youtube slideshow yesterday of family photos that express the sentiments felt by members of group along with friends and relatives of Lisa. The video seems to be circulating quite well.. Anyway, here's Barbara Thomas's news paper article, my Youtube link and an Image I created as well along with the Facebook group link.. I'm not sure if this would be inappropriate subject matter for your site but it is a pertinent story relative to Nanuet.. Either way, thanks for sharing the memories of our town, It is a home where the heart lay fondest. I know Barbara Thomas, Family and friends alike would be deeply touched and gracious to see it up and i can't thank you enough. Be well and thanks again! Ron Lugo Facebook community group "Justice for Lisa Thomas": https://www.facebook.com/pages/Justice-for-Lisa-Thomas/257885657587145 Youtube link Carole Kings: So Far Away . "Justice for Lisa Thomas" http://www.youtube.com/watch?v=NGoWi7fr40A In Loving Memory of Our Friend Lisa Thomas "Hopefully community exposure and public awareness about this case will bring forth the long awaited Justice for Lisa and bestow some closure for Lisa's Mother Barbara Thomas" -Ron Lugo. October 7, 2012 will mark the 38th anniversary of the day that my daughter Lisa Thomas' body was found murdered behind the Nanuet Mall. Another year has passed and we still have no answers. Sometimes it's hard to believe that her tragic death occurred 38 years ago, yet most times its feels like yesterday. As I watched my beautiful 15 year old daughter go off to the mall to buy a blouse that day, I had no idea I would never see her alive again. Her murder remains unsolved and her murderer has gone unpunished. I would like to extend my sincerest gratitude to those of you who have kept Lisa's memory alive. For many years, I felt she was forgotten, with the exception of a few. Recently, I realized this is not true. I have read the messages on various web pages, and I am truly touched to know that not only friends have paid respect in Lisa's honor, but total strangers as well. Your thoughts, prayers and wishes have lifted my spirits. I pray that anyone with knowledge of this crime will search their soul and find it in their heart to come forward. My only hope in life is to have Lisa's murder solved so we can honor her precious memory and finally lay her to rest. She deserves that and so much more. Barbara Thomas Nanuet John Clark, April 2012: Anyone remember my grandfather....Anthony Lombardi? He was a mailman for nanuet for 30 years. His route covered all of main street. I used to go with him delivering mail all the time as a kid. They actually dedicated the post office in honor of him 7 years ago. A nice little plaque sits by the front door. It was a tremendous day for my family. Jackie Bowdon (Mills), April 2012: I was born and raised in Nanuet. I graduated from NHS in 1971. I lived on DemarestÂ Avenue which was at the time the eyes on Main street.Â We lived right above Don Liebert Insurance agency and I remember long before his agency was built there was a small thrift shop that sat on that location. My sister still lives in that house. It's been years since I have been back since I now live in Texas. Thank you for all the memories.Â Highview school,Â whereÂ our principal, Mr. Abt, came to tell us that Kennedy was shot, Papa Charlie's meat market and who could forget Miss Meyers, the librarian, her wild nail polish.Â Thank you for sharing all these memories. John Fickes, March 2012: Dan, You can post my name and e-mail address. A note for Kathy; Kathy your memory is fine. There was a Club 59 at the western end of shopping center where Cleats N Sneaks stands today. I spent a very cold night there in the early seventies as a member of the Nanuet Fire Engine Company, putting out a major blaze that destroyed the place. It was never re-built. I hope your memories of the place are good. jfickes34@optonline.net Bobby Tremper, February 2012: Had an absolute ball reading all th info. on Nanuet.Â I to, lived on Blauvelt road, three houses up from the Smiths!!Â The only thing I can add is that the corner store on the corner of church was originally called Morgans.Â Mrs. Morgan ran it and lived up the street on College.Â Penny candy could be bought back then , for ten cents you went home with a bag!!!Â I go back about 3 times a year, as my son lives in the area with my Grandkids.Â Â Still miss it though. it was an awesome time to live and growup. This site is amazing. Keep it up! Mary Eberling Venezia, February 2012: Nanuet before the Thruway--Palasides Parkway-or the tappan zee bridge-One way to the city 9-W-over the George Washington bridge or the wehawken ferry -This is what I remember may not be 100%Â Lived on Blauvelt st.Then Highview ave.neighbors Machellos-broom -Caty Horn Sissy Weisberg-father the dentist-Bobby Dorfman-Peter Baulvelt the Fishers-Vantassel-teacher My mom Marion Eberling teacher science Father Charles Eberling owned gas Station in town across from bank then we owned deli by goldens at the 4 corners-sold deli and house on palmer ave to the Kemmers-He then bought the Town Tavern in New City School was Kindergarten to 8th Remember going from room to room to prepare for highschoolÂ we had choice for highschool-Nyack-Pearl River or Spring Valley remember Geschunds pond behind the school skatingÂ we also helped Albert Guschind harvest his corn. In exchange he would take us on a hay ride horse and wagon Duane Van Der Bogart and I built a ski slope on a farm I was living onÂ Remember sleighing across main st. with the Roths Chester and Honey went between the car tires Taking first train ride to Jersey on the communter trainÂ Playing in the Sawmill on the logsÂ Threw cigg. to the troop trains with our address in so we would have a solider to write to Camp Shanks Air raids in school bomb shelter in house Gate nightÂ town paradesÂ memorial day service at the parkÂ Spent 8 years with same classmates Rose &HelenÂ Nenninger They raised goats -Peter Blauvelt-Ann Feist Mink Farm-Peggy Kernery-Eleanor Brettman-Â Elizabeth Millford-Duane Vanderbogart.Don Sleight-Linda Clark-Fred Williams Edith Hildreth-Â Linda Clark-Bobby Dorffman-Calvin Schuppner-were some names I recall remember the Lutheran Church burrning downÂ Was working at Swiss Trudys when it burntÂ Rafting on lake NanuetÂ Was a life guard at McGills Lake took a class with Emma McGill Many of us had Victory Gardens Raised ChickensÂ Walked barefoot up 59 Nanuet changed from country to suburbia and the farms horse-dairy-strawberry-corn-fruit ect were sold to developers Progress Enough for now would lov to hear from anyone Mary Eberling Venezia Rich Gerber, February 2012: Dan: Graduated NHS 1966. Lived in Nanuet on townline road from about 1953 to graduation..many memories of many things. went to highview and miller and nanuet jr sr. hs..Miss the pizza from across the border in NY called tree tavern..remember the red and tan lines.jaunts into NYC as a teenager..had many friends on highview avenue..was a member of the nanuet hebrew center..miss the fish fries at howard johnson's all you could eat either tuesday or wed nights..the candystore across from highview elementary..playing ice hockey on a pond behind highview..swimming at lake nanuet..walking to the NHC for barmitzvah training and stopping for a devil dog and hot cocoa at a small coffe shop on main street..don't remember the name..before leaving for college drove a delivery car for a pharmacy on main street at the corener of prospect. I remember great summer food at the elks lodge..just a few things to share..my best to all and if you are in atlanta, ga..would love to hear from anyone in my generation from Nanuet..cheers..!! Kathy, January 2012: Hi Daniel - I enjoy reading your Nanuet Site. I lived in NJ but in 1968-69 my friend Mary and I spent many nights at a bar on Route 59. It was in a strip mall just west of where the Nanuet Mall is now, on the same side. It was called Club 59. I was wondering if any of your readers remember it. Mary and I are beginning to think we imagined all those nights of dancing, since we seem to be the only ones who remember it. You are welcome to publish this. I hope one of your readers will remember and - maybe - even used to go there. Thanks ~ Kathy Joe Fornaro, January 2012: Just read Craig Swan's memories of Nanuet...Monterey Pool...Sid's last name was Goldstein... Craig Swan, January 2012: My name is Craig Swan and I stumbled upon your web site looking up stuff on Rockland County. Pretty cool site! I'm not from Nanuet (used to hang out there a lot till about '72 when I moved out west) but I grew up in Manhattan till I was 14, moved to Weschester County in '64 and then to Nyack in '65 (we had some older relatives living there) and before graduating from Tappan Zee in '68 I went to Nyack High School from '65-'66. It was really a trip to see the name 'Monterey Swim Club' again! How long did it remain there? That really brings back memories. My first (full-time anyway) job was as a lifeguard there the summer of '66. I was 16 then. I worked there with a fellow Nyack High School swim team member (George Nikitin) after we had gotten our life saving certificates that spring. George and I used to meet up downtown Nyack at about 6:30 every morning from Monday thru Saturday and we'd take the Red & Tan Lines bus up to New City and walk south down Rte 304 to the club - it was actually called the 'Monterey CABANA Club' then. Big pool - I remember it being 180 ft. long and I think 80? ft. wide. We worked 10 hour days, six days a week for the whole frkn summer for $300.00 each for a guy (owner) whose first name I can only recall as "Sid". "Sid" would chomp on his cigar and peer down at us and the pool from the railing up on the hill (to the south) overlooking everything. He was a real character. As the summer wore on (very hot summer) we became increasingly bored with mostly saving little kids at the shallow end (no babes in the deep end as we had envisioned) and we began to devise pranks on Sid. One of the best I can print without worrying about any statute of limitations was when we climbed down into the pit behind the diving board area (towards 304) and cranked open this huge wheel that controlled the valve that emptied the pool. As the day went on on Sid became increasingly nervous and began pacing back and forth away from his perch up on the hill and kept asking us what the hell was going on. We kept yelling "there's no problem"; only in the late afternoon to admit that we had found the valve mysteriously partially open and water rushing out. We then heroically fixed it and it took a couple days I think to refill the pool properly. Anyway the summer finally came to an end and we went to collect our $300.00 in wages (don't even want to figure what that was per hour) and Sid reluctantly shelled it out. He then tells us that if we empty and "clean" the pool he'd give us another $100.00 each. So naturally we said "Yeah, OK" and pretty soon we're pretty pissed because we did Not know what we were getting into. It was a back breaker. I mean we could barely keep up with the sweeping, raking and shoveling out of muck and silt that had collected all summer on the bottom of the pool as it emptied from the deep end. It had to be a couple inches thick. Sid peeered down at us the whole day barking commands and we (as discreetly as we could) kept stuffing our pockets with money we found on the bottom - George and I actually split about 200 bucks we found, so the summer ended up paying us about $400.00 each. I'd never do it again. So, after 10 weeks of skin cancer 101 I travel down to the city to 47th St. to Manny's Music and with my $300.00 (and about another 200 bucks I'd made from my band starting up that summer) I blow the whole amount on a Fender amp - but it was worth it in the end lol. Thanks for putting the site together - fun to read all the stuff, Craig Edgar Milford, November 2011: Morgan Park was to the east of Middletown Road off a road that ran parallel to rt 59 but south of rt 59. A small brook ran through the property and when I was a child it was well manicured and we used to walk through it catching frogs and such, but never knew what it was until I saw a postcard of the exact perspective of the brook that I knew so well labeled Morgan Park. Remember taking the Erie Lackawana to NY (Hoboken then across the river to downtown) in the days before the Parkway and Thruway. Fond memories of the 8 room schoolhouse Ms. Buckman, Miss Prentiss, the McGeary sisters, Mr. Barr the principal, Mr. Schubert the art teacher, and the tiny blacktopped thing in back where we used to run around. Helen Muller Farrington, November 2011: My brother Charles and I go back into early Nanuet than most.Â We grew up in the 1930s and 1940s in Nanuet.Â We went to school in Nanuet and then Nyack High.Â I remember all the early markets as I shopped with my Mom.Â I remember during WW II the troop trains that shuttled through Nanuet on their way to Piermont and then the boys went overseas.Â I remember Dr. Weishaar's office and the church next door that my family went to.Â Great recollections of Chief Lieberman and his fellow officers.Â My Dad, Ernie, was a mainstay of the Nanuet Fire Dept. Thanks for all the great memories. Hank Feinerg, August 2011: Just found your website. Brings back a lot of memories. We moved to Nanuet in 1959 and are still living in Rockland County. I knew many of the people who are posted on your website. You didn't post Jolly Boys, Golden Chrysler Plymouth, Pergaments, Tinys Diner, G& S Lawn Supply, Johnny's Sunoco, Keyrouse liquor Store, Charlies Citgo, Grants, The Driving Range on 59, Eagle Day Camp, The Army Navy Surplus Store, Bill Goodmans, Parsels Glass, The Triangle Pub, Swiss Trudy's just to mention a few. Daniel Mathys, August 2011: The site is really great...I see it has no recent updates so I would like to add one or two...ref. to the picture of the Memorial Day parade next to Buy Rite is a Brown Building, that was where Bob's Taxi was located. When the Nanuet mall first opened my mom, who did not drive, would call Bob's and they were over in a flash. We lived off Middletown Road (north) just before the Palisades Parkway (about 3 miles away) entrance/before the New City borderline, as you may have remembered Middletown Road was a narrow 2 lane road, just after our street entrance was the famous high bump in the road, the actual pitch of this bump was quite radical and if anyone remembers their Dad perhaps especially my dad speeding up for us going over the bump was like a quick thrill. Unfortunately the
6840	dbpedia	0	2	https://www.nga.gov/collection/art-object-page.71025.html	en	Art Object Page	https://www.nga.gov/content/dam/ngaweb/icons/favicon.ico	https://www.nga.gov/content/dam/ngaweb/icons/favicon.ico	[ "https://media.nga.gov/iiif/7ce06963-2e5f-4d9e-9a38-3c1b59e80a81/full/!588,600/0/default.jpg", "https://www.nga.gov/etc/designs/ngaweb/images/icons/cc-zero.svg", "https://media.nga.gov/iiif/7ce06963-2e5f-4d9e-9a38-3c1b59e80a81/full/!600,600/0/default.jpg", "https://www.nga.gov/content/dam/ngaweb/imgs/nga-campus-map-icon.jpg" ]	[]	[]	[ "" ]	null	[]	null	National Gallery of Art	en	/content/dam/ngaweb/icons/favicon.ico		null	In the spring of 1826, Thomas Cole met Robert Gilmor Jr., a highly knowledgeable and sophisticated Baltimore collector, who soon commissioned a view of Catskill Mountain House, a popular hotel overlooking the Hudson River Valley. After a summer spent sketching and painting in the area and corresponding with his patron concerning the selection of a new subject, Cole completed Sunrise in the Catskills in early December and had it delivered to Baltimore on Christmas Day. According to the artist, the painting shows sunrise from Vly Mountain, a peak near the eastern headwaters of the Delaware River. Cole chose a daringly elevated vantage point for the work, one where the viewer is poised looking out at several other mountains and at valleys filled with mist shining in the morning light. The foreground is filled with tangled bits of underbrush, contorted and fallen trees, and rough outcroppings of rock precariously situated at the slope's edge. This is not a tamed and cultivated portion of the American landscape but a remote, wild area with no evidence of human presence. Upon receiving the picture, Gilmor wrote immediately to Cole: "It is extremely well painted, with great truth of nature. I have seen a thousand such scenes when in the mountains, and though the task was a very difficult one, yet you have perfectly succeeded in rendering the mists of the valley rising as the sun began to peep over the summits of the mountains." As Cole's first fully expressed wilderness painting and a document of his relationship to his important early patron, Sunrise in the Catskills is a pivotal work in the story of 19th-century American landscape painting, containing the seeds of Cole's later masterpieces and anticipating the great wilderness pictures of his pupil Frederic Edwin Church in the 1850s and 1860s.
6840	dbpedia	1	32	https://www.californiadesertart.com/jon-gnagy-the-diy-gospel-of-americas-first-tv-art-teacher/	en	Jon Gnagy: The DIY Gospel of America's First TV Art Teacher	https://www.californiade…agy-portrait.jpg	https://www.californiade…agy-portrait.jpg	[ "https://www.californiadesertart.com/wp-content/uploads/header1118D-1200.png", "https://cdn.printfriendly.com/buttons/print-button-gray.png", "https://www.californiadesertart.com/wp-content/uploads/jon-gnagy-portrait-550x400.jpg", "https://www.californiadesertart.com/wp-content/uploads/jon-gnagy-tahquitz-rock-550x393.jpg", "https://www.californiadesertart.com/wp-content/uploads/gnagy-yucca-550x353.jpg", "https://www.californiadesertart.com/wp-content/uploads/gnagy-cover-462x600.png", "https://www.californiadesertart.com/wp-content/uploads/jon-gnagy-carl-card-550x346.jpg", "https://www.californiadesertart.com/wp-content/uploads/gnagy-corn-550x398.jpg", "https://www.californiadesertart.com/wp-content/uploads/gnagy-anvil-550x415.jpg", "https://www.californiadesertart.com/wp-content/uploads/jon-gnagy-ad.jpg", "https://www.californiadesertart.com/wp-content/uploads/gnagy-beavertail-550x372.jpg", "https://www.californiadesertart.com/wp-content/uploads/jon-gnagy-heavenly-city-550x411.jpg", "https://www.californiadesertart.com/wp-content/uploads/jon-gnagy-K-Bar-knife-166x600.jpg", "https://www.californiadesertart.com/wp-content/uploads/jon-gnagy-painting-with-knife-550x403.jpg", "https://www.californiadesertart.com/wp-content/uploads/jon-gnagy-stan-in-gallery-550x413.jpg", "https://www.californiadesertart.com/wp-content/uploads/jon-gnagy-gallery-2-550x413.jpg", "https://secure.gravatar.com/avatar/26a19ea5dbfe75fe84f67cab6d7a17d3?s=32&d=mm&r=g", "https://secure.gravatar.com/avatar/ca412638161c0db5ac4ef753f33f4fbe?s=32&d=mm&r=g", "https://secure.gravatar.com/avatar/215e4b8f2447c33620d94b14ce50a2b2?s=32&d=mm&r=g", "https://secure.gravatar.com/avatar/109d0865c5f7766b8f235b80ff9446a4?s=32&d=mm&r=g", "https://secure.gravatar.com/avatar/c64b2268108124edf82f828f7e27e57f?s=32&d=mm&r=g", "https://secure.gravatar.com/avatar/8dbf85b8789128f1106ca4729bee8362?s=32&d=mm&r=g", "https://secure.gravatar.com/avatar/faea4da4fe598a6a9020fc7a46603f70?s=32&d=mm&r=g", "https://secure.gravatar.com/avatar/1f2c98bd9bba602a3346750a7080112c?s=32&d=mm&r=g", "https://secure.gravatar.com/avatar/86e4df49a4ba5dec65b41843a60bb08d?s=32&d=mm&r=g", "https://secure.gravatar.com/avatar/8a3cd801b25c7727dac621b504c7e591?s=32&d=mm&r=g", "https://secure.gravatar.com/avatar/221c83cbad3b9d2763afd2439303aaba?s=32&d=mm&r=g", "https://secure.gravatar.com/avatar/3bba1650269a3fc6282b55f7549fb2c5?s=32&d=mm&r=g", "https://secure.gravatar.com/avatar/762cba2fba905ef9e8a3fd6a7073ecde?s=32&d=mm&r=g", "https://secure.gravatar.com/avatar/a375b0c22a0367fcf0290a816e7ad419?s=32&d=mm&r=g", "https://secure.gravatar.com/avatar/29fc1d1bb14ecb3eb956ea5a3b5f4024?s=32&d=mm&r=g", "https://secure.gravatar.com/avatar/b495737d93f81c829635b912579e6189?s=32&d=mm&r=g", "https://www.californiadesertart.com/images/paintericon.jpg", "https://www.californiadesertart.com/wp-content/uploads/Carl-Bray-Voices-up-the-Canyon.png", "https://www.californiadesertart.com/wp-content/uploads/desert-willow-evening.jpeg", "https://www.californiadesertart.com/wp-content/uploads/Eric-Merrell-Alignment.jpg", "https://www.californiadesertart.com/wp-content/uploads/Michael-Moore-Manyminitopos2-2008.jpeg", "https://www.californiadesertart.com/wp-content/uploads/oasis2.png" ]	[]	[]	[ "" ]	null	[ "Ann Japenga" ]	2020-05-21T19:04:20+00:00	When Carl Bray and I used to drive to Oak Glen for pie, it was always a thrill to hear him talk about the artists he’d known in the desert–everyone from Maynard Dixon to John Hilton, Sam Hyde Harris and…Read more →	en		California Desert Art by Ann Japenga	https://www.californiadesertart.com/jon-gnagy-the-diy-gospel-of-americas-first-tv-art-teacher/	When Carl Bray and I used to drive to Oak Glen for pie, it was always a thrill to hear him talk about the artists he’d known in the desert–everyone from Maynard Dixon to John Hilton, Sam Hyde Harris and Agnes Pelton. Then there was this guy named Jon Gnagy. Unlike the others, Gnagy (pronounced NAY-gee) was never an art world success. I collected the artists’ names like trading cards, but this particular card I shuffled back into the deck. Dismissed. My mistake. Tomorrow (May 22, 2020), the Chicago gallery Firecat Projects opens an exhibition dedicated to Jon Gnagy (1907-1981). Gnagy may be, after all, the most influential desert artist who ever lived. I call him a desert artist–despite his various residences–because he lived in Palm Springs in 1942, was a member of the Desert Art Center and a visiting instructor at the Shadow Mountain Palette Club in Palm Desert. He spent the last 20 years of his life in Idyllwild. Most importantly, he’s a desert artist because he honored the Gods of Tahquitz and knew the tricks smoke trees play on travelers. As America’s first TV artist debuting in 1946, Gnagy was a predecessor to the now-trendy Bob Ross. Hundreds of working artists and so-called weekend artists credit Gnagy as their inspiration. Everyone from New York contemporary artist Allan McCollum (Gnagy’s nephew) to Andy Warhol were jump-started by Gnagy. “Jon Gnagy taught me to draw,” Warhol declared. Gnagy was as radical as Warhol in his own way. For him, art was not an elite pursuit reserved for those who speak in art school code. Rather, he was of the punk, do-it-yourself persuasion. Gnagy was raised by Mennonites in Kansas, who also subscribe to DIY beliefs. Cook, quilt, hoe…or try making something with a ball, cube, cylinder and cone. Ball, cube, cylinder, cone was Gnagy’s mantra, channeled from Cezanne. With his Van Dyke beard and his everyman flannel shirts, he beamed these words down on kids at the very dawn of TV. Firecat Projects owner Stan Klein was one of the kids, listening in at age seven from his Cleveland home. “To a suburban isolated kid it was: ‘Oh yeah, he’s the guy’,” he says. Gnagy’s populist gospel is central to the early desert painting scene as described by the late Indian Wells artist Carl Bray. An amateur art movement overtook America in the 1940s and 50s–the same time Pollock and de Kooning were sizzling on the East Coast. Winston Churchill’s 1948 book Painting as Pastime was key to the egalitarian revolution, as was the paint-by-numbers fad and plein air painting in the canyons. The New York scene excluded all but the chosen; John Gnagy’s TV show and Learn to Draw kits launched a parallel movement that included everyone. Born in 1907 in Varner’s Forge, Kansas, Jon Gnagy dropped out of high school and later went to work as an art director for an ad agency in Tulsa. It was there he met his wife-to-be–his apprentice at the agency–Mary Jo Hinton. (Mary Jo was herself an unheralded cartoonist, illustrator and cartographer.) After the two were married, Gnagy took a job at a New York agency; his budding family lived in nearby New Hope, Pennsylvania. The pressures of work wore on the artist and he suffered a nervous breakdown. During months of hospitalization he began to read philosophy, psychology and physics. In idleness he discovered his life’s plan: He would show everyone the creativity inside them. “I decided that what I wanted most was to give this knowledge to others,” he wrote. Writer Liz Seymour is Gnagy’s granddaughter. She described what happened next in an article for Art and Antiques: “When, in 1946, the first TV tower was erected atop the Empire State Building, Gnagy was ready. NBC gave him a spot on ‘Radio City Matinee’ alongside a chef making hollandaise sauce and a milliner trimming hats. The crayon melted under the lights, the chalk squeaked, but he was a hit—with almost everybody.” The Museum of Modern Art’s committee on art education wrote to The New York Times to protest Gnagy’s philistine approach “destructive to the creative and mental growth of children.” The rebuke stung. Though a common man to his core, part of him always craved the approval of the art establishment. His TV show, You Are An Artist, heralded the beginning of the Golden Era of children’s programming. “Jon was the first,” says Joshua Tree resident and Gnagy collector Tom O’Key. “He replaced the TV test pattern.” Prior to Gnagy’s big break, his brother-in-law Sam Hinton took a job as director of the Palm Springs Desert Museum (now the Palm Springs Art Museum), in 1941. The small operation was then devoted to natural history and was housed in the Welwood Murray Library building downtown. Sam Hinton was a folk singer, marine biologist and later director of the Aquarium/Museum at Scripps Institution of Oceanography. He was also a desert artist, of sorts. The Palm Springs Historical Society has his cartoons of local luminaries such as Edmund Jaeger and Carl Eytel. Around the time of Hinton’s arrival, Jon Gnagy also moved to town with his family, staying with the Hintons at 1235 Via Miraleste. (The house appears to be gone or the address has changed.) Gnagy’s wife Mary Jo took a job in the lab at Torney Hospital, an army hospital installed at the El Mirador Hotel–now Desert Hospital. Gnagy started teaching classes out of his home. In the 1940s, and again in the 1960s, an ad ran regularly in the Desert Sun advertising private instruction with Jon Gnagy. While in the desert Gnagy did lithographic series reflecting the local landscape: “Land of the Desert Sea”, “Nature on the Colorado Desert” and “Beware the Smoke Tree”. He had talks with Carl Bray about the shapeshifting mysteries of the smoke tree, and later honored our signature shrub with a cameo in The Doodler’s Handbook. Liz Seymour added these family memories of Palm Springs: “One of Gnagy’s students was east coast arts patron Jennie Grossinger, who later invited him back east to be resident teacher at Grossingers [ed: an opulent resort in the New York Catskills]. The Hinton family was also friends with Albert Frey, who later designed a La Jolla home for Sam Hinton. “My grandparents moved back to New Hope, Pennsylvania after their year in Palm Springs and then to New York when the television show took off,” she says. Jon Gnagy would return to the area after his days of fame had passed. He taught in the summer program at Idyllwild Arts Academy in 1960, and soon moved there–to remain working quietly under-the-radar the rest of his life. (His brother-in-law Sam Hinton also taught folk music at Idyllwild Arts, hosting Pete Seeger and other famous musicians.) Gnagy operated a gallery next door to the Mile High Cafe. His nephew, Allan McCollum, remembers visiting him on the hill around 1969. “We went up there and found that Jon was holding drawing lessons at a local cafe (bar?) on the weekends,” he says. “We went and watched him do it. It was presented just like his TV show, with an easel, and so on, to weekend folks. So even though he was retired from the television lesson program, he still thought to teach people.” (A survey of Allan McCollum’s work is on view at the Institute of Contemporary Art in Miami through July 12, 2020.) After Jon Gnagy died in 1981, the first person to get a good look at his Idyllwild studio was Joshua Tree resident Tom O’Key. O’Key got his first Learn to Draw kit for Christmas at age seven and was a fan of Gnagy from then on. When his family would go camping in Idyllwild he went by the gallery hoping to meet his hero, but Gnagy was never in. Legend has it he slept by day and painted by night. It was only after Gnagy’s death from heart failure that O’Key finally met Gnagy’s wife, Mary Jo Hinton, and daughter Polly. (Mary Jo has since passed away; Polly Gnagy Seymour lives in Florida.) While Mary Jo and Polly were cleaning up the house, they invited Tom to tackle the studio out back. As Tom recalls, Polly walked him across the yard to the studio. The door swung open and Tom stepped inside the dimly lit cabin, the last lair of the man who mentored thousands. Before departing, Polly switched on a desk lamp to reveal an unkempt workspace. “It was a big mess. He wasn’t the tidiest guy,” O’Key says. While Gnagy was never known for his own art, he had been painting seriously for years. In the studio O’Key found stacks of ethereal paintings of supernatural beings (“He obviously had a spiritual side to him”), along with rural scenes, desertscapes of Tahquitz Canyon and other local sites, and underwater scenes. Mary Jo told him her husband had an affinity for Neptune, Lord of the Sea. As a Mennonite, Gnagy was not allowed to draw human figures (idolatry) so any figures in the paintings–human or supernatural–were added by Mary Jo. O’Key, founder of the Joshua Tree Astronomy Arts Theater, wound up with a number of paintings which he has in his personal collection, along with the undersea knife Gnagy wore on his belt while skin diving. He took home some of Gnagy’s used paint brushes and has given them away to artist friends over the years: DIY talismans. In the years since his studio visit, O’Key has grappled with the puzzle of why Gnagy isn’t better known. “Why isn’t this guy famous?” he asked. He even appealed to the late Ray Davenport, compiler of the influential Davenport’s Art Reference and Price Guide. Davenport said Gnagy wasn’t a known player because he did not have the key requirement: paintings sold at auction. Today, Gnagy’s former students–Tom O’Key in Joshua Tree and Stan Klein in Chicago–are determined to bring his name back to the public. For his show opening tomorrow, Klein borrowed a number of paintings and Gnagy ephemera from the family. Despite the disruptions of coronavirus, the gallery owner is confident that several family members–as well as a passel of Mennonites from Kansas–will make it to the Chicago show before it closes in August, 2020. He hopes to work with Tom O’Key to move the exhibition to a venue in the California desert at a later date. Stan Klein makes art himself under the name Vito Desalvo. Gnagy was the one who first encouraged kids like him to make a mark on paper. Then another. Then came the “shouts of amazement”, as Liz Seymour once wrote. For Stan Klein, Tom O’Key and thousands of others, it was a shout that keeps reverberating through the years. The Firecat Projects exhibition You Are An Artist opens May 22-August 14, 2020. Call for appointments and for information on the planned Friday, May 22, opening, which may or may not take place due to coronavirus restrictions. Original work, prints, T-shirts and posters available. https://www.firecatprojects.org/ The Jon Gnagy website maintained by his family includes a guestbook with nearly 300 messages from fans:
6840	dbpedia	1	49	https://www.newpaltz.edu/museum/exhibitions/past_2019.html	en	The Samuel Dorsky Museum of Art			[ "https://www.newpaltz.edu/media/museum/2021-redesign/dorsky_logo.gif", "https://www.newpaltz.edu/media/museum/2021-redesign/header_search_logo.gif", "https://www.newpaltz.edu/media/museum/Aaron Douglas Fire.jpeg", "https://www.newpaltz.edu/media/museum/exhibitions/BFA.MFA.24_thesis show_wordmark COLOR BOX.jpg", "https://www.newpaltz.edu/media/museum/exhibitions/hva-2024/Eteam, Our Non-Understanding of Everything, Ongoing_HR.jpg", "https://www.newpaltz.edu/media/museum/BFA.MFA.Fall 23_thesis show_wordmark COLOR BOX3.jpg", "https://www.newpaltz.edu/media/museum/Medicine Locker 1 Tight Crop.jpg", "https://www.newpaltz.edu/media/museum/76. 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Featuring work by Osi Audu, Alta Buden, Shari Diamond, Kerry Downey, Stevenson Estime, eteam (Franzisa Lamprecht and Hajoe Moderegger), Aki Goto, Adam Henry, Matthew Kirk, Niki Kriese, Melora Kuhn, Catherine Lord, Sean Sullivan, and Audra Wolowiec. Purple Haze: Art and Drugs Across the Americas Curated by Estrellita B. Brodsky with Raúl Martínez September 9 - December 10, 2023 Morgan Anderson Gallery Purple Haze: Art and Drugs Across the Americas examines the Americas’ ambiguous relationship with drugs and their representation in the media and the public imagination. Conceived as a collaboration with the Dorsky Museum and building on the 2018-2019 exhibition,Comfortably Numb: A Critical Investigation into the Cultural Impact of Drugs and Narcoticspresented at ANOTHER SPACE in Chelsea, Purple Hazewill bring together works by multigenerational international artists in a broad range of media, including video, photography, and installation. The exhibition will survey the pervasive presence of drugs in Americans’ daily lives as well as their impact on social,political, and economic relations throughout the two continents, north and south. BFA & MFA Thesis Spring 23 Curated by the Department of Art and The Dorsky Museum April 28 - May 21, 2023 Alice and Horace Chandler and North Galleries At the end of each semester, the Dorsky Museum is proud to exhibit new artwork by students earning Bachelor of Fine Arts and Master of Fine Arts degrees. The thesis exhibitions are the culmination of the students' fine art studies, akin to the final exam, research project, or dissertation required of students earning liberal arts or science degrees. BFA I Opening Reception: Friday, April 28, 5 - 7 pm Alemir Beltre, Bianca Cabrera, Cy Hinojosa, Parker Parenti, Joli Perfit, Nia Scott, Daryn Seiden, Brooke Vissichio, Conrad Wickham BFA II Opening Reception: Friday, May 5, 5 - 7 pm Sarah Boudinot, Kayla Boyle, Raegan Cole, Rachel Gee, Talula Evan Baer, Hunter Larson, Jeremy McEvoy, Natalie Thomas, Jacob Wilt MFA Opening Reception: Friday, May 12, 5 - 7 pm Bear Cooper, Yuting Du, Michael Fortenberry, Max Hodson, Joseph Kattou, Ibrahim Khazzaka, Jennifer Levine, Sofia Rock, Viktorsha Uliyanova Hudson Valley Artists 2022: The Material, The Thing Curated by Nicole Hayes June 22 – November 6, 2022 Alice and Horace Chandler Gallery and North Gallery The Material, The Thing, the 15th annual Hudson Valley Artists exhibition, considers how artists understand and reimagine the material culture we live in. Every time we walk into a big box store we are inundated by meaningless disposable things. We have collectively lost an understanding of the materials that make the things we live with. Who even knows how plywood is made, or what microcrystalline cellulose is, but we all have it in our homes. In this cultural moment artists and artisans become an essential conduit of understanding the materials and the things in our society. Participating artists: Miguel Braceli \| Louis Brawley \| Royal Brown Jr. \| Sydney Cash \| Adam Chau \| Monica Church \| Melissa Dadourian \| Shoshana Dentz \| Dan Devine \| Adriana Farmiga \| Daniel Giordano \| Romina Gonzales \| Meg Hitchcock \| Laetitia Hussain \| Will Hutnick \| Niki Lederer \| Elisa Lendvay \| Ashley Lyon \| Patricia Miranda \| Joel Olzak \| Courtney Puckett \| Jordan Rosenow \| Julie Torres \| Katharine Umsted \| Melissa Weaver \| Millicent Young Benjamin Wigfall & Communications Village Curated by Drew Thompson in consultation with Sarah Eckhardt of the VMFA September 10 – December 11, 2022 Morgan Anderson Gallery, Howard Greenberg Family Gallery, and Sara Bedrick Gallery This exhibition provides the first retrospective of Benjamin Wigfall’s art, from his early career in Virginia in the 1950s to his founding of Communications Village, a community art space in Kingston, New York, in the 1970s. It will also feature works by important artists with whom Wigfall collaborated during his career, including Benny Andrews, Mavis Pusey, Betty Blayton, Charles Gaines, Joe Ramos, Ernie Frazier, Mel Edwards, Bob Blackburn, Romare Bearden, and Ernest Crichlow. Benjamin Wigfall & Communications Village is organized by the Samuel Dorsky Museum of Art, in partnership with the Virginia Museum of Fine Arts. Mary Frank: The Observing Heart Curated by David Hornung February 5 – July 17, 2022 Morgan Anderson Gallery and Howard Greenberg Family Gallery As part of our Hudson Valley Masters series, this exhibition presents Mary Frank’s powerful artwork from over six decades, which has always centered on the twin themes of social justice and the preservation of the natural world. Acclaimed artist/activist Mary Frank has been making art in her Manhattan and Hudson Valley studios for over sixty years. She is an independent spirit who emerged during the years of rising feminism in the early 70’s and has always followed a personal vision distinct from prevailing art world fashion. Mary Frank: The Observing Heart is a gathering of sculpture, painting, drawings, prints, and photographs from throughout her illustrious career. The Dorsky at 20: Reflections at a Milestone (Part II) Curated by Wayne Lempka February 5 – July 17, 2022 Sara Bedrick Gallery Continuing to mark our 20th anniversary, we share more recent and promised gifts to the Museum’s permanent collection. It not only reflects on our twenty years of being an important cultural force in the region, but honors and celebrates the important individuals who have so generously given exceptional art gifts in order to ensure The Dorsky Museum will continue to be an abundant resource not only for the SUNY New Paltz campus community but for visitors far and wide. This exhibition will be the second rendition of a two-part series where we reflect on our history, plan for our future, and honor all those who have helped to shape The Dorsky Museum into what it is today. Somewhere in Advance of Nowhere: Freedom Dreams in Contemporary Art Curated by nico wheadon February 5 – April 10, 2022 Alice and Horace Chandler and North Galleries Somewhere in Advance of Nowhere: Freedom Dreams in Contemporary Art lauds the vital role of artists in dismantling broken systems, envisioning new shared realities, and building future alternatives. Drawing inspiration from Robin D.G. Kelley’s seminal book, Freedom Dreams: The Black Radical Imagination, the exhibition takes up his provocation that “without new visions we don't know what to build, only what to knock down.” From interactive, site-specific installations to meditative photographs, videos, and works on paper, the featured works pose a series of existential questions, including: What are we trying to change? What must be built and what must be knocked down to best advance our efforts? What wisdom can be borrowed from the past in charting new paths forward? And, How do we manifest bold futures envisioned by people of color amidst systemic imbalances in structural power? Life After the Revolution: Kate Millett’s Art Colony for Women Curated by Anna Conlan September 11 – December 12, 2021 Morgan Anderson Gallery and Howard Greenberg Family Gallery In the early 1970s, with the advance from her recently published book, Sexual Politics, writer and visual artist Kate Millett (1934–2017) bought an old farmhouse on a parcel of land just outside of Poughkeepsie. By the late 1970s, plans for a women’s art colony were underway. Women came to the Farm to help renovate the buildings and make living quarters, a dark room, a sculpture studio, and screen-printing facilities. Millett described this colony of artists working together as “life after the revolution,” where women could experience communal living and freedoms that weren’t yet possible elsewhere. This exhibition will share Millett’s vision for the Farm, featuring her artwork, and that of the artists who visited. A catalog accompanies the exhibition. The Dorsky at 20: Reflections at a Milestone Curated by Amy Fredrickson and Wayne Lempka September 11 – December 12, 2021 Sara Bedrick Gallery To mark our 20th anniversary, we share an exhibition of recent and promised gifts to the Museum’s permanent collection. It not only reflects on our twenty years of being an important cultural force in the region, but honors and celebrates the important individuals who have so generously given exceptional art gifts in order to ensure The Dorsky Museum will continue to be an abundant resource not only for the SUNY New Paltz campus community but for visitors far and wide. This exhibition is the first rendition of a two-part series where we reflect on our history, plan for our future, and honor all those who have helped to shape The Dorsky Museum into what it is today. Hudson Valley Artists 2021: Who Really Cares? Curated by Helen Toomer July 7 – November 14, 2021 Alice and Horace Chandler and North Galleries For the 14th annual Hudson Valley Artists exhibition, curated by Helen Toomer, we invited artists to submit artwork that deals with the challenges of the past year and the re-imaginings of years to come, responding to the question “Who really cares?” asked by Marvin Gaye fifty years ago on the monumental album, “What’s Going On.” The exhibition will feature a diverse group of twenty-eight local artists, chosen from over 380 applications: Sharon Bates \| Natalie Baxter & Julia Norton \| Sean Bayliss \| Natalie Beall \| Vernon Byron III \| Randy Calderone \| Maureen Drennan \| Jen Dwyer \| Echo Goff \| Carl Grauer \| Norman Magnusson \| Katrina Majkut \| Christopher Manning \| Maeve McCool \| Patrick Meagher \| Paul Akira Miyamoto \| Ocean Morisset \| Liz Nielsen \| Richard Pantell \| Gina Randazzo \| Ransome \| Macon Reed \| Marcy Rosewater \| Kristen Schiele \| Renee Stanko \| Amelia Toelke \| Karen Whitman Kathy Goodell: Infra-Loop, Selections 1994—2020 Curated by Andrew Woolbright February 6 – July 11, 2021 Morgan Anderson Gallery and Howard Greenberg Family Gallery Infra-Loop explores the artistic practice of Kathy Goodell, whose work remains a mysterious synthesis. Associated with many movements and contemporaries, Goodell’s career charts a path and fills in the gaps of what we think about art in the ‘90s, ‘00s, and the present. Her practice has determined itself through a kind of non-specificity, one that resists easy classification and interpretation. The meaning of her work, and context through which we are to understand it, is simultaneous and withheld—west coast spiritualism meets east coast abstraction; procedural non-objectivity blends with painterly biomorphism; protean theosophy informs post-modernist contemporary. This survey of work explores the through-lines in Goodell's practice as a moving target, examining an artist that is constantly challenging and reinventing her practice. Support for this exhibition was provided by a Foundation for Contemporary Arts Emergency Grant. We Wear the Mask: Race and Representation in the Dorsky Museum Permanent Collection Curated by Jean-Marc Superville Sovak September 12 – November 22, 2020 Seminar Room Gallery Taking its cue from Paul Laurence Dunbar’s 1895 poem, We Wear the Mask pairs artwork from the Museum’s collection in a series of trans-historical, multi-cultural dialogues, using “remixing” as a strategy to unmask the ways racialized identities are presented and perceived. We Wear the Mask stages the contradictions inherent in representations of race and in American culture as a whole—as exemplified by the Dorsky Museum Collection. Featuring a range of artwork and artifacts that span almost three-thousand years—from ancient Egyptian funerary figures to polaroid photographs by Andy Warhol, — eighteen works selected from the over six-thousand objects in the Dorsky Museum collection are paired into distinct juxtapositions. A trans-historical, multi-cultural “remixing,” this exhibition seeks a third space of meaning to better represent and understand racial diversity in this moment of cultural and political reckoning. Dos Mundos: (Re)Constructing Narratives Curated by Juanita Lanzo and Stephanie A. Lindquist September 12 – November 22, 2020 Sara Bedrick Gallery Dos Mundos: (Re)Constructing Narratives is a curated exhibition, organized to present the photographs of 12 artists of color who are recipients of En Foco's Photography Fellowships. The current Dos Mundos theme is inspired by the 1973 Dos Mundos exhibition, and hopes to not only capture the contemporary duality of traditions and cultures in immigrant and ethnic communities, but to also revisit and demonstrate the challenges of systemic exclusion from the mainstream as described by the 1973 exhibition. Featuring: Damarys Alvarez \| Laylah Amatullah Barrayn \| Tau Battice \| Yu-Chen Chiu \| Anthony Hamboussi \| Daesha Harris \| Erika Morillo \| Danny Ramon Peralta \| Antonio Pulgarin \| Roger Richardson \| Cinthia Santos-Briones \| Aaron Turner Jan Sawka: The Place of Memory (The Memory of Place) Curated by Hanna Maria Sawka and Dr. Frank Boyer February 8 – November 22, 2020 Morgan Anderson Gallery & Howard Greenberg Family Gallery Jan Sawka (1946–2012) was a noted contemporary artist of Polish origin and global reach. His work is in the collections of over 60 museums worldwide. Sawka lived and worked in the mid-Hudson Valley from 1985 until his death, conceiving of and producing many of his most notable works in his High Falls, NY, studio. This exhibition is made up of works that illuminate two aspects of his practice, his fascination with human consciousness, in this case, with memory, and his interest in place, and the places through which a human life passes. Sawka’s working method and artworks are truly visionary, in the sense that he always worked from mental images. Every work he did is open to his thoughts, his emotions, his mental associations, and, above all to memory. Hudson Valley Artists 2020: New Folk Curated by Anna Conlan September 12 – October 25, 2020 Alice and Horace Chandler Gallery and North Gallery This year’s annual Hudson Valley Artists juried show features twenty-nine local artists in a vibrant exploration of craft, cultural heritage, and the communities we create together. New Folk showcases artwork that distinctively captures the spirit of contemporary folk practice in the Hudson Valley today. It offers a vision of what folk art can be—highly skilled, locally-sourced, idiosyncratic, and resourceful. New Folk is also a catch-all for the long history of visitors and immigrants in our region, and the exhibition explores the inherited cultural traditions that “new folk” bring with them. Collecting Local: Twelve Years of the Hudson Valley Artists Annual Purchase Award Curated by Anna Conlan February 8 – July 12, 2020 Sara Bedrick Gallery Every year The Dorsky invites local artists to share their work through our juried Hudson Valley Artists exhibition. From hundreds of submissions, curators select artwork that resonates with a chosen theme. The aim is to gather exciting new work in a cohesive exhibition, whilst demonstrating the strength and diversity of contemporary art across the eleven counties. Each year artwork from the Hudson Valley Artists exhibition is chosen for the Purchase Award and becomes part of our permanent collection. Collecting Local allows the public to see these outstanding artworks displayed together for the first time. Artists in the Exhibition: Curt Belshe and Lise Prown \| Laura Cannamela \| Sharon Core \| François Deschamps \| Richard Edelman \| Charles Geiger \| Holly Hughes \| Patrick Kelley \| Barbara Leon \| Deborah Lucke \| Nestor Madalengoitia \| Mollie McKinley \| Stephen Niccolls \| Libby Paloma \| Gilbert Plantinga \| Elisa Pritzker \| Adie Russell \| Thomas Sarrantonio \| Jean-Marc Superville Sovak \| Amy Talluto Stay Home, Make Art: Hudson Valley, NY, Edition Curated by Anna Conlan April – July 2020 online At the beginning of April 2020, The Dorsky Museum asked Hudson Valley artists, how are you being creative during social distancing? We were humbled by the remarkable response we received. Over 250 Hudson Valley artists have shared what they have been making and we are exhibiting their art on the Museum social media channels. Stay Home, Make Art is a virtual exhibition that addresses how the COVID-19 pandemic has impacted creative practice, keeps local artwork visible, and promotes safe social distancing. To view Stay Home, Make Art: Hudson Valley, NY, Edition visit us on Instagram or Facebook at @dorskymusem War! Curated by Wayne Lempka February 8 – Juy 12, 2020 Seminar Room As our world becomes increasingly chaotic, the threat of war occurring on our home soil appears more likely to be a reality rather than a possibility. Since the beginning of time, both major and minor conflicts between individual ethnic groups and nations has had a significant impact on the course of history and on the power to shape and change our world. Was there ever a time in history when there was not some warring faction facing off against another group of people? One would be hard pressed to find a time period when the world was completely free of conflicts. Beginning with primitive man in the bronze age, to the earliest battles in ancient Mesopotamia, to medieval Europe, to today’s wars in the Middle East and beyond, armed conflict has been a primary preoccupation throughout history and its use has become deeply rooted in our culture. Totally Dedicated: Leonard Contino 1940–2016 Curated by Anna Conlan January 22 – April 5, 2020 Alice and Horace Chandler Gallery and North Gallery Leonard Contino was a Brooklyn-born, self-taught abstract artist whose tenacious exploration of pictorial space spanned a fifty-year career. In 1959 at the age of 19, Contino was severely injured in a diving accident. Paralyzed from the shoulders down, he retained some mobility in his arms and hands, and needed to use a wheelchair for the rest of his life. While in rehabilitation at the Rusk Institute in New York City, Contino met a fellow patient, the sculptor Mark di Suvero, who would become a lifelong close friend. Di Suvero challenged him to start making art. Until this point, Contino’s creativity had been mostly directed to “pinstriping” decorative lines onto hot rod cars in his Brooklyn neighborhood. With di Suvero’s encouragement and the help of a metal brace to support his wrist, he began to draw and then to paint. Contino went on to create extraordinary art for the next five decades. He became devoted to his daily practice of painting from morning to evening, and often then making collages late into the night. Contino later observed that being an artist was like a religious calling, you had to be “totally dedicated.” Featuring over eighty artworks, Totally Dedicated is the largest exhibition of Contino’s work to date and encompasses large hard-edge geometric paintings, playful collages, delicate reliefs and sculptures from the 1960s through the 2000’s. It also includes two painted steel sculptures that di Suvero and Contino made together. BFA/MFA Thesis Exhibition Spring 2020 Curated by art faculty and students April 24 – May 19, 2020 Alice & Horace Chandler Gallery and North Gallery At the end of each semester, the Dorsky Museum is proud to exhibit new artwork by students earning Bachelor of Fine Arts and Master of Fine Arts degrees. The thesis exhibitions are the culmination of the students' fine art studies, akin to the final exam, research project, or dissertation required of students earning liberal arts or science degrees. Under normal circumstances, BFA and MFA students have worked with one another, faculty advisors, and the Museum team to plan this exhibition, each student designing and installing their own work. We will showcase the talent of these emerging artists at the end of the 2020 Fall semester. You can see the work of the Spring 2020 MFAs at this web site: https://hawksites.newpaltz.edu/fridaym/ BFA: Elizabeth Berger \| Amanda L. Bogatka \| Emily W. Cavanaugh \| Miranda J. Crifo \| Robert D.Cusack \| Mary K. Flana \| Taylor C. Gephard \| Amanda Greenfield \| Alexa M. Guevara \| Shabiha Jafri \| Kejiayun Ke \| Samantha A. Leiching \| Huaqi Liu \| Naira N. Luke-Aleman \| Sam E. Mazzara \| Ella E. Nares \| Joel Olzak \| Paige E. O’Toole \| Megan E. Reilly \| Claudia Rosti \| Jiabin Zhao \|MFA: Min Jae Eom \| Stefan Gougherty \| Karen Jaimes \| Jung Yun Choi \| Kehan Wan (Yoky) \| Maxine Leu \| Li Lin-Liang \| Rosa Loveszy \| Jessica McDonnell \| Sariah Park \| Nicholas Rouke \| Jamie M. Scherzer \| Bruce Wahl \| Corina Willette \| Xuewu Zheng \| Paper Media: Boetti, Calzolari, Kounellis Curated by Francesco Guzzetti August 28 – December 8, 2019 Sara Bedrick Gallery On loan from Magazzino Italian Art, this exhibition will bring together the work of three artist who are part of the Olnick Spanu Collection: Alighiero Boetti (1940–1994), Pier-Paolo Calzolari (b.1943) and Jannis Kounellis (1936–2017) and will feature mixed media works on paper. Magazzino Italian Art is a museum located in Cold Spring, New York, devoted to Postwar and Contemporary Italian art. Magazzino, meaning "warehouse" in Italian, was co-founded by Nancy Olnick and Giorgio Spanu. Organized by the Samuel Dorsky Museum of Art and Magazzino Italian Art Foundation. The Ukiyo-e Movement: Gems from the Dorsky Museum Collection of Japanese Woodblock Prints Curated by Elizabeth Brotherton, Associate Professor, Art History, SUNY New Paltz August 28 – December 8, 2019 Seminar Room Gallery Ukiyo-e, translated as "pictures of the floating world," while not strictly a movement in the sense of being the product of closely aligned artists setting out to make an artistic statement, do comprise a constantly evolving body of works that could only have been produced in the unique context of Edo Japan (1600–1868) and its mingling of newly confident artisans, leisured samurai, and a growing urban audience. This exhibition, drawn from the Dorsky Museum collection and held in conjunction with the 2019 meeting of the New York Conference on Asian Studies, includes a range of ukiyo-e woodblock prints that were mostly produced during the later stages of this movement, when the shifting function of the prints, combined with greater censorial control of their content by the government, brought about an increasing variety in type and subject matter. Between roughly 1750 and 1850, ukiyo-e prints moved well beyond the representation of their core subject matter of courtesans and actors (through which they helped create a celebrity culture with similarities to our own), and broadened out to include such themes as literary illustration and commentary, traditional folk tales that often had political subtexts, landscapes, and eccentric self-expression. Madness in Vegetables: Hudson Valley Artists 2019 Curated by Alyson Baker and Candice Madey June 15 – November 10, 2019 Alice and Horace Chandler Gallery and North Gallery The 2019 edition of the Hudson Valley Artists series is titled Madness in Vegetables: Hudson Valley Artists 2019. It calls for works that address the political and civic implications of choosing a rural life; the enticing beauty and repellant brutality of nature; our ever-changing climate; the wild character of plants, gardens, forests, and fauna; the relevance, power and forms of anthropomorphic mythmaking; and poetic and fantastical interpretations of the woodlands. Exhibiting artists: Bob Barry \| Julie Evans \| Mara Held \| Virginia Lavado \| Elisa Lendvay \| Scott Serrano \| Claudia McNulty \| David Nyzio \| Phyllis Gay Palmer \| Libby Paloma \| Lauren Piperno \| Jackie Shatz \| Linda Stillman \| Jean-Marc Superville Sovak \| Christina Tenaglia \| scrap wrenn \| Roberta Ziemba BFA/MFA Thesis Exhibition Spring 2019 Curated by art faculty and students April 26 — May 21, 2019 Alice & Horace Chandler Gallery and North Gallery At the end of each semester, students earning Bachelor of Fine Arts or Master of Fine Arts degrees exhibit art work in the Museum. The thesis exhibition is akin to the final exam, research project, or dissertation required of students earning liberal arts or science degrees. The BFA and MFA students have worked with one another and with faculty advisors and museum staff to plan these exhibitions; each student has completed the design and installation of their own work. BFA: Kaitlyn Antoniadis \| Amanda Aponte \| Julia Betts \| Kaitlyn Burch \| Jack Burnham \| Marissa Contelmo \| Julianne Farella \| Brandon Fiege \| Sari Friedman \| Shale \|Zhike Gan \| Isa Karis \| Joseph Kattou \| Liz Leupold \| Brendan Komarek \| Jingdi Ma \| John William Murphy \| Arielle Ponder \| Irene Raptopoulos \| Jonathan Renino \| Alejandra Salinas \| Marco Venegas MFA : Sylvie Lissa Alusitz \| Julia Arvay \| Emily Brownawell \| Xiao Chen \| B Jensen Hale \| Tamar Hedges \| Amanda Heidel \| Lynn Herring \| Bora Kim \| Geuryung Lee \| Betsy Lewis \| Ruizhi Li \| Rosa Loveszy \| David Munford \| Megumi Naganoma \| Heather Rosenbach \| Jolynn Santiago \|Andrew Sartorious \| Sharon Strauss Just My Type: Angela Dufresne Curated by Melissa Ragona and Anastasia James February 9 – July 14, 2019 Morgan Anderson Gallery and Howard Greenberg Family Gallery What’s in a face? In Angela Dufresne’s hands, a face is sometimes stretched to its absolute limits, becoming landscape, becoming monstrous, becoming pure color. Just My Type is a study in the topology of the face, as it transforms and morphs, never standing still long enough to zero in on a fixed “type.” The typologies in her paintings are hybrid machines; they threaten “categories” that identify us by normative names or force us into vulnerable positions. Dufresne wields heterotopic narratives that are non-hierarchical and perverse and poignantly articulate, porous ways of being in a world fraught by fear, power, and possession. Known for her impressive tableaux vivants that are both grandiose and humble, Just My Type: Angela Dufresne will feature intimate and rarely exhibited portraits of the artist’s friends, family, and community, as well as phantasmagoric beings that challenge our understanding of what makes a type. In Celebration: A Recent Gift from the Photography Collection of Marcuse Pfeifer Curated by Wayne Lempka February 9 – July 14, 2019 Sara Bedrick Gallery Through the generosity of former New York City gallery dealer Marcuse Pfeifer, The Dorsky Museum is the recipient of a major gift of 19th and 20thcentury photographs representing some of the leading artists in the history of the medium. This exhibition will showcase over fifty photographs from the Pfeifer gift while tracing both the evolution of the medium and celebrating the generosity of the donor. Beginning in the late 1970s, Marcuse Pfeifer was one of the first gallery dealers in New York City to exclusively show photographs. Her gallery gained the reputation as being one of the very few spaces where one could not only view but purchase images from both well-known and up-and-coming artists. Through Pfeifer’s efforts she was instrumental in helping to promote the medium of photography as an art form. Mohonk Mountain House at 150 Curated by Kerry Dean Carso February 9 – July 14, 2019 Seminar Room To celebrate the 150th anniversary of the founding of Mohonk Mountain House, this small exhibition features art, photographs, postcards, and ephemera related to Mohonk and the Shawangunks, with contributions from students in Professor Kerry Dean Carso's fall 2018 art history course, "Art of the Hudson Valley." In 1869, Alfred Smiley made his first visit to Lake Mohonk and convinced his twin brother Albert to purchase Stokes Tavern, an inn on the lake. Under the Smiley family’s management, the tavern evolved into Mohonk Mountain House, an eclectic architectural assemblage of towers, balconies, and porches. A wonderland of picturesque carriage trails dotted with rustic summerhouses allowed guests to explore the mountain and lake scenery. Today Mohonk Mountain House transports guests to the heyday of the mountain house era, while also providing modern amenities. Students have researched and written about images from the early days of Mohonk to the recent past, exploring themes such as art and architecture, landscape design, and recreational activities. Linda Mary Montano: The Art/Life Hospital Curated by Anastasia James January 23 – April 14, 2019 Alice and Horace Chandler Gallery and North Gallery Linda Mary Montano (b. 1942, Saugerties, NY) is a pioneer in contemporary performance art and her work since the mid 1960s has been critical in the development of video and performance by, for, and about women. Attempting to dissolve the boundaries between art and life, Montano’s work explores her own art/life through shared experience, role adoption, and intricate life altering ceremonies, some of which last for many years. This exhibition highlights Montano’s rarely screened video work, alongside new commissions and a performance that address acts of healing and issues surrounding death.
6840	dbpedia	0	13	https://www.questroyalfineart.com/artist/asher-b-durand/	en	Asher B. Durand	https://www.questroyalfi…5/qst-social.jpg	https://www.questroyalfi…5/qst-social.jpg	[ "https://www.questroyalfineart.com/wp-content/uploads/2024/06/SS24.jpg", "https://www.questroyalfineart.com/wp-content/uploads/2024/06/SS24.jpg" ]	[]	[]	[ "" ]	null	[]	2023-11-28T13:29:05+00:00	Nineteenth-Century American Landscape Painter, Engraver, and Leader of the Hudson River School By Margarita Karasoulas Renowned for his reputation as one of the most important landscape painters in nineteenth-century American art, Asher B. Durand is best known as the leader of the Hudson River School and co-founder of the National Academy of Design. I. Biography…	en		Questroyal Fine Art	https://www.questroyalfineart.com/artist/asher-b-durand/	Nineteenth-Century American Landscape Painter, Engraver, and Leader of the Hudson River School By Margarita Karasoulas Renowned for his reputation as one of the most important landscape painters in nineteenth-century American art, Asher B. Durand is best known as the leader of the Hudson River School and co-founder of the National Academy of Design. I. Biography Born in 1796 in Jefferson Village, NJ, Asher Brown Durand was the eighth child of Rachel and John Durand. Throughout his childhood, Durand worked closely with his father, a watchmaker and silversmith, before beginning an apprenticeship under the engraver Peter Maverick in Newark, NJ in 1812. After only five years, he advanced within the ranks and became Maverick’s co-partner, founding a branch of the business in New York City. Though the partnership dissolved in 1820, he would soon form his own lucrative banknote, commercial engraving, and printing company with his brother Cyrus.1 Durand quickly gained national recognition as an engraver and made profound contributions to the iconography of the paper money then in distribution, using classical motifs and contemporary references of political and military heroes that remain an integral part of our national currency. In 1823 he completed an important commission by John Trumbull to engrave the Declaration of Independence, a project that earned him fame and substantiated his position in the art world. At the apogee of a commercially successful career as an engraver, Durand’s interests shifted to painting. Largely self-taught, he studied oil portraits and prints, attended the anatomical lectures of Dr. Wright Post, and drew from casts of classical sculpture at the American Academy of Fine Arts.2 Under the auspices of Luman Reed, the period’s most influential patron, Durand’s artistic production commenced with genre subjects and portraits, which dominated his early exhibitions at the American Academy of Arts and Letters and the National Academy of Design He received particular acclaim for his portraits and was commissioned to paint some of the nation’s most influential political figures including Senator Henry Clay, ex-President James Madison, and President Andrew Jackson.3 His early works of the 1820s and 1830s reveal his precise rendering and superior draftsmanship. In 1837 Durand accompanied his friend, the artist Thomas Cole, on a sketching trip in what would be Durand’s first visit to the Adirondack Mountains in New York. Durand was moved by the quietude and splendor of the American wilderness and felt an instant kinship with the land. This excursion, coupled with a financial panic that year that limited patronage for portraiture, prompted Durand to turn to landscapes for the duration of his career. Beginning in 1840, with money advanced by Jonathan Sturges, Durand toured Europe in a year-long sojourn visiting England, France, Belgium, Holland, Germany, Switzerland, and Italy. While abroad Durand studied the works of the Old Masters and those of his contemporaries, especially the landscapes of Claude Lorrain, Nicolas Poussin, J.M.W. Turner and John Constable. Surprisingly, Durand was dissatisfied with the European artists’ populated, civilized images of nature, writing: “The wide field of landscape painting has never yet been so successfully … cultivated … as have other departments of Art, relating to the action and passion of men.”4 Durand’s views corresponded with the sentiments of his countrymen, who favored a sense of nostalgia that yearned for the uncorrupted, undomesticated nature of the distant past, and a national effort to tie America’s cultural identity to the magnificence of its land. Durand returned to America with a renewed fervor, as he wrote to Cole, and a personal agenda to paint “the beauties of my own beloved country.”5 Durand painted in a realistic style that embodied the main tenets of the Hudson River school: a commitment to naturalism, a keen attention to detail, and above all, a deep love of nature—what Daniel Huntington later called a “passion, an enthusiasm always burning within him.”6 Within a prolific oeuvre spanning from the 1830s onward, Durand explored a variety of themes: marine, wilderness, forest, and pastoral landscapes formed his artistic repertoire. Durand was celebrated for the botanical precision of his foliage, the minute details that captured every mossy-covered rock, branch, and leaf with an arresting topographical accuracy.7 He also forged unique compositional elements: his panoramic, sweeping views and vertical formats are immediately recognizable, signature components of his works.8 Though Thomas Cole arguably had the greatest influence on Durand’s stylistic development, their art also revealed fundamental differences as reflected in the dual approach adopted by the next generation of Hudson River school artists. Like Cole, Durand depicted both the sublime grandeur of the American wilderness and evoked the pastoral relationship between man and nature. Yet his first landscapes, redolent of many of Claude Lorraine’s thematic and stylistic tendencies, were serene and bucolic in contrast to Cole’s often wild, romantic, and theatrical conceptualization of nature.9 As Durand developed his own mature style, he championed naturalism, placing greater emphasis on the real versus the ideal and capturing the specificity of nature in his works. Of all the Hudson River School painters, Durand was the most avid proponent of working en plein air, or directly from nature, a progressive departure for artists of the period, who traditionally created sketches outdoors and finished large-scale works in their studios.10 In addition to Durand and Thomas Cole, the first generation of Hudson River School painters included John W. Casilear, John F. Kensett, David Johnson, Jervis McEntee, George Inness, Jasper F. Cropsey, Homer Dodge Martin and Alexander Wyant.11 Following the death of Cole in 1848, Durand was considered the leader of the Hudson River School, which reached its peak by the 1850s. Durand’s art set an important precedent for the nation’s fledgling sense of self, painting landscapes as a direct expression of cultural nationalism.11 Durand was at the forefront of this crucial development. The venerable tradition of landscape painting, which has its roots in the Hudson River School, continues to inspire American artists today. An active member of the art community, Durand formed friendships with some of the most influential figures of his time, including Samuel Morse, John Vanderlyn, and William Cullen Bryant.12 He also played an instrumental role in establishing some of America’s most well-known art institutions; he was a founder and member of the Century Association, the New York Drawing Association, the Sketch Club, and the National Academy of Design, serving as President from 1845 to 1861.13 In this capacity, Durand had a profound impact as a friend, mentor, and teacher to successive generations of American artists. He additionally contributed regularly to art historical literature, relating his theories on art and nature in Letters on Landscape Painting (1855) in the monthly periodical The Crayon.14 Durand retired from an illustrious career in 1869, spending the remainder of his years on his family farm in New Jersey, where he passed away in 1886. Durand was enormously successful throughout his career, though his fame soared to new heights recently when his painting, Kindred Spirits (1849), secured a record price at $35 million when it was purchased by Walmart heiress Alice Walton in 2005. In 2006 the Brooklyn Museum launched a major retrospective of his art, highlighting his critical role in the Hudson River school. Durand’s works may be viewed in such esteemed collections as the Smithsonian American Art Museum, Corcoran Gallery of Art, Museum of Fine Arts, Boston, and The Metropolitan Museum of Art. II. Chronology 1796 Born August 21st in Jefferson Village (now Maplewood) in Springfield Township, Essex County, New Jersey; eighth child of John and Rachel Durand 1812 Began five-year apprenticeship under the engraver Peter Maverick in Newark, NJ 1817 Partnered with Peter Maverick and opened a branch of the business in New York City 1820 Commissioned by John Trumbull to engrave the Declaration of Independence for $3,000. Partnership with Maverick dissolved. Entered six portrait engravings at the American Academy of the Fine Arts exhibition 1821 Married Lucy Baldwin in Bloomfield, NJ on April 2nd 1822 Birth of son, John Durand, on May 6th 1823 Publication of Declaration of Independence; recognized nationally for his success as an engraver. Became associated with various engraving firms during the next eight years. Entered a portrait of his child in the American Academy of the Fine Arts exhibition 1824 Birth of daughter, Eliza B. Durand, on July 13th. Entered partnership with elder brother, Cyrus, and Charles C. Wright in a banknote, commercial engraving, and printing business entitled A.B. & C. Durand, Wright & Co 1825 Designed the invitation for New York City’s celebration to mark the completion of the Erie Canal. Chaired the November 8th meeting of artists to organize the New York Drawing Association. Elected member of James Fenimore Cooper’s Bread and Cheese Club (or the Lunch Club). December 13th, birth of second daughter, Caroline Durand 1826 Elected by members of the New York Drawing Association as one of the fifteen founders of the National Academy of Design on January 15th. Entered a religious painting, a portrait, and three engraved portraits in first exhibition of the National Academy 1827 Built home on Amity Street in New York. Became a founding member of the Sketch Club and one of the members of the Council of the National Academy of Design 1828 A.B. & C. Durand, Wright & Co renamed Durand, Perkins & Co. Wife Lucy became ill. 1829 Birth of third daughter, Lucy Maria Durand, on February 27th. Became a founding member of the Sketch Club. Began sketching in Hoboken, NJ at the Elysian Fields, a location he continued to visit through the early 1830s 1830 Briefly moved to St. Augustine, FL and Charleston, SC to restore his wife’s health. Lucy passed away on April 5th. Closed house on Amity Street. Provided six engravings and the cover image for William Cullen Bryant’s The American Landscape 1831 End of active participation in engraving firms; Durand, Perkins & Co dissolved 1833 Visited Virginia in September to paint ex-President James Madison, a portrait commissioned by George P. Morris, editor of the New York Mirror. Began work on a series of engravings for Herring and Longacre’s National Portrait Gallery of Distinguished Americans. Elected Recording Secretary and Member of the Council of the National Academy of Design, a post he kept for the next five years. Began receiving many major commissions for portraits 1834 Married second wife, Mary Frank. Received first commission from Luman Reed, his future patron. William Dunlap’s History of the Rise and Progress of the Arts of Design in the United States featured a chapter on Durand that referred to him as the country’s “first engraver” 1835 With Reed’s patronage, ended his career as an engraver. Traveled to Boston, Washington, and Brunswick to paint Presidential portraits for Luman Reed. Visited Washington Allston. Painted Senator Henry Clay for Charles Augustus Davis in Washington and President Andrew Jackson for Luman Reed. Visited Thomas Cole in the Catskills in the fall. 1836 Death of Luman Reed. Traveled to Hudson, Saugerties, Catskills, Albany, Utica, Boston, Trenton Falls, and Madison, in company with John W. Casilear part of the way. 1837 Mr. and Mrs. Durand accompanied Mr. and Mrs. Thomas Cole on a sketching trip to Schroon Lake in the Adirondacks 1838 Contributed nine landscapes to N.A.D. annual exhibition. Reopened Amity Street home. Began sketching excursion in the Hudson River Valley in September with Casilear. 1839 Traveled with Cole to Boston, Salem, Massachusetts, Portsmouth, Lake Winnipesaukee, White Mountains, New Hampshire, Rutland, Green Mountains, Vermont. Birth of second son, Frederic F. Durand, on August 23rd 1840 Added studio to the house on Amity Street. Jonathan Sturges advanced money for European tour. Beginning June 1st, traveled with John W. Casilear, John F. Kensett, and Thomas P. Rossiter to England, France, Germany, Switzerland, and Italy. 1841 Returned to New York from his European tour in July 1842 Submitted ten works in the N.A.D. exhibition, all subjects concerned with his year’s study abroad. Began sketching in the Hudson River Valley around Newburgh at the end of the summer 1843 In Saugerties, NY in August 1844 August-September, with Casilear at Kingston, NY. Works first distributed by the American Art Union 1845 Followed Samuel F.B. Morse as President of N.A.D. and remained in office until resignation in 1861. Visited the Mohawk River Valley from July–August 1846 Spent summer from late June through mid-September in Cornwall, Marbletown, Pine Hill, and Kingston, NY 1847 Bought a summer house near Newburgh. Century Association was established at a meeting of the Sketch Club; Durand was a founding member 1848 Spends June–July in Adirondacks with Casilear and Kensett and September–October in the Catskills. Albany Gallery of Fine Arts acquires one of Durand’s works. Appointed to the committee establishing a New York Artists’ Fund Society 1849 September: travels to Tannersville in the Catskills with Casilear and Kensett 1850 Received a loan from Jonathan Sturges. Sold Newburgh property in July. September–October: with Christopher P. Cranch at Tannersville, NY 1851 Birth of third son, Eugene H. Durand, July 23rd. August–September: visits Manchester and Dorset, VT 1852 Pawlett, VT, with Elias W. Durand, his nephew 1853 June–August: Olive Township in the Catskills with E.W. Durand 1854 June–September: Olive Township 1855 January: The Crayon began publication and Durand’s influential “Letters on Landscape Painting” are published. June–October: Springfield and St. Johnsbury, VT, Littleton, Franconia, North Conway, Campton, and West Campton, NH. Benjamin Champney, Albert Hoit, Alvan Fisher, John F. Kensett, and Daniel Huntington also worked at North Conway during the summer of 1855 1856 July–September: West Campton, NH 1857 Death of Mary, Durand’s second wife. July–September: Catskills, NY, Woodstock, VT, and West Campton, NH 1858 August: Catskills 1859 June–July: Geneseo, NY 1860 July–September: Fishkill, NY 1861 June–October: Hillsdale, NY 1862 July–August: at Lake George at Hague, NY 1863 June–October: at Lake George at Bolton, NY 1864 July: Catskill Clove, NY 1865 June–August: in the vicinity of Barrytown and Livingston on the east side of the Hudson River 1866 July–August: near the vicinity of Tannersville in the Catskills 1867 December 5: public auction of Durand’s paintings by Henry H. Leeds & Miner 1868 July–September: Keene in the Adirondacks 1869 After fifty-two years in the city, retired in April to a newly built house and studio on family property at Maplewood, NJ. Visits Lake Placid in September 1870 August–September: Adirondacks 1871 September–October: Lake George 1872 Appointed to the Committee on Fine Arts of the New-York Historical Society, a post he would serve on until his death. A committee of five, including Jervis McEntee, Daniel Huntington, and J.F. Kensett, organized a “surprise party” in honor of Durand on June 8th. Twenty painters and long established friends, including William Cullen Bryant, came from New York. September: Lake George 1874 September: Lake George 1877 Final summer excursion to the Adirondacks. One of his works acquired by The Metropolitan Museum of Art 1878 Painted last work, Sunset-Souvenir of the Adirondacks (New-York Historical Society)_ 1886 Died on September 17th in Maplewood, NJ. Buried in Greenwood Cemetery, Brooklyn, NY 1887 Executor’s sale on April 13th and 14th, auctioned from Ortgies’ Art Gallery, New York, NY III. Collections Addison Gallery of American Art, MA Albany Institute of History & Art, NY American Antiquarian Society, MA Berkshire Museum, MA Brandywine River Museum, PA Brooklyn Museum, NY Butler Institute of American Art, OH Century Association, NY Cincinnati Art Museum, OH Cleveland Museum of Art, OH Corcoran Gallery of Art, Washington, D.C. Currier Gallery of Art, NH Detroit Institute of Arts, MI Fenimore Art Museum, NY Fine Arts Museums of San Francisco, CA Grolier Club, NY Harvard University Art Museum, MA Hudson River Museum, NY Huntington Library, CA Mead Art Museum, Amherst College, MA Memorial Art Gallery, University of Rochester, NY Metropolitan Museum of Art, NY Montclair Art Museum, NJ Museum of Fine Arts, Boston, MA Museum of the City of New York, NY National Academy of Design, NY National Gallery of Art, Washington, D.C. New Britain Museum of American Art, CT New Orleans Museum of Art, LA New-York Historical Society, NY New York Public Library, NY Newark Museum, NJ Pennsylvania Academy of the Fine Arts, PA Princeton University Art Museum, NJ San Diego Museum of Art, CA Smith College Museum of Art, MA Smithsonian American Art Museum, Washington, D.C. Springfield Museum of Art, OH Toledo Museum of Art, OH University of Southern California, CA Wadsworth Athenaeum, CT Walters Art Museum, MD White House, Washington, D.C. Wichita Art Museum, KS Worcester Art Museum, MA Yale University Art Gallery, CT IV. Exhibitions 1820–1833 American Academy of the Fine Arts 1826–1874 National Academy of Design 1835–1871 Boston Athenaeum 1843–1868 Pennsylvania Academy of the Fine Arts 1853 New York Gallery of Fine Arts 1859 Chicago Exposition 1864 Metropolitan Fair of the U.S. Sanitary Commission 1866 Paris Salon 1867 Exposition Universelle, Paris 1872 Brooklyn Art Association, “First Chronological Exhibition of American Art” 1876 Centennial Exhibition, Philadelphia 1878 Century Association V. Memberships Bread and Cheese Club (also known as the Lunch Club) Century Association, founder and member Committee on Fine Arts of the New York Historical Society National Academy of Design, founder and member New York Drawing Association, founder and member The Sketch Club, founder and member VI. Notes 1 David B. Lawall, A.B. Durand, 1796-1886 (Montclair, NJ: Montclair Art Museum, 1971), p. 13. 2 Barbara D. Gallati, “Asher B. Durand’s Early Career: A Portrait of the Artist as an Ambitious Man” in Kindred Spirits: Asher B. Durand and the American Landscape, ed. Linda S. Ferber (New York: Brooklyn Museum, 2006), p. 51. 3 Lawall, p. 14. 4 Linda S. Ferber, “Asher B. Durand, American Landscape Painter” in Kindred Spirits: Asher B. Durand and the American Landscape (New York: Brooklyn Museum, 2006), pp. 138-139. 5 Ibid., p. 140. 6 Lawall, p. 13. 7 Ferber, “Asher B. Durand, American Landscape Painter,” p. 181. 8 Ibid., p. 189. 9 Lawall, p. 15. 10 Ferber, “Asher B. Durand, American Landscape Painter,” p. 181. 11 Carter B. Horsley, “Intimate Friends: Asher B. Durand, & William Cullen Bryant.” http://www.thecityreview.com/durand.html. 12 Ferber, “Asher B. Durand, American Landscape Painter,” p. 131. 13 Gallati, “Asher B. Durand’s Early Career: A Portrait of the Artist as an Ambitious Man,” p. 53. 14 Ferber, “Asher B. Durand, American Landscape Painter,” p. 171. 15 Please see Lawall A.B. Durand, pages 24–29 for this chronology. VII. Suggested Resources
6840	dbpedia	2	0	https://art.thewalters.org/detail/19883/the-catskills/	en	The Walters Art Museum	https://art.thewalters.o…2_Fnt_DD_T09.jpg	https://art.thewalters.o…2_Fnt_DD_T09.jpg	[ "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/ico-search.svg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/walters-logo-white.svg", "https://art.thewalters.org/images/art/PS1_37.122_Fnt_DD_T09.jpg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/creative-commons@2x.png", "https://art.thewalters.org/images/art/PS1_37.122_FntCc_DD_T09.jpg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/creative-commons@2x.png", "https://art.thewalters.org/images/art/thumbnails/s_PS1_37.122_Fnt_DD_T09.jpg", "https://art.thewalters.org/images/art/thumbnails/s_PS1_37.122_FntCc_DD_T09.jpg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/copyright.svg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/facebook.svg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/instagram.svg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/twitter.svg", "https://art.thewalters.org/images/art/PS1_37.122_Fnt_DD_T09.jpg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/creative-commons@2x.png", "https://art.thewalters.org/images/art/PS1_37.122_FntCc_DD_T09.jpg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/creative-commons@2x.png" ]	[]	[]	[ "" ]	null	[]	2022-08-01T19:38:12+00:00	This painting was commissioned by William T. Walters in 1858, when the 62-year-old Durand was at the height of his fame and technical skill. The vertical format of the composition was a trademark of the artist, allowing him to exploit the grandeur of the sycamore trees as a means of framing the expansive landscape beyond. Durand's approach to the "sublime landscape" was modeled on that of Thomas Cole (1801-48), founder of the Hudson River school of painting. The painters of this school explored the countryside of the eastern United States, particularly the Adirondack Mountains and the Catskills. Their paintings often reflect the Transcendental philosophy of Ralph Waldo Emerson (1803-82), who believed that all of nature bore testimony to a spiritual truth that could be understood through personal intuition.	en	https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/favicon.ico	Online Collection of the Walters Art Museum	https://art.thewalters.org/detail/19883/the-catskills/	This painting was commissioned by William T. Walters in 1858, when the 62-year-old Durand was at the height of his fame and technical skill. The vertical format of the composition was a trademark of the artist, allowing him to exploit the grandeur of the sycamore trees as a means of framing the expansive landscape beyond. Durand's approach to the "sublime landscape" was modeled on that of Thomas Cole (1801-48), founder of the Hudson River school of painting. The painters of this school explored the countryside of the eastern United States, particularly the Adirondack Mountains and the Catskills. Their paintings often reflect the Transcendental philosophy of Ralph Waldo Emerson (1803-82), who believed that all of nature bore testimony to a spiritual truth that could be understood through personal intuition. Inscription Provenance Provenance (from the French provenir, 'to come from/forth') is the chronology of the ownership, custody, or location of a historical object. Commissioned by William T. Walters, Baltimore, 1858, by commission [1]; inherited by Henry Walters, Baltimore, 1894; by bequest to Walters Art Museum, 1931. [1] Commissioned June 8, 1858, payment made May 3, 1859. See letters from Walters to Durand in the New York Public Library, Manuscript Division
6840	dbpedia	3	46	https://hudsonvalleyone.com/2018/05/12/catskill-culture/	en	Hudson Valley One	https://hudsonvalleyone.…cole-700x467.jpg	https://hudsonvalleyone.…cole-700x467.jpg	[ "https://ulsterpub.wpenginepowered.com/wp-content/uploads/2022/02/hv1OrangeLogo-24.png", "https://ulsterpub.wpenginepowered.com/wp-content/uploads/2022/02/hv1OrangeLogo-32.png", "https://ulsterpub.wpenginepowered.com/wp-content/themes/jnews/assets/img/jeg-empty.png", "https://ulsterpub.wpenginepowered.com/wp-content/uploads/2018/05/button-wood-tree-by-thomas-cole-600x481.jpg", "https://ulsterpub.wpenginepowered.com/wp-content/uploads/2018/05/thomas-cole-studio-700x386.jpg", "https://ulsterpub.wpenginepowered.com/wp-content/uploads/2022/08/JoinTheFam.png", "https://ulsterpub.wpenginepowered.com/wp-content/themes/jnews/assets/img/jeg-empty.png", "https://ulsterpub.wpenginepowered.com/wp-content/themes/jnews/assets/img/jeg-empty.png", "https://ulsterpub.wpenginepowered.com/wp-content/themes/jnews/assets/img/jeg-empty.png", "https://ulsterpub.wpenginepowered.com/wp-content/themes/jnews/assets/img/jeg-empty.png", "https://ulsterpub.wpenginepowered.com/wp-content/themes/jnews/assets/img/jeg-empty.png", "https://ulsterpub.wpenginepowered.com/wp-content/themes/jnews/assets/img/jeg-empty.png", "https://ulsterpub.wpenginepowered.com/wp-content/themes/jnews/assets/img/jeg-empty.png", "https://ulsterpub.wpenginepowered.com/wp-content/uploads/2020/04/hv1-for-desktop.jpg" ]	[]	[]	[ "" ]	null	[ "Geddy Sveikauskas" ]	2018-05-12T00:00:00	The elegant one-room show entitled “Picturesque and Sublime: Thomas Cole’s Trans-Atlantic Inheritance,” on display in the New Studio at the Thomas Cole historic site in Catskill from now through November 4, breaks new ground.	en	https://ulsterpub.wpengi…icon-1-32x32.png	Hudson Valley One - Independent news & entertainment of the Hudson Valley	https://hudsonvalleyone.com/2018/05/12/catskill-culture/	This is the forest primeval. The murmuring pines and the hemlocks, Bearded with moss, and in garments green, indistinct in the twilight, Stand like Druids of eld, with voices sad and prophetic, Stand like harpers hoar, with beards that rest on their bosoms. – Henry Wadsworth Longfellow, Evangeline, A Tale of Acadie, 1847 The elegant one-room show entitled “Picturesque and Sublime: Thomas Cole’s Trans-Atlantic Inheritance,” on display in the New Studio at the Thomas Cole historic site in Catskill from now through November 4, breaks new ground. The Hudson Valley has enjoyed a rich heritage of regional art viewed at local college museums. There have been impressive showings in private galleries, private collections on exhibit in commercial and non-commercial spaces, and countless informal occasions in artists’ studios. But there’s never been anything quite like this. The reconstruction of Cole’s New Studio is a modest-sized room with a very high ceiling. It’s not a large space. The room, its large north window hooded to protect the delicate contents of the show from direct light, contains 29 paintings, drawings, etchings, and other exhibits on its walls. Four display cases hold additional objects. The opposite gallery wall as one enters through an antechamber contains three Thomas Cole oil landscapes, left to right (from the viewer’s vantage): The Clove (1827) painted when he was in his twenties, Catskill Mountain House: The Four Elements (1843-44) from his forties, and Ruined Tower (1832-6), painted after the artist returned from an extended European trip in his early thirties. Breakthroughs in art don’t always need to take up a lot of gallery space. To the right of the wall with the three horizontal Cole landscapes in the New Studio is a modest John Constable oil-on-paper cloud study (Landscape at Hempstead, Trees and Storm Clouds) from 1821 that’s alive with motion and activity, capturing a marvelously moody moment. It’s a gem. Though Thomas Cole was a wonderful draftsman whose sketches capture a great eye for line, only his earliest paintings — before he learned to be a better European painter, a captious critic might say — display the loose brush strokes and let-it-all-hang-out gesturalism of which Constable or J.M.W. Turner, each in his own very different way, was capable. The Catskill show includes images of European landscapes that influenced Cole, the works of other early regional artists, engravings and drawings, how-to books and art essays, etc. “Trans-Atlantic Inheritance” shows how this young economic immigrant learned his profession and honed his craft. As his career flourished, Cole became obsessed with apocalyptic messaging. While his American patrons were happy with landscapes that looked distinctively American, combining primeval features and complementary signs of domestication, that’s not what Cole wanted to do. To him, each painting was an allegory, and each modest foreground plant, gnarled mid-distance tree, or foreboding distant sky a symbol. Painting landscapes of an American Eden wasn’t the evolving Britisher’s greatest ambition. This quintessentially self-taught Catskill-based artist was determined, as he described it as early as 1829, to paint “a series of pictures illustrating the mutation of terrestrial things.” After an extended tour by the artist of Britain and Italy, he embarked on a five-painting cycle called The Course of Empire, starting, in Cole’s words, with “utter wilderness,” moving on in the second painting to the same setting as “partially cultivated country,” then in the third to the growth of a “gorgeous city,” and fourthly to the burning of said city, “with all the concomitant scenes of horror.” The final painting portrays “a scene of ruins, rent mountains, encroachment of the sea, dilapidated temples, &c.” In 1842 Cole completed an even gloomier cycle of man’s folly, The Voyage of Life. That potboiling cycle of four paintings earns only a single mention in the sumptuous 289-page catalog of “Thomas Cole’s Journey: Atlantic Crossings,” the Metropolitan Museum of Art’s companion show which closes this Sunday. The space-limited show at the Met is organized around The Course of Empire and another work of that period for which Cole is justly famous, The Oxbow, a panoramic elevated view of the Connecticut River Valley at Northampton, Massachusetts. Providently, modern infrared reflectography revealed an underdrawing of the central image of The Course of Empire on the canvas Cole used for The Oxbow, forming an inextricable bond between the two works that in the curators’ view summed up the painter’s ambitions in the mid-1830s. One might think, therefore, that leftovers from the Met show were left over for use in the Catskill show. One would be wrong. Though its theme is different and its wall space more limited, “Trans-Atlantic Inheritance” in Catskill turns out on viewing to be every bit as strong a show as “Atlantic Crossing” at the Met. For a kindred spirit, a leisurely drive a few exits up the Thruway yields as much culture as a voyage to Gotham. I call that a miracle. There could be no more appropriate a miracle than a show of this quality in the studio of Thomas Cole’s adopted home in Catskill. It’s ironic that Catskill, a tight-knit community not previously known for its self-respect when it comes to aesthetic matters, should entertain so distinguished a cultural asset. Were it not that the same curatorial team as produced the Met show produced the Cole House show, this outcome would been extremely unlikely. A curator of both shows is Tim Barringer, a professor of art history at Yale and pre-eminent scholar of British art. The scholarship in the catalogues of both shows is prodigious. Professor Barringer will give a lecture on the Catskill show at the synagogue next to the Cole House at 218 Spring Street, Sunday, May 13 at 2 p.m. Cole’s opinions are being seen in a new light, as The New York Times art critic Holland Cotter put it this March, “in an era in which populism is being strategically used as a divisive political force.” Cole had fulminated against the “dollar-godded utilitarianists” of the Jacksonian era with a moralizing urgency. Today’s political climate echoes his concerns. Washington Post art and architecture critic Philip Kennicott offered a shrewd observation in his review of the Met show. In Cole’s paintings of the Catskills, Kennicott observed, “one senses that he was most pained by the loss of his personal landscape, his preferred places to commune with nature.” Art historians seem preoccupied with Cole’s hatred for railroad locomotives and for unsightly mills. More damage came from the bark peeling that systematically denuded Catskills hillsides of hemlock and polluted the streams during Cole’s lifetime. Having no further use for the stripped land, the tannery owners didn’t pay their property taxes on it. In the 1880s, New York State finally formed the Catskills Forest Preserve out of the foreclosed properties. The state and the City of New York today own or control about 450,000 acres in the forest preserve, about half the total. There are strict land-use controls, and the forest has been returning. Local historian Paul Misko has been giving lectures entitled “The Catskills Tanneries: An Environmental Disaster with a Happy Ending.” A mile or two down the hill from the Cole House in Catskill is the Mawignack neighborhood off Snake Road, near the confluence of the Catskill and Kaaterskill creeks. The location in the 17th century of an Algonquin village, Mawignack (“the place where two rivers meet”) was one of Thomas Cole’s preferred places to commune with nature. Scenic Hudson bought the 144-acre property in 2016, and the Mawignack Preserve will open to the public this Saturday, May 12. At 10 a.m. visitors will be invited to take a hike on a one-mile loop prepared for public use by the Greene County Land Trust. Along the trail is a portion of the railbed of the Catskill Mountain Railway, which carried passengers from the Hudson River to a location where they could take a stagecoach (and after 1904 a funicular) up to mountaintop hostelries like the Catskill Mountain House. Co-curators for the Cole House exhibition were Gillian Forrester of the University of Manchester, Yale associate professor of art history Jennifer Raab, and Yale doctoral candidates Sophie Lynford and Nicholas Robbins.
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6840	dbpedia	2	92	https://fowler.ucla.edu/video/	en	Fowler Museum at UCLA	https://fowler.ucla.edu/…Banner-image.jpg	https://fowler.ucla.edu/…Banner-image.jpg	[ "https://fowler.ucla.edu/wp-content/uploads/2021/05/ucla-fowler-primary-logo.svg", "https://fowler.ucla.edu/wp-content/uploads/2021/05/ucla-fowler-primary-logo.svg", "https://fowler.ucla.edu/wp-content/uploads/2021/05/ucla-fowler-primary-logo.svg", "https://fowler.ucla.edu/wp-content/uploads/2021/05/ucla-fowler-primary-logo.svg", "https://fowler.ucla.edu/wp-content/uploads/2021/05/ucla-fowler-primary-logo-mobile.svg", "https://huzzaz.com/images/hzload.gif", "https://fowler.ucla.edu/wp-content/plugins/woocommerce-products-filter/img/loading-master/loading-spin.svg" ]	[]	[]	[ "" ]	null	[ "FM-admin" ]	2021-05-25T06:26:47-07:00	Search the archive below to try recipes shared by trailblazing chefs; accept challenges from thought leaders in the field of social justice; and experience visual and performing arts with contemporary artists, curators, and scholars who have remained resiliently creative in this time of safe distancing.	en	https://fowler.ucla.edu/wp-content/uploads/2021/05/Fowler-FavIcon.ico	Fowler Museum at UCLA	https://fowler.ucla.edu/video/	Search the archive by clicking the magnifying glass to the right of the PLAY button below. Search “global cuisine” to try recipes shared by trailblazing chefs; accept challenges from thought leaders in the field of social justice; and experience visual and performing arts with contemporary artists, curators, and scholars.
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"https://dcs-static.gprod.postmedia.digital/16.7.2/websites/images/share-icons/icon-soc-fb-mono-rev.svg", "https://dcs-static.gprod.postmedia.digital/16.7.2/websites/images/share-icons/icon-soc-yt-mono-rev.svg", "https://dcs-static.gprod.postmedia.digital/16.7.2/websites/images/share-icons/icon-soc-tw-mono-rev.svg", "https://dcs-static.gprod.postmedia.digital/16.7.2/websites/images/logo-postmedia.svg", "https://dcs-static.gprod.postmedia.digital/16.7.2/websites/images/common-icon/icon-close-black.svg" ]	[]	[]	[ "" ]	null	[ "The Associated Press" ]	2016-09-15T12:20:47+00:00	On either side of the Hudson River, two artists' homes tell the story of that famous genre of American landscape painting known as the Hudson River School	en	https://dcs-static.gprod.postmedia.digital/16.7.2/websites/images/np/favicon-np.ico	nationalpost	https://nationalpost.com/travel/artists-homes-in-new-yorks-catskills-tell-the-story-of-the-hudson-river-school-of-landscape-painting	On either side of the Hudson River, two artists' homes tell the story of that famous genre of American landscape painting known as the Hudson River School Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page. Article content NEW YORK — On either side of the Hudson River, two artists’ homes tell the story of that famous genre of American landscape painting known as the Hudson River School. In the village of Catskill, New York, you can visit the house where Thomas Cole, considered the founder of the Hudson River School, lived until his death in 1848. Across the river in Greenport sits Olana, a 250-acre landscape with an elaborate 1870s mansion designed by Cole’s star student, Frederic Edwin Church. Advertisement 2 Story continues below This advertisement has not loaded yet, but your article continues below. THIS CONTENT IS RESERVED FOR SUBSCRIBERS Enjoy the latest local, national and international news. Exclusive articles by Conrad Black, Barbara Kay and others. Plus, special edition NP Platformed and First Reading newsletters and virtual events. Unlimited online access to National Post and 15 news sites with one account. National Post ePaper, an electronic replica of the print edition to view on any device, share and comment on. Daily puzzles including the New York Times Crossword. Support local journalism. SUBSCRIBE FOR MORE ARTICLES Enjoy the latest local, national and international news. Exclusive articles by Conrad Black, Barbara Kay and others. Plus, special edition NP Platformed and First Reading newsletters and virtual events. Unlimited online access to National Post and 15 news sites with one account. National Post ePaper, an electronic replica of the print edition to view on any device, share and comment on. Daily puzzles including the New York Times Crossword. Support local journalism. REGISTER / SIGN IN TO UNLOCK MORE ARTICLES Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account. Share your thoughts and join the conversation in the comments. Enjoy additional articles per month. Get email updates from your favourite authors. Article content Autumn is the perfect season to visit the sites, and the 2-mile Rip Van Winkle Bridge connects Catskill with the small city of Hudson, located 5 miles from Olana, making it easy to see both in one day. You can even walk across if you’re trying to up your step count. Just remember that tours sell out, so book ahead, and note that the Cole house closes for the season on Oct. 30. THOMAS COLE NATIONAL HISTORIC SITE It’s hard to imagine today, but in the early 19th century, “the concept of being an American was not very well-defined,” says Elizabeth Jacks, director of the Thomas Cole site. Cole, along with other artists and writers, helped define America’s cultural identity “with a new style of art that celebrated the beauty all around us as something that was a unique American treasure.” Cole captured the Hudson River and Catskill Mountains on canvas “in a way that called upon people to appreciate it, care for it and preserve it,” Jacks said. That philosophy contrasted with the conventional sensibilities of his era, which saw the wilderness as something to be “developed and exploited.” Cole burst onto the art scene in 1825, when three of his works were shown in New York and he was “hailed as a genius. It was an overnight success story.” Article content Advertisement 3 Story continues below This advertisement has not loaded yet, but your article continues below. Article content Cole moved into the house in 1836. The Federal-style yellow brick house, built in 1815, offers a lovely view of the Catskills from a columned porch. A copy of a painting Cole did of the view is displayed on the porch, lined up with the scene it depicts. The comparison shows that the landscape is virtually unchanged in nearly two centuries. Inside the home, you’ll find artifacts like Cole’s guitar along with exhibitions of contemporary art. OLANA STATE HISTORIC SITE Cole’s paintings depicted the natural world as grand and majestic, and that influenced an entire generation of 19th- century artists. One of those students was Church. “Cole introduced Church to the hill where Church would later build his home, Olana, so the two are very intertwined,” Jacks said. Church and the second generation of Hudson River painters romanticized their landscapes even more than their elders, filling their canvases with light and drama. The Church site, Olana, is also quite dramatic, very different from Cole’s spare and simple house. The contrast is part of what’s interesting about visiting both attractions. Advertisement 4 Story continues below This advertisement has not loaded yet, but your article continues below. Article content Olana was named for an ancient Persian fortress. The exotic, elaborate mansion that serves as its centerpiece features arches and towers, stonework, bricks and tiles, and colorful inlaid designs and patterns on an asymmetrical exterior. Works by Church are displayed inside, along with paintings he collected, original furnishings and souvenirs from his world travels, including carpets, folk art, ceramics and costumes. Church first sketched from the property in 1845 as a student of Cole’s. He later bought a farm there and built a cottage where he lived with his wife. Following an 18-month trip to Europe and the Middle East, Church returned to design Olana with Calvert Vaux (famed for his work on Central Park with Frederick Law Olmsted). The main house was built in the early 1870s. The property includes Church’s studio, woods, gardens, orchards and a visitor centre. NEARBY ATTRACTIONS The Hudson Valley offers many options for great food and places to stay overnight. About a two-hour drive from New York City, the area has seen a revival in recent years, with city residents relocating or buying second homes there. The farm-to-table movement has also spurred food-related businesses and projects. Advertisement 5 Story continues below This advertisement has not loaded yet, but your article continues below. Article content Among them, great restaurants like Swoon Kitchenbar in Hudson; the working farm and eateries at Stone Barns Center for Food & Agriculture in Pocantico Hills and Buttermilk Falls, an inn, spa, restaurant and farm in Milton. Other major attractions include the Franklin D. Roosevelt National Historic Site in Poughkeepsie, the Dia:Beacon art museum in Beacon and the Storm King Art Center in New Windsor. Many destinations are reachable by bus or train from New York City. Recommended from Editorial The Waldorf Astoria’s timeless allure is a result of something else entirely: mystery In picture-perfect Hudson Valley, the right balance of art, presidential history, food Buffalo bringing new life to Canalside IF YOU GO Thomas Cole National Historic Site: 218 Spring St., Catskill, New York; thomascole.org. Open through Oct. 30, US$12, Tuesday-Sunday. Tickets sell out, so book ahead. Olana State Historic Site: 5720 State Route 9G, Greenport, New York (5 miles from Hudson); olana.org. House tours, US$12, through Oct. 30, Tuesday-Sunday; beginning Nov. 4, Friday-Sunday. Tours sell out so book ahead. Landscape tour options available. Article content Share this article in your social network Latest from Shopping Essentials
6840	dbpedia	0	33	https://www.forbes.com/sites/claytonpress/2018/10/02/the-poetry-of-nature-hudson-river-school-landscapes-at-the-worcester-art-museum/	en	The Poetry Of Nature: Hudson River School Landscapes At The Worcester Art Museum	https://imageio.forbes.c…=1600&fit=bounds	https://imageio.forbes.c…=1600&fit=bounds	[ "https://blogs-images.forbes.com/claytonpress/files/2017/10/Clayton-Press_avatar_1507664836.jpeg" ]	[]	[]	[ "" ]	null	[ "Clayton Press" ]	2018-10-02T00:00:00	“In the early nineteenth century in America, nature couldn’t do without God, and God apparently couldn’t do without nature.” Barbara Novak, Nature and Culture, 2007	en	https://i.forbesimg.com/48X48-F.png	Forbes	https://www.forbes.com/sites/claytonpress/2018/10/02/the-poetry-of-nature-hudson-river-school-landscapes-at-the-worcester-art-museum/	“We are still in Eden; the wall that shuts us out of the garden is our ignorance and folly.” Thomas Cole. Essay on American Scenery, 1835. The Poetry of Nature, organized by the New-York Historical Society, displays about 40 paintings, hung salon style in two rooms. It is a lovely exhibition that focuses on “nature” in painting, but with little emphasis on describing the almost avant-garde stance of the Hudson River School landscape painters or demystifying the underlying socio-cultural themes and dynamics of that time. Avant-garde is not typically the first phrase that comes to mind in looking at 19th century paintings by Thomas Cole, Asher Durand, Albert Bierstadt and their circle of American artists. Nonetheless, this “school” of art was as contemporary and innovative then as Pop art would be 100 years later. How could something so atmospheric and majestic be so radical? There were several reasons. Before the mid-19th century, landscape painting ranked low on the list of artistic endeavors. Portraiture, history and allegory were dominant. Landscape painting, via the Hudson River School, grew rapidly between the 1840s and 1860s, before dramatically declining in the 1870s. The artists, along with their urban (and more urbane) patrons and a broader audiences, shared a view that landscape painting highlighted “the beauty of God’s creation for the instruction and renewal of the everyday American.” In a sense, “God” and “nature” were synonymous, if not entangled, in the 19th century. Landscape painting was nearly devoid of human activity, although human presence was depicted by small, almost imperceptible, figures. Man and his creations—such as a building, a village or ships—were dwarfed by the landscape; nature dominated. In fact, landscape painting bordered on the evangelistic. It was not only about morality and spirituality; it was also about a sense of shared nationality and identity—America, the quasi-utopian democracy. (Ironically, this was art being made in the fragile socio-political decades leading up to the Civil War.) In a seminal 1993 assessment of landscape representation, the art historian Angela Miller suggested that the mid-19th century appetite for landscape painting was motivated by identifying images of nature with virtue, purity, and uncomplicated harmony, as well as with national unity, pride of place, and a unique identity distinct from that of Europe. In fact, for many Americans the art of “painted nature was more eloquent than the thing itself.” Nature was so thoroughly idealized and romanticized that it did not need to be directly experienced. This does not sound radically different than today’s emphasis on experiential encounters with art. The only thing missing in the 19th century was the selfie. Thomas Cole’s work has been described as having “deep—almost willful—accessibility,” instructing viewers about the meaning and morals of landscape. His best known written work, Essay on American Scenery (1835), is enlightening. Cole talks about how nature can uplift and instruct humans: “Amid [natural scenes] the consequent associations are of God the creator—they are his undefiled works, and the mind is cast into the contemplation of eternal things.” More recently, art historian Barbara Novak, succinctly captured the essence of Cole and the Hudson River School: Nature is both sublime and sanctified. The task of artist and spectator is to unveil, to reveal, the hidden glory. The exhibition has a broad selection of works spanning almost 70 years, and the working definition of Hudson River School is broad. The Poetry of Nature includes work by the major figures of the school, and is heavy with the work of Asher Durand, Cole’s disciple and friend. There is a bonus of two works by the little known female artists—Louisa Davis Minot, whose 1818 painting, Niagara Falls, coincided with Cole’s arrival in the United States; and Mary Josephine Walter’s work, Pool in the Catskills (mid 1800s). The wall texts are didactic, and primarily focus on landscape imagery as subject. They answer the question of “what?” but not “why?” In this case, the historical and socio-cultural contexts are even more intriguing, given our current government’s deregulation of environmental protection and the reemergence of American nationalism. These current topics underscore how avant-garde this school of painting was at the time. The Poetry of Nature: Hudson River School Landscapes, Worcester Art Museum, through November 25, 2018.
6840	dbpedia	3	5	https://www.greatnortherncatskills.com/arts-culture/hudson-river-school-art	en	Hudson River School of Art in the Catskill Mountains	https://www.greatnorther…pg?itok=xmqqnMoC	https://www.greatnorther…pg?itok=xmqqnMoC	[ "https://www.greatnortherncatskills.com/themes/custom/greene/assets/img/footer/i-love-ny-30.svg", "https://www.greatnortherncatskills.com/themes/custom/greene/assets/img/footer/footer-logo-buy-in-greene-invest-greene.png", "https://www.greatnortherncatskills.com/themes/custom/greene/assets/img/footer/footer-logo-discover-greene.png", "https://www.greatnortherncatskills.com/themes/custom/greene/assets/img/footer/BRA-0095-Filmingreene-WHITE.png", "https://www.greatnortherncatskills.com/themes/custom/greene/assets/img/footer/CatskillsLogo.png" ]	[]	[]	[ "" ]	null	[]	null	Recognized around the world, the Hudson River School of Art started America’s first artistic movement. You can still walk in the footsteps of the legends.	en	/themes/custom/greene/assets/i/favicons/apple-touch-icon.png		https://www.greatnortherncatskills.com/arts-culture/hudson-river-school-art	The Hudson River School of Art – America's first artistic movement - was founded by Thomas Cole, a British expatriate who had started his painting career as a young man in the mid-19th century. Cole first glimpsed the Great Northern Catskills from a steamship as he traveled up the Hudson River in the autumn of 1825. Here, Cole found the vibrant colors of fall in the Catskills inspiring when compared to the bleak autumnal landscape of his native England. Following his first foray into the Catskills, Cole painted several scenes, including Kaaterskill Falls – garnering him the recognition of New York City's artistic community. Among the painting's admirers was Asher B. Durand, a gifted engraver who would become Cole's life-long friend and an influential Hudson River School painter in his own right. An American Art Form Takes Root Cole returned to the Catskills to continue painting, attracting artists and eventually establishing the Hudson River School of Art as a recognizable style. Thomas Cole and his disciples emphasized the ideal of the natural world – a romanticized aesthetic that took on an almost religious quality. Through the movement's influence, the raw, untouched landscape became something noble and sacred. Thomas Cole's school of painters depicted pristine landscapes where nature and humanity co-existed in peaceful beauty. Cole maintained a studio at Cedar Grove in the town of Catskill after 1827. Here, he painted many of his Hudson River School works of art, eventually marrying the niece of Cedar Grove's owner and relocating to the area permanently. The Hudson River School paintings inspired a reverence for nature and influenced generations of artists, including Hudson River School elites like Frederic Edwin Church, Albert Bierstadt, Samuel Colman, and Jasper Cropsey. Thomas Cole's Living Legacy The Hudson River School style of painting continued in popularity from 1825 to 1890 and became one of the most cherished periods of American art. After Thomas Cole's untimely death in 1848, the second generation of Hudson River School artists rose to prominence. Painters like Albert Bierstadt and Frederic Edwin Church became celebrities in their own right – continuing the style popularized by Cole and his contemporaries. Disciples of the Hudson River School style meant to draw a sharp contrast between the pristine wilderness and the damaging effects of encroaching civilization. As the timber industry in New York began to take off, the Hudson River became the main thoroughfare for commerce between the wilderness and New York City. The movement embodied an idealized wilderness, consequently planting the seeds of conservation that would lead to the federal protection of wild spaces – our National Parks. It was also the idea of this wild space in New York that inspired Washington Irving's legendary folktale – Rip Van Winkle. Visit Cedar Grove - Former Home of Thomas Cole Now a historic site, the former home of Thomas Cole is open to visitors. Guided tours are available at Thomas Cole's home and studio. The house contains one of the premier art galleries of oil paintings and prints as well as rooms with Cole artifacts and period furnishings. Visitors can view a film about his art, and stroll through the flower gardens to see Cole's sweeping view of the Catskill Mountains. An Echoing Past Visitors may take in a special lecture about the Hudson River School or join a guided Catskills hike to the magnificent places seen in Thomas Cole's paintings on the Hudson River School Art Trail. The Trail takes hikers to many of the places that inspired the painters who created the first great American art movement. It is a 3-4 hour guided tour that starts at Cedar Grove, the home of Thomas Cole, and takes hikers on a journey to sites in the Catskill Mountains. The tour includes stops at North-South Lakes and Kaaterskill Falls - areas made famous by Hudson River School artists such as Cole, Durand, Frederic Church, Sanford Gifford, Jasper Cropsey, and others.
6840	dbpedia	3	70	https://www.olana.org/history/the-collections/	en	Hudson River School Painter Frederic Edwin Church	https://www.olana.org/wp…x192-1-32x32.png	https://www.olana.org/wp…x192-1-32x32.png	[ "https://www.olana.org/wp-content/uploads/2019/02/olana-logo.svg", "https://www.olana.org/wp-content/uploads/2019/03/Olana-Catskill-Mts-From-Home-of-Artist.jpg", "https://www.olana.org/wp-content/uploads/2019/03/Olana-Church-Evening-Clouds.jpg", "https://www.olana.org/wp-content/uploads/2019/03/Olana-Arthur-Parton.jpg", "https://www.olana.org/wp-content/uploads/2019/03/Olana-Old-Masters-Wainwright.jpg", "https://www.olana.org/wp-content/uploads/2019/02/the-olana-partnership-logo.png", "https://www.olana.org/wp-content/uploads/2021/11/Maple-Leaf-Lock-Up-white.png" ]	[]	[]	[ "" ]	null	[]	2019-03-04T14:57:52+00:00	Visitors touring house will see the paintings, sculpture and furnishings that Frederic and Isabel Church acquired and that surrounded them and their children, servants and guests in their daily lives. The collection was described by a 19th-century visitor as “a museum of fine arts rich in bronzes, paintings, sculptures and antique and artistic specimens from...	en	https://www.olana.org/wp…x192-1-32x32.png	Olana NY State Historic Site \| Hudson River School Painter Frederic Edwin Church	https://www.olana.org/history/the-collections/	As a successful artist, Church sold most of his masterworks, but some do remain or have returned to Olana. “El Kahsne Petra,” on view in the Sitting Room, was a gift from the artist to his wife. Wanting to have more examples of his work in his home, Church bought “Catskill Mountains from the Home of the Artist” at an auction in 1890. Church’s parents bought one of his early works, a scene from John Bunyan’s Pilgrim’s Progress, “Christian in the Valley of the Shadow of Death.” When they died, he inherited the work. Other major artworks by Church on view in the main house include: “The After Glow,” “Ira Mountain, Vermont,” “Star in the East” and “The Charter Oak.” Dozens of smaller but very finished sketches ornament the walls of the main house. These include images of the places Church traveled, such as “Olive Trees, Athens,” “Königssee, Germany” and “Mount Chimborazo.” Church also sketched Olana in all seasons. “The Hudson Valley in Winter From Olana” and “Apple Blossoms” are two of the oils on view that record the property. Like many artists, Frederic Church accumulated his own preparatory work, other artwork he admired or found useful, and even, it appears, artwork left by chance. Olana owns some 700 works by Church, executed in pencil, ink, oil and associated media. Olana also holds some 300 sketches by Church for architectural elements at Olana, and another several hundred stencils. Prints were made after many of Church’s paintings, and he was often an active participant in these commercial ventures. Olana has copies of 35 of these prints, ranging from different states of the five folio-sized prints after Church’s works, to small prints published as illustrations for books. Olana also holds ancillary objects related to Church’s career as an artist, such as the medal he won in the Paris Exposition of 1867 where he exhibited “Niagara Falls” (1857) and “Rainy Season in the Tropics” (1866). Many years after Church’s death, his son Louis, who had inherited Olana, donated some 2,000 sketches by Church to the Cooper Union Museum. These artworks can be viewed at the Cooper-Hewitt Museum, now part of the Smithsonian Institution. Frederic Church, and perhaps Isabel and their children, were also interested in photography. Olana has some 2,000 photographs dating from earliest commercially-produced prints to deluxe folio-sized prints from the turn of the century. Most photograph documents exotic locales and peoples. Highlights include scenes of Egypt by Francis Frith, South American and Mexican ruins by Désiré Charnay, and images issued by the Palestine Exploration Fund. Frederic Church was a friend of a Danish artist named Fritz Melbye. The two shared an interest in South America, where each had traveled, and they went to Jamaica together in 1865. Research has revealed that the peripatetic Melbye died on a trip to China in 1869 and he apparently left a cache of drawings with his friend Church. This collection consists of some 450 works, mainly by Melbye but it also includes several dozen by Camille Pissaro, a student and friend of Melybe. The two spent several years together in the 1850s in the Caribbean and Venezuela. Pissaro went on to live in France and become one of the founders of Impressionism. Thus Olana is the unlikely repository of important early drawings by a major French Impressionist artist! The fruits of Frederic and Isabel Church’s predilection for collecting are in evidence throughout the house. There are dozens of carpets from all regions of the Middle East; two tile fireplaces by Ali Mohammed Isfahani, a 19th-century Persian ceramist, purchased through a shop in New York City; the family’s original library, its household china, and a collection of sombreros and Mexican folk art. While in Rome in the winter of 1868-9, Frederic Church haunted the antique stores and bought old master paintings, and these formed the nucleus of the collection that now hangs in the high-ceilinged Dining Room. On his many trips to Mexico, Church visited the ruins of Pre-Columbian civilizations. He had the opportunity to buy artifacts there, and from friends who also had ties to Mexico and Central America. Olana’s Pre-Columbian pieces are on view on the Studio.
6840	dbpedia	0	25	https://www.brandywine.org/museum/exhibitions/winslow-homer-photography-and-art-painting	en	Winslow Homer: Photography and the Art of Painting	https://www.brandywine.org/themes/custom/brandywine/favicon.ico	https://www.brandywine.org/themes/custom/brandywine/favicon.ico	[ "https://www.brandywine.org/sites/default/files/styles/slideshow_large/public/images/slideshows/Homer_EightBells_Addison-LR.jpg?itok=eO2V2M4j", "https://www.brandywine.org/sites/default/files/styles/slideshow_large/public/images/slideshows/GOODYEARFIG20_Sarony_Homer_BCMA-11964.69.179.5_scan.jpg?itok=QzgMCOgS", "https://www.brandywine.org/sites/default/files/styles/slideshow_large/public/images/exhibitions/PLATE15_Homer_WhiteMtnWagon_CooperHewitt-1918-20-9ART519743.jpg?itok=lSv1GArL", "https://www.brandywine.org/sites/default/files/styles/large/public/bank-of-america-logo.jpg?itok=4Z24HPVE" ]	[]	[]	[ "" ]	null	[]	2018-11-16T12:00:00+00:00	A little-recognized aspect of the work of Winslow Homer—one of America’s most iconic artists—is the relationship between his painting and photography, and the role of the relatively new medium on his approach to image making. In 2014, the Bowdoin College Museum of Art (BCMA) was given an English-made camera that once belonged to Winslow Homer. This object was a catalyst for Winslow Homer: Photography and the Art of Painting, an exhibition organized by BCMA Co-Director Frank H. Goodyear and Bowdoin College Assistant Professor of Art History Dana E. Byrd.	en	/themes/custom/brandywine/favicon.ico		https://www.brandywine.org/museum/exhibitions/winslow-homer-photography-and-art-painting	A little-recognized aspect of the work of Winslow Homer—one of America’s most iconic artists—is the relationship between his painting and photography, and the role of the relatively new medium on his approach to image making. In 2014, the Bowdoin College Museum of Art (BCMA) was given an English-made camera that once belonged to Winslow Homer. This object was a catalyst for Winslow Homer: Photography and the Art of Painting, an exhibition organized by BCMA Co-Director Frank H. Goodyear and Bowdoin College Assistant Professor of Art History Dana E. Byrd. The Brandywine River Museum of Art was the exhibition’s second and only other venue. Winslow Homer: Photography and the Art of Painting examines the roles photography played in Homer’s evolving artistic practice. As a young artist for Harper’s Weekly during the Civil War, Homer utilized photographs as source material for some of his drawings. Alexander Gardner’s famous photograph of Lincoln’s first inauguration, for example, provided Homer with the pictorial information he needed to construct his own detailed view of the event. For his Civil War paintings, such as Sharpshooter (oil on canvas, 1863), graphic war photography helped him to think more deeply about what he’d seen, and about how to combine personal sight and engagement with a wide range of sources for composition development. After the Civil War, Homer traveled to locations in the eastern United States that were becoming popular as tourist destinations--the White Mountains of New Hampshire, the Catskills and Adirondacks of New York, and Cape Ann in Massachusetts. He was introduced to a new type of photography—imagery to promote tourism. These images captured a moment in time and effects like glare, blur and shadow that the eye might not perceive. The strikingly sunlit wagon-wheel spokes Homer painted in The White Mountain Wagon (oil on panel, ca. 1869), for example, suggest that he understood that photographic images could provide fresh, immediate perspectives that he could incorporate into his paintings. During the last three decades of his life, he often created compositions of the same subject in different mediums including printmaking and photography, a cross-fertilization that came from his long interest in probing the way things look and the challenge of portraying them realistically. To paint The Artist’s Studio in an Afternoon’s Fog (oil on canvas, 1894), Homer borrowed certain elements—the cropping, the blur of the background, and the flatness of the composition—from photographic views of his studio, yet the painting, based on a unique optical experience, is an artistic creation reflective of myriad decisions. To Homer, paintings had the potential to make a subject more clearly understood than by sight alone and photography could complement and expand his desire to accurately depict what he saw. Throughout his career, Homer was conscious of the public persona he projected through photographs of himself. The exhibition also considers a series of portrait photographs by Bautain Studio, Napoleon Saroney, Peter Juley and others which served to illustrate the artist’s increasingly growing reputation. Winslow Homer: Photography and the Art of Painting is drawn from the BCMA’s incomparable holdings of Homer’s art and archival materials, and from more than twenty major lending institutions, including the Addison Gallery of American Art, the Cooper Hewitt National Design Museum, the New Britain Museum of American Art, the Portland Museum of Art, and the Wadsworth Atheneum. The exhibition features approximately fifty photographs created or collected by Homer and approximately fifty paintings, prints, watercolors, and drawings from all major periods of the artist’s career. A selection of the artist’s Civil War-themed images and work from his activity in the Adirondacks, England and Prout’s Neck were considered in relation to Homer’s interaction with photography. A catalogue published by Yale University Press accompanies the exhibition.
6840	dbpedia	3	27	https://goingplacesfarandnear.com/fall-getaway-in-the-catskills-thomas-cole-national-historic-site-is-site-1-on-the-hudson-river-school-art-trail/	en	Fall Getaway in the Catskills: Thomas Cole National Historic Site is Site #1 on the Hudson River School Art Trail	https://goingplacesfaran…-Thomas-Cole.jpg	https://goingplacesfaran…-Thomas-Cole.jpg	[ "https://goingplacesfarandnear.com/wp-content/uploads/2017/10/Catskills-HRSAT_092817_137e2-c-Karen-Rubin-Thomas-Cole.jpg", "https://goingplacesfarandnear.com/wp-content/uploads/2017/10/Catskills-HRSAT_092817_137e2-c-Karen-Rubin-Thomas-Cole.jpg", "https://goingplacesfarandnear.com/wp-content/uploads/2017/10/Catskills-HRSAT_092817_017e2-c-Karen-Rubin-Thomas-Cole.jpg", "https://goingplacesfarandnear.com/wp-content/uploads/2017/10/Catskills-HRSAT_092817_057e2-c-Karen-Rubin-Thomas-Cole.jpg", "https://goingplacesfarandnear.com/wp-content/uploads/2017/10/Catskills-HRSAT_092817_062e2-c-Karen-Rubin-Thomas-Cole.jpg", "https://goingplacesfarandnear.com/wp-content/uploads/2017/10/Catskills-HRSAT_092817_098e2-c-Karen-Rubin-Thomas-Cole.jpg", "https://goingplacesfarandnear.com/wp-content/uploads/2017/10/Catskills-HRSAT_092817_127e2-c-Karen-Rubin-Thomas-Cole-300x230.jpg", "https://goingplacesfarandnear.com/wp-content/uploads/2017/10/Catskills-HRSAT_092817_123e2-c-Karen-Rubin-Mary-282x300.jpg", "https://goingplacesfarandnear.com/wp-content/uploads/2017/10/Catskills-HRSAT_092817_142e2-c-Karen-Rubin-Thomas-Cole.jpg", "https://goingplacesfarandnear.com/wp-content/uploads/2017/10/Catskills-HRSAT_092817_089e2-c-Karen-Rubin-Thomas-Cole.jpg", "https://goingplacesfarandnear.com/wp-content/uploads/2017/10/Catskills-HRSAT_092817_079e2c-Karen-Rubin-Thomas-Cole.jpg", "https://goingplacesfarandnear.com/wp-content/uploads/2017/10/Catskills-HRSAT_092817_094e2-c-Karen-Rubin-Thomas-Cole-magiclantern.jpg", "https://goingplacesfarandnear.com/wp-content/uploads/2017/10/Catskills-HRSAT_092817_100e2-c-Karen-Rubin-Thomas-Cole.jpg", "https://goingplacesfarandnear.com/wp-content/uploads/2017/10/Catskills-HRSAT_092817_074e2-c-Karen-Rubin-Thomas-Cole.jpg", "https://goingplacesfarandnear.com/wp-content/uploads/2017/10/Catskills-HRSAT_092817_113e2-c-Karen-Rubin-Thomas-Cole.jpg", "https://assets.pinterest.com/images/pidgets/pinit_fg_en_rect_gray_20.png" ]	[]	[]	[ "" ]	null	[]	2017-10-07T22:39:08+00:00	By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com The first thing you notice about the Thomas Cole House, “Where American Art Was Born,” is the view from his porch – out to the r…	en		Going Places, Far & Near	https://goingplacesfarandnear.com/fall-getaway-in-the-catskills-thomas-cole-national-historic-site-is-site-1-on-the-hudson-river-school-art-trail/	By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com The first thing you notice about the Thomas Cole House, “Where American Art Was Born,” is the view from his porch – out to the ridges of the Catskills Mountains, the Hudson River curving around a bend. It is not hard to imagine that in Cole’s day, there would have been fields between his house and the river. But it is the same scene immortalized in paintings renowned as the “first American art movement.” Thomas Cole’s Cedar Grove, now the Thomas Cole Historic Site and Site #1 on the Hudson River School Art Trail, has been redone since I last visited – more of the house restored to the way it was when Cole, at 35 years old, married 24-year old Maria Bartow, the niece of the man who owned the house and farm where Cole was renting studio space for 10 years.. The guided tour has also been revamped with new innovative, multi-media features as well as personal effects – I love seeing Cole’s top hat, his musical instruments which he played and posed, his paint box, his traveling trunk with his signature and date, 1829 – and original paintings, and most especially his studio with his easel and paints and a room devoted to his creative process. The presentation really personalizes the man, brings him into your presence. You start the guided tour in the parlor that Thompson, who really encouraged Cole, turned into a sales office for the artist. What appears to be Cole’s portrait – a video projection – becomes a slide show of his art as a voice narrates from Cole’s own journal and writings. Around the room are projections or digital reproductions of Cole’s paintings (some of Cole’s original paintings are in upstairs rooms we visit). He describes the inspiration and rejuvenation he feels from this wilderness, how he is “deliriously happy” at having his family, and his outrage over the “ravages of the axe” of progress. These themes come together in his work: while primarily a painter of landscapes, he expressed his philosophical opinions in allegorical works, the most famous of which are the five-part series, The Course of Empire, which depict the same landscape over generations—from a near state of nature (depicting American Indians) to consummation of empire (Rome), and then decline and desolation, which is now in the collection of the New York Historical Society (and will be on display at the Metropolitan Museum of Art in 2018); and four-part The Voyage of Life, which are reproduced in his studio. (“Thomas Cole’s Journey: Atlantic Crossings” will be on view at the Met, January 30-May 13, 2018, and feature some of his most iconic works, including The Oxbow (1836) and his five-part series The Course of Empire (1834–36, www.metmuseum.org/exhibitions/listings/2018/thomas-cole,). I appreciate Cole as very possibly America’s first environmentalist, the first to appreciate conservation and raise the alarm over the march of progress at a time when the Industrial Revolution was taking hold and technological progress was worshipped along with capitalism, as he railed against the “copper-hearted barbarians” and “dollar-godded utilitarians.” “We are still in Eden; the wall that shuts us out of the garden is our own ignorance and folly,” he says, as a projection of his painting, “Expulsion from the Garden of Eden” (1828) appears. Cole worried that America’s rapid expansion and industrial development would destroy the glorious landscape – in 1836, he could see the railroad being built through the valley and he bemoaned the loss of forest along Catskill Creek, “the beauty of environment shorn away.” Cole recognized America as a land in transition – the settled and domesticated juxtaposed with the wild and undomesticated… He witnessed the changes taking place around him.. And in the early 1800s, America was still in process of creating own culture, distinct from the European settlers. An Immigrant Dazzled by America’s Wilderness Thomas Cole was born in Lancashire, England, in 1801 and emigrated to the United States with his parents and sister (his father was in textiles) in 1818, settling first in Philadelphia, then Steubenville Ohio, then New York City. He had little formal art training; he picked up the basics from a wandering portrait painter. Cole soon focused on landscape and ultimately, Cole transformed the way America thought about nature and the way nature was portrayed on canvas. As an immigrant, Cole was dazzled by America’s vast stretch of untamed wilderness, unlike anything that existed in Europe. At this point in time, though, most Americans did not appreciate the wilderness – they thought of it as something to be feared or exploited. Instead, America was enthralled with industrialization, technology and progress. Cole was 24 years old when he took one of the new steamships up the Hudson River (it was “the thing to do” at the time). He made a painting which sold immediately, came again to make another painting and that sold immediately, as well. He came so often he looked around for a studio in the village of Catskill. He came to Cedar Grove, John Alexander Thompson’s 110-acre farm with an orchard and a hilltop view out to the Hudson River and the Catskill Mountains – the same view we see today – and for the next 10 years, rented a studio in a structure next door to Thompson’s house (where Temple Israel now stands). Cole fell in love with Maria Bartow, Thompson’s niece 11 years younger than Cole, then 35 years old, and moved into Cedar Grove permanently, all living together in the modest house which Thompson had built in 1815. Thompson provided Cole with the two parlors on the main floor to use as “sales rooms” for his painting, and built a studio for Cole, cutting out a window so he would have northern light. Thompson also built a studio for him with a high window to bring in northern light, and we see his paints and easel as if he had just left the room for a moment. Cole’s studio, which Mary’s uncle made for him, installing a high window to bring in northern light, has been restored. It is where he painted one of his most famous series, the four “Voyage of Life” paintings (he painted eight sets of four; one of the sets is in the New-York Historical Society and will be on display January 2018 at the Metropolitan Museum of Art). We see his paints and easel as if he had just left the room for a moment. Alas, the studio probably contributed to his early death, at the age of 47, when his wife was pregnant with their fifth child – the studio in winter had little ventilation and he was working with turpentine and paints and had a respiratory illness. He died of pleurisy. Mary named their son Thomas Cole, Jr. Frederick Edwin Church, recognized as a prodigy, was 18 years old when Cole, then 43, took him on as an art student. Cole would take his six-year old son Theodore out with them painting. Paintings by Church that have a small boy are likely Cole’s son. After Cole died, in 1848, Church, who built his Olana on a hilltop on the opposite shore of the Hudson, helped the family, even hiring Cole’s son Theodore as his farm manager. Cole’s Creative Process Touring the house is remarkable because it contains many of Cole’s personal effects including several of his paintings, like “Prometheus,” and his special items like musical instruments that he played and used as props for his paintings. All of this is fairly miraculous because the house was sold in the 1960s and the contents auctioned off – the paintings, the furnishings. Over the years, many of the sold items have since come back, like “Uncle Sandy’s” chair, which we see today, which was purchased by a local postman who donated it back to Cedar Grove. In a living room on the second floor, Cole’s letters “appear” on his actual writing desk (triggered by a motion detector); some of the paintings that decorate the room where they would have been are reproductions (the originals held in museums), but some are originals. There are black-and-white photos of his daughter in her later years, sitting in that very room. I am fascinated to see his “magic lantern” (an early slide projector with hand-painted glass slides) that drew its light from a candle inside. We appreciate Cole as a man of enormous talents –a poet, essayist and musician in addition to an artist and we see some of his instruments. We visit his bedroom and see his traveling trunk which he had made on Pearl Street, with his signature and date. We learn that he was close friends with the novelist James Fenimore Cooper and provided illustrations for his work, including “The Last of the Mohicans” (1827) and “The Pioneers.” My favorite room is his “Process Room” where we see his actual sketches, his paint box which he decorated with a beautiful painting and papers and his famous color wheel. On my hikes on the Hudson River School Art Trail, I wondered how Cole would have captured the scenes – the sheer logistics of getting to these remote places that take us 20 minutes to reach by car along paved roads. Cole painted at a time before photography was a handy tool, before capped paint tubes made painting “en plein air” as feasible as it was for the Impressionists decades later. I learn that Cole hiked with a pocket easel and pencil. He would get to a place like Sunset Rock by dark (a trail which I hike), camp and stay there a few days. He made copious notes of the smallest details – the light, color (he created a color-wheel for himself which we see), the atmosphere, the vegetation and natural forms. But then he would wait before he painted the scene, for time to pass “to put a veil over inessential detail to turn it into beautiful and sublime…He had a vision of nature as an expression of the divine.” It is important to realize that at the time, a painting afforded the only way for people to see places without actually visiting for themselves. He began to turn his landscapes into allegorical exposition. Over a three-year period, he painted “The Course of Empire” a series depicting the same landscape over centuries and generations as civilization rises and falls, from savage to civilized, from glory to fall and extinction. He intended the series as a warning against American unbridled expansion and materialism. It took him three years to create and earned him a veritable fortune in commissions and fame. Cole also became progressively more spiritual – coinciding with a rise in spiritualism in America. – and used his landscape painting as religious allegory. This is manifest in Cole’s “Voyage of Life,” a series of four paintings that show a pilgrim from infancy to old age, led by a guardian angel, which became Cole’s most popular work. Each year, there are always special exhibits as well – in the Cole house, oddly juxtaposed with Cole’s 18th century works (we even see the wall trim that he painted himself) is a contemporary artist, Kiki Smith. In the New Studio, a separate building, this season is “Sanford R. Gifford in the Catskills.” Most days when you visit the Cole house, you take a guided tour, but on Saturday and Sundays, 2-5, you can tour the house on your own. The house usually closes at the end of October but this year, it is open for three weekends in November. Thomas Cole National Historic Site, 218 Spring Street, Catskill, NY 12414, 518-943-7465, www.thomasscole.org (Normally open May-October, but will have extended season this year, three weekends in November). Get maps, directions and photographs of all the sites on the Hudson River School Art Trail at www.hudsonriverschool.org. A great place to stay: The Fairlawn Inn, a historic bed-and-breakfast, 7872 Main Street (Hwy 23A), Hunter, NY 12442, 518-263-5025, www.fairlawninn.com. Further help planning a visit, from lodging to attractions to itineraries, is available from Greene County Tourism, 700 Rte 23B, Leeds, NY 12451, 800-355-CATS, 518-943-3223, www.greatnortherncatskills.com and its fall hub http://www.greatnortherncatskills.com/catskills-fall-foliage See also: 3-Day Fall Getaway in the Catskills: Fairlawn Inn is Superb Hub for Exploring the Hudson River Valley _______________________
6840	dbpedia	1	45	http://www.adriannerubenstein.ca/news	en	NEWS — Adrianne Rubenstein	https://assets.squarespace.com/universal/default-favicon.ico	https://assets.squarespace.com/universal/default-favicon.ico	[ "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1709572277077-Y8C1B04LM31CF7916828/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1709572277077-Y8C1B04LM31CF7916828/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1668552707585-K56SZWC8DI7LZKE5Q2AI/Screen+Shot+2022-11-15+at+5.51.17+PM.png", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1649274001354-ZOXWRJ5S6E5U2KRD2S86/grifter.nil-database-1.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1646669573951-T4IC96CZY50SXSW4J0AZ/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1614448834096-JSDQHHXL482PVT2GZEVB/image-asset.jpeg", 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]	null	[]	null		en	https://assets.squarespace.com/universal/default-favicon.ico	Adrianne Rubenstein	http://www.adriannerubenstein.ca/news	SPACE MARCH 5 - APRIL 16, 2022, Laurel Gitlen OPENING MARCH 5, 12 - 8pm David Byrd, Owen Fu, Ryan McLaughlin, Dianna Molzan, Yu Nishimura, Adrianne Rubenstein, Tara Walters Shatner almost immediately began to explain the feeling of escaping the Earth’s atmosphere, but waited patiently while Bezos stopped him to grab a bottle of champagne, which he sprayed on the other crew members as well as the assembled guests. “Everybody in the world needs to see it,” Shatner continued. “This comforter of blue that we have around us. We think, Oh, that’s blue sky. And then suddenly you shoot through it, all of a sudden, like you whip off a sheet when you’ve been asleep, and you’re looking into blackness. Into black ugliness.” He began to gesture down and then up, speaking in the trademark cadences that are so fondly familiar to fans of his appearances as Captain James T. Kirk, the commander of the Starship Enterprise, on “Star Trek.” “There is mother and Earth and comfort, and, there . . .” He gestured into the air, squinting toward the sun. “Is—is there death? Is that death? Is that the way death is?” Bezos, a longtime Trekkie who had a cameo role as an extraterrestrial in the 2016 film “Star Trek Beyond,” nodded. “I mean, whatever those other guys are doing,” Shatner added, likely referring to Bezos’s billionaire competitors at SpaceX (Elon Musk) and Virgin Galactic (Richard Branson). “What you have given me is the most profound experience I can imagine.” His voice cracked, and Bezos hugged him again. “I hope I never recover from this,” Shatner said. —Neima Jahromi, The New Yorker Magazine, October 14, 2021 This exhibition brings together seven painters whose work explores real, fictional and imagined spaces: painterly space, psychological space, meditative space, geographic and cosmic space. In turns odd, melancholic, humorous, twee, breezy, sublime, and absurd, the works in the show share an attitude more than any unifying style or subject matter. Painting and its ability to resist legibility, to contain multitudes of conflicting emotions, to craft truths and lies, and to oscillate between medium and image, is one central concern. But more significantly each artist in this exhibition manipulates space in their own idiosyncratic and mysterious ways confounding illusions of depth with marks that rest right on the surface like jam, dismantling depth of field with clunky angles and knowing omissions, and theatrical op-art tactics that read like a formal joke. The paintings in this exhibition open up possibilities to hide things, to describe feelings, to locate desire, to dream, and to consider spaces beyond terrestrial limits. David Byrd (1926-2013) David Byrd joined the Merchant Marines as a teenager and was later drafted into the Army. A drawing enthusiast, he used his G.I. Bill to study at the Dauphin School of Art in Philadelphia, and then later continued his studies at the Ozenfant School of Fine Arts. In 1958, Byrd took a position as an orderly in the psychiatric ward of a VA Hospital where he cared for patients damaged by their experiences in WWII, the Korean War and the Vietnam War. For the next 30 years, Byrd’s paintings and drawings focused on his extraordinary and empathetic observations of those in his care, and their interactions with each other and staff. After Byrd retired in 1988, he settled in the Catskills and worked full-time painting from memory the people and places from his past. Stylistically, Byrd’s work bears influence from different art historical styles, including Cubism and Magic Realism. A luminous, dream-like haze suffuses detailed renderings of his subjects which combine realistic portrayals with fantasy and insert unsettling psychology into tranquil scenes. Subtle colors and a dry brush and thinned oil technique furthers a forlorn, melancholic tone in his paintings. His first solo exhibition was with Greg Kucera Gallery, Seattle in 2012, and he passed away only a few months later in 2013. Posthumous exhibitions include a two-person exhibition at Zieher-Smith & Horton (2015), and solo exhibitions at Fleisher Ollman Gallery, Philadelphia (2018) and White Columns and Anton Kern Gallery (2019). Owen Fu (b. 1988 Guilin, China; lives and works in Los Angeles, CA) Owen Fu’s paintings are both effortlessly informal and startlingly serious. Often depicting spaces that are dark, or just barely illuminated, they exist somewhere between confessional autobiography and spectacular fantasy, using avatar-like actors to depict desire, absurdist humor, common joy and aching loneliness. Ghosts, lamps, candles and barely-there faces further a sense of searching or worry as they dissolve into awkward homoerotic scenes, agrarian landscapes and diffuse backgrounds. Fu has Bachelor’s degrees in both Philosophy and Art, and an MFA from ArtCenter College of Design, Pasadena. Recent solo exhibitions include O-Town House, Los Angeles; Balice Hertling, Paris; and Mine Project, Hong Kong Ryan McLaughlin (b. 1980, Worcester, MA; lives and works in Worcester, MA) Ryan McLaughlin’s paintings are simultaneously poetic and graphic, incorporating fragmented text, bits of signage and singular pictograms. His pictures reveal built-up surfaces in a muted and Morandi-like palette, and errant flecks of color meet between planes, using chance to suggest off-register printing, pixelation and subtle 3D vibrations. Sharing visual strategies with currencies, manuscripts, and logos, McLaughlin’s work points obliquely to systems of visual information and value-making, with his own wry pictorial language. “Space” is also a recurring theme in a sub-series of his pictures. Recent solo exhibitions include the Atlanta Contemporary, Atlanta; Adams and Ollman, Portland, OR; and Kölnischer Kunstverein, Cologne. McLaughlin will have a solo exhibition at the gallery in Fall 2022. Dianna Molzan (b. 1972, Tacoma, WA; lives and works in Los Angeles, CA) Dianna Molzan is most well-known for her paintings that explore the supports and limits of painting as sculptural objects, however, some recent works evince an equally astute interrogation of flat pictorial logic. In recent paintings of doors and mirrors, brightly painted prop-like compositions are also symbolic images of public life and passages. With dramatic, pop color and optical effects, these works also evoke everyday pastimes like grooming and self-contemplation. As Molzan herself notes, “the mirror remains an essential element for transforming our animal selves into something more transcendent.” Recent solo exhibitions include Kaufmann Repetto, New York; the ICA Boston and The Whitney Museum of American Art. Her work is included in numerous public collections including the Hammer Museum, and LACMA, Los Angeles; SFMoMA; the ICA Boston; The Walker Arts Center, Minneapolis; and the Whitney Museum of American Art. Yu Nishimura (b. 1982, Kanagawa, Japan; lives and works in Kanagawa) Yu Nishimura makes paintings which echo the haziness of a fleeting memory. Using traditional painting techniques, the Kanagawa born artist blurs and records landscapes and scenes that are at once recognizable and dreamlike. Layers of faces, roadside views, forests, oceans, cars and animals rise from the muted ether of his landscapes, as if viewed from inside a swiftly passing train. Recent solo exhibitions include Dawid Radziszewski Gallery, Warsaw; New York, KAYOKOYUKI, Tokyo; and Galerie Crevecoeur, Paris. Nishimura’s work is included in many public collections including: X Museum, Beijing, The Rachofsky Collection, Dallas, M Woods Museum, Beijing, and the Kanazawa 21st Century Museum, Kanazawa. Adrianne Rubenstein (b. 1983, Montreal, Canada; lives and works in New York, NY) Adrianne Rubenstein’s vibrantly hued and impressionistic paintings draw equally from memory, cookbook illustrations and art historical referents. Armed with a personal sense of humor bordering on the absurd, her paintings have a frenetic and piled-on quality that resists formulaic and easy approaches to image-making. Free-spirited and confident mark-making, and a personal lexicon of eclectic symbols like hearts, broccoli, mugs, and fruit elicits strangely honest and transcendent moments suspended in paint. Recent solo exhibitions include Broadway Gallery, New York; The Pit, Los Angeles; Deli Gallery, Brooklyn; and Tif Sigfrids, Athens, GA. Tara Walters (b. 1990, Washington D.C., lives and works in Los Angeles, CA) Tara Walters makes large scale paintings using oil-based paints, pure pigment, and saltwater from the Pacific Ocean. Stained, rubbed, and subtly iridescent, Walters’ paintings combine swelling movement and transparency, optical effects that mirror her interest in celestial bodies, prismatic auras, and other sublime and romantic visions. Recent works depict gardens, secret gates (with skeleton keys), hot air balloons, butterflies, and hidden woodland creatures, imagery that is fantastic, magic and symbolic. Walters received a BFA from the Savannah College of Art and Design, Savannah, GA; and an MFA from the Art Center College of Art. Her recent solo show, Dropping In (Kristina Kite Gallery, Los Angeles) was included in Jack Bankowsky’s “Top Ten of 2021” for Artforum. JACKIE GENDEL + ADRIANNE RUBENSTEIN NOVEMBER 11 – DECEMBER 31, 2020 SOCO Gallery is thrilled to present an exhibition of new work by artists Jackie Gendel and Adrianne Rubenstein. This will be Gendel’s second exhibition with the gallery, and Rubenstein’s first. The exhibition is planned in conjunction with Tif Sigfrids, a contemporary art gallery based in Athens, Georgia. Works by Gendel and Rubenstein will be on view in both locations in an inaugural partnership of the two galleries. The exhibition includes works on canvas and on paper. Gendel’s recent work furthers a neo-modernist motif as a means of constructing a fiction between fragmented figure and crowd, women becoming architecture and automatons becoming bodies of unfixed age, time, location and gender. Gendel pushes the viewer to contemplate the relationships between them, highlighting the movement of her often female subjects through abstracted form. In one work featuring a large crowd of overlapping women, muted colors connect the figures, while specific details call attention to their various personas. Seen frequently in composite and profile views, Gendel’s figures challenge the cohesion of self and sociability. They appear caught in a history that may or may not exist. Gendel’s work challenges viewers to come to terms with a scene that may feel at once unfamiliar and yet recognizable. In a similar manner, Rubenstein’s work also evokes art historical references with its likening to Expressionism. Rubenstein distorts the familiar, painting scenes that challenge one’s understanding of the everyday. Through an intuitive process, Rubenstein repeatedly arrives at imagery that can make a head of Broccoli seem archetypal in its nature. In a recent Artforum review, Barry Schwabsky noted that "the faint resemblance her forms have to their original sources of inspiration may in itself be best testimony to the inner image's staying power, free association means more than resemblance." The paintings, when coupled with their titles, consistently reveal a dry wit that may subvert their almost childish emotional ebullience. Like any good joke, however, there is always a kernel of sincerity buried deep within the layers of every painting. Jackie Gendel (Houston, TX, B. 1973) Jackie Gendel received her BA from Washington University, St. Louis in 1996 and her MFA from Yale University in 1998. Since 2000, she has participated in numerous group shows and solo exhibitions including Thomas Erben, New York (2019, 2016), Pratt Manhattan Gallery (2017), Jeff Bailey, New York (2013, 2012, 2010, 2006), Loyal Gallery, Malmö (2012), Moti Hasson, New York (2008), and Mixture Contemporary Art, Houston (2004, 2002). Reviews of her work have appeared in Modern Painters, Artforum, The New York Times, Art in America, The New Yorker, Art Papers, and Hyperallergic, among others. The American Academy of Arts and Letters awarded Gendel an Academy Award in 2007. She participated in the Marie Walsh Sharpe Space Program in 2010, and was an artist-in-residence at the MacDowell Colony in 2005. She is currently an Assistant Professor of Painting at the Rhode Island School of Design. Adrianne Rubenstein (Montreal, B. 1983) Adrianne Rubenstein (b. 1983) received her BFA in 2006 from the Nova Scotia College of Art and Design and in 2011, her MFA from the San Francisco Art Institute. Recent solo exhibitions include Deli Gallery, Brooklyn, NY; Tif Sigfrids, Athens, GA; and The Journal, New York, NY. Her work has been featured in several group exhibitions both nationally and internationally, and Rubenstein has also served as curator for numerous shows. Her work has been featured in Artforum and The New York Times. Rubenstein currently works and lives in New York, NY. Margot Bergman Cabin Boy, Auntie Gladyce and Three More January 19th - March 2nd Organized by Adrianne Rubenstein Sigfrids / Howard's is pleased to announce “Cabin Boy, Auntie Gladyce and Three More” an exhibition of paintings by Chicago based artist Margot Bergman created between the years 2002-2012. The show will open with a reception on Saturday, January 19th from 4-6 PM and will remain on view through March 2nd. Bergman’s paintings from this time period are created on thrift store canvases, her brushwork mixed together with the found imagery creating dreamlike apparitions of the human form. The double authorship invites an easter-egg-like experience for the viewer which feels uncanny and sentimental. One sympathizes with the worthless and forgotten artifact but it acts here as a centrifugal force over which Bergman’s flower grows. Eyes, lips and a silhouette disguise and destroy the preexisting painting. Clearly defined features are body parts and point to the corporeal yet their indication feels slight, like layers of makeup or the masking of a photograph. Bergman acts in transgression of the original, creating another truer original which is also a container for the past. The paintings remind you of the forbidden aspects of drawing, furtive marks done in secret or where they are not supposed be. In “Cabin Boy” Bergman paints a flat round face in profile using the sunny blue sky to humor the background and foreground simultaneously. One eye with blue shadow over its lid and a perfectly modeled eyebrow float expansively above a dreamy looking domestic cabin encircled by freshly planted trees. Red lips are outlined over a slightly darker green shrub. The portrait is enclosed by two large trees crowning and a patch of sandy road is a shoulder or shirt. “Lulu”, “Beth Jo” and “Auntie Gladyce” are portraits painted atop other portraits. Little squinched faces peer out from between the eyes of the subjects, a single nose at the center anchoring all the unfolding features. The outer eyes appear to be tired as if from witnessing so much disintegration. In “Untitled (Flower Vase Portrait)” a potted plant has bloomed two shining eyes and a leaf with a smile. Bergman’s paintings are satisfying because they breach the protocol like a tear in the sky. They sit with you like candy stored in cheek, letting light enter their fallibility and making us feel better about our endeavor to categorize the sun and moon. Margot Bergman (b. 1934) has been an active member of the Chicago art scene since the 1950s. Recent exhibitions include ‘Thank You for Having Me’ at Corbett vs. Dempsey, Chicago; ‘Body Doubles’ at the Museum of Contemporary Art, Chicago; and ‘Margot Bergman’, Anton Kern Gallery, New York, NY. Bergman will be the subject of forthcoming exhibitions at the Museum Langmatt in Baden Switzerland and the Folkwang Museum in Essen Germany. A substantial hardcover catalog will be published concordantly with Hatje Cantz. Adrianne Rubenstein (b. 1983, Montreal) is an artist and curator based in New York City. She received her BFA from the Nova Scotia College of Art and Design and her MFA from the San Francisco Art Institute. Curatorial projects include ‘Fort Greene’ at Venus, Los Angeles and ‘Geranium’ at Stems Gallery, Brussels. Solo exhibitions include ‘I Love Worms’ at The Pit, Los Angeles, and ‘The Forest Floor’ at Cooper Cole, Toronto. Rubenstein has been the Director at CANADA, New York, since 2014. With special thanks to Margot Bergman and Corbett vs. Dempsey. Sigfrids/Howard's 119 North Jackson Street Athens, GA 30601 Beaded Talisman for Unwell Daughter Annelie McKenzie December 15 2018 – February 3, 2019 Opening Reception Saturday December 15, 2018, 6 – 9pm Fisher Parrish is pleased to present Beaded Talisman for Unwell Daughter, a solo exhibition of new works by Los Angeles based artist Annelie McKenzie, organized by artist and curator Adrianne Rubenstein. Works - link A path exists among these works that beckons to the history I actually want to be a part of. The appropriation is utterly appropriate. The tableaux themselves are like vignettes from within a story, and let’s say that book is a bit archaic, and the scenes feel as if you’re discovering them by candlelight. You were sleeping in a dimly lit auditorium, spiderwebs accumulating along the ceiling; there was a brief discussion of female artists. Beaded Talisman for Unwell Daughter is a painting of a woman jaundiced from illness, her face a donut slathered in custard creme—a detailed prop among frilly blankets. The subject of the work is Anna Alma Tadema, a British artist from a family of artists, born in 1867 and deceased in poverty and obscurity in 1943. Tadema is remembered as a subject from within her more famous father’s paintings, although he died forgotten and penniless too. The basis for McKenzie’s painting is an exquisitely detailed self-portrait, a watercolor which somehow survived, and a cryptic memento—a finite collapsing of past and present. McKenzie’s work is brazen and brash and addresses its subject obliquely, informatively. She is a detective, but isn’t cool or slick about it. Her works are painted on purses and cocktail pouches, the likes of which may have held lipsticks and tranquilizers. Among sequences of pastoral bliss, not that those are ever quite what they seem, McKenzie addresses paintings so historic that one can recognize them by the heft of their weaponry. Her version of Artemesia Gentileschi’s ‘Jael and Sisera’, painted in pinks on a cream colored clutch, features bodies with marbleized flesh and a chemically hued background of tinted crimson. The sequins feel like a botched version of pointillism, swapping exactitude for a quality of faded and stained lace. Tiny ersatz pearls line the scalloped exterior of the bag, framing the piece while camouflaging its zipper. The concept of purse as canvas stems from the artist’s observation that men don’t really like purses and so, it’s a witching spell that jokingly tells them to stay away. Gravely but with glee, McKenzie describes a history that has been abbreviated through misappropriation and a general lack of attention. Do you know that meme that says ‘We riot at midnight’ hidden in the body of a text about eyeliner? McKenzie’s paintings are a tribute to a great many such riots, inviting us to experience the joy and fascination of telling one’s story through the channels of the past. – Adrianne Rubenstein, November 27, 2018 Please join us for the opening reception of Beaded Talisman for Unwell Daughter on Saturday, December 15th, 2018 from 6 – 9pm. Regular gallery hours are Saturday and Sunday 1 – 6pm or by appointment. For further information, please email Zoe Fisher at info@fisherparrish.com. Annelie McKenzie (b. 1974, Montreal) earned an MFA from California State University, Long Beach, in 2013, and a BFA from the University of Calgary in 1997. She has exhibited at Contemporary Calgary (Canada), CB1 Gallery (LA), Torrance Art Museum (CA), VENUS LA (CA), and other spaces throughout the USA and Canada. McKenzie currently resides in Los Angeles. Adrianne Rubenstein (b. 1983, Montreal, QC) received her MFA from the San Francisco Art Institute in 2011. She lives and works in New York. Her curatorial projects include work with Night Gallery and Venus in Los Angeles, Stems Gallery in Brussels, Belgium, Fourteen30 Contemporary in Portland, OR, and Brennan & Griffin, Regina Rex and CANADA in New York, NY. Rubenstein has been the Director at CANADA, New York since 2014. The Pit is pleased to present Adrianne Rubenstein: I Love Worms. An opening reception will be held on September 9, 2018 from 4-7pm, and the exhibition will be on view through October 21, 2018. In her second one-person exhibition at The Pit, Adrianne Rubenstein will debut a suite of new paintings, which are some of her largest to date. Working in oil on panel, Rubenstein uses vibrant colors, direct form, and confident brushwork to depict raw memory in paint. Her paintings tell stories from her life, referencing moments from the just past and from long ago. In them, she is just as much a part of the subject matter as whatever it is she is painting, taking steadfast responsibility for her role as narrator. This vulnerability and resistance to neutrality allows Rubenstein to claim nostalgia not as an indulgence but as a powerful lens through which to view her place in and experience of the world. Rubenstein is equally comfortable referencing art history and art’s current moment as she is her catalogue of personal memories. While works like Abstract Painting are a response to present-day trends in contemporary art and her faceted position within her community as a painter, gallery director, and curator, works such as Ladder with Ribbons—an homage to Ree Morton, whose work has been an influence on Rubenstein—refer to art history and her formation as an artist. In her dreamlike yet vivid compositions, Rubenstein’s explorations of memory and musings on art emerge as markers of a practice rooted in feminism: the personal is political. Adrianne Rubenstein was born in Montréal, Canada in 1983 and lives in New York, NY. She received a Master of Fine Art from the San Francisco Art Institute, San Francisco, CA in 2011 and a Bachelor of Fine Art from the Nova Scotia College of Art and Design, Halifax, Canada in 2006. One-person exhibitions of her work have been presented at venues such as Reyes Projects, Bloomfield Hills, MI (2017); Fourteen30 Contemporary, Portland, OR (2017); White Columns, New York, NY (2016); and David Petersen, Minneapolis, MI (2016). Rubenstein’s paintings have been featured in thematic and two-person exhibitions including Out of Control, curated by Sally and Peter Saul, Venus Over Manhattan, New York, NY (2018); Permanent Embrace, with Walter Robinson, Stems Gallery, Brussels, Belgium (2018); Say Yes, curated by Kimia Ferdowsi Kline, Elaine L. Jacob Gallery, Wayne State University, Detroit, MI (2017); Feed the Meter I & II, Ceyson & Benetiere, Luxembourg (2015 & 2017); and Bunnicula, with Jennifer Sullivan, Marvin Gardens, New York, NY (2016). Rubenstein is an active participant in the international community of artist-run spaces and artist-driven curatorial initiatives, and she was awarded the Emerging Artist Grant from the Rema Hort Mann Foundation in 2016.
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Kozloff, Bruce Pearson, Sarah Peters, James Siena, and Barbara Takenaga Curated by Lauren Frances Adams and Jennifer Coates January 23 – February 21, 2016 Opening Reception: January 23, 2016, 6-9pm Ortega y Gasset Projects opens the 2016 season with two concurrent exhibitions. A joint reception will be held on Saturday, January 23, 6-9pm. At a special afternoon event on February 6, Jennifer Coates, David Humphrey, and Glenn Goldberg will play music in the gallery. On view in the main gallery, Lauren Frances Adams and Jennifer Coates co-curate The Swerve, featuring works by Julia Bland, Caroline Wells Chandler, Glenn Goldberg, Bill Komoski, Joyce Kozloff, Bruce Pearson, Sarah Peters, James Siena, and Barbara Takenaga. The exhibition runs until Sunday, February 21. The title for the exhibition is based upon a book of the same name by Stephen Greenblatt, which touches on ancient atomistic theory, wherein atoms normally falling straight through a void are sometimes subject to a clinamen — a slight, unpredictable change. It is in this interruption of regularity where the action lies. According to Lucretius, if atoms were not in the habit of swerving, “nature would never have produced anything.” Taking this as a point of departure, The Swerve presents contemporary paintings and sculptures that explore the haptic and conceptual approaches to pattern: how pattern and its rupture are employed in service of meaning. Joyce Kozloff appropriates the iconic Islamic star to create a richly colored all-over pattern that merges non-Western motif with an American quilting logic, revealing the political in the decorative. Julia Bland utilizes an eccentric, loose weaving technique to build emblematic, symmetrical imagery that seem to contain hidden meanings, while Caroline Wells Chandler uses crochet to generate soft sculptures: feminist homunculi that merge cartoons with craft. Sarah Peters’ ancient Assyrian hair patterns become almost architectural as they frame and support an open-mouthed female: many periods of art history coalesce into a single head. Barbara Takenaga’s woozy forms radiate from a glowing center, as her carefully tended surfaces create cosmic vortexes. Bill Komoski’s lattices and sculpted holes on canvas leak toxic sludge in tongue-like shapes, as he channels the bodily via the urban industrial. Bruce Pearson’s white-on-white biomorphic carvings also make use of relief, embedding text within them: once your eyes adjust the code is broken. In James Siena’s drawing, a figure emerges from a density of tiny marks, she seems to be trapped within the edges of the paper. Glenn Goldberg makes hallucinatory use of dots to create an atmospheric world from which two tiny birds emerge. The artists all share a propensity to tease out meaning from complex visual matrices. Images range from figuration to abstraction, but the recurrent theme is an organic wavering between recognizable form and repetition. On view in the gallery vestibule, Adams and Coates curate Star Upon Star, a site-specific installation by Kirsten Hassenfeld. The piece will be on view throughout the Ortega y Gasset spring exhibition program. Star Upon Star is constructed from recycled giftwrap, using a system both geometrically precise and intentionally off-kilter. Hassenfeld forces clashing patterns and the associations they evoke to coexist and to coalesce into a sculptural whole. Educated as a printmaker, Kirsten Hassenfeld makes sculpture from paper and found objects. She has been honored with numerous awards and residencies, most recently the St. Gaudens Memorial Fellowship in 2014. Her work has been featured in Art in America, the New York Times Magazine and Interview Magazine, among others. She lives and works in Brooklyn and the Catskills. Lauren Frances Adams (Baltimore, Maryland) mines the histories of power, labor, and material culture to make surprising connections that resonate with current sociopolitical issues. Solo exhibitions include Back Lane West, Cornwall, UK; Contemporary Art Museum St. Louis; EXPO Chicago; and Conner Contemporary, Washington, D.C. Group exhibitions include: The Walters Art Museum, Baltimore; Contemporary Applied Arts, London; CUE Foundation, NY; Mattress Factory and the Andy Warhol Museum, Pittsburgh. Residencies include Cité Internationale des Arts in Paris, Skowhegan School of Painting and Sculpture, and a Joan Mitchell Foundation MFA Grant. Jennifer Coates is an artist, writer and musician living in NYC. Her ongoing series of paintings – “Total Fat” – explore the sacred architecture and spiritual radiance embedded in processed foods. She recently had a two person show of collaborative work with David Humphrey at Arts & Leisure Gallery and a two person show with Tom Burckhardt at Valentine Gallery, both in NYC. She currently has a painting, PB&J, on view at the Museum at the University of Kentucky in Lexington. She has written art reviews for Time Out New York and Art in America and can be seen playing violin and singing in various bands in the region. Ortega y Gasset Projects is a gallery curated projects space in the Gowanus neighborhood of Brooklyn. Comprised of artists currently living in Connecticut, Illinois, Maryland, Massachusetts, New York, Ohio, and Tennessee, OyG operates a cross-country collective and an incubator for dialogue and artistic exchange. For more information contact Lauren Frances Adams at laurenfrancesadams@gmail.com
6840	dbpedia	1	53	https://issuu.com/nantuckethistoricalassociation/docs/historicnantucket_1979april/s/14016112	en	The "American Rembrandt"	https://assets.isu.pub/d…0ae5dc74209.jpeg	https://assets.isu.pub/d…0ae5dc74209.jpeg	[ "https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png", "https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg", "https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/2854c26dd92ef8469f9750ae5dc74209.jpeg?width=720&quality=85%2C50", "https://photo.isu.pub/nantuckethistoricalassociation/photo_large.jpg", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/9b58d96fe1454c6e619e8c4a7f6e10a5.jpeg", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/6084de1379bf2b0da8a3f64575145337.jpeg?width=720&quality=85%2C50", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/b290e3cc8becc79ed7c869e9f0e5dd42.jpeg?width=720&quality=85%2C50", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/72d56765e4978104a4df1031edc17f4a.jpeg?width=720&quality=85%2C50", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/8f6101e9c15bfa10783ebd71889ecd00.jpeg?width=720&quality=85%2C50", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/8caed715ba34b7e88ecd487aa3a45cbb.jpeg?width=720&quality=85%2C50", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/6c3d3b63d4fbfccb2de79b66e698a356.jpeg?width=720&quality=85%2C50", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/2cc9e45894137b59b859db9cdfeb68e5.jpeg?width=720&quality=85%2C50", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/9dae00d808e6ec9362251a595a57ee0d.jpeg?width=720&quality=85%2C50", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/9b58d96fe1454c6e619e8c4a7f6e10a5.jpeg", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/8a9603b3bb9212c5e15572d750e593b0.jpeg", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/a065fa7b1d321ff594607a1544a74205.jpeg", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/b8655bb32e11a20a9d3a14e2a0744b88.jpeg", "https://image.isu.pub/211118202535-2072c13c8bff6ebfdd65362332cf01e3/jpg/page_1_thumb_large.jpg", "https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg" ]	[]	[]	[ "" ]	null	[ "Historic Nantucket" ]	2021-11-18T20:25:48+00:00	NANTUCKET! SAY THE word at a gathering and faces light up, pleasant memories flow, and a mystic aura is evoked. True in the day of whaling as it is now, just as surely did the faraway island cast its spell on one of America's greatest artists: Eastman Johnson, an American "Old Master" if ever there was one. In 1870, as an accomplished and renowned portrait painter and "genre" artist, he brought his new bride, Elizabeth Buckley of Troy, N.Y., to summer on The Island at the suggestion of one Dr. Gaillard Thomas to "...meet his desire for a quiet and incurious locality".	en	/favicon.ico	Issuu	https://issuu.com/nantuckethistoricalassociation/docs/historicnantucket_1979april/s/14016112	T h e " A m e r i c a n - R e m b r a n d t " o n N a n t u c k e t 7 by Robert A. diCurcio NANTUCKET! SAY THE word at a gathering and faces light up, pleasant memories flow, and a mystic aura is evoked. True in the day of whaling as it is now, just as surely did the faraway island cast its spell on one of America's greatest artists: Eastman Johnson, an American "Old Master" if ever there was one. In 1870, as an accomplished and renowned portrait painter and "genre" artist, he brought his new bride, Elizabeth Buckley of Troy, N.Y., to summer on The Island at the suggestion of one Dr. Gaillard Thomas to "...meet his desire for a quiet and incurious locality". Nantucket became Eastman Johnson's summer studio ever after, for he — like so many others to follow him — succumbed to that happy malady: falling in love with Nantucket Island. His residence and studio perched atop "the Cliff' looking out over cranberry bogs that in those days ringed the broad, watery expanse of Nantucket Sound below. Here he was to immortalize the 19th century Nantucketers who culled those cranberry bogs dressed in stove pipe hats or full skirts with fancy bonnets — a remarkable series of genre pictures of those elegant and distinguished rustics, the Nantucket cranberry pickers. In 1873, Scribner's Monthly published an article on Johnson, reading in part:". . .the artist Eastman Johnson has shown his usual fine taste in taking up his residence here and has transformed two of the old houses that stood on the site into a home and studio. The location is just out of town on the Cliff which is high ground just above the bathing beach, commanding a magnificent sweep of the ocean, a spot which ought to be occupied by cottages and hotels!" Eastman Johnson's reputation in the latter half of the 19th century stemmed mainly from his popularly acclaimed genre paintings — pictures of the dignity in the every day life and labors of common people. After 1870, Nantucket became the principal locale for his genre paintings of the American scene. Previously, as a sometime Washington, D.C. resident, he had painted negro slave scenes; his famous Negro Life in the South 1859 (The New York Historical Society) — or My Old Kentucky Home as it later came to be called after Stephen Foster's popular song of the same name — earned him the respect of the public, the prestigious National Academy of Design, and the art critics of the day, one of whom called it "A first class character piece". Although some today would Eastman Johnson at work in his Nantucket Studio. THE "AMERICAN REMBRANDT" 9 condemn as hypocritical this painting ot negro slaves singing, playing relaxing, and courting, such moralists would do well to consider more closely the envy that the perspicacious Johnson painted on the faces of the white children on the periphery of the scene; it is genuine. Elected a full academician of the National Academy in 1860, the most talented young painter of American domestic life of the time, genre artist second to none, Nantucket summer resident Eastman Johnson was no New England provincial. He had spent six marvelous years abroad in the 1850's learning the craft of oil painting - a European tour that was de rigeur for the serious professional of his day. At the "Dusseldorf School" in Germany he studied briefly in 1851 with Emmanuel Leutze, an American who was famous for his huge (12 by 21 feet), patriotic painting George Washington Crossing the Delaware 1851 (Metropolitan Museum of Art, NYC), known to generations of Americans chiefly through an engraving of it that EJ helped to prepare. On the whole dissatisfied with the rest of the German genre artists in Dusseldorf (recommended to him by the American Art-Union, then the most powerful group of art patrons), he changed his ambience rather quickly to that of The Hague in Holland where he found his life-long inspiration in the paintings of the Dutch old masters. In late 1851, Johnson wrote to the American Art-Union: "I am at present at The Hague where I am deriving much advantage from studying the splendid works of Rembrandt and a few other of the old Dutch masters (probably Vermeer, van de Cappele, van Mieris, ter Borch, et al)...l must say I regret having spent so long a time in Dusseldorf (not quite a year). . .where the present artists are deficient in some of the chief requisites, as in color, in which they are scarcely tolerable. . .Leutze was the only colorist amongst them. . (as quoted by Patricia Hills in her excellent monograph Eastman Johnson, op. cit) EJ's ability to handle color was one of his great assets; he made enough of an impression on the sophisticated Dutch with it, that he became known to them as "the American Rembrandt". The Dutch genre tradition became second nature to him. What is more, he was offered the position of court painter to His Majesty William II. But this young man, born but a few years earlier in 1824 in the hinterlands of Lowell, Maine, refused royal patronage in the land of Rembrandt and Vermeer, and after a four year apprenticeship made his way in 1855 to Paris in search of even more instruction. 10 HISTORIC NANTUCKET There he studied in the atelier of Thomas Couture, a teacher who was partial to young Americans. Couture, recognized for his sumptuous colorism, is now remembered as the teacher of the great French iconolast painter Manet. (The celebrated Impressionist painters of the day were once known as Manet's "gang.) It was Couture who impressed even more strongly on EJ the importance of method in art. It was, in the final analysis, this early grounding in European coloristic method that elevated EJ's art to greatness. He carried European method back to an American art scene, employed but re-interpreted it in the extolling of honest toil in the fields, barns, and Maple groves — the admirable dignity of rural America. When, in the 1880's and 90's, his career emphasis changed to depicting fashionable and affluent individuals in elegant interiors, and to portraits of the "upper classes", the resulting so-called "conversation pieces" trace their pedigree, as Patricia Hills puts it (op. cit.), to the seventeenth century Dutch and Couture's atelier. If Manet was a bete noire of French academic painting and the precursor of French Impressionism, then Johnson is the fair haired boy of American genre painting and precursor to the likes of Thomas Eakins and Winslow Homer, titans of 19th century realism. Upon his return to the U.S. in late 1855 and thereafter until the early 1870's, Johnson applied his European lessons mainly to subjects of the American Indian, the negro slave, Civil War combatants, maple sugaring and barn scenes in Maine. Since it was a time when daguerreotype photography was coming into its own, painters, collectors, and the art public turned their attentions to pictures of anecdotal scenes from American life, such as EJ's much admired The Boyhood of Lincoln 1868 (The University of Michigan Museum of Art), showing an adolescent Abe by the fireside intently studying the borrowed book of song and story. Portraiture was left for a while to the mechanized novelty of the photographer's craft. The Nantucket Scene A recognized genre artist and portraitist before setting foot on Nantucket, EJ fulfilled the Dutch prophecy as the American Rembrandt during those halcyon summers on The Island. He took to Nantucket in much the same way as Herman Melville (a contemporary genius whom he probably never met) explains his own affinity in Moby Dick : ". . .because there was a fine boisterous something about everything connected with that famous old island which amazingly pleased me." One of the first things Johnson did as an artist on Nantucket was to construct a staging for a painting of boisterous children frolicking on and around an abandoned Stage Coach. Johnson used Nantucket children as models, and the result was the large (3 ft. x 5 ft.) oil The Old Stage Coach 1871 (Milwaukee Art Center) — as idealized and sentimentalized a scene of childhood as one was likely to see. But this was what the spirit of the times (Zeitgeist, to recall the philosophical term) demanded: Americans were wont to portray themselves as youthful, brash, in the driver's seat, and way out front in those days; this to blot out, perhaps if nothing more, the trauma of their Civil war. The 1907 catalog of the American Art Association (of a posthumous retrospective show after Johnson's death in 1906) describes The Old Stage Coach: "The body of an old stage coach which, in its time, judging from its form and color, must have been a famous vehicle (Johnson had the vehicle transported from the Catskills where he first conceived of the picture) has been cast aside on an open field near a farmyard, and a large group of merry children are playing with it. Two girls and two boys, prancing and kicking, represent the four horses. Others occupy the box seat and interior, and a more enterprising lad stands on top waving his hat, while a companion endeavors to climb up to him." Of Johnson's Civil War paintings, The Wounded Drummer Boy 1871 (The Union League Club of N.Y.) is probably the most famous. When Civil War memories were finally far behind, Johnson on Nantucket began to lighten his palette, and women appear more frequently in his paintings, especially after his marriage and after his only daughter, Ethel, was born in 1870. Much reminiscent of Vermeer are his studies of women posed indoors near a window. Although he made occasional trips to Maine in the late 1870's, and though he kept a winter studio at West 55th St. in New York, the majority of Johnson's post 1870 genre scenes were set in Nantucket, and salient among them are the series on cranberry picking and corn husking bees, activities as peculiarly American as his beloved maple sugaring. The quintessential "Americanness" of his Nantucket scenes explains much of the appeal in his nostalgic renderings of agricultural labor. Another aspect of his critical acclaim at the time was that he exalted the labor of common folk as a joyous contribution to the growing nation with which they appear to be in complete harmony. This we may contrast with the scenes of his European contemporary counterparts such as the Barbizon School in general and Jean-Francois Millet in particular, whose famous painting The Gleaners 1857 (Louvre, Paris) of stoop-backed, babushka'd peasant women in a stubble field shows none of the optimism THE "AMERICAN REMBRANDT" 13 and esprit de corps in Johnson's farm scenes; although Millet sought to dignify the workers in the fields, he conveys a hopelessness that never for a moment entered Johnson's oeuvre, not even in the late character studies of old Nantucket sea captains. Thus the contemporary critic William Walton could state with ample justification in Scribner's Magazine XL (1906) . .his (Johnson's) conception of the rendering of 'the life of the poor', of 'the tillers of the soil', and 'the ex-toilers of the sea' preaches no ugly gospel of discontent as does so much of the contemporary French and Flemish art of this genre; his Nantucket neighbors know nothing of the protestation douloureuse de la race asservie a la glebe; there is no crie de la terre arising from his cranberry marshes or his hay-stuffed barns". He continued: "The happy combination of right feeling and sound technique is manifest in all the details; the respectable old silk hat which constitutes so important an incident in several of the best of his Nantucket scenes would have been fatal to the ordinary genre painter — it is dignifiedly hospitable in the Glass With the Squire 1880 (Annmary Brown Memorial, Prov., R.I.), gravely stern in The Reprimand 1880 (location and owner unknown), genuinely pathetic in Contemplation (probably Captain Charles Myrick 1879, Nantucket Historical Association, Peter Foulger Museum) and Embers 1880 (Mrs. Herbert S. Darlington, Lajolla, Calif.) But seldom has so unimportant a baggage played such an important role in art." In another commentary on the comparison of E.J.'s genre with one of his European counterparts, Patricia Hills [op. cit.] states, ". . the content of the Breton is the awesome and solemn but necessary labor of the French peasant; the content of the Johnson is the democratic and even hedonistic gaiety of a Nantucket cranberry harvest." Of equal interest, as far as his contributions to Nantucket's art scene, are Johnson's depictions of Nantucket personages within Nantucket interiors. He did many renditions of old whaling masters (sea captains) such as Captain Myrick, a favorite and splendid type. An American Art Association catalogue in 1907 stated: "Charles Myrick, a Nantucket man, appears in several of Johnson's pictures. This [Captain Myrick, ca. 1879, F. N. Bard, Chicago, 111.) is a study of an old New England type which is now fast disappearing. An old man with a fringe of whiskers around his face, wearing an old-fashioned beaver hat, black coat and waist coat, with a loose white tie, leans for- 14 HISTORIC NANTUCKET After 1880, Johnson resumed his early interest in portraiture, possibly because of the lucrative commissions he was capable of attracting a t t h a t p o i nt. H i s l a s t d a t ed g e n re p a i n tin g i s T h e N a n t u c k e t S c h o o l o f Philosophy 1887 (The Walters Art Gallery, Baltimore). E. U. Crosby (op. cit.) quotes 'A memo on file at the Walters Art Gallery' as follows: "Eastman Johnson called at 455 Madison Ave., New York City, on Edward D. Adams, on Sunday, April 21, 1889, and gave the names of the character studies he had as models in the execution of his painting entitled "The Nantucket School of Philosophers", belonging to Mr. Adams. (The painting shows a group of old men seated in a ring around an old wood stove in a Nantucket cobbler's shop, conversing and possibly reminiscing about days gone by.) Mr. Johnson explained that the following 'philosophers' were alive at that date: the shoemaker, Captain Haggerty; the talker, Captain Moore; on the left-hand side, leaning on his hand, Captain Ray, and that the other 'captains' were all dead." Crosby further states that Captain Haggerty's shop was located in a small wooden building on Liberty Street, at the rear of the Henry Coffin property. Writing in the Oct. 1958 issue of H i s t o r i c N a n t u c k e t , the quarterly publication of the Nantucket Historical Association (pp. 35-38), Louise Stark sums up the warm feeling that Nantucketers can harbor for this artist who more than anyone else set the tone and the stage for the phenomenal flourishing of the arts on Nantucket: "Eastman Johnson was a great portrait painter as well as a painter of daily scenes. Some of his portraits of Nantucket people give me the feeling he painted them because they fascinated him and he loved them. "No artist I've found of Nantucket subjects has given me as much a feeling of the island and its people in the time he painted as Eastman Johnson. Nantucket is fortunate to have had such a devoted and skillfully trained artist so engrossed in the island."
6840	dbpedia	3	32	https://www.hudsonriverschool.org/hudsonriverschoolarttrail	en	Hudson River School Art Trail — Hudson River Art Trail	http://static1.squarespace.com/static/5cec0723a613da0001c31544/t/5d4997a37fda4c00018fcec2/1565104040101/Cover_page.jpg?format=1500w	http://static1.squarespace.com/static/5cec0723a613da0001c31544/t/5d4997a37fda4c00018fcec2/1565104040101/Cover_page.jpg?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1558972846717-OQ2U9Q8SISP0PTTJGRCQ/Art+Trail+insignia+3+color.png", "https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1558972846717-OQ2U9Q8SISP0PTTJGRCQ/Art+Trail+insignia+3+color.png", "https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1563809985538-F37K7Y9Z112KUFAC92H9/Screen+Shot+2019-07-22+at+11.29.42+AM.png", "https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1565019576248-ZPEGJMIDREMX41DDOXYW/Mountain_house.jpg", "https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1563300405092-VXU48Z1YLOXJJL8OWQ66/it_16.jpg", "https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1558975788583-BUMXZ0FGWE41RH294AW3/Sunset-Rock-highres-1024x576.jpg", "https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1558975788583-BUMXZ0FGWE41RH294AW3/Sunset-Rock-highres-1024x576.jpg", "https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1560967916435-HY20B3YY9S5V30IDU1I2/Catskills-HRSAT_20170928_536ea2-c-Karen-Rubin-Kaaterskill-Clove.jpg", "https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1560967916435-HY20B3YY9S5V30IDU1I2/Catskills-HRSAT_20170928_536ea2-c-Karen-Rubin-Kaaterskill-Clove.jpg", "https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1563303571193-0T60G4N0SMZ4TPAUTEP7/Photo+by+Rachel_Stults_2017_Sunset_Rock.jpg", "https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559061732612-3OXVGPGI5UZQO7ZTI9IU/Art+Trail+insignia+3+color.png", "https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/f0adbf70-2576-4076-8d8d-44c7b0da1f56/NEH-Horizontal-Seal-Transparent820.png", "https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/30a98a7c-548b-4374-952a-084fe838b4d6/NYSCA+Logo+White.png" ]	[]	[]	[ "" ]	null	[]	null	The Hudson River School Art Trail connects you with the places in nature that Thomas Cole and his fellow Hudson River School artists painted. The Hudson River School of landscape painting was the nation’s first major art movement and celebrates America’s natural magnificence . Its founder, Thomas Co	en	https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1558972857169-GM4O2J3ADM6SDTMV4PLQ/favicon.ico?format=100w	Hudson River Art Trail	https://www.hudsonriverschool.org/hudsonriverschoolarttrail	BIBLIOGRAPHY The Hudson River School Art Trail is a project of the Thomas Cole National Historic Site, presented in partnership with Olana, the home and workplace of Frederic Church, and with the National Park Service Rivers & Trails program, with assistance from the Greene County Tourism Promotion Department. The Trail project is funded in part by a grant from the National Endowment for the Humanities, U.S. Department of Transportation, the Arts & Business Council of New York, the New York State Council on the Arts, and the Hudson River Valley National Heritage Area.
6840	dbpedia	3	65	https://www.gessato.com/assembly-art-space-museum-catskills/	en	Assembly, A New Art Space and Museum in the Catskills	https://www.gessato.com/…-catskills-7.jpg	https://www.gessato.com/…-catskills-7.jpg	[ "https://www.facebook.com/tr?id=2798374823508726&ev=PageView&noscript=1", "https://www.gessato.com/wp-content/uploads/2017/07/logo-home.png", "https://www.gessato.com/wp-content/uploads/2017/07/gessato_blog_new_logo-1-1.png", "https://www.gessato.com/wp-content/uploads/2017/07/gessato_blog_new_logo-1-1.png", "https://www.gessato.com/wp-content/uploads/2022/06/assembly-art-space-museum-catskills-16.jpg", "https://www.gessato.com/wp-content/uploads/2022/06/assembly-art-space-museum-catskills-14.jpg", "https://www.gessato.com/wp-content/uploads/2022/06/assembly-art-space-museum-catskills-9.jpg", "https://www.gessato.com/wp-content/uploads/2022/06/assembly-art-space-museum-catskills-7.jpg", "https://www.gessato.com/wp-content/uploads/2022/06/assembly-art-space-museum-catskills-4.jpg", "https://shop.gessato.com/wp-content/themes/GessatoShop/images/mvbe.svg", "https://shop.gessato.com/wp-content/themes/GessatoShop/images/mvbe.svg", "https://www.gessato.com/wp-content/uploads/2020/06/instagram-gessato.png", "https://www.gessato.com/wp-content/themes/merchandiser/images/loader.svg" ]	[]	[]	[ "" ]	null	[ "admin" ]	2022-06-16T12:04:53+00:00	Mexican artist Bosco Sodi and designer Luci Corredor founded Assembly, a new contemporary art space and museum in Monticello, New York >	en	https://www.gessato.com/…0/02/favicon.jpg	Gessato	https://www.gessato.com/assembly-art-space-museum-catskills/	A contemporary art space and museum opened in the quiet town of Monticello, Sullivan County. Brooklyn-based Mexican artist Bosco Sodi and designer Lucia Corredor founded Assembly in 2022 in an industrial space, a restored Buick leadership in Monticello, Sullivan County, New York. Mexican architect Alberto Kalach renovated and redesigned the building that now serves as an art gallery and museum, but ultimately as a welcoming hub for local and international artists along with members of the town’s community. Sponsored by the non-profit Foundation for the Mexican Art and Culture, Assembly focuses on promoting the work of contemporary artists. Beyond the aim of creating a vibrant cultural community, the opening of the gallery also brought a glimmer of hope to an area that has largely remained neglected. The space revitalizes Monticello’s Broadway street. Like its name suggests, it also aims to become a community-driven place where people gather to learn, collaborate, and create. Assembly follows on the footsteps of Sodi’s previous project, Casa Wabi, which we’ve featured here. While the Tadao Ando-designed retreat and art center welcomes creatives in a tranquil, laid-back landscape on a beach in Oaxaca, Mexico, this art space in NY has a more neighborly feel, with residential buildings and shops spread across the street. Both spaces have exhibition areas and offer access to a range of educational events and workshops. A thought-provoking exhibition. To mark the launch of Assembly, the founders organized a special exhibition. The show highlights one of the art world’s darkest secrets: the huge amount of artworks that remain hidden in storage. Curated by Dakin Hart, Assembly 1: Unstored introduces art lovers to a series of artworks previously trapped in a state of “suspended animation” in the artists’ studios. Set free in Assembly, these hidden but cherished pieces put a new twist on the concept of exchanging ideas.
6840	dbpedia	1	93	https://shelleysackett.com/2024/05/	en	InSights	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Toni-Stone-HTC-05-24-003-scaled-1.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Toni-Stone-HTC-05-24-032-scaled-1.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Toni-Stone-HTC-05-24-154-copy-scaled-1-735x1024.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Toni-Stone-HTC-05-24-167-copy-scaled-1-683x1024.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Blueys_Big_Play_22-12-20_Opening_Night_Review_Pics_0017-1024x576.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Touching-the-Void-1024x780.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Touching-the-Void1-1024x758.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Touching-the-Void2-1024x744.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Touching-the-Void3-1024x768.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/alvinAiley1-1024x768.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/alvinAiley2-1024x819.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/alvinAiley3-1024x768.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/alvinAiley-1-1024x717.jpg", "https://jewishjournal.org/wp-content/uploads/2024/05/p11_canvas.jpg", "https://jewishjournal.org/wp-content/uploads/2024/05/p11_Star-of-David-NecklaceJPG-231x400.jpg", "https://jewishjournal.org/wp-content/uploads/2024/05/p11_Addis-Neger-400x400.jpg", "https://jewishjournal.org/wp-content/uploads/2024/05/p3_JCC-film-fest.jpg", "https://jewishjournal.org/wp-content/uploads/2024/05/p12_dybbuk2.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/04/Strange_Loop_0035-edited-scaled-1-1024x683.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/04/Strange_Loop_0065-edited-scaled-1-1024x683.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/04/Strange_Loop_0326_WEB_ONLY_DO_NOT_PRINT.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/04/Strange_Loop_0173-edited-scaled-1-1024x683.jpg", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[ "Shelley A. Sackett" ]	null	8 posts published by Shelley A. Sackett during May 2024	en	https://s1.wp.com/i/favicon.ico	InSights	null	By Shelley A. Sackett Toni Stone, the subject and title of playwright Lydia R. Diamond’s new drama, has one helluva story to tell. As played by the pitch-perfect Jennifer Mogbock, she is also one helluva terrific storyteller and more than up to the task of narrating the events of her remarkable life. Which is a good thing, because “Toni Stone,” now at the Huntington, ran almost three hours (with a long intermission and delayed start) on opening night last Wednesday. Even before the house lights have dimmed, Collette Pollard’s exciting set has placed us smack in the middle of a baseball field, surrounded by bleachers, scoreboards and night lights. Mogbock, a spitfire of energy and physicality, practically leaps onto the stage. A ball rolls slowly on the ground towards her, and she bends down to pick it up. “The weight of the ball in the hand and the reach,” she announces matter-of-factly as she tosses it in the air. “What this is is what boys are to that girl. This is what I need.” This — baseball in all its statistical, scientific, and athletic glory — is also what she knows, “maybe better than that girl knows boys.” Disarming, genuine, and boundlessly enthusiastic, Stone shares her life’s highlights, from her birth in West Virginia to growing up in St. Paul, Minnesota, to becoming the first woman to play baseball in the Negro Leagues. Every step of the way, her single-minded determination to achieve her dream of playing professional baseball lit her path. Overcoming daunting racial and gender barriers, she landed the second base roster spot with the Indianapolis Clowns, taking Hank Aaron’s place when he moved up to the majors in 1953. Stone’s job, she tells the audience, is to tell her story so history doesn’t forget. The audience’s job, she implies, is to remember it. And to pass it on. With that, the rest of the team bursts onto the stage. Stone introduces them one by one, and then they perform the first of several fabulous dance/acrobatic acts (choreographed by Ebony Williams with original music from Lucas Clopton). These top-notch numbers are a welcome break from the sometimes long stretches of dialogue and give the cast a chance to break loose and shine. Mogbock is the only woman in the 11-member ensemble, and the ten actors take on individual characters as well as Clown teammates. As Millie, a prostitute who befriends Stone and tries to instill some femininity into the baseball-statistic-obsessed tomboy, Stanley Andrew Jackson is a sublime showstopper. Others play Stone’s parents, manager, coach, and husband. With a simple announcement (“He’s white”) and hand gestures, the all-Black cast also takes on white racist characters in subtle but dramatically powerful ways. Through sometimes chronologically disjointed scenes, Stone connects the dots of her personal timeline and, along the way, emotionally connects with the audience. By the end of the play, we don’t just know Stone; we adore her. She is a complex character, as insecure and flighty socially and intellectually as she is confident and down to earth about her knowledge of and ability to excel at baseball. As an athletically gifted kid in St. Paul, she excelled at every sport she tried. When her mother steers her towards more “ladylike” sports like figure skating (cute skirts), she easily wins the top city-wide competition and then begs to go back to the sport she really loves. She hated school both because she was bored and because the teachers pigeon-holed her as mentally impaired, misunderstanding her inability to process social cues and making her feel even more isolated and alone. (“When someone tells you there’s something wrong with your mind, you believe them,” she explains). Yet, there’s nothing wrong with her mind when she’s thinking about a topic that interests her. As she argues with coaches about strategy, spouts baseball card statistics like an AI app, and describes baseball in terms that are poetic and metaphysical, she more than holds her own as confident, shrewd, and articulate. While Diamond keeps the story light and focused on Stone’s journey, she by no means avoids the harsh realities of racism and misogyny in the 1950s. Stone was shunned and harassed by many of her teammates and was deliberately trampled when defending second base by opposing team members who wanted to “take out that woman.” At the same time, she and her teammates share more than the same uniform. They are keenly aware that white team owners are using them both to make money and to make the white teams look superior by having them lose in rigged games. After all, and lest they forget their place, the team’s name, “Clowns,” is branded on their uniforms. Like the Reconstructionist era blackface minstrel “entertainment,” they are supposed to, above all else, entertain. “They know we know what they’re doing to us,” Stone says just as Act I ends. “But we still make them laugh.” Because that’s the only way a Black person or woman could play baseball in a white male world: by playing “their” game by “their” rules. And at the end of the day, the player’s desire to play ball is greater than their pride. The second act (thankfully shorter and tighter) covers a lot of ground. Stone marries and retires from baseball when she ends up spending more time sitting on the bench than playing. She spends a year being a good housewife and then becomes a nurse. Although Diamond drops the ball on dramatic pacing and content at the end, Stone’s words (and Mogbock’s flawless performance) leave the audience with a semblance of closure. “There it is,” she says, summing up her life’s story. “I did a thing. Between the weight of a thing and the reach, there is breath. And in that breath is life.” She pauses, looking straight at the audience and melting the proverbial fourth wall. “I reached.” ‘Toni Stone’ — Written and Directed by Lydia R. Diamond. Inspired by “Curveball: The Remarkable True Story of Tony Stone” by Martha Ackmann. Presented by the Huntington, in an arrangement with Concord Theatricals on behalf of Samuel French. At the Huntington Theatre, 264 Huntington Ave., Boston, through June 16. For more information and to buy tickets, visit https://www.huntingtontheatre.org/ “Bluey’s Big Play” — Story by Joe Brumm. Music by Joff Bush. Presented by BBC Studios and Andrew Kay in association with Windmill Theatre Co. at the Boch Center Wang Theatre. Run has ended. By Shelley A. Sackett It’s true what they say about grandparenthood — there is nothing like it. There are so many things you didn’t even consider doing when childcare duties sucked your days dry of time and energy. But now that those children are grown and have children of their own (and are willing to drive them to meet you at the theater!), the opportunity to not just attend but actually enjoy such events as “Bluey’s Big Play” are the payoff. Which I cashed in last Saturday with my Bluey-obsessed three-year-old grandson. We had a blast. The theatrical adaptation of the Emmy® award-winning children’s television series follows the Heeler family through a full day from sunrise to bedtime. Bluey and Bingo work to keep their dad, Bandit, from reading on his phone. Bluey and his mom, Chilli, talk about his being a good example as a big sister to Bingo. The 45-minute show is approximately as long as six regular “Bluey” episodes, which, although it seemed short by adult standards, was the perfect attention span bandwidth for the preschool crowd. When the lights first went down, a short section set to the familiar music of “The Weekend” with marionette bird puppets was a delight. A family of three birds enchanted with their charming dances and interactions. It was, frankly, magnificent. The puppetry was terrific, and the ambiance was magical, especially when a flock of smaller birds swept across the stage, creating shadows in the sky and on the walls. The audio track for “Bluey’s Big Play” was prerecorded by the voice actors from Bluey, and each character in the show was represented onstage by human-sized puppets. Each puppet requires at least one puppeteer to operate its facial expressions (eyes and eyebrows) and arms, while at times, a second puppeteer is needed for actions that control its legs and tail or to add and remove props from the puppet’s hands. Unfortunately, the puppeteers were very obvious, unlike the recent Daniel Tiger live show, where adults donned life-sized costumes. My grandson’s first comment was, “They’re stuffies (stuffed animals).” There was no mistaking this Bluey show for the real McCoy. Nonetheless, the plotline was easy enough to follow, the lessons important ones to take away. And the swag and free pre-show ice cream added a special touch. But the most special treats came after the story ended. Giant balloons were tossed into the audience and they made their way from row to row as kids (and their parents and grandparents) did quick catch and releases. The final extravagance were bubble cannons that shot geysers of bubbles into the air. Not one child — or adult — left the theater without a wide smile on their face. ‘Touching the Void’ — Based on the book by Joe Simpson. Adapted by David Greig. Directed by Danielle Fauteux Jacques. Scenic and Sound Design by Joseph Lark-Riley; Lighting Design by Danielle Fauteux Jacques; Movement Choreography by Audrey Johnson. Presented by Apollinaire Theatre Company at Chelsea Theatre Works, 189 Winnisimmet St., Chelsea, through May 19. By Shelley A. Sackett Touching the Void is special on so many levels. Presented in the intimate Chelsea Theatre Works theater, director Danielle Fauteux Jacques has done a brilliant job of creating multiple settings (including the side of a mountain in the Peruvian Andes!) with minimal fuss and to maximum effect. The four actors (Patrick O’Konis as Joe, Kody Grassett as Simon, Zach Fuller as Richard, and Parker Jennings as Sarah) are equally stellar, and David Grieg’s script is meaty and engaging. The real star of the play, and an unfortunate rarity these days, is the plot-driven narrative. It is based on climber Joe Simpson’s memoir of his near-death climbing experience, a thrilling and engaging story. There is even a surprise twist ending, which Jacques reveals in a deliciously sly and clever fashion after the curtain falls when the audience least expects it. Even before the play officially starts, the mood is set. A blond, sullen woman, clad in a leather jacket and boots strolls onto the stage. Her mouth is down-turned. She holds an unlit cigarette, sits alone at a booth in a casual pub, gets up to put a song on the jukebox, and sits down again. She nods, looks at the table, and sighs. Jennings is captivating; it’s not easy to stay in character in a vacuum. The effect, thanks also to Jacques’ spot-on lighting, is like a Hopper painting come to life. We learn she is Sarah, Joe’s sister. Joe, we also learn, is presumed dead. She has just come from his body-less wake. Enter Simon, who survived the climb, and Richard, the base camp manager. She insists on hearing the entire story of the climb, from its planning phase in this very “climbers’ pub” to the moment when Simon cut Joe loose, leaving him to perish in a crevasse. She wants to understand what drew her brother to take such a risk. She has to experience the climb as he did to do that because she doesn’t believe he is really dead. Simon and Richard agree to relive the journey with her, and their story, relayed through Sarah’s non-climber eyes, is an enormous one, packed with insight, triumph and peril. It’s also a golden opportunity for director Jacques and sound designer Joseph Lark-Riley to strut their stuff by turning the small stage from the pub to an Andean peak — complete with crunching snow and howling winds that whip the climbers like flags— and back to the pub again. We witness all this in hindsight and by the end, we share Sarah’s doubt about whether Joe really perished. (No spoilers, but the answer awaits over snacks and drinks in the lobby). Simon accommodates Sarah’s need to know how her brother lived, not just how he died. He shows her how to climb, painstakingly using chairs and tipped tables to improvise the feeling and rush of the climb. Only after she can relate on a visceral level does the storytelling begin. Back in 1985, Simon and Joe were experienced Alps climbing buddies who wanted to be the first to climb the West Face of the Andean Siula Grande mountain. Alpine style, which means without extra gear or yuppie brand name accoutrements. “Two men, a rope and the abyss. It’s beautiful, but it’s dangerous,” Joe explains. Accompanied to base camp by their site manager, the amusing and irritating navel-gazer, Richard, the two set off on their impossibly low-tech journey. They make it up, but on the descent, Joe shatters his leg and then disappears over a cliff. With rescue an impossibility and faced with freezing winds and certain death if he didn’t immediately begin his own descent, Simon makes a gut-wrenching decision. Act I ends with him cutting the rope that tethers him to his partner. Act II opens with Joe, alive, incredulously realizing his situation. He is as devastated by his physical problems of having a shattered leg and being at the bottom of a snow abyss as he is psychologically by the reality that his partner cut him loose to save himself. Suddenly, Sarah is by his side, coaxing him on, helping him inch his way out of this Dante’s frozen circle of hell. Is Joe hallucinating? Is Sarah imagining herself by her brother’s side? While the agony of Joe’s navigating his slow descent sometimes feels tedious and overdrawn, trust me — it will all make sense in the end. Touching the Void is an abundance of theatrical pleasures, most notably the performances by the four actors. As Joe and Sarah, Jennings and O’Konis are simply perfect. Fuller imbues Richard with just the right balance of goofiness and competence, and Grassett brings an arm’s length sang froid to Simon that leaves us guessing whether there might not be a few nefarious skeletons in his closet. If you enjoy theater that makes you think and inspires post-show conversation and debate, then this play is a must. Besides marveling at an inspiring production, you are guaranteed to leave wondering how this story could possibly be true. For more information, visit apollinairetheatre.com By Shelley A. Sackett There is always a special buzz in the air before the curtain rises on an Alvin Ailey American Dance Theater performance, but at Saturday’s matinee, the packed house was positively gaga with anticipation. They were not disappointed. For over two hours, the company thrilled its audience, leaving it enraptured and standing in a deafening ovation. Presented by Celebrity Series of Boston at the queenly Boch Wang Theatre, five performances offered three programs: “Ailey Classics,” and two programs featuring new productions by other choreographers. All ended with the full production of Ailey’s signature work, Revelations. “Ailey Classics,” Saturday afternoon’s three-act program, was a brilliant curation of excerpts from eight of Ailey’s jazzy pieces. The first dance, Memoria, is elegant and delicate. Ailey composed it in 1979 as a tribute to his deceased colleague, Joyce Trisler, and there is an otherworldly translucent quality to his choreography. The curtain rises on a Tiffany blue background, a soloist in a flowing white dress flanked by two male companions in purple pants and billowing white shirts. Keith Jarrett’s abstract “Runes” (Charlie Haden’s bass is delicious) adds to the drama and flow as the ensemble encircles and wanders through the triangle of the three principal dancers. The ghostliness of the costumes, beauty of the movement, and entrancing emotiveness of the soloist leaves the audience tingling. Movements II and III of Night Creature (1974) change the mood from ethereal to earthbound and earthy. Set to Duke Ellington’s snappy music, this piece featured Constance Stamatiou as a saucy, sexy flapper who sets the tone and commands our attention. Set in the night world of vintage jazz clubs, the piece is playful and steamy, a toe-tapping delight. A large ensemble struts, leaps and slinks through swing and jitterbug dance moves as they toy with each other and the audience. The star-burst finale is Ailey at his most brilliant. After a brief intermission, a Pu Pu Platter of bite-sized Ailey excerpts maintains the crackle and pop. Pas De Duke (1976) showcases Ellington’s infectious melodies and a charismatic couple, she dressed in a black vest and tight pants, he in a Travolta-worthy white suit. They are synchronicity personified as they cavort in front of a backdrop of pop art bubbles reminiscent of a lava lamp. The program continues with music that is conducive to narrative storytelling. Maskela Langage (1969; ‘Morolo’ by Hugh Maskela) is based on the music of the South African trumpeter Hugh Masekela. It is set in a bar—but the bar itself is in a kind of no men’s land. There is an element of sadness and despair in the way a hot mama dispassionately lures three men to dance with her. At the time he created the piece, Ailey apparently wanted to draw parallels between the era of South African apartheid and the race-induced violence of 1960s Chicago. Love Songs (1972; ‘A Song for You’ by Leon Russell) offers an emotional journey through love and longing, set to a song recorded by Donny Hathaway. Side lit against a black screen, the solo dancer is lyrical and poignant. With For ‘Bird’ — With Love- Excerpts 1 and 2 (1984), Ailey pays tribute to the great Charlie Parker, the now-legendary alto-saxophonist known familiarly as Bird and after whom the jazz club, Birdland, was named. With a disco ball, a big crowd of exotic dancers clad in sparkling beaded costumes and feathered headdresses, and music by Coleridge-Taylor Perkinson, Ailey magnificently recreates the Harlem jazz scene. The dancers, like characters in a musical number from a vintage era film, seem to emulate Parker’s style, swinging and glamming with smooth ease. Excerpt 2 is giddy pleasure, with costumes of red jumpsuits, tails and dancing stick, white suits and red dresses. It is color, joy, and the excitement of top-notch dancing. When Alvin Ailey started in 1958, he envisioned a company dedicated to enriching the American modern dance heritage and preserving the uniqueness of the African American cultural experience. Since then, his troupe has continued for 66 years with only three artistic directors, the most recent (Robert Battle) since 2011. Of its 32-member ensemble, many have been with the company for more than ten years. Stability and continuity are hallmarks of the Alvin Ailey company. So is ending its performances with Ailey’s 1960 masterpiece, Revelations. Even before the second intermission was over, the audience was writhing in anticipation. Like concertgoers who want to hear their musical idols sing the hit song they know all the words to, these Alvin Ailey groupies were primed and ready. With the first notes of the hauntingly beautiful spiritual “I’ve Been ‘Buked,” they were clapping. By the time the curtain rose a few moments later, they were cheering loudly. And for good reason. Ailey’s classic is a wonderous tapestry of universal themes, emotion, symbolism and — of course — mind-bogglingly exquisite dancing. No matter how many times I have seen it, it never gets old and it never gets boring because I always notice something for the first time. Revelations somehow manages to combine the comfort of greeting an old friend with the delight of discovering something new about them. Divided into three sections, the 36-minute piece was inspired by Ailey’s “blood memories” of growing up in rural Texas during the American Civil Rights Movement of the 1960s. “Pilgrim of Sorrow” is an appeal to God for relief from sorrow and destitution; “Take Me to the Water” represents baptism and the welcoming to the church as a full member; and “Move, Members. Move” depicts a traditional Southern Baptist church service. Four pieces in particular resonated on this most recent viewing. “I’ve Been ‘Buked” opens as a mass of dancers fitted together into a fluid triangle that rises and falls, a pulsating, breathing organism. I never cease to be amazed by the “wow” factor of this use of space and bodies and by the grace and plasticity of the dancers’ arms. “Fix Me Jesus” is a gorgeous duet that ends in a breathtaking arabesque. Three men race around the stage in “Run Sinner Man.” Their muscular moves against a backdrop of pink and red satanic flames heighten the feeling of frenzied entrapment. In “You May Run On,” those delightful fan-flicking congregational women are a swarm of bees, gossiping and forming fluid cliques. Like hens coming home to roost, they carry their milking stools and fans, plopping themselves down whenever and wherever they please. The effect is charming. Notwithstanding the above, Revelations really is a piece that must be experienced live to be understood and appreciated. Reading (and writing) about it is simply no substitute. Its passion and power are palpable. The choreography, with its thrilling athletic leaps, cheery jubilance and tender pas de deux, is peerless. Its ten individual dances, from “I Been ‘Buked” to “Rocka My Soul in the Bosom of Abraham,” are stand-alone masterworks. Strung together as a story that is both timeless and timely, it is a magnum opus that must be witnessed live — again and again. Just ask anyone who was at the Saturday matinee. Thanks to the Celebrity Series of Boston, Alvin Ailey American Dance Theater makes an annual visit to Boston. If you missed it this year, promise yourself you won’t make the same mistake in 2025. Alvin Ailey American Dance Theater. Presented by Celebrity Series of Boston. At Boch Center Wang Theatre through May 5. For more information, go to www.celebrityseries.org/ By Shelley A. Sackett SALEM – “Ethiopia at the Crossroads,” the impressive new exhibit at the Peabody Essex Museum through July 7, celebrates the extraordinary artistic traditions of Ethiopia from their origins to the present day. Co-organized by the Walters Art Museum and the Toledo Museum of Art, the sensory-rich show presents a collection of over 200 objects, ranging from antique painted religious icons, illuminated manuscripts, gospel books, coins, metalwork, and carvings to modern photographic, textile, and multimedia works by contemporary artists. As the first major touring exhibition to examine Ethiopian art in a global context, its curators wisely added many roadmaps that describe and illuminate this often-overlooked African nation’s contribution to the world. Seated in the Horn of Africa between Europe and the Middle East, Ethiopia has played a profound foundational role in the evolution of the region’s history, creativity, and cross-cultural exchanges over two millennia. It has the distinction – despite upheavals – of maintaining its independence as one of the only African nations to resist colonization. Religious art, in particular, emphasizes the outsized role Ethiopia played in the establishment and evolution of the three major Abrahamic religions: Judaism, Christianity, and Islam. Most striking is the place Judaism played in this mix. Prior to the arrival of Christianity, many people in Ethiopia practiced Judaism, perhaps linking back to the meeting of the Ethiopian Queen of Sheba and King Solomon of Israel in the 10th century B.C.E. Known as Beta Israel, the Jewish community in Ethiopia has persisted for over 2,000 years. Most of the Beta Israel community immigrated to Israel in the 1980s and into the 1900s when political destabilization, famine, and religious persecution threatened the country. Operations Moses (1984), Sheba (1985), and Solomon (1991) airlifted over 80,000 Ethiopian Jews to Israel. Nonetheless, the union between Sheba and Solomon yielded a line of Ethiopian kings that lasted until its last emperor, Haile Selassie, was overthrown by a coup d’état in 1974. In the 20th century, Jewish community members produced objects in diverse media that alluded to Ethiopia’s Jewish origins. Two large panels depict a graphic novel-type chronicle of the Queen of Sheba (known as the Ethopian Queen Makǝdda) and King Solomon conceiving King Mǝnilǝk I, the first ruler in a Solomonic line of Ethiopian kings. These epic works (vibrant tempera paint on cotton canvas mounted on board) detail Mǝnilǝk’s journey as an adult to Israel in order to meet his father, King Solomon. His envoy returned to Israel two years later, with the Ark of Covenant, a sacred relic containing two stone tablets inscribed with the Ten Commandments. That ark is said to be located in Ethiopia today, at a church in Aksum. Nearby is a silver necklace crafted by a Beta Israel artist. A stunning pillow sham, created by Yederesal Abuhay, depicts two rabbis and their students in front of a synagogue. In the 1990s through the 2010s, the North American Conference on Ethiopian Jewry created a work program for Ethiopian Jews living in Addis Ababa. With the support of this program, Jewish Ethiopian artists created basketry and textile objects, like this pillow sham that also can double as a Shabbat challah cover. PEM is known for its groundbreaking approach to exhibits, and “Ethiopia at the Crossroads” is no exception. An introductory video provides a panorama of the country’s majestic geography and local inhabitants, including a Jewish man wearing tefillin, kippah, and praying outdoors. A trio of scratch-and-sniff cards invites the visitor to inhale the scents of berbere, frankincense, and Ge’ez manuscripts representing the history and literature of the Ethiopian Orthodox Church. Audio-visual displays highlight Ethiopia’s unique sights and sounds and showcase members of the local Ethiopian diaspora community, which includes an estimated 12,000 people in the Greater Boston area alone. Most striking are the contemporary artworks. Multidisciplinary mixed media collages by Helina Metaferia feature women adorned in elaborate headdresses with messages of resistance and change. Six exciting photographs by Aïda Muluneh combine thought-provoking observations on multigenerational traditions and transitions among Ethopia’s women with a keen sense of design, color, and technical acumen. The first African woman to serve as a commissioned artist for the Nobel Peace Prize, Muluneh’s work questions assumptions about spirituality, mortality, divisions, and community. She draws inspiration from folklore, religious icons, and memories of her grandmother. “These photographs express what it is to be an African woman by encapsulating gender and identity as a celebration of contemporary self-expression. As the first contemporary Ethiopian artist to have her work acquired for PEM’s collection, Muluneh raises awareness of the impact of photography in shaping cultural perceptions,” said Karen Kramer, PEM’s Stuart and Elizabeth F. Pratt curator of Native American and oceanic art and culture. Θ For more information and tickets, visit pem.org. By Shelley A. Sackett MARBLEHEAD – Film fans of the North Shore and neighboring communities will be brought together once again by the International Jewish Film Festival and its carefully curated selection from around the world. Uniquely inspired by Jewish history, culture, and values, all films will be screened at Cinema Salem. Sponsored by Sharon and Howard Rich and Leslie and Bob Ogan, the 11th annual festival runs from May 2-23. Opening night tickets are $20 (includes popcorn and a drink) and closing night is $25 (includes an ice cream reception). All other screenings are $15 with discounted ticket packages available. Cochairs Izzi Abrams and Michelle Myerson and 14 committee members worked tirelessly to create a well-balanced lineup of 10 feature films. The lineup includes documentaries, a comedy, a political thriller, and several dramas set during the Holocaust. This year, there is also an evening of six short films. Four documentaries offer unique glimpses of Jews and Jewish life. “Remembering Gene Wilder” pays affectionate homage to the extraordinary actor and his legacy both on screen and off. Director and cowriter Glenn Kirschbaum will introduce the film and facilitate a Q&A after the screening. The film is scheduled for May 2 at 7 p.m. A humorous and nostalgic tribute to what became known as the Borscht Belt, “The Catskills” features interviews with former waiters, entertainers, and dance instructors, and the best shtick its renowned stand-up comedians can still offer. The film provides an historical overview of early 20th century Jewish immigration to New York and the development of this lavish vacation destination. (May 10, 1 p.m.) “Children of Peace” follows the personal stories of a group of dreamers who embarked on a utopian experiment in the 1970s, giving birth to Neve Shalom – a village envisioned as a model of harmonious coexistence between Arabs and Jews. This film delves into the experiences of the children who came of age in this extraordinary setting, and how they now – as adults – grapple with the harsh realities of political turmoil, war, and societal segregation. (May 15, 7 p.m.) Rounding out the doc category is “Call Me Dancer,” the story of Manish, a young Mumbai street performer who – despite the family and financial odds stacked against him – achieves his dream of becoming a professional dancer with the help of Yehuda Maor, an Israeli ballet teacher who takes him under his wing. (May 23, 7 p.m.) Three films set during the Holocaust focus on personal stories of both Jews and non-Jews. The sublimely shot and scored “Zone of Interest,” winner of the 2024 Academy Awards for Best International Feature Film and Best Sound, is loosely based on the 2014 novel by Martin Amis. It follows the banal and privileged existence of Auschwitz commander Rudolf Höss and his wife Hedwig as they build an idyllic life for their family in the 1940s only yards away from the prison camp and crematoria where atrocities are heard but never seen. (May 5, 7 p.m.) Based on the Cinderella folktale, “Stella. A Life.” is the story of a German-Jewish refugee who flees to Scotland in 1937 and, incognito, finds work at the country estate of a fascist noble, where she is accepted and even falls in love. Desperate to find her parents, Stella struggles with relationships, home, and identity. (May 17, 1 p.m.) On a similar note, “Love Gets a Room,” inspired by true events during the 1942 Nazi occupation of Poland, is the romantic story of a Jewish stage actress who must decide between staying with her lover and escaping the Warsaw ghetto. (May 22, 7 p.m.) On May 8 at 7 p.m., the festival switches gears with “A Night of Shorts,” a showcase of six exciting and thought-provoking short films from across the world, including the 2024 Academy Award nominated, “Letter to a Pig.” The political thriller, “Shoshana,” is inspired by real events. Set in 1930s Tel Aviv – then a new European Jewish city being built on the shores of the Mediterranean – romance, espionage, and violence converge to create a suspenseful and personal time capsule of that dramatic time in Israel’s history. (May 19, 1 p.m.) Finally, on lighter notes, two comedies complete the menu. “Yaniv” is a madcap and absurd tale that unpacks Jewish identity, male friendship, and public education – all in one lighthearted package. After funding is cut for the school musical, a high school teacher in the Bronx resolves to earn it back by recruiting a fellow statistics teacher (who is secretly a card counter and recovering gambling addict) to cheat at an underground card game run by the Hasidic Jewish community. Special guests Amnon Carmi (producer, director, and cowriter) and Benjamin Ducoff (producer, lead actor, and cowriter) will be joining live to introduce the film. (May 4, 1 p.m.) “No Name Restaurant” chronicles a whimsical road trip. When ultra-Orthodox Ben, from Brooklyn, sets out to rescue Alexandria, Egypt’s dwindling Jewish community, he finds himself marooned in the Sinai Desert. His last glimmer of hope rests with Adel, a gruff Bedouin in search of his lost camel. At first, they clash over cultural misunderstandings, until Adel’s broken-down truck unites them in a fight for survival. (May 14, 1 p.m.) Θ For more information and to buy tickets, visit jccns.org. Igor Golyak, founder and artistic director of Arlekin Players Theatre, was an 8-year-old growing up in Kyiv – then part of the Soviet Union – when his family gave him news that would change the trajectory of his life. They told him that he was Jewish. Because the practice of Judaism was suppressed by the state, Golyak had never even heard of Jews. His family moved to Boston in 1990 when he was 11 and – other than returning to Moscow to study theater after graduating from high school – he has called the area home since. In 2009, he founded Arlekin Players, a Needham-based company of mostly Jewish immigrants from the former USSR. It has risen to national and international acclaim, especially since the pandemic and the launch of its ground-breaking Virtual Theater Lab in 2020. The New York Times recently cited Golyak as “among the most inventive directors working in the United States.” Although Golyak has said he never thought he would be a “Jewish theater director,” the company has increasingly presented works that underscore themes of immigration, antisemitism, displacement, and Jewish cultural and religious identity. “It’s what’s happening in our world and in my community. I’m Jewish. These are things that I’m trying to understand. These ideas and questions have captured my attention, my imagination and, at least right now, is what’s compelling to me,” he told the Journal by email. Right after the Oct. 7 Hamas attack, Arlekin Players launched its Jewish Plays Initiative with the goal of shedding light on voices and stories that aren’t being heard; on pain points that are misunderstood; on ideas that are silenced; and on the “beautiful culture of a people that needs to be shared and celebrated.” “The Dybbuk,” its latest project, was adapted by Golyak and Rachel Merrill Moss and will celebrate its U.S. premiere in partnership with the Vilna Shul, Boston’s Center for Jewish Culture, from May 30 through June 23. Steeped in Jewish tradition, folklore, and mysticism, “The Dybbuk” – also known as “Between Two Worlds” – is one of the most widely produced plays in the history of Jewish theater. It was written in 1914 by the Russian S. Ansky and is based on the mystical concept from Hassidic Jewish folklore of the dybbuk, a disembodied human spirit that wanders restlessly until it finds a haven in the body of a living person. In Ansky’s work, a young girl’s father refuses to let her marry her lover, betrothing her to another more worthy suitor. The rejected suitor dies of heartbreak, and his spirit enters the body of his beloved. The two eventually reunite supernaturally. It is the account of two suspended souls trapped between two worlds, tethered to each other yet also displaced. To Golyak, the tale of these disoriented young people is particularly pertinent. “Isn’t this where we live? As Jews, as immigrants? It’s where we so often have lived as Jewish people for centuries: between worlds. It’s our story – ancient and mystical, the story of our ancestors, but also our story of living in America today,” he said. While researching “The Dybbuk,” Golyak learned that its original production in Poland was performed by the Vilna Troupe. When he visited the Vilna Shul in Boston for the first time last fall, he was struck by its history, architectural details, and layers of paint, murals, and Judaica. He could feel the company of several generations, from those Eastern European immigrants who built the shul at the turn of the last century to those who use the space today. As the only surviving landmark of Boston’s immigrant Jewish past, he knew it would be the perfect space to share “The Dybbuk.” Elyse Winick, director of arts and culture at the Vilna, hopes the audience will gain a deeper sense of the 1919 shul that is both a performance venue and a living museum. “This is a rare opportunity to synthesize those two aspects of our identity, deepening both the power of seeing the play and the significance of this extraordinary piece of Boston’s Jewish history,” she said by email. “For us, it is as if the souls of the Polish Vilna Troupe have taken refuge in the Vilna Shul and then come forward to share this tale,” Golyak added. Golyak’s professional and personal lives overlap, his Jewish identity informing both. In an October 2023 article for WBUR, he wrote in support of Israel and expressed shock at the silence from others in the theater world. “I don’t know if I am an American, or a Ukrainian, or if I am somehow an Israeli, but I know that I am a Jew,” he wrote. “The more we are hated, the more I feel I am a Jew.” He believes the theater is important as a place where people can experience others’ truths and wrestle with that exposure. “With war, brokenness, displacement, and a rise in antisemitism happening around us, I want to do plays that help us see each other and untangle how we do what we do as human beings,” he said. In a world where unexplainable hatred exists, he is concerned about his children and the future they may face. “They should be proud of their identity. They are part of a people who feel deeply, think wisely, laugh abundantly, innovate and invent, and will always gather and share food, music and stories,” he said. “They belong wherever they are. And no matter what, they can survive and thrive.” Θ For more information and to purchase tickets, visit arlekinplayers.com. By Shelley A. Sackett Playwright Michael R. Jackson, a heavy-set Black queer man, has brought the concept of sharing to a new level in his Pulitzer Prize and Tony Award-winning musical, “A Strange Loop.” The compulsively introspective show, which runs at 100 intermission-less minutes, spelunks into the deepest crevices of the anguished mind of its hero, Usher, a fat, Black, queer man writing a musical called “A Strange Loop” about a fat, Black queer man who’s writing a musical about a fat Black queer man. It’s a crawl through a wormhole rigged with armed psychological and emotional IEDs, self-loathing, and regrets. It’s also a raucous and playful musical, full of humor, harmony, colorful characters, and even more colorful (potty) language. The play opens on Jon Savage’s effective, slick set of eight cubes lit in Broadway blue neon. (The only guidance Jackson’s script offers is to describe the setting as “A loop within a loop within a loop inside a perception of one man’s reality.”) Characters meant to represent Usher’s thoughts stand inside each cube. They dance. They sing. The effect is a cross between “Shindig” and “Hollywood Squares.” We meet Usher (Kai Clifton) as the Thoughts dress him in his professional usher’s uniform. Usher works to make money in a theater where “The Lion King” reigns while he tries to write his play, a “big, Black, queer-ass, American Broadway show.” As he externally prepares to deal with the patrons who will soon flood the theater’s aisles, his mind is busy writing his play. He eagerly shares this work-in-progress with the audience. ““A Strange Loop” will have black shit! All thoughts. And white shit! It’ll give you uptown and downtown! With truth-telling and butt-fucking! There will be butt-fucking!” he belts out with gleeful forewarning. It’s as if Jackson and Usher want to tip off their audience, “This ain’t no Disney musical, and make no mistake, we aim to deliver,” which they do, especially on the last item. Usher leads a complicated inner life. His mind is a six-lane highway where Thoughts criticize, intimidate, denigrate, and insult his every move. Every time he resolves to dig himself out of his miserable routine, his thoughts disrupt and derail his plans. The supporting cast of Thoughts #1-6, donning eye-catching costumes (Becca Jewett), are a vicious gang representing Usher’s agent (Fairweather), his inner cynic (Your Daily Self Loathing) and a host of other unhelpful characters, most notably Mom and Dad. Through these inner/outer conversations between Usher and himself, Usher reveals his quest to peel back the layers of labels (Black, queer, etc.) and discover who he really is. We learn about all the issues he struggles with, including family pressures to ditch his sexual and professional preferences and embrace the Lord and style of Tyler Perry’s gospel melodramas; trying to figure out what it means to be a Black playwright writing a Black play; and struggling with what today’s world requires if one is to be “Black enough” and “gay enough.” He also is coping with the bull’s eye homophobia, fatphobia, racism, and a white theater industry painted on his back. All this should (and does) sound heartbreaking and overbearing. Yet, Jackson manages to pull off a musical that infuses humor and sincerity into a story replete with sadness, desolation, and rejection. Through seventeen songs, Jackson’s lyrics tell a multilayered story of Usher’s angst-ridden life. He longs for the unhampered freedom white girls have, yet also feels obligated to fulfill Black boy stereotypes (“Inner White Girl”). His doctor tells him he’s not gay enough because he’s only having sex once a year, but when Usher starts using dating apps, the result is predictably humiliating. He meets an engaging, flirtatious stranger only to discover he is a figment of his imagination. The list of disappointments and rejections grows longer. His mother calls him on his birthday to remind him homosexuality is a sin, and his father asks if he’s contracted AIDS yet. The best scenes, dramatically and musically, are those that have anything to do with Gospel music. When Usher’s agent tells him Tyler Perry is looking for a ghostwriter for his next gospel play, Usher turns up his nose in disgust. His Thoughts accuse him of being a “race traitor,” and in a hilarious scene, historical Black figures persuade him to take the job (“Tyler Perry Writes Real Life”). The full replication of a Tyler Perry set and lyrics that skewer Usher’s parents and parody Tyler (“Precious Little Dream/AIDS Is God’s Punishment”) are a welcome break. The actors’ voices (especially Clifton’s) awaken and strut their range and vibrancy. The lyrics are edgy and funny, the tune snappy and toe-tapping. With the exception of distracting and annoying technical problems with the sound mixing (the actors’ voices were frequently not mic’d) and muffled lyrics, the production is effective, from Maurice Emmanuel Parent’s thoughtful direction to David Freeman Coleman’s music direction and conducting. The six Thoughts shine individually and blend seamlessly as an ensemble. But it is Clifton as Usher who literally carries the weight of the show, and he is more than up to the task. Despite the temptation to wash our hands in frustration with this character who can’t seem to get out of his own way, his unfortunate circumstances notwithstanding), Clifton brings an underlying earnestness and likeability that make it impossible to abandon him. Plus, Clifton lets loose a powerful set of pipes during certain numbers (notably the gospel songs). It’s hard to understand Jackson’s real purpose in writing “A Strange Loop.” It takes its title from a Liz Pfair song and from Douglas Hofstadter’s scientific concept that when a person only moves up or down, they’ll end up where they started. In other words, no matter how far or fast they think they’re going, they are essentially marching in place. Jackson, now 43, said that although his play is not formally autobiographical, he began writing it as a monologue in his early 20s when he was experiencing himself as “nothing more than a mass of undesirable fat, Black gay molecules floating in space without purpose.” He wrote Usher as a 26-year-old under unimaginable pressure. He is full of self-doubt and self-loathing, yet compulsively writes about himself in the belief it will magically change him. The more he plumbs his inner self, the more guilt and shame he dredges up. If writing “A Strange Loop” was meant to be Usher’s psychological catharsis, it misses its mark. After all, Usher’s closing words are: “Someone whose self-perception is based upon a lie, Someone whose only problem is with the pronoun “I.” Maybe I don’t need changing Maybe I should regroup ’Cause change is just an illusion. If thoughts are just an illusion, then what a strange, strange loop.” And maybe that is Jackson’s point, after all. Inside his endless, strange loop of destructive thoughts and desperate hope that he can change who he is, Usher is his own worst enemy. Not only does he see himself as a failure, he assumes that everyone sees him as he sees himself. His illusions are negative delusions. It takes someone outside the loop—an impartial audience, for example—to appreciate that underneath this angsty, meek gay Black man beats the heart of a brave, creative person full of caustic wit and laser-sharp insight. We can only hope that Usher and all those suffering as he does can jump off the treadmill of self-doubt and fear, take a deep cleansing breath, and learn to love and accept themselves. ‘A Strange Loop’ — Book, Music and Lyrics by Michael R. Jackson. Directed by Maurice Emmanuel Parent. Music Direction by David Freeman Coleman. Choreographed by Taavon Gamble. Co-produced by SpeakEasy Stage and Front Porch Arts Collective at the Calderwood Pavilion, 527 Tremont Street, through May 25. For more information and tickets, visit https://speakeasystage.com/
6840	dbpedia	0	30	https://tfaoi.org/aa/8aa/8aa318.htm	en	New York Art History: Books Sampler			[ "https://tfaoi.org/cm/6cm/6cm639.gif", "https://tfaoi.org/cm/11cm/11cm523.jpg", "https://tfaoi.org/cm/11cm/11cm159.jpg", "https://tfaoi.org/cm/7cm/7cm6.gif", "https://tfaoi.org/cm/7cm/7cm6.gif", "https://tfaoi.org/cm/10cm/10cm640.jpg", "https://tfaoi.org/cm/6cm/6cm121.jpg" ]	[]	[]	[ "" ]	null	[]	null					null	New York Art History with an emphasis on representational art Books Sampler, listed by year of publication, with most recently published book listed first (above: Jonathan Scott Hartley (1845-1912), Bust of Nathaniel Hawthorne (1804-1864), Front portico, Library of Congress Thomas Jefferson Building, Washington, D.C. Public domain, via Wikimedia Commons) For Spacious Skies: Hudson River School Paintings from the Henry and Sharon ..., by Kevin Sharp - Art - 2005 - 95 pages. Published in conjunction with an exhibition held at the New Britain Museum of American Art, June 10-Sept. 25, 2005. Tile Club and the Aesthetic Movement in America by Ronald G Pisano, Mary Ann Apicella, Linda Henefield Skalet. Published by Harry N. Abrams, 1999. ISBN 0810929333, 9780810929333. 112 pages Public Sculpture and the Civic Ideal in New York City, 1890-1930, By Michele Helene Bogart. Published by Smithsonian Institution Press, 1997. ISBN 1560987669, 9781560987666. 390 pages Hudson River School: American Landscape Artists, The by Bert D. Yaege. Published by TODTRI, 1996. ISBN 1880908492, 9781880908495. 80 pages. Google Books says: "Presenting concise overviews of artists and movements that are uniquely American, these volumes distill the essence of their subjects with authoritative texts and lavish illustrations. The art of the greatest practitioners of America's first bona-fide art movement, including Thomas Cole, Frederic Church, and Albert Bierstadt, is shown through their romantic yet realistic images." Hudson River School in Private Collections in Georgia, by Georgia Museum of Art - Hudson River school of landscape painting - 1995 Exhibition checklist. Impressionist New York by William H. Gerdts, Published by Abbeville Press, 1994. Original from the University of Michigan. Digitized Nov 14, 2007. ISBN 1558593284, 9781558593282. 224 pages. Google Books says: "In this vivid chronicle of New York during the heyday of Impressionism, the city's history intersects with its art history. Organized geographically - with chapters on Fifth Avenue and Broadway, lower Manhattan, Central Park, the waterfront and bridges, the outer boroughs, and so on - Impressionist New York offers a fresh new way of looking at urban images by the masters of American Impressionism. One hundred full-color illustrations include paintings by such popular artists as William Merritt Chase, Childe Hassam, Maurice Prendergast, and Ernest Lawson as well as striking but less-known work by Colin Campbell Cooper and the Canadian David Milne, plus Impressionist-influenced scenes by Ashcan School artists including Robert Henri and John Sloan. The extensive black-and-white illustrations comprise vintage photographs, etchings, and other historical glimpses of the city. In counterpoint to the text are numerous sidebars - by the artists themselves as well as observers such as Henry James and Frederick Law Olmsted - that offer pungent commentary on the pleasures and perils of metropolitan life. This nostalgic tour around the turn-of-the-century metropolis will appeal not only to the myriad admirers of Impressionism, but also to modern-day New York visitors, city-dwellers, and exiles yearning to recapture the city's past." Master Pieces: The Corning Painters Group, by Arnot Art Museum, Rachael Sadinsky, Thomas S. Buechner - Art - 1990 - 30 pages The Artists of Bronxville, 1890-1930: The Hudson River Museum, October 22 ..., by Barbara B. Buff, Hudson River Museum - Art - 1989 - 28 pages. Exhibition catalog. The Art Commission and the Municipal Art Society Guide to Manhattan's Outdoor Sculpture, By Margot Gayle, Michele Cohen, Art Commission of the City of New York, Municipal Art Society of New York, Published by Prentice Hall Press, 1988. Original from the University of Michigan. Digitized Nov 13, 2007. ISBN 0136202535, 9780136202530. 342 pages The Catskills: Painters, Writers, and Tourists in the Mountains, 1820-1895, Hudson River Museum, 1987, 205 pages Prints and printmakers of New York State, 1825-1940, By David Tatham. Published by Syracuse University Press, 1986. ISBN 0815602049, 9780815602040. 277 pages Public art in Syracuse and Onondaga County, by Elizabeth DeMarco. 32 pages. Publisher: Onondaga County Public Library & Cultural Resources Council of Syracuse and Onondaga County (1985) The New York Etching Club: American Etchings from the Collection of William ..., By Montclair Art Museum, Montclair Art Museum, Maureen C. O'Brien, William Frost Mobley. Published 1979 by Montclair Art Museum. Etching, American. 12 pages. Catalog of an exhibition held at the Montclair Art Museum, New Jersey, Mar. 18-Apr. 29, 1979 The Folk Spirit of Albany: Folk Art from the Upper Hudson Valley in the ..., by Tammis Kane Groft, Albany Institute of History and Art - Art - 1978 - 86 pages New York Civic Sculpture: A Pictorial Guide, By Frederick Fried, Edmund Vincent Gillon, Published by Dover Publications, 1976. Original from the University of Michigan. Digitized Nov 13, 2007. ISBN 0486232581, 9780486232584. 180 pages All Around the Town: A Walking Guide to Outdoor Sculpture in New York City, By Joseph Lederer, Arley Bondarin. Published by Scribner, 1975. ISBN 0684142562, 9780684142562. 243 pages The Roycroft Shops, 1894-1915, By Lynette I. Rhodes. Published 1975 by Erie Art Museum. Crafts & Hobbies/ General. 20 pages. ISBN:0961662387 Water Colors by Eight Syracuse Watercolorists, by Arnot Art Museum - Watercolor painting - 1943. Catalog of an exhibition held Feb. 2-21, 1943. Life on the Hudson: Early 18th Century Painters, by Albany Institute of History and Art - 1943. Catalog of an exhibition held Nov. 4-Dec. 12, 1943. Oil Paintings by "Men of Rebellion", "The Eight." by Arnot Art Museum, Arnot Art Museum - 1940. Catalog of an exhibition held Nov. 1-24, 1940. American Artists' Congress First American Artists' Congress 1936. , New York. 1936, 104p., wraps with traces of handling wear, first edition. Presentations by Lewis Mumford, Stuart Davis, Rockwell Kent, Aaron Douglas, Margaret Bourke-White, Lynd Ward, Max Weber, Meyer Schapiro, Louis Lozowick, Hugo Gellert, Jose Clemente Orozco, David A. Siqueiros and others, from the Congress' proceedings Oil Paintings and Water Colors by the Associated Artists of Syracuse, by Associated Artists of Syracuse, Arnot Art Museum, Arnot Art Museum, Associated Artists of Syracuse - Painting, American - 1934. Catalog of an exhibition held Dec. 30, 1934-Jan. 27, 1935 Oil Paintings by Members of the Faculty of the Grand Central School of Art ..., by Arnot Art Museum - Painting, American - 1930. Catalog of an exhibition held Mar., 1930. Paintings by National Academy Artists, by Arnot Art Museum, Arnot Art Museum - Painting, American - 1927. Catalog of an exhibition held Dec., 1927. Statues of New York, By John Sanford Saltus, Walter E. Tisné. Published by J.P. Putnam's Sons, 1922. 164 pages (above: Oscar F. Bluemner, Street in the Bronx, 1913, 4 3/4 x 7 9/16 inches, National Gallery of Art (USA). John Davis Hatch Collection. Public domain, via Wikimedia Commons) Books about individual artists are not listed here. To find references to exhibition catalogues covering single artists, conduct a search within Resource Library and visit TFAO's Distinguished Artists, a national registry of historic artists.. Return to New York Art History Return to Individual States Art History Project Links to sources of information outside of our web site are provided only as referrals for your further consideration. Please use due diligence in judging the quality of information contained in these and all other web sites. Information from linked sources may be inaccurate or out of date. TFAO neither recommends or endorses these referenced organizations. Although TFAO includes links to other web sites, it takes no responsibility for the content or information contained on those other sites, nor exerts any editorial or other control over them. For more information on evaluating web pages see TFAO's General Resources section in Online Resources for Collectors and Students of Art History. *Tag for expired US copyright of object image: Search Resource Library
6840	dbpedia	3	6	https://www.brooklynmuseum.org/opencollection/objects/1069	en	Brooklyn Museum	https://d38j47429xlmat.c…3362343CB9B4.png		[ "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2/52.16_PS2.jpg", "https://s3.amazonaws.com/brooklynmuseum.org-public/common/ask-logo.png", "https://s3.amazonaws.com/brooklynmuseum.org-public/visit/images/bloomberg_philanthropies.jpg", "https://d38j47429xlmat.cloudfront.net/mobile-uploads/487DDA96-1C38-4E5E-824D-3362343CB9B4.png", "https://d38j47429xlmat.cloudfront.net/mobile-uploads/BC05A5E6-D2AD-4320-A2A1-5C7C0F04AAD0.png", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size1/52.16_PS2.jpg", "https://www.brooklynmuseum.org/images/icons/scale/coffee_cup_blue_192px.png", "https://s3.amazonaws.com/brooklynmuseum.org-public/common/ask-logo.png", "https://s3.amazonaws.com/brooklynmuseum.org-public/visit/images/bloomberg_philanthropies.jpg", 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"https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/38.630_front_PS22.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/40.16_front_PS9.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/40.91_PS11.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.41.1172.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.43.83.1.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.43.83.2.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.43.83.3.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.43.83.6.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/43.83.7_PS20.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.43.83.8.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/43.83.9_PS20.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.43.83.13.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/63.101_PS20.jpg", "https://pixel.quantserve.com/pixel/p-y5mypH32-BCHc.gif?labels=_fp.event.Default", "https://www.facebook.com/tr?id=1108941815895258&ev=PageView &noscript=1" ]	[]	[]	[ "" ]	null	[]	null		en	apple-touch-icon.png		null	A View of the Two Lakes and Mountain House, Catskill Mountains, Morning Thomas Cole American Art Nestled in this panoramic landscape by Thomas Cole is the popular focal point of Catskill tourism—the Mountain House, opened in 1824. The title designates the time to be morning—recalling the fact that Mountain House visitors were routinely roused at daybreak to observe the sun rising over the Hudson River. Set on 300 acres of a high plateau known as Pine Orchard, the resort offered dramatic mountain and valley views. Cole placed the Mountain House within a panoramic expanse that included some of the area’s best-known features, including the distinctive mountain peaks of High Peak and Round Top, and North and South Lakes. MEDIUM Oil on canvas DATES 1844 DIMENSIONS 35 13/16 x 53 7/8 in. (91 x 136.9 cm) frame: 43 13/16 x 61 7/8 x 3 1/4 in. (111.3 x 157.2 x 8.3 cm) (show scale) SIGNATURE Signed lower right: "T Cole / 1844" COLLECTIONS American Art ACCESSION NUMBER 52.16 CREDIT LINE Dick S. Ramsay Fund MUSEUM LOCATION This item is not on view CAPTION Thomas Cole (American, born England, 1801–1848). A View of the Two Lakes and Mountain House, Catskill Mountains, Morning, 1844. Oil on canvas, 35 13/16 x 53 7/8 in. (91 x 136.9 cm). Brooklyn Museum, Dick S. Ramsay Fund, 52.16 (Photo: Brooklyn Museum, 52.16_PS2.jpg) IMAGE overall, 52.16_PS2.jpg. Brooklyn Museum photograph, 2011 "CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object. RIGHTS STATEMENT No known copyright restrictions This work may be in the public domain in the United States. Works created by United States and non-United States nationals published prior to 1923 are in the public domain, subject to the terms of any applicable treaty or agreement. You may download and use Brooklyn Museum images of this work. Please include caption information from this page and credit the Brooklyn Museum. 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6840	dbpedia	0	26	https://observer.com/2024/07/best-exhibitions-2024-upstate-art-weekend/	en	What to See at This Year’s Upstate Art Weekend	https://observer.com/wp-…5.jpg?quality=80	https://observer.com/wp-…5.jpg?quality=80	[ "https://observer.com/wp-content/themes/newyorkobserver-2014/images/observer-logo-2015.png", "https://observer.com/wp-content/uploads/sites/2/2024/07/SamuelleGreenexteriorofCAS3.jpg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/image1.jpeg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/image1.jpeg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/20220614_Foreland_Boathouse_DJI_0045.jpg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/20220614_Foreland_Boathouse_DJI_0045.jpg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/Image-1-Catskill-Art-Space-James-Turrell-Avaar-Photo-credit-Noah-Kalina.jpeg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/Image-1-Catskill-Art-Space-James-Turrell-Avaar-Photo-credit-Noah-Kalina.jpeg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/2019_Basquiat_X_Warhol_-_The_School_03-1400-xxx_q85.jpg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/2019_Basquiat_X_Warhol_-_The_School_03-1400-xxx_q85.jpg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/Bowers-Kaufmann-Repetto.jpg?quality=80", "https://observer.com/wp-content/uploads/sites/2/2024/07/Bowers-Kaufmann-Repetto.jpg?quality=80", "https://observer.com/wp-content/uploads/sites/2/2024/07/70471_ca_object_representations_media_3894_page.jpg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/70471_ca_object_representations_media_3894_page.jpg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/BARD.jpg?quality=80&w=900", "https://observer.com/wp-content/uploads/sites/2/2024/07/BARD.jpg?quality=80&w=900", "https://observer.com/wp-content/uploads/sites/2/2024/07/beacon-exterior-shot-15-photo-bill-jacobson-june-2016.jpg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/beacon-exterior-shot-15-photo-bill-jacobson-june-2016.jpg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/Image-3-Magazzino-Italian-Art.-Photo-by-Montse-Zamorano.jpg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/Image-3-Magazzino-Italian-Art.-Photo-by-Montse-Zamorano.jpg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/Image-3-Assembly-Bosco-Sodi.jpg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/Image-3-Assembly-Bosco-Sodi.jpg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-14-at-9.34.40 AM.png?w=778", "https://observer.com/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-14-at-9.34.40 AM.png?w=778", "https://observer.com/wp-content/uploads/sites/2/2024/07/about-1.jpg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/about-1.jpg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/Image-1-wassaic-project-tall-shadows-2F3A2622.jpg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/Image-1-wassaic-project-tall-shadows-2F3A2622.jpg?quality=80&w=970", "https://observer.com/wp-content/uploads/sites/2/2024/07/20220614_Foreland_Boathouse_DJI_0045.jpg?quality=80&w=970", "https://sb.scorecardresearch.com/p?c1=2&c2=37161820&cv=3.6.0&cj=1", "https://www.facebook.com/tr?id=618909876214345&ev=PageView&noscript=1" ]	[]	[]	[ "" ]	null	[ "Elisa Carollo", "observer.com", "elisa-carollo" ]	2024-07-15T19:37:15	We've compiled a list of some of the best art spaces and program highlights to help you navigate this year's Upstate Art Weekend.	en	https://observer.com/wp-…h-icon-57x57.png	Observer	https://observer.com/2024/07/best-exhibitions-2024-upstate-art-weekend/	Among the July art fairs and festivals you should check out is one that invites culture lovers to head north for a blend of nature and art. We’re talking, of course, about Upstate Art Weekend, which returns this year on July 18 with an extensive schedule of exhibitions and events spanning eleven counties across the Catskills Mountains and Hudson Valley. Yes, it’s a lot, but there’s no reason to drive yourself crazy trying to see everything as fast as possible. Upstate Art Weekend founder Helen Toomer told Observer that the “number one thing to note is that it is impossible to do everything, and I encourage people not to rush. There’s much to see, but it’s also about the journey between participants and the experience of basking in the natural beauty of the area.” Sign Up For Our Daily Newsletter Thank you for signing up! By clicking submit, you agree to our <a href="http://observermedia.com/terms">terms of service</a> and acknowledge we may use your information to send you emails, product samples, and promotions on this website and other properties. You can opt out anytime. See all of our newsletters The key is to do a little research before you go and customize your own itinerary. To that end, we’ve compiled a list of some of the best art spaces and program highlights to help you navigate the rich scene just a few hours’ drive from New York City. And of course, as Toomer reminded us, most of the weekend’s venues are accessible year-round. “If you miss something, we encourage you to return!” The Macedonia Institute at Ten Barn Farm (Ghent, NY) 1142 Co Rte 22 Foreland (Catskills, NY) 111 Water St. Foreland was born from an enlightened real estate initiative that aimed to create an art hub in the Catskills, gathering artists, artisans and commercial tenants together under one roof. With a premier riverside position, the historic structures of the campus are run by a dedicated group of creative thinkers and contractors. Last year, Upstate Art Weekend brought us NADA Foreland. This year, Foreland is hosting an all-day fundraising event on July 20, “Serious Play: A Youth Arts Fundraiser,” conceived as a multidisciplinary journey into the creativity of its tenants. Art Weekend visitors can sunbathe on Foreland’s riverfront, visit their multi-discipline exhibition and experience the interactive conceptual sound installation Open Play in the Tower Stair on the Foreland’s Tower Stair, a six-story, wraparound staircase. Foreland will also host a ceramics exhibition by youth students from Cone Zero and a work by the Columbia Collective, both of which will be presented in Foreland’s Waterfront to democratize the process of making and consuming art. Food will be provided by Seafood Steamery, refreshments will be provided by Frankie’s and a dozen art and cultural partners will have items up for bid in the fundraising auction. RSVP on the website. Catskill Art Space (Livingston Manor, NY) 48 Main St. There’s also a primary art center in the Catskills, the Catskill Art Space (CAS), which presents contemporary art practices of emerging and established artists, fostering creativity within the local community. With very diverse, dynamic programming and high-level presentations, the center has extensive exhibition spaces spanning two floors and four galleries. CAS’s exhibition model is pretty interesting, as it brings together long-term loans from museums of work by internationally renowned artists with a mix of invitational and juried shows, with a particular focus on regional talent. One must-see at CAS is their multi-year presentation of James Turrell’s Avaar from 1982, an essential example of the artist’s early, wall-based “aperture” works installed on the second floor through 2027. The work comes from the collection of the Seattle Art Museum, which has granted CAS a special long-term loan. Catskill Art Space is also presenting an exhibition of video art and photography by pioneering artist Mary Lucier. On Saturday, July 20, CAS will host a “Weekend Chamber Music” (8:15-9 p.m.) dedicated to Water, Land and Life. Jack Shainman Gallery, The School (Kinderhook, NY) 25 Broad St. Jack Shainman Gallery transformed this former school in upstate New York into a contemporary art space in 2013. Located in Kinderhook, NY, it boasts 30,000 square feet of exhibition space, permitting ambitious projects and temporary shows that rotate regularly over the year, shedding new light on artists working within and outside the Jack Shainman ecosystem. The School’s inaugural presentation was a solo show of Nick Cave, featuring fifty new and recent works, including several of his acclaimed Soundsuits. Part of the show was also the 160-foot-long wall piece Truth To Be Told, which covered the facade of the building to address the killing of George Floyd, which at the time sparked public debate after local authorities argued that the text was technically a sign, making it a violation of local code. The community defended the text piece, which was eventually acknowledged as an artwork and so protected under the First Amendment. Following that significant solo presentation, the space hosted a solo show by artist El Anatsui and, most recently, an exhibition focused on Jean-Michel Basquiat and Andy Warhol. Upstate Art Weekend visitors will encounter the summer exhibition “LIE DOGGO,” a monumental solo presentation of work by Nina Chanel Abney featuring a wide range of media she has engaged with in translating her unique visual language from paintings with collages, site-specific murals, an immersive digital art installation and the debut of a new body of large scale sculpture. Chanel’s work has been profoundly influenced by Matisse’s color theories, the legacy of Cubists as Picasso in the simplification and synthesis of forms and Léger for his formal rhythm while connecting with the synesthetic and collage-like sensibilities of Harlem Renaissance artists like Jacob Lawrence. To celebrate the Upstate Art Weekend, The School will host a special cocktail party on Friday, July 19, from 6-9 p.m. The Campus (Hudson, NY) 341 NY-217 A group of New York Galleries including Bortolami, James Cohan, kaufmann repetto, Anton Kern, Andrew Kreps and kurimanzutto have joined forces for this ambitious collaborative project, The Campus, which took over another abandoned former school in Claverack, NY. Vacant since the ‘90s, the 78,000-square-foot Ockawamick School, built in 1951, offers colorfully-painted classrooms, mid-century architectural details and generous natural lighting. The inaugural exhibition opened on June 29 and will run through October 27, connecting new, historical and site-specific works by over eighty artists from all the galleries involved. Curator Timo Kappeller has established a thoughtful conversation between a series of primarily site-specific works and installations, the school’s mid-century architecture and the beauty of the surrounding twenty-two acres. Extending the collaboration, The Campus is also partnering with Titus Kaphar’s NXTHVN project, presenting the work of its Studio Fellows Adrian Armstrong, Alexandria Couch, Eric Hart Jr., Fidelis, Joseph, Jamaal Peterman, Eugene Mackie and Alex Puz in an exhibition organized by Curatorial Fellows Marquita Flowers and Clare Patrick. The Campus will be open Saturday and Sunday, 12-5 p.m. Storm King Art Center (New Windsor, NY) 1 Museum Road Probably the best-known sculpture park in New York State and its surroundings, Storm King Art Center is an extensive 500-acre outdoor museum located in Hudson Valley. Here, you can see large-scale sculptures and site-specific commissions by some of the top names of the contemporary art scene, with nature and an open sky as the only background. Founded and opened to the public in 1960 thanks to the efforts of the late Ralph E. Ogden and H. Peter Stern, co-owners of the Star Expansion Company, based in Mountainville, New York, the site was initially conceived as a museum devoted to the Hudson River School of painting. By 1961, its founders had become committed to modern sculpture and turned it into an impressive sculpture park. Featuring around one hundred large-scale sculptures, Storm King continues to grow and welcome new commissions, loans and temporary exhibitions; most recently, a dome-like brick structure sculpture by Martin Puryear, Lookout, created in collaboration with MIT by drawing on ancient Nubian masonry techniques. There are also some significant long-term loans like Tony Smith’s Source (1967), Louise Nevelson’s Royal Tide 1 (1960) andBarnett Newman’s Broken Obelisk (1967). Storm King is currently hosting an extensive presentation of Arlene Shechet’s sculptural practice, including the artist’s recent work in wood, steel, ceramics, paper and bronze and six new monumental sculptures created for the show. Arlene Shechet’s “Girl Group” runs through November 10. Bard College and Hessel Museum of Art (Hudson, NY) Basilica Hudson, 110 Front Street Time & Space Limited, 434 Columbia Street Hessel Museum of Art, 33 Garden Rd. During Upstate Art weekend, you can visit the Bard MFA Thesis Exhibition, “Off-Site: the Class of 2025.” The show combines the culminating work of third-year MFA candidates in moving images, music and sound, painting, photography, sculpture and writing in two galleries in Hudson: Basilica Hudson and Time & Space Limited (TSL). There’s also the Bard Collection housed in the Hessel Museum of Art, which boasts more than 3,000 works by over 570 of the most prominent artists of the late 20th and 21st Centuries, including Paul Chan, Nan Goldin, Felix Gonzalez-Torres, Robert Kushner, Robert Mapplethorpe, Gabriel Orozco, Cindy Sherman, Lorna Simpson and Rosemarie Trockel. The current show, “Start Making Sense,” brings together highlights from the collection, drawing conversations and connections between the artwork itself and a series of ephemerals and documents that witness the framework where they are presented (exhibitions, institutions, galleries, events, etc.) that will eventually allow them to “make sense.” Also worth checking out are the other summer exhibitions currently on view at the museum, which include the first in-depth examination in the U.S. of Singaporean artist Ho Tzu Nyen and “Time & the Tiger,” which brings together highlights from the collections in five immersive exhibitions that will take you through a cross-historical journey that blends decades of art history, historical events, documentary footage, music videos and mythological narratives. There’s also a fascinating survey of Carrie Mae Weems’s career, “Remember to Dream,” showing the breath of the evolution of her pioneering, politically engaged practice, from the large-scale installations to her bodies of photography. Dia Beacon (Beacon, NY) 3 Beekman Street Dia Beacon is arguably one of the most popular and visited art institutions upstate. Housed in a former Nabisco box printing factory, Dia Beacon offers a unique industrial setting with large, open spaces ideal for displaying large-scale installations and artworks that celebrate the minimalist and conceptual aesthetic, with some big other names of the period, such as the stunning room containing the entire series of Shadows paintings by Andy Warhol. The Dia Foundation celebrates its 50th anniversary this year: it was founded in 1974 by art dealer Heiner Friedrich, his wife Philippa de Menil and Helen Winkler with the mission to support visionary and often large-scale projects by contemporary artists that were difficult to realize through conventional means or within the commercial settings. Today, the Dia Foundation has multiple locations around the United States, including four in Manhattan (Dia Chelsea, as well as a series of permanent installations such as The Earth Room by Walter de Maria in 141 Wooster Street, The Broken Kilometer by De Maria in 393 West Broadway and Joseph Heinrich Beuys’ 7,000 Oaks in Chelsea). Additional sites include Dia Bridgehampton, designed by Dan Flavin to permanently house an installation of his work alongside a program of temporary exhibitions (it currently hosts a must-see show of Liliana Porter); the memorable Lightening Field by Walter De Maria in New Mexico; The Vertical Earth Kilometer also by De Maria, in Kassel, Germany; Nancy Holt’s Sun Tunnels in Utah; Robert Smithson’s Spiral Jetty also in Utah and finally Cameron Rowland, Depreciation in Edisto Island, South Carolina. Magazzino Italian Art (Cold Spring, NY) 2700 Route 9 Established by Nancy Olnick and Giorgio Spanu in 2017, Magazzino Italian Art has presented the best of Arte Povera and contemporary Italian art and creative culture, becoming an essential platform of promotion and education and encouraging a more widespread public appreciation of it in the U.S. The permanent collection on view features some rare masterpieces by leading names of the movement like Mario Merz, Marisa Merz, Giulio Paolini, Gilberto Zorio, Michelangelo Pistoletto and Alighiero Boetti, among others. Don’t miss the new Robert Olnick Pavilion, designed by architects Alberto Campo Baeza and Miguel Quismondo, which opened last year to host more temporary exhibitions and houses the museum store, which sells books, ceramics, glass and artist-designed jewelry. This summer, in addition to seeing the art of the collection, you can visit a presentation of the sublime poetic and ethereal abstractions of Ettore Spalletti, a presentation of beautiful Venetian blow glass pieces designed by Carlo Scarpa and an insightful survey of the restlessly inventive artist, filmmaker, photographer and musician Mario Schifano showcasing series of his germinal works from 1960 to 1970, a time of great social, economic, political and artistic turmoil in Italy that the artist perfectly captured. The new pavilion also houses a lovely cafè, Café Silvia, which offers traditional Italian food from different regions, a good glass of wine and an authentic Italian espresso. Surrounding the buildings is a perfectly curated park in which lucky visitors meet the resident family of Sardinian Donkeys. Assembly (Monticello, NY) 397 Broadway Established in 2022 by Mexican artist Bosco Sodi and his wife Lucia Corredor, this nonprofit art space is housed in a former Buick dealership that was restored by Mexican architect Alberto Kalach. Now on view are three exhibitions, with two different sets of conversations with the inventive sculptural forms of American artist Alma Allen: in one gallery, they confront the rigorous minimalist abstractions of Italian artist Davide Balliano, while in the other, they resonate with the geometric rhythms of Johnny Abrams’s paintings. In front of the building stands a Bernar Venet, while in the main gallery, there’s a selection of works by Sodi. Jeffrey Gibson at Alpana Bawa (Ellenville, NY) 148 Canal St. During Upstate Art Weekend, artist Jeffrey Gibson will unveil a series of tile paintings at the India-inspired Alpana Bawa shop in Ellenville, New York. Jeffrey Gibson is the first Indigenous artist to represent the United States in the Venice Biennale taking over the entire pavilion with a psychedelic and extremely colorful immersive solo show, “The Space in Which to Place Me.” These tile paintings are his first foray into ceramics, and they consist of a series of intimate painted tiles that reflect the geometry that the artist uses throughout his work. The shop will host a special event on Thursday, July 18, from 5-7 p.m., during which they will have available for purchase Gibson’s book “An Indigenous Present,” which visitors can peruse in between sips of Aaron Burr Cider. Edward Hopper House Museum and Study Center (Nyack, NY) 82 North Broadway There’s just something so special about visiting artists’ homes. Located in the house Hopper’s maternal grandfather built in 1858, where the artist lived until 1910, the Edward Hopper House Museum and Study Center‘s mission is to celebrate and advance Hopper’s legacy through artifacts, programs and exhibitions inspired by the iconic painter. During Upstate Art Weekend, the center has two exhibitions on view honoring Edward Hopper’s legacy, including a restaging of Edward Hopper’s bedroom showing how influential this was for his paintings, as well as the show “Matinee” with paintings by Dike Blair, who shares Hopper’s passion for cinema, drawing inspiration for his painting from his frequent trips to the movie theater. Beacon Open Studios (Beacon, NY) 162 Main Street This year, the annual Beacon Open Studios event returns with a map of thirty-five artist studios, and it’s the perfect way to discover artists of all kinds and other creatives from the local scene at your own pace. On Friday, July 19, there will be an opening reception from 6 p.m. to 8 p.m. followed by a performance. On Saturday, July 20, from 7 p.m. to 10 p.m., the organizing group will host a series of performances by Ghost Funk Orchestra, Joe Fiedler Quartet and Dani Murcia. An afterparty will follow, from 10:15 to 11:30 p.m. with music by local DJ Causelost. Wassaic Project (Wassaic, NY) 37 Furnace Bank Rd.
6840	dbpedia	3	24	https://hoodmuseum.dartmouth.edu/objects/2015.25	en	Tannery in the Catskills	https://hood.resourcespace.com/pages/download.php?ref=8821&size=obl&ext=jpg&page=1&alternative=-1&watermarked=&k=&noattach=true&v=1643203407&access_key=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		[ "https://hoodmuseum.dartmouth.edu/sites/hoodmuseum/themes/hoodmuseum/assets/icons/search-header.svg", "https://hood.resourcespace.com/pages/download.php?ref=8821&size=obl&ext=jpg&page=1&alternative=-1&watermarked=&k=&noattach=true&v=1643203407&access_key=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", "https://hood.resourcespace.com/pages/download.php?ref=8821&size=obl&ext=jpg&page=1&alternative=-1&watermarked=&k=&noattach=true&v=1643203407&access_key=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", "https://hoodmuseum.dartmouth.edu/sites/hoodmuseum/themes/hoodmuseum/assets/icons/logo.svg" ]	[]	[]	[ "" ]	null	[]	null		en	https://hoodmuseum.dartmouth.edu/sites/all/themes/dartmouth_base/favicon.ico	Hood Museum	https://hoodmuseum.dartmouth.edu/objects/2015.25	Inscriptions Not signed or dated; canvas stamp [indistinct and partially obscured] on reverse: PREPARED / BY / EDWD DECHAUX / NEW YORK [top and bottom lines curved so as to form oval]; typed, on red-bordered gum label formerly on an old backing [original in object file]: The two mountainsides and valley / were purchased by David Woodworth in the 1840s for lumbering. His wife was my great, great Aunt Orilla Clement Woodworth. Bark from the trees was supplied to the tannery which was operated by Colonel. H.D.H. Snyder. My father learned to swim in this creek about 1883. By that time the tannery had been torn down, but the old Woodworth homestead lasted till 1955. January, 1957 John H. Ricketson III [signed in ink] Label Tannery in the Catskills is remarkable for its fusion of a romantic, mid-19th-century landscape aesthetic with a detailed depiction of industry. Its mountain setting and atmospheric perspective typify the idealized compositions that lured artists and tourists to such destinations as the Catskills and the White Mountains. These regions, however, were also rich in the natural resources necessary to support tanneries, including swift waterways to supply power and large stands of eastern hemlock, the bark of which contained the tannins essential to the tanning process. Although tanneries proliferated throughout the Northeast in the early to mid-19th century, artists rarely depicted them. Despite this painting’s picturesque background, our eyes are drawn to the crisply rendered buildings that made up Snyder’s tannery in Shandaken, New York. The foreground is littered with abandoned, felled logs, stripped of their bark, suggesting the deforestation that typically resulted from tannery operations. Nonetheless, the artist’s successful integration of the tannery buildings into the mountain setting suggests a harmonious balance between unspoiled nature and the technological progress that in the mid-19th century was also emerging as a source of national pride. From the 2019 exhibition American Art, Colonial to Modern, curated by Barbara J. MacAdam, Jonathan L. Cohen Curator of American Art \| Despite this painting’s picturesque landscape background, our eyes are drawn to the crisply rendered buildings. This painting portrays Snyder’s tannery in Shandaken, New York, which employed over two hundred workers. Instead of portraying a pristine, idealized, and empty landscape, felled logs suggest the deforestation caused by tannery operations. Tanneries proliferated throughout the Northeast in the early to mid-nineteenth century. Swift waterways supplied power and the bark of eastern hemlocks contained the tannins essential to the process of tanning leather. This pollutive and extractive industry moved westward in the latter part of the century, as cattle supplying most of the hides were increasingly raised out west and railroad transportation made shipping fast and affordable. The early rise of NIMBY (not in my backyard) ideologies sought to preserve Northeastern landscapes by relocating environmentally destructive industries to other regions. Still today, environmental preservation often relocates these industries to regions inhabited by impoverished populations comprised largely of people of color. From the 2023 exhibition Liquidity: Art, Commodities, and Water, curated by Michael Hartman, Jonathan Little Cohen Associate Curator of American Art Course History ARTH 85, Senior Seminar in Theory and Method, Mary Coffey, Fall 2015 ANTH 55.01, Anthropology of Global Health, Anne Sosin, Spring 2022 ANTH 55.01, Anthropology of Global Health, Anne Sosin, Fall 2022 First Year Student Enrichment Program - Cultures, Identities and Belongings, Francine A'Ness, Summer 2023 Anthropology 55.01, Anthropology of Global Health, Anne Sosin, Fall 2023 Anthropology 55.01, Anthropology of Global Health, Anne Sosin, Fall 2023 Art History 40.01, American Art and Identity, Mary Coffey, Fall 2023 Creative Writing 10.02, Writing and Reading Fiction, Katherine Crouch, Fall 2023 Geography 11.01, Qualitative Methods, Emma Colven, Fall 2023 Geography 2.01, Introduction to Human Geography, Coleen Fox, Fall 2023 Geography 31.01, Postcolonial Geographies, Erin Collins, Fall 2023 English 30.01, African and African American Studies 34.01, Early Black American LIterature, Michael Chaney, Winter 2024 Writing 5.06, Image and Text, Becky Clark, Winter 2024 Writing 5.07, Image and Text, Becky Clark, Winter 2024 Exhibition History American Art, Colonial to Modern, Israel Sack Gallery and Rush Family Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 26, 2019-September 12, 2021. Liquidity: Art, Commodities, and Water, Israel Sack Gallery and the Rush Family Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, July 29, 2023-June 16, 2024. Provenance Col. H.D.H. Snyder, Woodland, New York; M. Knoedler & Co., New York, New York, 1956; probably sold to John Howland Ricketson, III (1902-1986), Buzzard’s Bay, Massachusetts [he owned it by 1957]; Northeast Auctions, Hampton, New Hampshire, The Collection of John Howland Ricketson III, May 29, 1993, lot 137 [as by James MacDougal Hart, Tannery at Woodland Valley, Ulster County, Pennsylvania [sic], illustrated; Spanierman Gallery, New York, New York; sold to Paul Worman (dealer), New York, New York, 2006; sold to Alexander Gallery, New York, New York, 2006; sold to present collection, 2015.
6840	dbpedia	2	68	https://www.nytimes.com/2007/12/14/arts/design/14wart.html	en	Museum and Gallery Listings	https://static01.nyt.com…op.png?year=2007	https://static01.nyt.com…op.png?year=2007	[]	[]	[]	[ "" ]	null	[ "The New York Times" ]	2007-12-14T00:00:00	Selective listings from art critics of The New York Times.	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/2007/12/14/arts/design/14wart.html	ART ‘REVOLUTION’ Not long ago hardly any galleries in Chelsea were showing Asian contemporary art. Now there are dozens, including those specializing in Asian artists. Chinese art dominates, partly because the current market is boiling and partly because, simply, some of the best art being made today is from China. For evidence you might visit ChinaSquare, a new gallery dedicated to Chinese art and located high in the Chelsea Arts Tower. Inside the gallery is a spirited group show put together by Fang Lei and Jonathan Goodman, featuring the work of a dozen contemporary Chinese artists, among them emerging talents like Cao Xiaodong, Shen Jingdong and Jing Kewen, as well as the veterans Zhang Hongtu and Li Luming. “Revolution” is the overarching theme, with the central idea being to spotlight the influence of propaganda imagery from the Cultural Revolution (about 1966-76) in the work of contemporary artists. It’s imagery that was made to serve political ends and promote revolutionary spirit among the Chinese people. The show, not surprisingly, contains lots of tongue-in-cheek riffs on devotional portraits of Mao, along with images of cheery peasants in the countryside or model workers, like Mr. Shen’s glossy, idealized oil paintings of Chinese military personnel, above. Other artworks point to another sort of revolution: China’s current obsession with materialism. With luck this revolution won’t be as corrosive as the last. (Through Jan. 12, ChinaSquare, Chelsea Arts Tower, 545 West 25th Street, eighth floor, 212-255-8886, chinasquareny.com.) BENJAMIN GENOCCHIO Museums and galleries are in Manhattan unless otherwise noted. Full reviews of recent art shows: nytimes.com/art. Museums AMERICAN FOLK ART MUSEUM: ‘GILDED LIONS AND JEWELED HORSES: THE SYNAGOGUE TO THE CAROUSEL,’ through March 23. Skills and motifs used in sacred art resurface in a surprisingly secular place: the carousel. In this exhibition, models of elaborate wooden synagogues and photographs of Jewish cemeteries with intricately carved gravestones in Eastern Europe are alongside paper cuts, which look like giant, precision-cut snowflakes mounted on colored paper. The lineage from synagogue to carousel is made explicit in a display that juxtaposes carved Torah arks with carousel horses fashioned in the baroque Coney Island Style. The show reveals a vibrant Jewish visual culture, where Judaism is often seen as text-oriented. It is also a great immigrant story in which skills learned in the shtetls of Europe made their way to the New World and, for a brief moment, flourished. 45 West 53rd Street, (212) 265-1040, folkartmuseum.org. (Martha Schwendener) ★ ASIA SOCIETY: ‘THE ARTS OF KASHMIR,’, through Jan. 6. Set in the Himalayas amid Afghanistan, China and India, Kashmir underwent constant cultural fermentation, taking influences in, sending them out. Sacred to Hinduism, home to early Buddhism and a favored retreat of Muslim rulers, it was forever either struggling to sustain social balance or heading into conflict. This perpetual play of opposites produced, through molding and friction, some of the most beautiful art in the world. 725 Park Avenue, at 70th Street, (212) 288-6400, asiasociety.org. (Holland Cotter) ASIA SOCIETY: ‘ZHANG HUAN: ALTERED STATES,’ through Jan. 20. The Chinese artist Zhang Huan, the subject of this small, midcareer survey, is best known for the early, often poetic, sometimes sensationally masochistic performance work he did in the 1990s, which can only be seen in videos and photographs now. The objects in this show, which include giant fragments of Buddhist sculptures made from copper sheets and incense ash, are products of his new workshop-style studio in Shanghai. (See above.) (Cotter) BRONX MUSEUM OF THE ARTS: ‘THE WORLD OUTSIDE: A SURVEY EXHIBITION 1991-2007,’ through Jan. 27. A product of the Cuban avant-garde of the late ’80s and now a resident of Santo Domingo, Quisqueya Henríquez has exhibited extensively in solo and group shows in North and South America. In her clever, ideologically pointed sculptures, installations, collages and videos, she aims to deconstruct prejudicial stereotypes about the arts and cultures of Latin America. 1040 Grand Concourse, at 165th Street, Morrisania, (718) 681-6000, bronxmuseum.org. (Ken Johnson) ★ BROOKLYN MUSEUM: ‘INFINITE ISLAND: CONTEMPORARY CARIBBEAN ART,’ through Jan. 27. This large show, with 45 artists and a collective of designers, photographers and architects from the Dominican Republic adding to the count, fills two floors of temporary exhibition space, and care has been given to the selection. Several of the most substantial pieces were commissioned for the occasion. Organized by Tumelo Moshaka, associate curator of exhibitions at Brooklyn, it’s an in-house job, a labor of love, though an uneven one. Too much work treads ground already covered by other art over the years. But what’s good is really good, and the very existence of a show about identity politics, out of mainstream fashion in 2007, is cause for serious reflection. 200 Eastern Parkway, at Prospect Park, (718) 638-5000, brooklynmuseum.org. (Cotter) ★ FRICK COLLECTION: GABRIEL DE SAINT-AUBIN, through Jan. 27. One of 18th-century France’s greatest draftsmen, Gabriel de Saint-Aubin drew all the time and everywhere he went. He usually worked small, and in many cases you need one of the magnifying glasses provided at the museum to fully appreciate the subtlety and detail. Nevertheless, he had tremendous range. Whether conjuring epic visions of Ancient Roman history or recording intimate views of domestic quietude, he produced works of nonstop graphic liveliness, extraordinary sensuousness and hypersensitive alertness to perceptual reality. 1 East 70th Street, (212) 288-0700, frick.org. (Johnson) GUGGENHEIM MUSEUM: ‘FOTO: MODERNITY IN CENTRAL EUROPE, 1918-1945,’ through Jan. 13. This exhibition is the art historical equivalent of the ultimate real estate dream: You open an unfamiliar door in your apartment and voilà there’s an extra room you never knew about. In this case the room is full of the work of scores of mostly unfamiliar photographers who put the medium through its paces in interwar Central Europe. Learning about them gives modern photography up to and including the experiments of the early 1980s a whole new layout. 1071 Fifth Avenue, at 89th Street, (212) 423-3500, guggenheim.org. (Roberta Smith) ★ GUGGENHEIM MUSEUM: ‘RICHARD PRINCE: SPIRITUAL AMERICA,’ through Jan. 9. This retrospective of one of contemporary art’s inveterate bad boys looks more beautiful in the museum’s rotunda than it probably should. Covering nearly 30 years, it includes photographs of photographs; joke paintings; car hoods; and parodies of de Kooning’s “Women” paintings that have undergone a sex change. It shows a body of work in which the supposed end-game of appropriation has fueled a constantly changing and developing aesthetic that exposes and wryly celebrates the dark and tawdry side of this country’s inner life. (See above.) (Smith) INTERNATIONAL CENTER OF PHOTOGRAPHY: ‘GERDA TARO’ AND ‘THIS IS WAR! ROBERT CAPA AT WORK,’ through Jan. 6. There are a number of narratives running through these shows, from the story of two young people who fled Nazi Germany to the rediscovery of Taro’s career and the development of Capa as “the greatest war photographer in the world” (in the view of Picture Post magazine). Accompanied by a book written by Richard Whelan, the show delves into questions about Capa’s famous photograph “Death of a Loyalist Militiaman” and the tricky relationship between truth and fiction in war photography. The show also examines how technological developments in warfare, photography and magazine printing led to a new era of photojournalism during the 1930s and ’40s. 1133 Avenue of the Americas, at West 43rd Street, (212) 857-0000, icp.org. (Schwendener) JAPAN SOCIETY: ‘MAKING A HOME: JAPANESE CONTEMPORARY ARTISTS IN NEW YORK,’ through Jan. 13. This is the first significant group show at Japan Society since Takashi Murakami’s 2005 “Little Boy: The Arts of Japan’s Exploding Subculture.” While it includes emerging artists like Misaki Kawai and Hiroshi Sunairi, the show carves out room for midcareer and long-established artists. Yayoi Kusama is not in the show, but her influence is especially palpable in a series of connected installations that make the most of Japan Society’s dark, airless galleries, transforming them into hypnotically introspective environments. 333 East 47th Street, (212) 832-1155, japansociety.org. (Karen Rosenberg) THE JEWISH MUSEUM: ‘CAMILLE PISSARRO: IMPRESSIONS OF CITY AND COUNTRY,’ through Feb. 3. This exhibition contains few out-and-out masterpieces, but it does give us a rare look at the radical philosophies behind paintings that to a modern eye appear harmlessly bourgeois. For Pissarro, an anarchist and a Jew (albeit a secular one) in 19th-century France, Impressionism was about much more than the fleeting effects of light. It was about labor, the elimination of hierarchies and an idealized balance between urban and rural life. Pissarro emerges from this exhibition as an artist who never quite resolved the conflict between labor and sensation, but whose subtly anti-authoritarian stance propelled painting into the next century. 1109 Fifth Avenue, at 92nd Street, (212) 423-3200, jewishmuseum.org. (Rosenberg) THE METROPOLITAN MUSEUM OF ART: ‘ABSTRACT EXPRESSIONISM AND OTHER MODERN WORKS: THE MURIEL KALLIS STEINBERG NEWMAN COLLECTION,’ through Feb. 3. One of the Met’s most significant gifts of midcentury art, promised in 1980 and finalized last year, is taut and rich, reflective of a passionately discerning eye. Nearly everything is a standout, not just the rare de Kooning and the substantial Pollock, or works by Mark Rothko, Franz Kline, Claes Oldenburg and Jules Olitski. Max Ernst’s portrait of Gala Eluard; sculptures by Giacometti and Jacques Lipchitz; paintings by Alfred Leslie and Mark Tobey; and a collage by Anne Ryan radiate an almost brazen self-sufficiency. (212) 535-7710, metmuseum.org. (Smith) THE MET: ‘THE AGE OF REMBRANDT: DUTCH PAINTING IN THE METROPOLITAN MUSEUM OF ART,’ through Jan. 6. The Met has long advertised itself as a grand art multiplex, a cluster of several separate world-class museums under a single roof. And we get a demonstration in this display of its entire 17th-century Dutch painting collection: 228 pictures, of which roughly a third are usually on view at any time, and some never. In addition to the Rembrandts, there are five Vermeers, nearly a dozen Frans Halses, and the list goes on in an inventory of breathtaking scope and depth. How to package it? The Met has come up with a theme, and a perfect one for our time: money. The work has been sorted not by artists’ names or dates, but by the names and dates of the collectors who bought and gave the paintings to the museum. This is the history of the Dutch Golden Age according to the American Gilded Age. (See above.) (Cotter) ★ THE MET: ‘BRIDGING EAST AND WEST: THE CHINESE DIASPORA AND LIN YUTANG,’ through Feb. 10. Focused on a single modern family art collection, this show weaves like a DNA strand through the Met’s Chinese painting galleries. The 40 examples of painting and calligraphy belonged to the writer and scholar Lin Yutang (1895-1976) and his descendants, who have divided their time between China and the West. Accumulated over years, the collection has the casual logic of a household photo album, with evidence of shared habits, tastes and temperaments, and of personal interchange between generations. (See above.) (Holland Cotter) THE MET: ‘DEPTH OF FIELD,’ through March 23. The Met’s recently acquired large-scale photographs finally have some room to breathe in the new Joyce and Robert Menschel Hall for Modern Photography, a high-ceilinged, gray-carpeted sanctuary on the second floor. Curators at MoMA need not worry: The inaugural installation (a sampler rather than a thematic slice) is dominated by white, mostly male Europeans and heavily weighted with references to history and landscape painting. Despite its limitations, “Depth of Field” is not a bad debut. We can also expect more from future installations, which will explore themes like “photography about photography.” (See above.) (Rosenberg) ★ THE MET: ‘ETERNAL ANCESTORS: THE ART OF THE CENTRAL AFRICAN RELIQUARY,’ through March 2. Sure to be one of the sleepers of the fall art season, this beautiful show has a universal theme: life as a cosmic journey homeward, with parental spirits, embodied in charismatic materials and images, counseling and chiding us every step of the way. European, Asian and African reliquaries sit side by side in the first gallery; then some of the world’s greatest Fang and Kota sculptures take over and sweep through to the end. (See above.) (Cotter) ★ THE MET: ‘THE GATES OF PARADISE: LORENZO GHIBERTI’S RENAISSANCE MASTERPIECE,’ through Jan. 13. Remember when the Mona Lisa came to the Met? I don’t either, but it can’t have been much more thrilling than seeing 3 of the 10 gilded bronze reliefs that Lorenzo Ghiberti completed for the Baptistery of San Giovanni in Florence without having to leave town. “Adam and Eve,” “Jacob and Esau” and “David and Goliath” represent especially well Ghiberti’s new, almost cinematic fusion of action, emotion and narrative. Newly cleaned, they have never looked more golden or less oldie. (See above.) (Smith) THE MET: ‘SILVERSMITHS TO THE NATION: THOMAS FLETCHER AND SIDNEY GARDINER, 1808-1842,’ through May 4. Blending neo-Classical kitsch, patriotic flair and superb craftsmanship, the Philadelphia silversmiths Thomas Fletcher and Sidney Gardiner pumped up the genre of the commemorative cup to works of awesome, small-scale monumentalism. Standing almost 30 inches from its hairy paw feet to the furrowed brow of a bellicose eagle mounted on the lid of its soup tureen bowl, an urn made in 1813 to honor Capt. Isaac Hull was at the time the heaviest, tallest and most complex work in silver ever produced in North America. It is still pretty impressive. (See above.) (Johnson) ★ THE MET: ‘TAPESTRY IN THE BAROQUE: THREADS OF SPLENDOR,’ through Jan. 6. No one was fully prepared for the hullabaloo over the Met’s first big tapestry show five years ago, but it turned out to be an international sensation, and this one will too. The 44 Baroque tapestries here are among the largest nonarchitectural objects in the museum, and some of the most epically labor-intensive. But it is as studies in socioeconomic propaganda that their real interest lies. (See above.) (Cotter) MORGAN LIBRARY & MUSEUM: ‘DRAWING CONNECTIONS,’ through Jan. 6. Four contemporary artists show their own works on paper along with pieces that they selected from the museum’s drawing collection. The result is not to the advantage of the living artists: Georg Baselitz, Ellsworth Kelly, Giuseppe Penone and Dorothea Rockburne. Nevertheless, the show affords a good occasion to ponder the breach between Modernism and traditionalist humanism, and the old master works, which range from pieces by followers of Mantegna and Perugino to drawings by Degas and Cézanne, are great. 225 Madison Avenue, at 36th Street, (212) 685-0008, www.morganlibrary.org. (Johnson) ★ MORGAN LIBRARY & MUSEUM: ‘PAINTED WITH WORDS: VINCENT VAN GOGH’S LETTERS TO ÉMILE BERNARD,’ through Jan. 6. Words, ideas, sensations and images are packed into this exhibition, a manuscript display that is also something more than that. Although 20 handwritten letters from van Gogh to Bernard, a French artist and writer 15 years his junior, are at its center, they are surrounded by nearly two dozen van Gogh painting and drawings, among them a splendid self-portrait. (See above.) (Cotter) EL MUSEO DEL BARRIO: ‘EL MUSEO’S BIENAL: THE (S) FILES,’ through Jan. 6. You feel the growing pains and attempts to stretch out in the fifth edition of “The (S) Files” (short for “The Selected Files).” The show provides a survey of 51 emerging artists based in New York and from this year’s invited guest country, Ecuador. Some of the works distinctly consider location, displacement and identity. Others are less concerned with issues that make for good biennial panel discussions and more interested in mining older art Surrealism, Minimalism and Postminimalism and employing craft techniques. Many of the artists in “The (S) Files” have appeared in other local survey shows, which raises the criticism often leveled at biennials: that in trying to cover the waterfront of contemporary art, they end up making the waterfront look, from every angle, increasingly the same. 1230 Fifth Avenue, at 104th Street, East Harlem, (212) 831-7272, elmuseo.org. (Schwendener) MUSEUM OF MODERN ART: ‘NEW PHOTOGRAPHY 2007: TANYTH BERKELEY, SCOTT MCFARLAND, BERNI SEARLE,’ through Jan. 1. So what’s new in photography? This is what you might hope to find out at this annual exhibition showcasing work by emerging or “less familiar” photographers. Tanyth Berkeley, a New York artist of the Diane Arbus school, is here, as well as Scott McFarland, a photographer whose modus operandi is digital manipulation (like his fellow Vancouverite Jeff Wall), and Berni Searle, a South African who works with serial formats. Their work doesn’t reveal much of what is truly cutting-edge in photography, but it offers a democratic, international scope. (212) 708-9400, moma.org. (Schwendener) MUSEUM OF MODERN ART: ‘NEW PERSPECTIVES IN LATIN AMERICAN ART, 1930-2006: SELECTIONS FROM A DECADE OF ACQUISITIONS,’ through Feb. 25. Collecting Latin American art is a long-standing tradition at MoMA, but it languished a bit in the 1960s and ’70s. These recent acquisitions attest to its resurgence in the ’90s, with a shift toward various forms of Constructivist-based abstraction that emerged from that region, starting in the postwar period. Unusually oriented toward the body in its emphasis on optical perception and the possibility of function, these selections set the stage for subsequent generations of artists, many of whom are also represented here. The postwar works are especially exceptional, and historically important, but the choices throughout are for the most part excellent. (See above.) (Smith) MUSEUM OF MODERN ART: ‘MARTIN PURYEAR,’ through Jan. 14. The Modern’s temporary exhibition galleries come into their own as containers for 40 of Martin Puryear’s elegantly thoughtful, mostly wooden sculptures. With five more exceptionally attenuated ones on the atrium level, the show sums up one of the most interesting bodies of work to develop out of and against Minimalism. Mr. Puryear subjected the movement’s emphasis on whole, static volumes to his commitment to working by hand, with poetic forms, to create a distinctive vocabulary of poetic meanings that move effortlessly among intimations of human, architectural and natural references. (See above.) (Smith) ★ MUSEUM OF MODERN ART: ‘GEORGES SEURAT: THE DRAWINGS,’ through Jan. 7. This sublime exhibition confirms that the classical remove of Seurat’s impeccable, stylized painting along with his signature granulation of light and space was distilled from an active engagement with the world. Famous drawings are abundant here, but so are less familiar views, like those showing the ragged outer edges of Paris seemingly lost in darkness. All four of the artist’s surviving sketchbooks are also included, along with excellent computerized facsimiles that visitors can browse through, thereby joining Seurat on his wanderings. (See above.) (Smith) NATIONAL ACADEMY MUSEUM: ‘THE ABSTRACT IMPULSE: FIFTY YEARS OF ABSTRACTION AT THE NATIONAL ACADEMY, 1956-2006,’ through Jan. 6. This exhibition illuminates the troubled history of abstraction at the academy over the last half-century, with a selection of 47 paintings, sculptures and works on paper by its members, many only recently elected, who took part in movements like Abstract Expressionism, Minimalism and Kinetic and Op Art. Drawn almost entirely from the museum’s collection, it may not be an outstanding group of artworks, but it helps to explain how this once-celebrated museum and school lost much of its prestige. 1083 Fifth Avenue, at 89th Street, (212) 369-4880, nationalacademy.org. (Benjamin Genocchio) NEUE GALERIE: ‘GUSTAV KLIMT: THE RONALD S. LAUDER AND SERGE SABARSKY COLLECTIONS REVIEW,’ through June 30. The first New York museum show devoted exclusively to this Viennese master is less a coherent Klimt exhibition than a Klimt-o-rama. The main draw is a veritable retrospective of the drawings, erotic and otherwise, and a smattering of paintings starring the new-in-town, gold-on-gold “Adele Bloch-Bauer I.” Also here: a photo mural of sections of Klimt’s most famous painted mural, the “Beethoven Frieze”; a period room; photographs and personal effects, including one of the artist’s signature caftans; and piped-in music, all written in Vienna of course, and available for purchase on CD. 1048 Fifth Avenue, at 86th Street, (212) 628-6200, neuegalerie.org. (Smith) NEW MUSEUM OF CONTEMPORARY ART: ‘UNMONUMENTAL: THE OBJECT IN THE 21ST CENTURY,’ through March 23. The New Museum has eked as much exhibition space as possible out of its new, elegantly bare-bones building and is devoting almost all of it to a raucous, polemical first show. The premise, as reflected in the work of 30 artists (among them, Rachel Harrison, Isa Genzken, Eliot Hundley, Carol Bove, Jock Bock and Sarah Lucas), is that assemblage sculpture is the most viable art form of the moment. Lo-tech, cheap, portable and rough around the edges if not actually falling apart, it reflects our fractured times and also resists easy absorption by the art market. While visually messy, way too hip and a tad monotonous, the show is a gauntlet thrown down to other New York museums. It says: Get your nerve on. Take a stand. Do something that inspires true argument, not just endless kvetching. 235 Bowery, at Prince Street, Lower East Side, (212) 219-1222, newmuseum.org. (Smith) NEW-YORK HISTORICAL SOCIETY: ‘NATURE AND THE AMERICAN VISION: THE HUDSON RIVER SCHOOL AT THE NEW-YORK HISTORICAL SOCIETY,’ through Jan. 13. The third show in a series on Hudson River School paintings from the collection argues that the idea of an American landscape filled with “sacred” sites is as much a cultural invention as it is an accident of nature. Thomas Cole’s epic series of imaginary landscape paintings, “The Course of Empire,” is the centerpiece. Other works look back to the Old World, borrowing ideas about the European Grand Tour to create an American Grand Tour of natural sites along the Hudson, the Catskills, the Adirondacks and farther westward. The exhibition includes works by George Loring Brown, Asher B. Durand, Albert Bierstadt, Frederic Edwin Church and others. 170 Central Park West, at 77th Street, (212) 873-3400, nyhistory.org. (Schwendener) NOGUCHI MUSEUM: ‘DESIGN: ISAMU KENMOCHI AND ISAMU NOGUCHI,’ through May 25 (extended). The Bamboo Basket Chair was the result of a brief collaboration in 1950 between the Japanese-American sculptor and designer Isamu Noguchi (1904-88) and the Japanese industrial designer Isamu Kenmochi (1912-71). The chair was never manufactured, and the prototype was lost. The example here was recreated from photographs. Mostly, however, the chair provides an excuse to compare the design careers of Noguchi and Kenmochi and examine their roles in midcentury modern design, as well as the cultural relationship between Japan and the United States. Kenmochi’s “Japanese modern” furniture is here, as well as a room devoted to Noguchi’s most popular design achievement, the Akari light sculptures. 32-37 Vernon Boulevard, Long Island City, Queens, (718) 204-7088, noguchi.org. (Schwendener) THE STUDIO MUSEUM IN HARLEM: ‘KORI NEWKIRK: 1997-2007,’ through March 9. Kori Newkirk first came to New York’s attention in the 2001 group show “Freestyle” at the Studio Museum. This Bronx-born artist, based in Los Angeles, is now having a solo at the museum, organized by its director and chief curator, Thelma Golden. This 10-year survey devotes plenty of room nearly the entire double-height main gallery to the shimmering pony-bead curtains for which Mr. Newkirk is best known. It also finds him pursuing more oblique forms of expression, particularly in his recent forays into video. It all adds up to a kind of maxed-out minimalism or, as Mr. Newkirk has described it, a “ghetto-fabulous conceptualism.” 144 West 125th Street, (212) 864-4500, studiomuseum.org. (Rosenberg) WADSWORTH ATHENEUM MUSEUM OF ART: ‘FAITH AND FORTUNE: FIVE CENTURIES OF EUROPEAN MASTERWORKS,’ through Dec. 30. Celebrating the return of its famous Renaissance, Baroque and Rococo paintings and objects of art from a three-year national tour, the Wadsworth has arranged a feast of a show. One of the most appealing things about this gathering of some 400 treasures is the mix, with knockout paintings keeping period company with small sculptures, elaborate table furnishings, decorative platters, Meissen knockoffs of Chinese pottery, a porcelain birdcage and vases and such. Strolling through the galleries, you’ll find treasures like “Saint Francis of Assisi in Ecstasy” (about 1594-95), said to be the first authentic Caravaggio in an American museum; Fra Angelico’s poignant, poetic fragment “Head of an Angel” (about 1455-50); and Francisco de Zurbarán’s fearsome portrayal of a dead martyr, “Saint Serapion” (1628). But the pièce de résistance is an entire gallery made into an art and curio cabinet, with a planned clutter of brilliant objects that play to a viewer’s inner acquisitor: exotic shells mounted in gold; an extraordinary Baroque ivory carving (presumed to be before 1650) of Adam and Eve; an automatic tabletop clock (about 1619) with a standing lion that could roll its eyes, open its jaws and stick out its tongue when the hours struck. Dazzlement prevails. 600 Main Street, Hartford, (860) 278-2670, wadsworthatheneum.org. (Grace Glueck) ★ WHITNEY MUSEUM OF AMERICAN ART: ‘KARA WALKER: MY COMPLEMENT, MY ENEMY, MY OPPRESSOR, MY LOVE,’ through Feb. 3. Kara Walker’s exquisite, implacable, loose-cannon retrospective at the Whitney Museum is about race, whether in silhouette panoramas cut from black paper, in incendiary drawings or in narrative videos made with shadow puppets. They add up to one of the most important and stirring bodies of art produced by any American in the past 15 years. 945 Madison Avenue, at 75th Street, (212) 570-3600, whitney.org. (Cotter) WHITNEY MUSEUM OF AMERICAN ART: ‘LAWRENCE WEINER: AS FAR AS THE EYE CAN SEE,’ through Feb. 10. Finally, one of the American progenitors of Conceptual Art receives his first full-dress retrospective in this country, filling the Whitney’s fourth floor a trifle too full with cryptic aphorisms, instructions and near-poetry in letters that come in all sizes and several fonts. Some have been acted on; others march across walls. A bit full, perhaps, but the career of this language-based sculptor is worth telling in detail and, in a time of art market excess, is just what the doctor ordered. (See above.) (Smith) Galleries: Uptown PHILIP GUSTON AND JASPER JOHNS This revealing two-gallery show intermingles efforts by Guston from his late, post-Abstract Expressionist phase (i.e., from about 1969 to his death in 1980) and pieces from most chapters of Mr. Johns’s career. There are remarkable differences, but so many parallels between the paintings, drawings and prints of each artist emerge, that it’s as if the two had been separated at birth. Both come off as fascinating monsters of creative self-absorption. Leo Castelli, 18 East 77th Street, (212) 249-4470, castelligallery.com; Brooke Alexander, 59 Wooster Street, SoHo, (212) 925-4338, baeditions.com, through Dec. 22. (Johnson) KONRAD KLAPHECK: ‘PAINTINGS’ Mr. Klapheck’s second exhibition in New York in nearly 40 years reintroduces this German painter’s semi-abstract, wryly sexualized, exquisitely rendered distortions of everyday objects. Faucets suggest female bodies; chairs couple with smaller, more pliant appliances; and adding machines acquire the heft and monumentality of armored vehicles or ancient temples. The skewing of logical perspectives helps. Zwirner & Wirth, 32 East 69th Street, (212) 517-8677, zwirnerandwirth.com, through Dec. 22. (Smith) Galleries: 57th Street BARBARA KRUGER: ‘PICTURE/READINGS 1978’ These early text-and-image pieces, classics of their kind, combine off-kilter photographs of houses in Florida and California with first-person monologues written in the voices of their imagined (usually female) inhabitants. They reveal this influential artist’s debt to the subcategory of Conceptualism called Story Art, one of the few pockets of 1970s postminimalism that has not yet been colonized by the present. Mary Boone Gallery, 745 Fifth Avenue, (212) 752-2929, maryboonegallery.com, through Dec. 22. (Smith) Galleries: SoHo ‘DISPLAY’ The New York branch of the London gallery Museum 52 inaugurates its Lower East Side space with a stimulating group show. Sarah Greenberger Rafferty approaches the “display” theme literally, with elaborately mounted photographs of souvenir plates. George Henry Longly renders it subliminally in paintings that fade into the wall. A sculpture of broken mirrors by Philip Hausmeier makes a fragmentary thing of preening self-regard, while the talented young New York artist Sean Raspet turns vats of transparent hair gel into mini-exhibitions. Museum 52, 95 Rivington Street, between Orchard and Stanton Streets, (212) 228-3090, museum52.com, through Dec. 22. (Cotter) MARIKO MORI: ‘TOM NA H-IU’ This overproduced show provides three beautiful encounters with whiteness and rounded forms that seem closer to various kinds of New Age design than to art. The news release reveals connections to ancient Japanese culture, Celtic religion or, via computer, an observatory outside Tokyo. The artist’s interest in spirituality and science is more convincing in a series of relatively modest drawings that she made herself. Deitch Projects, 18 Wooster Street, near Grand Street, (212) 343-7300, deitch.com, through Dec. 22. (Smith) ALAN SARET: ‘GANG DRAWINGS’ The gangs referred to in Alan Saret’s latest exhibition, the first major show of his work since a 1990 retrospective at P.S. 1, aren’t Angels or Outlaws, Bloods or Crips. Instead they are clutched fistfuls of colored pencils scraped, twirled or swept across the page. The earliest examples are from the late 1960s and executed on graph paper. Later Mr. Saret broke free of the grid, stretching out onto larger sheets of paper. Drawings like “Liquiacoriadance Entering” or “The Verg Integranxin Ensoulment” reveal Mr. Saret’s spiritualist bent, but works like “Triple Cluster” or “Three Circles Ruled & Free Sweep” leave you free to contemplate his draftsmanship without pondering its possible metaphysical functions. The Drawing Center, 35 Wooster Street, (212) 219-2166, drawingcenter.org, through Feb. 7. (Schwendener) Galleries: Chelsea THOMAS DEMAND: ‘YELLOWCAKE’ In eight large color photographs, this German artist reconstructs the scene of an alleged, seemingly minor crime: a burglary at the Niger Embassy in Rome that precipitated the forged documents used to justify the United States invasion of Iraq. A retroactive ominousness grates against the untouched innocence of the artist’s paper reconstruction. 303 Gallery, 525 West 22nd Street, (212) 255-1121, 303gallery.com, through Dec. 22. (Smith) * KAMOINGE: ‘REVEALING THE FACE OF KATRINA’ The 10 artists in this group show are members of Kamoinge, a collective of African-American photographers founded in 1963. All traveled to different parts of the Gulf region in the aftermath of Hurricane Katrina and recorded, in distinctively different ways, what they found: ruined neighborhoods in a panoramic view of the Lower Ninth Ward by Gerald Cyrus; displaced citizens in portraits by Collette V. Fournier, John Pinderhughes, Herb Robinson and Radcliffe Roye; signs and memorials in pictures by Salimah Ali. The individual images are gripping; the cumulative record far more than that. HP Gallery at Calumet Photo, 22 West 22nd Street, (212) 989-8500, calumetphoto.com, through Dec. 28. (Cotter) ADRIAN PACI: ‘PASSAGES’ In the better half of a rather too quiet double-gallery commercial debut, this talented Albanian-born artist, who lives in Milan, functions as a kind of Conceptual folklorist. He paints stills from videos of Albanian weddings on rough, free-standing plaster walls and, in a video that has also been shown previously, employs a professional mourner from the village of his birth to weep over his still-living body. (The second half of the show is at Smith-Stewart.) Peter Blum, 526 West 26th Street, (212) 244-6055, peterblumgallery.com, through Jan. 5. (Smith) CHARLES RAY In his first New York exhibition in nearly 10 years, Mr. Ray defines himself more clearly as a sculptor’s sculptor, parlaying his interests in scale, weight and illusion into meditations on sculpture’s presence above all its stillness and its ability to mimic yet deny life. The works form a rich cat’s cradle of intersecting meanings. One shows a boy playing with a toy car. Another is a greatly enlarged plastic toy in solid stainless steel. A third depicts a tiny chick breaking out of its egg, venturing into the world of space and objects. While consistent with everything that has preceded it, this show feels, similarly, like a brand-new place for Mr. Ray. Matthew Marks Gallery, 523522 West 22nd Street, (212) 243-0200047, through Jan. 19. (Smith) THOMAS RUFF In recent years Mr. Ruff has settled primarily into gathering rather than taking photographs. The Internet is his primary source for images that explore what he has called the “grammar of the media.” Mr. Ruff gravitates toward photographs connected with grand historical events and landscape elements favored by 19th-century painters. Downloaded, digitally manipulated and delivered into the gallery as large-scale C-prints, they continue his longtime project of treating the color photograph as an object (of consumption, if you like) commensurate with easel painting. As disjointed pixel-grids, they offer plenty of perceptual rewards, but Mr. Ruff’s straining for historical significance often makes the Internet look, paradoxically, rather one-dimensional. David Zwirner, 525 West 19th Street, (212) 727-2070, davidzwirner.com, through Dec. 22. (Schwendener) Galleries: Other ★ ‘EQUAL RIGHTS: REGGAE AND SOCIAL CHANGE’ A small show with a big, burning theme. This compact traveling exhibition from Plymouth State University in New Hampshire tells the intertwined stories of Jamaica’s social history and its politically charged music primarily through album covers and posters, beginning with calypso in the late 1950s, moving on to ska in the 1960s, then to reggae. International stars like Bob Marley, Peter Tosh and Bunny Livingston are considered individually, as are female singers like Marcia Griffith, Rita Marley and Judy Mowatt. With an excellent brochure essay. Danny Simmons’ Corridor Gallery, 334 Grand Avenue, Clinton Hill, Brooklyn, (718) 230-5002, rushphilanthropic.org, through Dec. 22. (Cotter) ★ URS FISCHER For his current solo this Swiss artist has destroyed the floor of Gavin Brown’s main gallery by smashing through the concrete and digging deep into the soil, leaving behind an open ditch and mounds of dirt and debris. The physical undermining of art institutions has a long history. Mr. Fisher doesn’t add much new to it, but his epic dig delivers a kind of visual shock almost never encountered in Chelsea, and as a metaphor for art’s digging its own grave, it has particular pertinence now. Gavin Brown’s Enterprise, 620 Greenwich Street, West Village, (212) 627-5258, gavinbrown.biz, through Dec. 22. (Cotter) ‘PAUL MCCARTHY’S CHOCOLATE FACTORY’ The Los Angeles artist Paul McCarthy, like everyone else in the art world, has gone into business, specifically a line of expensive chocolate Santa Clauses for the holiday season under the name Peter Paul Chocolates LLC. To this end he has transformed Maccarone Gallery into a factory outlet, replete with a fully staffed confectionary kitchen and packaging department, and a retail office open to take orders seven days a week until the end of December. And even if you don’t want to buy Santas go for $100 each you can watch the operation at work. Maccarone Gallery, 630 Greenwich Street, West Village, (212) 431-4977, maccarone.net, through Dec. 24. (Cotter) ‘MULTIPLE INTERPRETATIONS: CONTEMPORARY PRINTS IN PORTFOLIO’ Digitally produced fake mug shots of Bush administration officials by Nora Ligorano and Marshall Reese have stirred up some controversy, but otherwise this is a mild, inoffensive show. Presenting works in various styles by 23 artists added to the New York Public Library’s print collection over the past 10 years, the show has a number of highlights, including Thomas Nozkowski’s eccentric, abstract etchings; wide-angle views of men trying on suits in a luxurious store, engraved by Andrew Raftery; and funny, absurdly rudimentary cartoons etched by David Shrigley. New York Public Library, (212) 592-7730, nypl.org, through Jan. 27. (Johnson) ADRIAN PACI: ‘CENTRO DI PERMANENZA TEMPORANEA’ Half of a two-gallery commercial debut, this show presents a beautifully shot but generic video named after the camps where Italy detains illegal immigrants (“Center of Temporary Permanence”); in it a group of workers, none white, crowds onto a mobile stairway that (spoiler alert) is not attached to a plane. (The second half of the show is at Peter Blum.) Smith-Stewart, 53 Stanton Street, near Eldridge Street, Lower East Side, (212) 477-2821, smith-stewart.com, through Dec. 22. (Smith) ★ JUDIT REIGL Born in Budapest in 1923, Ms. Reigl fled Hungary in 1950 for Paris. There her fantastic figurative work caught the eye of André Breton. But Surrealism held little interest for her, and she moved on to do remarkable series of abstract paintings, changing her style to avoid settling into a routine. The examples in this small, beautiful survey run through the 1970s, and they document a career that fruitfully took alternative paths every step of the way. Janos Gat Gallery, 195 Bowery, at Spring Street, Lower East Side, (212) 677-3525, janosgatgallery.com, through March 1. (Cotter) Public Art MAD. SQ. ART 2007: ROXY PAINE This installation is made up of two stainless-steel tree sculptures, “Conjoined” and “Defunct,” and a glacierlike boulder, “Erratic,” by Mr. Paine. The tree sculptures are made from thousands of pieces of metal pipe and rod elements that have been cut, welded and polished. They are real enough to resemble actual trees but not so real that they form a continuum with the surrounding foliage. What captures your immediate attention is “Conjoined,” a 40-by-45-foot sculpture of two trees whose gleaming steel branches cantilever and then improbably connect in midair. It is impossible to tell where the branches of one tree begin and the other’s end. But the piece is also beautifully eccentric, a futuristic fantasy of streamlined vegetation manufactured in imitation of the real thing, only much more appealing and exciting. Madison Square Park, 23rd Street and Fifth Avenue, (212) 538-4689, madisonsquarepark.org, through Dec. 31. (Genocchio) Out of Town ★ PHILADELPHIA MUSEUM OF ART: ‘RENOIR LANDSCAPES, 1865-1889,’ through Jan. 6.{cq} This quietly revisionist show momentarily banishes the apple-cheeked babies, buxom women, bathing beauties and flower still lifes that account for Renoir’s wild popularity to reveal the wide-ranging gifts of his inner landscapist. It erodes the image of Renoir as often on automatic pilot, churning out sentimental, rubbery-surfaced works by underscoring the variety and liveliness of his brushwork, his sensitivity not only to natural light but also to natural form and his ability to absorb from other artists without ever losing his own voice. Benjamin Franklin Parkway, at 26th Street, (215) 763-8100, philamuseum.org. (Smith) ★ WALTERS ART MUSEUM: ‘DÉJÀ VU? REVEALING REPETITION IN FRENCH MASTERPIECES,’ through Jan. 1. It is helpful, before entering this show, to check your postmodern baggage. Few of the artists repeat themselves in the Warholian sense, although the beginnings of modern media culture prints, photographs, reproductions in newspapers and journals are much in evidence. “Déjà Vu” supplements collection highlights with international loans, creatively negotiating the divide between salon painters and independent spirits. In some cases the painting owned by the Walters is the original version; in many others it is one of several replicas. The show encourages you to linger over several variations of the same image, noting a reverse in direction, a change in scale or a shift in gesture from one canvas to the next. 600 North Charles Street, Baltimore, (410) 547-9000, thewalters.org. (Rosenberg) Last Chance HANY ARMANIOUS: ‘YEAR OF THE PIG STY’ The inaugural New York exhibition of this Egyptian-born Australian artist is a kind of riot of fabrication, conflict and mindless consumption, involving quantities of mud covering the floor, splattered on the walls and central to the art; numerous clogs cast from pink silicone; and a pig pen in which two flamboyant chunks of earth seem to be having a final showdown. The work is both familiar and obscure in familiar ways, but it conveys an impressive sculptural ease and an appealing, provocative bit of let-it-rip madness. Foxy Production, 617 West 27th Street, (212) 239-2758, foxyproduction.com; closes on Saturday. (Smith) MARK BOOTH: ‘SUDDENLY ONE OF THE CARROTS ASKED: “WHAT IS CRIME?”’ Just when you thought you couldn’t take another piece of art with an amusing remark written across its front, or any more gallery walls peppered with unframed drawings, this talented Chicago artist, equally at ease with abstract painting and poetry, makes his New York debut. The words may conjure up a world of their own. And you may find yourself looking longer than you initially expected to. Hudson Franklin, 508 West 26th Street, Chelsea, (212) 741-1189, hudsonfranklin.com; closes on Wednesday. (Smith) DOUGLAS GORDON: ‘SELF-PORTRAIT OF YOU + ME, AFTER THE FACTORY’ Unlike “24 Hour Psycho,” a signature work in which Douglas Gordon slowed down Hitchcock’s classic horror film to create a glacially paced but mesmerizing spectacle, his art here resorts to splashier measures, taking commercially available posters of Warhol paintings, burning them and mounting the remains on mirrors. The initial impression is of a Warhol-besotted art school project that borrows heavily from the slash-and-burn aesthetic of punk. The question is whether, in borrowing from Warhol, Mr. Gordon adds back enough to make the exchange worthwhile. Even though the show feels gimmicky, leaning heavily on the tired legs of Warhol and punk subversiveness, the installation offers, if nothing else, a kind of over-the-top nihilist update. Gagosian Gallery, 980 Madison Avenue, near 76th Street, (212) 744-2313, gagosian.com; closes on Saturday. (Schwendener) ★ CLAIRE PENTECOST, JAMES WELLING AND MOYRA DAVEY A haunted, woozy show of photographs by three artists who share an eye for everyday accumulation as still life, and still life as an emblem of transience. Claire Pentecost’s wonderful big pictures of junk food, cigarettes and Asian gods suggest different modes of random consumption; Moyra Davey’s blurry shots of liquor bottles speak of one mode in particular; and James Welling’s bouquets of flowers are like memorials to the ruin that results. Orchard, 47 Orchard Street, Lower East Side, (212) 219-1061, orchard47.org; closes on Tuesday. (Cotter)
6840	dbpedia	1	11	https://patrongallery.com/press/item575/Susie-Barstow-a-19th-Century-Artist-Who-Hiked-Mountains-in-Bloomers-to-Paint-Stunning-Landscapes-Finally-Gets-a-Museum-Retrospective	en	Susie Barstow, a 19th-Century Artist Who Hiked Mountains in Bloomers to Paint Stunning Landscapes,…	https://patrongallery.co…2-1688677880.jpg	https://patrongallery.co…2-1688677880.jpg	[ "https://patrongallery.com/_assets/PatronGalleryLogo400x190.png", "https://patrongallery.com/media/PatronGallery-10301-1688677082.jpg", "https://patrongallery.com/media/PatronGallery-10300-1688677082.jpg", "https://patrongallery.com/media/PatronGallery-10299-1688677082.jpg", "https://patrongallery.com/media/PatronGallery-10298-1688677082.jpg", "https://patrongallery.com/media/PatronGallery-10297-1688677067.jpg", "https://patrongallery.com/media/PatronGallery-10296-1688677067.jpg", "https://patrongallery.com/media/PatronGallery-10295-1688677067.jpg", "https://patrongallery.com/media/PatronGallery-10294-1688677067.jpg", "https://patrongallery.com/media/PatronGallery-10293-1688677050.jpg", "https://patrongallery.com/media/PatronGallery-10292-1688677050.jpg", "https://patrongallery.com/media/PatronGallery-10291-1688677050.jpg", "https://patrongallery.com/media/PatronGallery-10290-1688677050.jpg", "https://patrongallery.com/_assets/lazyloadhero.png", "https://patrongallery.com/_assets/lazyloadhero.png", "https://patrongallery.com/_assets/lazyloadhero.png", "https://patrongallery.com/_assets/lazyloadhero.png", "https://patrongallery.com/_assets/lazyloadhero.png", "https://patrongallery.com/_assets/lazyloadhero.png" ]	[]	[]	[ "Patron Gallery", "Art Gallery", "Contemporary Art", "Contemporary Art Gallery", "Art", "Fine Art", "Gallery", "Chicago", "Julia Fischbach", "Emanuel Aguilar", "Chicago Art", "Chicago Artist", "Chicago Artists", "Daniel G. Baird", "Greg Breda", "Kadar Brock", "Alex Chitty", "Bethany Collins", "Jamal Cyrus", "Myra Greene", "Kay Hofmann", "Mika Horibuchi", "Jennie C. Jones", "Caroline Kent", "Ryosuke Kumakura", "Samuel Levi Jones", "Noe Martínez", "Harold Mendez", "Brittany Nelson", "Anna Plesset", "Kaveri Raina", "Melanie Schiff", "Claire Sherman", "Lucas Simoes", "Alice Tippit", "Carmen Winant", "Samira Yamin", "Liat Yossifor", "Nyeema Morgan", "Bryan Savitz", "Soo Shin", "Noah Singer", "Nick van Woert" ]	null	[]	null	PATRON is a contemporary art gallery in Chicago created by Julia Fischbach and Emanuel Aguilar in 2015.				http://patrongallery.com/press/item575/Susie-Barstow-a-19th-Century-Artist-Who-Hiked-Mountains-in-Bloomers-to-Paint-Stunning-Landscapes-Finally-Gets-a-Museum-Retrospective	The Thomas Cole National Historic Site revisits the forgotten legacy of the Hudson River School’s women artists, with the first retrospective for Susie Barstow. When Susie M. Barstow was in search of artistic inspiration, she would head to the mountains, sketchbook in tow, reportedly hiking as many as 25 miles a day while capturing views of the natural landscape. This dedication to her practice is all the more remarkable considering Barstow began her career in the 1850s, at a time when bloomers were still considered daring attire for women. “Going out in long heavy woolen skirts and heels and petticoats and all of these layers was so cumbersome,” Nancy Siegel, an art history professor at Maryland’s Towson University and curator of a new exhibition on Barstow, told Artnet News. “So there were bloomers, trousers worn under a short skirt. And women like Susie would raise the hems of their walking skirts. Some women wore boy’s tennis shoes, or would use a clothes pin to pull their dress up almost to create pantaloons while they were hiking,” she added. “There were lots of ways that women carefully and strategically manipulated their dress so that they could navigate the landscape.” Born in New York City in 1836, Barstow was among some 50 women who were part of the Hudson River School, painting in the tradition started by Thomas Cole. Now, the Thomas Cole National Historic Site, the home of the founder of the movement, is hosting Barstow’s first ever retrospective, “Women Reframe American Landscape: Susie Barstow and Her Circle/Contemporary Practices.” In 2010, the museum had staged “Remember the Ladies,” the first exhibition dedicated to the movement’s women, curated by Siegel and art dealer Jennifer Krieger. A decade later, Betsy Jack, director of the Cole house, reached out to Siegel about organizing a follow-up show, this time focused on a single artist. Barstow—who has more than 100 documented paintings—soon emerged as a natural choice, both due to her success during her lifetime and the availability of her work, as well as a wealth of archival materials preserved by her surviving family members (much of which they recently donated to the Albany Institute of History and Art). “I had access to hundreds of letters and photographs and personal memorabilia, like her certificates from school and the tickets that she saved from seeing the Columbian Exposition, as well as hundreds of drawings and watercolors as well as paintings,” Siegel said. “It was this incredibly unique opportunity first to find that much existing biographical material about any artist, much less one of these women of the Hudson River School.” The result is a two-part exhibition pairing work by Barstow—who already had one piece in the Cole house collection—and other women of the Hudson River School, with that of contemporary women artists responding to the landscape. It’s a collaboration between Siegel, who handled the historic material (and also wrote a new monograph about Barstow), and Thomas Cole National Historic Site chief curator Kate Menconeri and assistant curator Amanda Malmstrom, who enlisted the show’s living artists. A total of 13 contemporary artists each made new work, some site-specific, for the show: Teresita Fernández, the Guerrilla Girls, Marie Lorenz, Tanya Marcuse, Mary Mattingly, Ebony G. Patterson, Anna Plesset, Jean Shin, Wendy Red Star, Jaune Quick-to-See Smith, Cecilia Vicuña, Kay WalkingStick, and Saya Woolfalk. “In this exhibition, we wanted to recenter women in the canon of American art, and then expand and complicate how we think about in a landscape today, because it feels like we’re in this really urgent moment,” Menconeri told Artnet News. Some of the works speak to contemporary concerns about the land and the environment, such as the Fernández installation Small American Fires, a series of 12 of wood panel graphite drawings of fire and a dramatic charcoal wall drawing. It’s inspired by the destructive power of fire, especially as climate change fuels more deadly blazes, but also its potential for rebirth, and the long Indigenous history of using fire to promote new growth. Other pieces tie into the history of the Hudson River School and the Cole house more directly, like a new Guerrilla Girls poster installed in the stairway decrying the exclusion of women and artists of color from the movement—and its idealization of a landscape quickly falling victim to rampant industrialization. Cole, of course, was an early environmentalist who used his work to advocate for the preservation of the natural landscape. In his preserved studios, the curators have placed a site-specific installation by Lorenz, featuring sculptures she’s crafted from plastic and other detritus collected in New York City waterways, as well as video footage of her excursions by boat. “Rather than painting the landscape like Cole did, Marie brings people into the landscape through this project called The Time and Tide Taxi—it’s very intrepid,” Menconeri said. “In our post-industrial moment, the land is filled with flora and fauna and plants, but also plastics and particles and toxins. So the work is really exciting. The land is damaged and it’s imperfect, but this is where we are, and she still kind of embraces it.” And then there’s Plesset’s American Paradise, a new edition of the catalogue for the 1987 Hudson River School show of the same name at New York’s Metropolitan Museum of Art that did not include a single woman. Plesset’s version of the publication is open to the title page and frontispiece, which now features a Barstow painting, creating an alternate history where the accomplishments of women are included and properly appreciated. “We felt that bringing art about land and the landscape by contemporary women artist into and in conversation with the historic interiors of our 1815 main house was important to complement and expand upon the Susie Barstow presentation in the new studio,” Malmstrom told Artnet News. “I like to think of Susie Barstow and her circle as the founding mothers of the Hudson River school. They paved the way for future women artist to engage with the landscape,” Siegel added. The exhibition also includes a number of historic paintings by Julie Hart Beers, Fidelia Bridges, Charlotte Buell Coman, Eliza Greatorex, Mary Josephine Walters, and Laura Woodward—women artists who showed alongside Barstow and are equally deserving, Siegel insisted, of rediscovery. “For so many years, the scholarship has focused on the male artists of the Hudson River School,” she said, “Hopefully, this show will usher in a new curatorial era of solo exhibitions devoted to these 19th-century women landscape painters.” Born to a middle class family in Brooklyn, Barstow studied art at the Rutgers Female Institute and Cooper Union in New York. Though there were certainly still obstacles for women interested in a professional art career, Barstow benefitted from changing attitudes about women in the second half of the 19th century. “There was a reform movement that acknowledged the importance of women exercising,” Siegel said. “Women were riding bicycles, they were hiking, they were getting outdoors—fresh air was considered to be really restorative.” And Barstow took full advantage of that new freedom of movement, extensively hiking the Catskills and Adirondacks in New York, as well as New Hampshire’s White Mountains and trips overseas to Europe and to other parts of the U.S. She also never married or had children, which freed her of many of the domestic responsibilities that so often limited women’s art careers. Barstow did, however, have a companion, a fellow landscape artist named Florence Nightingale Thallon, with whom she lived and traveled for some 20 years. “I don’t want to speculate in terms of whether this was a relationship of a sexual nature, but I would certainly say it was a very intimate friendship,” Siegel said. Though we may never know the full details of her personal life, what’s clear is that Barstow worked incredibly hard in her 87 years. Early in her career, Barstow wrote that “I will overcome every obstacle to success.” Remarkably, she did just that. “Susie Barstow was incredibly well known. Her work sold for comparable prices as her male counterparts, and she showed in all the exhibitions that men like Asher B. Durand and Albert Bierstadt were showing in,” Siegel said. “But there’s this moment of art historical amnesia in the interwar years between, after World War I and before World War II and all these women artists seem to disappear,” she added. “And now it’s time that we’re writing them back into history.” “Women Reframe American Landscape: Susie Barstow and Her Circle/Contemporary Practices” is on view at the Thomas Cole National Historic Site, 218 Spring Street, Catskill, New York, May 6–October 29, 2023, and at the New Britain Museum of American Art, 56 Lexington Street, New Britain, Connecticut, November 16, 2023–March 31, 2024. It will also travel to the Leigh Yawkey Woodson Art Museum, 700 North 12th Street, Wausau, Wisconsin.
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The exhibition follows the groundbreaking show Remember the Ladies: Women of the Hudson River School held at the Thomas Cole National Historic Site in 2010. Co-curated by Nancy Siegel, Ph.D. and Hawthorne Fine Art’s Jennifer Krieger, the former exhibition led to the discovery of new works and new talents with the hope of adding them all to the American art canon. In the years since, Hawthorne Fine Art has continued to shine a light on American women artists through regular exhibitions and scholarly research. The present exhibition features over 25 landscape paintings by a group of exceptional 19th century lady artists incredibly worthy of remembrance. As we celebrate Women’s History Month we hope you join us in Still Remembering those Ladies! Among the work to be shown is Autumn Picnic in the Hudson Valley by Julie Hart Beers (1835-1913). The sister of Hudson River School painters William and James McDougal Hart, Beers’s work glows with the colors of autumn. Figures enjoying an afternoon picnic can be seen reclining beneath the shade of a tree or warming themselves in the sun upon a sloping hillside. A church steeple and the rooftops of a nearby village can be seen in the distance beyond a vast green field. The Hudson River Valley is highlighted in other luminous works including Sunset on the Hudson River, 1870 by Mary Kollock (1840-1911) and In the Catskills, Looking Towards Hunter Mountain by Virginia Chandler Titcomb (1838-1912). A large scale-work, Mountain Lake in Autumn, 1873 by New York native Susie M. Barstow (1836-1923) depicts the morning mist as it rises above a mountain lake whose tranquil water mirrors snowcapped mountains. In the foreground, Barstow captured in exquisite detail the overgrowth of autumnal flora amidst the rocks on the shoreline. In the middle ground, a tiny plume of smoke hovers above a campfire while birds in flight skim the surface of the lake near the opposite shore. A View of the Androscoggin River Valley, White Mountains, New Hampshire by Ann Sophia Towne Darrah (1819-1881) is another large-scale work. The artist, who went by Sophia, signs her work “S.T. Darrah” in order to conceal her gender and avoid discrimination. Darrah’s broadly painted landscape captures the late afternoon light. Minutely painted cattle graze in a field at the lower left adding a sense of scale to the mountain scene. More intimately scaled works include the seasonal pairing Summer, 1878 and Autumn, 1878 by Annie Cornelia Shaw (1852-1887). Painted en plein air, Shaw captures the landscape using rich earthy hues. By the Riverbank, 1888 by Mary N. Black (19th Century) depicts a lone fisherman in a rowboat beside a wooden foot bridge. The charming river scene is painted in oil on a porcelain plate, one of the few art forms considered acceptable for women during the 19th century. Laura Woodward’s (1834-1926) Camel’s Hump, Vermont, 1877 captures the topography of Vermont’s Green Mountains beyond farmland bordered by lush green trees. Walking by the Old Mill by Mary Josephine Walters (1837-1883) is of the few early extant pre-Raphaelite watercolors by a female artist. Walters was a favorite female student of Asher B. Durand (1796-1886). Also included are works by artists Maria J. C. a'Becket (1839-1904), Helen Mary Knowlton (1832-1918), Rebekah T. Furness (1854-1937), Charlotte Buell Coman (1833-1924), Alice Archer Sewall James (1870-1955), Kate W. Newhall (1840-1917), Mattie C. Voorhees (19th Century) and Mary Lord Stevens (1833-1920).
6840	dbpedia	0	84	https://issuu.com/nantuckethistoricalassociation/docs/historicnantucket_1979april/s/14016112	en	The "American Rembrandt"	https://assets.isu.pub/d…0ae5dc74209.jpeg	https://assets.isu.pub/d…0ae5dc74209.jpeg	[ "https://static.isu.pub/fe/product-header-frontend/387efd2/31d186ba39f38e8c4fac.png", "https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg", "https://static.isu.pub/fe/product-header-frontend/387efd2/1e794a8c4ec65e549678.png", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/2854c26dd92ef8469f9750ae5dc74209.jpeg?width=720&quality=85%2C50", "https://photo.isu.pub/nantuckethistoricalassociation/photo_large.jpg", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/9b58d96fe1454c6e619e8c4a7f6e10a5.jpeg", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/6084de1379bf2b0da8a3f64575145337.jpeg?width=720&quality=85%2C50", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/b290e3cc8becc79ed7c869e9f0e5dd42.jpeg?width=720&quality=85%2C50", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/72d56765e4978104a4df1031edc17f4a.jpeg?width=720&quality=85%2C50", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/8f6101e9c15bfa10783ebd71889ecd00.jpeg?width=720&quality=85%2C50", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/8caed715ba34b7e88ecd487aa3a45cbb.jpeg?width=720&quality=85%2C50", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/6c3d3b63d4fbfccb2de79b66e698a356.jpeg?width=720&quality=85%2C50", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/2cc9e45894137b59b859db9cdfeb68e5.jpeg?width=720&quality=85%2C50", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/9dae00d808e6ec9362251a595a57ee0d.jpeg?width=720&quality=85%2C50", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/9b58d96fe1454c6e619e8c4a7f6e10a5.jpeg", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/8a9603b3bb9212c5e15572d750e593b0.jpeg", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/a065fa7b1d321ff594607a1544a74205.jpeg", "https://assets.isu.pub/document-structure/211118202535-2072c13c8bff6ebfdd65362332cf01e3/v1/b8655bb32e11a20a9d3a14e2a0744b88.jpeg", "https://image.isu.pub/211118202535-2072c13c8bff6ebfdd65362332cf01e3/jpg/page_1_thumb_large.jpg", "https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg" ]	[]	[]	[ "" ]	null	[ "Historic Nantucket" ]	2021-11-18T20:25:48+00:00	NANTUCKET! SAY THE word at a gathering and faces light up, pleasant memories flow, and a mystic aura is evoked. True in the day of whaling as it is now, just as surely did the faraway island cast its spell on one of America's greatest artists: Eastman Johnson, an American "Old Master" if ever there was one. In 1870, as an accomplished and renowned portrait painter and "genre" artist, he brought his new bride, Elizabeth Buckley of Troy, N.Y., to summer on The Island at the suggestion of one Dr. Gaillard Thomas to "...meet his desire for a quiet and incurious locality".	en	/favicon.ico	Issuu	https://issuu.com/nantuckethistoricalassociation/docs/historicnantucket_1979april/s/14016112	T h e " A m e r i c a n - R e m b r a n d t " o n N a n t u c k e t 7 by Robert A. diCurcio NANTUCKET! SAY THE word at a gathering and faces light up, pleasant memories flow, and a mystic aura is evoked. True in the day of whaling as it is now, just as surely did the faraway island cast its spell on one of America's greatest artists: Eastman Johnson, an American "Old Master" if ever there was one. In 1870, as an accomplished and renowned portrait painter and "genre" artist, he brought his new bride, Elizabeth Buckley of Troy, N.Y., to summer on The Island at the suggestion of one Dr. Gaillard Thomas to "...meet his desire for a quiet and incurious locality". Nantucket became Eastman Johnson's summer studio ever after, for he — like so many others to follow him — succumbed to that happy malady: falling in love with Nantucket Island. His residence and studio perched atop "the Cliff' looking out over cranberry bogs that in those days ringed the broad, watery expanse of Nantucket Sound below. Here he was to immortalize the 19th century Nantucketers who culled those cranberry bogs dressed in stove pipe hats or full skirts with fancy bonnets — a remarkable series of genre pictures of those elegant and distinguished rustics, the Nantucket cranberry pickers. In 1873, Scribner's Monthly published an article on Johnson, reading in part:". . .the artist Eastman Johnson has shown his usual fine taste in taking up his residence here and has transformed two of the old houses that stood on the site into a home and studio. The location is just out of town on the Cliff which is high ground just above the bathing beach, commanding a magnificent sweep of the ocean, a spot which ought to be occupied by cottages and hotels!" Eastman Johnson's reputation in the latter half of the 19th century stemmed mainly from his popularly acclaimed genre paintings — pictures of the dignity in the every day life and labors of common people. After 1870, Nantucket became the principal locale for his genre paintings of the American scene. Previously, as a sometime Washington, D.C. resident, he had painted negro slave scenes; his famous Negro Life in the South 1859 (The New York Historical Society) — or My Old Kentucky Home as it later came to be called after Stephen Foster's popular song of the same name — earned him the respect of the public, the prestigious National Academy of Design, and the art critics of the day, one of whom called it "A first class character piece". Although some today would Eastman Johnson at work in his Nantucket Studio. THE "AMERICAN REMBRANDT" 9 condemn as hypocritical this painting ot negro slaves singing, playing relaxing, and courting, such moralists would do well to consider more closely the envy that the perspicacious Johnson painted on the faces of the white children on the periphery of the scene; it is genuine. Elected a full academician of the National Academy in 1860, the most talented young painter of American domestic life of the time, genre artist second to none, Nantucket summer resident Eastman Johnson was no New England provincial. He had spent six marvelous years abroad in the 1850's learning the craft of oil painting - a European tour that was de rigeur for the serious professional of his day. At the "Dusseldorf School" in Germany he studied briefly in 1851 with Emmanuel Leutze, an American who was famous for his huge (12 by 21 feet), patriotic painting George Washington Crossing the Delaware 1851 (Metropolitan Museum of Art, NYC), known to generations of Americans chiefly through an engraving of it that EJ helped to prepare. On the whole dissatisfied with the rest of the German genre artists in Dusseldorf (recommended to him by the American Art-Union, then the most powerful group of art patrons), he changed his ambience rather quickly to that of The Hague in Holland where he found his life-long inspiration in the paintings of the Dutch old masters. In late 1851, Johnson wrote to the American Art-Union: "I am at present at The Hague where I am deriving much advantage from studying the splendid works of Rembrandt and a few other of the old Dutch masters (probably Vermeer, van de Cappele, van Mieris, ter Borch, et al)...l must say I regret having spent so long a time in Dusseldorf (not quite a year). . .where the present artists are deficient in some of the chief requisites, as in color, in which they are scarcely tolerable. . .Leutze was the only colorist amongst them. . (as quoted by Patricia Hills in her excellent monograph Eastman Johnson, op. cit) EJ's ability to handle color was one of his great assets; he made enough of an impression on the sophisticated Dutch with it, that he became known to them as "the American Rembrandt". The Dutch genre tradition became second nature to him. What is more, he was offered the position of court painter to His Majesty William II. But this young man, born but a few years earlier in 1824 in the hinterlands of Lowell, Maine, refused royal patronage in the land of Rembrandt and Vermeer, and after a four year apprenticeship made his way in 1855 to Paris in search of even more instruction. 10 HISTORIC NANTUCKET There he studied in the atelier of Thomas Couture, a teacher who was partial to young Americans. Couture, recognized for his sumptuous colorism, is now remembered as the teacher of the great French iconolast painter Manet. (The celebrated Impressionist painters of the day were once known as Manet's "gang.) It was Couture who impressed even more strongly on EJ the importance of method in art. It was, in the final analysis, this early grounding in European coloristic method that elevated EJ's art to greatness. He carried European method back to an American art scene, employed but re-interpreted it in the extolling of honest toil in the fields, barns, and Maple groves — the admirable dignity of rural America. When, in the 1880's and 90's, his career emphasis changed to depicting fashionable and affluent individuals in elegant interiors, and to portraits of the "upper classes", the resulting so-called "conversation pieces" trace their pedigree, as Patricia Hills puts it (op. cit.), to the seventeenth century Dutch and Couture's atelier. If Manet was a bete noire of French academic painting and the precursor of French Impressionism, then Johnson is the fair haired boy of American genre painting and precursor to the likes of Thomas Eakins and Winslow Homer, titans of 19th century realism. Upon his return to the U.S. in late 1855 and thereafter until the early 1870's, Johnson applied his European lessons mainly to subjects of the American Indian, the negro slave, Civil War combatants, maple sugaring and barn scenes in Maine. Since it was a time when daguerreotype photography was coming into its own, painters, collectors, and the art public turned their attentions to pictures of anecdotal scenes from American life, such as EJ's much admired The Boyhood of Lincoln 1868 (The University of Michigan Museum of Art), showing an adolescent Abe by the fireside intently studying the borrowed book of song and story. Portraiture was left for a while to the mechanized novelty of the photographer's craft. The Nantucket Scene A recognized genre artist and portraitist before setting foot on Nantucket, EJ fulfilled the Dutch prophecy as the American Rembrandt during those halcyon summers on The Island. He took to Nantucket in much the same way as Herman Melville (a contemporary genius whom he probably never met) explains his own affinity in Moby Dick : ". . .because there was a fine boisterous something about everything connected with that famous old island which amazingly pleased me." One of the first things Johnson did as an artist on Nantucket was to construct a staging for a painting of boisterous children frolicking on and around an abandoned Stage Coach. Johnson used Nantucket children as models, and the result was the large (3 ft. x 5 ft.) oil The Old Stage Coach 1871 (Milwaukee Art Center) — as idealized and sentimentalized a scene of childhood as one was likely to see. But this was what the spirit of the times (Zeitgeist, to recall the philosophical term) demanded: Americans were wont to portray themselves as youthful, brash, in the driver's seat, and way out front in those days; this to blot out, perhaps if nothing more, the trauma of their Civil war. The 1907 catalog of the American Art Association (of a posthumous retrospective show after Johnson's death in 1906) describes The Old Stage Coach: "The body of an old stage coach which, in its time, judging from its form and color, must have been a famous vehicle (Johnson had the vehicle transported from the Catskills where he first conceived of the picture) has been cast aside on an open field near a farmyard, and a large group of merry children are playing with it. Two girls and two boys, prancing and kicking, represent the four horses. Others occupy the box seat and interior, and a more enterprising lad stands on top waving his hat, while a companion endeavors to climb up to him." Of Johnson's Civil War paintings, The Wounded Drummer Boy 1871 (The Union League Club of N.Y.) is probably the most famous. When Civil War memories were finally far behind, Johnson on Nantucket began to lighten his palette, and women appear more frequently in his paintings, especially after his marriage and after his only daughter, Ethel, was born in 1870. Much reminiscent of Vermeer are his studies of women posed indoors near a window. Although he made occasional trips to Maine in the late 1870's, and though he kept a winter studio at West 55th St. in New York, the majority of Johnson's post 1870 genre scenes were set in Nantucket, and salient among them are the series on cranberry picking and corn husking bees, activities as peculiarly American as his beloved maple sugaring. The quintessential "Americanness" of his Nantucket scenes explains much of the appeal in his nostalgic renderings of agricultural labor. Another aspect of his critical acclaim at the time was that he exalted the labor of common folk as a joyous contribution to the growing nation with which they appear to be in complete harmony. This we may contrast with the scenes of his European contemporary counterparts such as the Barbizon School in general and Jean-Francois Millet in particular, whose famous painting The Gleaners 1857 (Louvre, Paris) of stoop-backed, babushka'd peasant women in a stubble field shows none of the optimism THE "AMERICAN REMBRANDT" 13 and esprit de corps in Johnson's farm scenes; although Millet sought to dignify the workers in the fields, he conveys a hopelessness that never for a moment entered Johnson's oeuvre, not even in the late character studies of old Nantucket sea captains. Thus the contemporary critic William Walton could state with ample justification in Scribner's Magazine XL (1906) . .his (Johnson's) conception of the rendering of 'the life of the poor', of 'the tillers of the soil', and 'the ex-toilers of the sea' preaches no ugly gospel of discontent as does so much of the contemporary French and Flemish art of this genre; his Nantucket neighbors know nothing of the protestation douloureuse de la race asservie a la glebe; there is no crie de la terre arising from his cranberry marshes or his hay-stuffed barns". He continued: "The happy combination of right feeling and sound technique is manifest in all the details; the respectable old silk hat which constitutes so important an incident in several of the best of his Nantucket scenes would have been fatal to the ordinary genre painter — it is dignifiedly hospitable in the Glass With the Squire 1880 (Annmary Brown Memorial, Prov., R.I.), gravely stern in The Reprimand 1880 (location and owner unknown), genuinely pathetic in Contemplation (probably Captain Charles Myrick 1879, Nantucket Historical Association, Peter Foulger Museum) and Embers 1880 (Mrs. Herbert S. Darlington, Lajolla, Calif.) But seldom has so unimportant a baggage played such an important role in art." In another commentary on the comparison of E.J.'s genre with one of his European counterparts, Patricia Hills [op. cit.] states, ". . the content of the Breton is the awesome and solemn but necessary labor of the French peasant; the content of the Johnson is the democratic and even hedonistic gaiety of a Nantucket cranberry harvest." Of equal interest, as far as his contributions to Nantucket's art scene, are Johnson's depictions of Nantucket personages within Nantucket interiors. He did many renditions of old whaling masters (sea captains) such as Captain Myrick, a favorite and splendid type. An American Art Association catalogue in 1907 stated: "Charles Myrick, a Nantucket man, appears in several of Johnson's pictures. This [Captain Myrick, ca. 1879, F. N. Bard, Chicago, 111.) is a study of an old New England type which is now fast disappearing. An old man with a fringe of whiskers around his face, wearing an old-fashioned beaver hat, black coat and waist coat, with a loose white tie, leans for- 14 HISTORIC NANTUCKET After 1880, Johnson resumed his early interest in portraiture, possibly because of the lucrative commissions he was capable of attracting a t t h a t p o i nt. H i s l a s t d a t ed g e n re p a i n tin g i s T h e N a n t u c k e t S c h o o l o f Philosophy 1887 (The Walters Art Gallery, Baltimore). E. U. Crosby (op. cit.) quotes 'A memo on file at the Walters Art Gallery' as follows: "Eastman Johnson called at 455 Madison Ave., New York City, on Edward D. Adams, on Sunday, April 21, 1889, and gave the names of the character studies he had as models in the execution of his painting entitled "The Nantucket School of Philosophers", belonging to Mr. Adams. (The painting shows a group of old men seated in a ring around an old wood stove in a Nantucket cobbler's shop, conversing and possibly reminiscing about days gone by.) Mr. Johnson explained that the following 'philosophers' were alive at that date: the shoemaker, Captain Haggerty; the talker, Captain Moore; on the left-hand side, leaning on his hand, Captain Ray, and that the other 'captains' were all dead." Crosby further states that Captain Haggerty's shop was located in a small wooden building on Liberty Street, at the rear of the Henry Coffin property. Writing in the Oct. 1958 issue of H i s t o r i c N a n t u c k e t , the quarterly publication of the Nantucket Historical Association (pp. 35-38), Louise Stark sums up the warm feeling that Nantucketers can harbor for this artist who more than anyone else set the tone and the stage for the phenomenal flourishing of the arts on Nantucket: "Eastman Johnson was a great portrait painter as well as a painter of daily scenes. Some of his portraits of Nantucket people give me the feeling he painted them because they fascinated him and he loved them. "No artist I've found of Nantucket subjects has given me as much a feeling of the island and its people in the time he painted as Eastman Johnson. Nantucket is fortunate to have had such a devoted and skillfully trained artist so engrossed in the island."
6840	dbpedia	2	25	https://artherstory.net/women-reframe-american-landscape-at-the-thomas-cole-national-historic-site/	en	Women Reframe American Landscape	https://artherstory.net/…s-3-1024x741.jpg	https://artherstory.net/…s-3-1024x741.jpg	[ "https://artherstory.net/wp-content/uploads/2018/11/Art-Herstory-Logo-Medium_2.png", "https://artherstory.net/wp-content/uploads/2023/07/view-of-Susie-Barstow-drawings-and-sketches-3-1024x741.jpg", "https://artherstory.net/wp-content/uploads/2023/07/Susie-Barstow-photo-with-view-of-her-paintbox-663x1024.jpg", "https://artherstory.net/wp-content/uploads/2023/07/2_cropped_FB1_purple_flowers_600x600.jpg", "https://artherstory.net/wp-content/uploads/2023/07/3_women-artist-books-Susie-Barstow-Fidelia-Bridgesjpg.webp", "https://artherstory.net/wp-content/uploads/2023/07/New-Studio-Thomas-Cole-House-1-1024x664.jpeg", "https://artherstory.net/wp-content/uploads/2023/07/Main-House-at-Thomas-Cole-National-Historic-Site-1024x681.jpeg", "https://artherstory.net/wp-content/uploads/2023/07/TCNHS_InstallationviewofJauneQuick-to-SeeSmith-work-1024x679.jpg", "https://artherstory.net/wp-content/uploads/2023/07/Teresita-Fernandez-at-Thomas-Cole-House-1024x683.jpeg", "https://artherstory.net/wp-content/uploads/2023/07/detail-of-Teresita-Fernandez-1024x922.jpeg", "https://artherstory.net/wp-content/uploads/2023/07/Ebony-Patterson-at-Thomas-Cole-House-1024x657.jpeg", "https://artherstory.net/wp-content/uploads/2023/07/Emily-Cole-painted-china.jpg", "https://artherstory.net/wp-content/uploads/2023/07/Susie-Barstow-I-will-overcome-at-Thomas-Cole-National-Historic-Site-1024x756.png" ]	[]	[]	[ "" ]	null	[ "Erika Gaffney" ]	2023-07-18T21:19:00+00:00	Art Herstory presents thoughts about the Summer 2023 exhibition Women Reframe American Landscape at the Thomas Cole National Historic Site.	en	https://artherstory.net/…Icon-100x100.jpg	Art Herstory	https://artherstory.net/women-reframe-american-landscape-at-the-thomas-cole-national-historic-site/	Historic and contemporary female landscape artists in conversation Women Reframe American Landscape at the Thomas Cole National Historic Site (TCNHS) in Catskill, New York is an exhibition in two parts. Three curators—Nancy Siegel, Kate Menconeri and Amanda Malmstrom—collaborate to present a transhistoric survey of how American women artists have engaged, and continue to engage, with land. Celebrating Susie Barstow, and other women of the Hudson River School The historic portion of the show, Susie Barstow and Her Circle, is housed in the New Studio building. This segment recognizes the contributions of women painters of the Hudson River School, with a special focus on nineteenth-century American landscape artist Susie Barstow. According to Nancy Siegel’s Art Herstory guest post about this artist, though Barstow maintained a presence in New York City via her Brooklyn studio, she was a lover of the outdoors and an inveterate hiker. Barstow frequented the Catskills, the Adirondacks, the White Mountains, and the lakes and mountains of Maine for inspiration. She made multiple excursions abroad with and without her partner, Florence Nightingale Thallon, a fellow artist with whom she frequently lived and traveled for nearly two decades. In the TCNHS exhibition, about a dozen of Barstow’s framed landscape oil paintings adorn two of the walls. There are also display cases that present objects of material culture, including Susie’s paintbox. Also on view are tickets she saved from the 1893 World’s Columbian Exhibition, letters, small drawings, a receipt to one of her students for art lessons, and the artist’s calling card. On the remaining walls within the New Studio segment of the exhibition, visitors find paintings by other women artists of the Hudson River School. These painters include Laura Woodward, Eliza Pratt Greatorex, Julie Hart Beers, Charlotte Buell Coman, Mary Josephine Walters, and Fidelia Bridges. Public vs. private collections Though some of the paintings in this room are on loan from public institutions—among them the Baltimore Museum of Art, the Harriet Beecher Stowe Center, and the Albany Institute of Art and History—most are from private collections. Dismayingly few public collections seem to own works by these artists, so perhaps this is unsurprising. But I was slightly surprised and pleased to notice that the placards identify many of the owners by name. While both Fidelia Bridges paintings in this exhibit are from private collections, this artist is an exception to the generalization above. More than 30 US museums hold at least one of her works, whether an oil painting, a watercolor, or a chromolithograph. Presumably when the show moves to the New Britain Museum of American Art, and then the Leigh Yawkey Woodson Art Museum, these institutions will add some of their own Bridges holdings to the historic art segment. (One of the Woodson Art Museum’s current exhibitions is Fidelia Bridges: The Artful Sketch.) A special anniversary: Barstow and Bridges, one hundred years on This year marks a significant anniversary for Bridges as well as for Barstow. It is exactly one century since each woman died in 1923. There is a beautifully illustrated, accessibly written new book about each artist to commemorate the anniversary. A copy of each is available in the New Studio for visitors to browse: Susie M. Barstow: Redefining the Hudson River School, by Nancy Siegel; and Fidelia Bridges: Nature into Art, by Katherine Manthorne. Other books on women artists by Manthorne include Restless Enterprise: The Art and Life of Eliza Pratt Greatorex and Women in the Dark: Female Photographers in the US, 1850–1900. Interlude: Properties and practicalities Outdoors Contemporary Practices, the complementary segment of this exhibition, is located in the Main House on the TCNHS grounds. Before moving on to this portion of the show, let me explain the layout of the site. The museum sits on the property where Thomas Cole, the English-born founder of the Hudson River School, lived and worked. But notice I don’t write, “on the property once owned by Thomas Cole.” Interestingly, during his lifetime the owners were first his wife’s uncle, and later his sister-in-law. Eventually, Cole’s wife Maria became the owner, but that was after his death. There are currently three structures on the grounds. These include the New Studio, which I mention above; it is a reproduction, built in 2015. The original building was torn down in 1973. The ground floor is an exhibit space; upstairs is the museum’s mechanical room. The Old Studio, restored in 2004, is the back room of a former storehouse for crop harvests. It now contains the Visitor’s Center and museum shop, as well as some supplemental exhibit space. (When the new purpose-built Visitor’s Center is complete, this historic building will become a space for meetings and workshops.) And the largest building is the three-story Main House. Indoors The temporary display of contemporary artwork in the Main House intermixes with the permanent display. Among the objects are paintings by Thomas Cole, and furnishings and equipment that he and his household used. The focus on the household, as well as the artist, is deliberate, and important. The museum team has set itself an explicit mission to conduct research on all historic figures associated with the site. As I will touch on again later in this review, everyone who contributed to the property’s upkeep and functioning matters, whether their names are known to us or not. Throughout the house, digital technology discretely complements the historical appointments. There are artworks projected onto screens, informational videos, supplemental texts one can scroll digitally, links to audio commentary by the exhibition’s curators, and QR codes linking to further information online. Less high tech, but also very helpful in certain weather, are the large umbrellas that circulate among the three buildings. How do women artists engage with land today? Contemporary Practices features living artists whose work touches—albeit in very different ways—on our relationship with the land. Teresita Fernández‘s thinking about landscape informs the entire enterprise; the artist contributes an essay to the exhibition catalog. I particularly admired her site-specific installation in one of the ground floor rooms, which incorporates only materials found in nature. (And I admit I am quite curious as to how/whether a site-specific installation transfers to the other venues for this show.) On the same floor, a multi-media (and multi-layered) work by Ebony G. Patterson takes up a considerable portion of one wall. On the stair landing is a characteristically humorous-yet-incisive poster from the Guerrilla Girls, specially composed for this exhibition. Upstairs, visitors will view paintings by Jaune Quick-to-See Smith and some of her beadwork, on display here for the first time. There is also book art by Anna Plesset; sculpture by Jean Shin; a set of “seasons” photographic self-portraits by Wendy Red Star; and a wall-size photograph by Tanya Marcuse of carefully staged objects. A viewer might easily mistake the latter for a mural. Other artists with art on display in the house or in the Old Studio in the Visitor’s Center are Marie Lorenz, Mary Mattingly, Cecilia Vicuña, Kay WalkingStick, and Saya Woolfalk. The Cole women, and other important members of the household And for visitors who thought they had left historic women artists behind in the New Studio, there is a pleasant surprise. The Main House display includes oil paintings by Cole’s sister Sarah, and watercolors and decorated china by his daughter Emily! According to the TCNHS website, Emily Cole lived on the property her whole life and made a living selling her art. She was the focus of the 2019 exhibition The Art of Emily Cole. The TCNHS owns some 60 of Emily’s watercolor illustrations; her artistic output constitutes approximately one sixth of the collection. Personal aside: I was gleeful to purchase the Art of Emily Cole Botanical Postcard Set, which I have long coveted. As I mention above, the permanent display in the House does not focus solely on Thomas Cole. It recognizes not only his sister, painter Sarah Cole, and his artist-daughter Emily, but also Maria Bartow, his wife and indispensable advisor. And importantly, the text around the house acknowledges the work of people—at least some of whom were enslaved, prior to Thomas Cole’s time at the house—who cooked, cleaned, sewed, and provided other essential services. A very small basement bedroom attests that not everyone who lived in the house was as privileged as those who occupied the upstairs bedrooms. It is an ambition of the museum team eventually to restore the house’s original kitchen in a way that honors all persons connected with it. More venues in which to see, or read about, this exhibition Women Reframe American Landscape is on at the TCNHS through October 29, 2023. Then, the New Britain Museum of American Art hosts the show from November 18, 2023 to March 31, 2024. And it will be on view at the Leigh Yawkey Woodson Art Museum from May 4 to August 25, 2024. Read more reviews of this exhibition from Forbes.com, The Times Union, Cultured Mag, DailyArt Magazine, and Artnet News. The exhibition catalog is available from the TCNHS and Hirmer; it is also available in North America from the University of Chicago Press. Other Art Herstory blog posts you might enjoy: Women Artists at the Cape Ann Museum, by Erika Gaffney Illuminating Sarah Cole, by Kristen Marchetti Defining Moments: Mary Cassatt and Helen McNicoll in 1913, by Julie Nash Susie M. Barstow: Redefining the Hudson River School, by Nancy Siegel Science, Nature, and Music in the Art of Alma Thomas, by Erika Gaffney Laura Seymour Hasbrouck, A Painter of the Hudson River School, by Lili Ott Portraying May Alcott Nieriker, by Julia Dabbs Celebrating Eliza Pratt Greatorex, an Irish-American Artist, by Katherine Manthorne The Ongoing Revival of Matilda Browne, American Impressionist, by Alexandra Kiely
6840	dbpedia	3	86	http://www.explorethomascole.org/tour/items/14/about	en	Explore Thomas Cole	https://explorethomascol…avicon-32x32.png	https://explorethomascol…avicon-32x32.png	[ "https://explorethomascole.org/wp-content/uploads/2024/02/Tcole_web_tcolelogo_1128.png", "https://explorethomascole.org/wp-content/uploads/2024/02/Tcole_web_tcolelogo_1128.png", "https://explorethomascole.org/wp-content/uploads/2024/02/Tcole_web_about_tcolequote_1128.png", "https://explorethomascole.org/wp-content/uploads/2024/02/Tcole_web_about_donatebutton_1128.png", "https://explorethomascole.org/wp-content/uploads/2024/02/Tcole_web_about_iheartny_1128.png", "https://explorethomascole.org/wp-content/uploads/2024/03/tcole_mobile_about_womangallery_1219.png", "https://explorethomascole.org/wp-content/uploads/2024/04/T.Cole_Site_Mobile_TC_artist-08.png", "https://explorethomascole.org/wp-content/uploads/2024/03/tcole_mobile_about_house_1219.png", "https://explorethomascole.org/wp-content/uploads/2024/03/tcole_mobile_about_donatebutton_1128.png", "https://explorethomascole.org/wp-content/uploads/2024/03/tcole_mobile_about_iheartny_1128.png", "https://explorethomascole.org/wp-content/uploads/2024/02/Tcole_web_tcolelogo_1128.png" ]	[]	[]	[ "" ]	null	[]	null		en	https://explorethomascol…avicon-32x32.png		https://explorethomascole.org/about/	The Thomas Cole National Historic Site is an international destination in New York’s Hudson Valley, presenting the original home and studios of the artist and early environmentalist Thomas Cole (1801-1848). Visitors to the museum experience original paintings by Thomas Cole and his contemporaries from the museum collection and rotating special exhibitions, site-specific contemporary art installations by some of the best-known artists working today, digital immersive experiences and the natural views that inspired Cole’s art, Visit thomascole.org authenticity and resonance. Cole’s profound influence on America’s cultural landscape and the historic context of his work inspires us to engage broad audiences through innovative educational programs that are relevant today. Visit ThomasCole.org for more The Thomas Cole National Historic Site is an international destination in New York’s Hudson Valley, presenting the original home and studios of the artist and early environmentalist Thomas Cole (1801-1848). Visitors to the museum experience original paintings by Thomas Cole and his contemporaries from the museum collection and rotating special exhibitions, site-specific contemporary art installations by some of the best-known artists working today, digital immersive experiences and the natural views that inspired Cole’s art, Visit thomascole.org
6840	dbpedia	3	69	https://www.questroyalfineart.com/artwork/the-catskill-mountain-house/	en	The Catskill Mountain House	https://www.questroyalfi…untain-House.jpg	https://www.questroyalfi…untain-House.jpg	[ "https://www.questroyalfineart.com/wp-content/uploads/2024/06/SS24.jpg", "https://www.questroyalfineart.com/wp-content/uploads/2024/06/SS24.jpg", "https://www.questroyalfineart.com/wp-content/uploads/2023/12/Gifford-The-Catskill-Mountain-House.jpg", "https://www.questroyalfineart.com/wp-content/uploads/2023/12/Gifford-The-Catskill-Mountain-House.jpg", "https://www.questroyalfineart.com/wp-content/uploads/2023/12/Gifford-The-Catskill-Mountain-House-1.jpg", "https://www.questroyalfineart.com/wp-content/uploads/2023/12/Gifford-The-Catskill-Mountain-House-1.jpg", "https://www.questroyalfineart.com/wp-content/uploads/2023/12/Gifford-A-Sketch-of-DerWentWater-400x274.jpg", "https://www.questroyalfineart.com/wp-content/uploads/2023/12/Gifford-A-Sketch-of-DerWentWater-400x274.jpg", "https://www.questroyalfineart.com/wp-content/uploads/2023/12/Gifford-Mount-Etna-from-Catania-1868-400x232.jpg", "https://www.questroyalfineart.com/wp-content/uploads/2023/12/Gifford-Mount-Etna-from-Catania-1868-400x232.jpg", "https://www.questroyalfineart.com/wp-content/uploads/2023/12/Gifford-Mariana-Grande-Capri-with-Figures-1857-308x300.jpg", "https://www.questroyalfineart.com/wp-content/uploads/2023/12/Gifford-Mariana-Grande-Capri-with-Figures-1857-308x300.jpg" ]	[]	[]	[ "" ]	null	[]	2022-01-20T23:34:41+00:00		en		Questroyal Fine Art	https://www.questroyalfineart.com/artwork/the-catskill-mountain-house/	Provenance Estate of the artist (Probably) Richard Butler, acquired from above, 1881 Private collection, Washington, DC, by 1987 Adams-Davidson Galleries, Washington, DC Private collection, Bethesda, Maryland, acquired from above, 1989 Literature (Probably) Catalogue of Valuable Oil Paintings, Works of the Famous Artist, Sanford R. Gifford, N. A. Deceased (New York: Thos E. Kirby and Co., 1881), 32, no. 68 (as A View near the Catskill Mountain House). (Probably) John F. Weir, A Memorial Catalogue of the Paintings of Sanford Robinson Gifford, N.A. (New York: The Metropolitan Museum of Art, 1881), 34, no. 481 (as A View Near the Catskill Mountain House). Ila Weiss, Poetic Landscape: The Art and Experience of Sanford R. Gifford (Newark, DE: University of Delaware Press, 1987), 232–33 (as A View Near the Catskill Mountain House). Kevin J. Avery and Franklin Kelly, eds., Hudson River School Visions: The Landscapes of Sanford R. Gifford (New York: The Metropolitan Museum of Art, 2003), 144. Related Works The Catskill Mountain House, 1862, oil on canvas, 9⅛ x 18½ inches, signed and dated lower left: S R Gifford ’62; Private collection Sketchbook: New Hampshire, N.Y., 1865–66 (2 drawings), graphite on paper, 5¾ x 8 13/16 inches; The Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York Note In his memorial address, fellow painter Worthington Whittredge (1820–1910) spoke of Gifford’s connection to the Catskills: “As an artist he was born in the Catskill Mountains,…[his favorite part] was the summit, or the region round about the Mountain House. Upon the edges of the cliffs of North and South mountains, overlooking the great plain and the Hudson River, how often his feet have stood! The very lichens there remember him.”[1] The popularity of the Mountain House was expanded greatly by stagecoach line owner Charles L. Beach, who assumed control of the Mountain House in 1839 and full ownership in 1846. At that time, he began renovations on the hotel and created more hiking trails on the surrounding North and South Mountain terrain (which he also owned), which attracted visitors and artists. Beach also published a guidebook to the Mountain House and the area around it, with excerpts from poet William Cullen Bryant and from several travel writers of the era.[2] Unsurprisingly, the locale became a popular, and awe-inspiring destination. The tourist culture also helped to generate patrons for the Hudson River School artists.[3] Gifford was among the first to paint the views from these new paths.[4] His sketchbooks from 1861-62 and 1865-66 contain studies of the Mountain House.
6840	dbpedia	1	66	https://www.19thc-artworldwide.org/autumn18/webster-on-a-digital-recreation-of-the-lenox-library-picture-gallery-scholarly-essay	en	A Digital Recreation of the Lenox Library Picture Gallery: Scholarly Essay	https://www.19thc-artworldwide.org/templates/purity_pearlspine/favicon.ico	https://www.19thc-artworldwide.org/templates/purity_pearlspine/favicon.ico	[ "https://www.19thc-artworldwide.org/templates/purity_pearlspine/local/images/printButton.png", "https://www.19thc-artworldwide.org/templates/purity_pearlspine/local/images/emailButton.png", "https://www.19thc-artworldwide.org/templates/purity_pearlspine/local/images/PDF_icon.png", "https://www.19thc-artworldwide.org/templates/purity_pearlspine/local/images/share_icon.png", "https://www.19thc-artworldwide.org/images/stories/aahd-terra.png", "https://www.19thc-artworldwide.org/images/resized/images/stories/autumn_18/articles/webs01_200_156.jpg", "https://www.19thc-artworldwide.org/images/resized/images/stories/autumn_18/articles/webs02_200_138.jpg", "https://i.creativecommons.org/l/by-nc/4.0/80x15.png" ]	[ "/webster-schwittek/playcanvas/index.php" ]	[]	[ "" ]	null	[ "Sally Webster" ]	null	Founded in 2002, Nineteenth-Century Art Worldwide is a scholarly, refereed e-journal devoted to the study of nineteenth-century painting, sculpture, graphic art	en	/templates/purity_pearlspine/favicon.ico		null	Introduction \| Scholarly Essay and 3D model \| Project Narrative \| Appendices In the archives of the New York Public Library (NYPL) is a set of nine previously unpublished installation photographs of the Lenox Library Picture Gallery (LLPG; 1882; Appendix 4),‍[1] which once formed an integral part of the Lenox Library located on Fifth Avenue between Seventieth and Seventy-First Streets (fig. 1). It was built for the wealthy bibliophile and art collector James Lenox (1800–80), who had inherited a great deal of money and real estate from his father, Robert Lenox (1759–1839), a prominent New York merchant.‍[2] Although dark with age, the photographs, when placed sequentially, reproduce the entire gallery and document its 147 paintings.‍[3] Enhancing their historical value are numbers written on the photographs’ cardboard mounts under each row of pictures. These numbers correspond to the Lenox Library Guide to the Paintings and Sculptures (LLG; 1882), which, beginning in 1877 when the gallery opened to the public, was published annually by the Lenox Library Board of Trustees.‍[4] This photographic evidence has been used as the basis for a three-dimensional model in which the LLPG appears as it did in the early 1880s, when interested visitors had to mail in a request for a free ticket to see it on Tuesday, Friday, or Saturday between 11 a.m. and 4 p.m. The historical information embedded in each image—the title of each painting, the name of the artist, and other tombstone information, as well as short explanatory content—adds to the scholarly value of the model. Augmenting the model is further documentation found in the LLG, such as the provenance of many of the paintings, including where and when the paintings were bought. Collectively, the data makes possible this in-depth examination of James Lenox’s collection, which includes, in addition to the identification of the paintings, the location of each painting within the gallery and what informed its placement. Analyzing the reconstructed LLPG reveals that Lenox, better known as a bibliophile than an art collector, did not have a unified, overarching curatorial or collecting strategy. Instead, he bought paintings in much the same way as he purchased books. In the absence of art dealers, especially during the early phase of his art collecting, he relied on advisors in England and on the Continent. Following their advice and buying at auctions as opportunities arose, Lenox built up a collection that, while corresponding to the taste of his time, engaged with his personal interests. In his work as curator of the LLPG, Lenox created arrangements of pictures within the gallery, discussed in further detail below, that demonstrate his bibliophile interest in subject clusters. Other arrangements reveal his idiosyncrasies and value systems, such as his emphasis on patriotism and Protestant values, and place him within the context of a developing emphasis on the museum as a pedagogical tool in the United States from the 1870s onwards. There is no known comparable photographic record of older or contemporary institutions such as the New-York Historical Society (1804); the Boston Athenaeum (art gallery founded 1827); the Wadsworth Atheneum, Hartford (1842); the Corcoran Gallery, Washington, DC (1869); the Metropolitan Museum of Art, New York (1870); the Museum of Fine Arts, Boston (1870); or the Art Institute of Chicago (1879).‍[5] These pre-Gilded Age institutions led the way in determining what libraries, art galleries, and museums in the US should look like, what they should contain, and how objects—books and art—should be displayed. This study of the LLPG is a first step toward a better understanding of the institutional roots of the museum age in the United States. The Lenox Library Picture Gallery—An Overview The LLPG was on the second floor of the Lenox Library, which was designed by the French-trained Richard Morris Hunt to house Lenox’s prized collection of rare books and works of art. From the beginning, the building was popular with the public, who wanted to see what was inside. Since access to the books was limited, they went to look at the paintings: “The attendance of spectators gives ample evidence, were any needed, of the interest taken by Americans generally in all that relates to the Fine Arts.”‍[6] What they saw was an international collection comprising nine nationalities, including the United States (thirty-eight paintings, twenty-one artists). Seventy-five percent, however, were British and European, with Great Britain predominating (fifty-three paintings, thirty artists). The subject matter included some forty landscapes, fifteen animal paintings, forty portraits, twenty-five genre paintings, five historic genre paintings, and some five history or religious paintings. There were more than ten “original” or acknowledged copies of old master paintings. However, Lenox’s art collecting was not limited to paintings; he collected in many different media—sculptures, mosaics, porcelains, engravings, enamels, casts, medals, and medallions—all of which, with the exception of the engravings (Appendix 3), were listed in the LLG and placed in a various rooms and hallways throughout the library. Lenox’s interest in collecting art was inspired, in part, by the example of his father, Robert, who at different times hired John Trumbull, Gilbert Stuart, and John Wesley Jarvis to paint portraits of him and his family. Lenox’s mother, Rachel, commissioned Henry Inman to do several miniatures of her and her children in the 1820s. So collecting contemporary art was not unknown to Lenox and was perhaps even expected of someone of his wealth and class. Another important factor was the Lenoxes’ devotion to the Presbyterian church, which encouraged its members “to devote themselves as individual citizens to promoting all forms of charity and social reforms and to feel that in so doing they were expressing their religion.”‍[7] To that end, Robert stipulated in his will that his farm (the property Lenox inherited was called the Lenox farm) “should be devoted to the establishment and support of four institutions”: a hospital, a library, a home for the aged, and “Madison Avenue Presbyterian Church.”‍[8] In fact, James would go on to establish Presbyterian Hospital, the Lenox Library, the First Presbyterian Home for Aged Women, and Madison Avenue Presbyterian Church on this property.‍[9] Lenox never married; nonetheless, he was a family man and built a large house on Fifth Avenue that spanned the block from Twelfth to Thirteenth Streets for himself and members of his family, including his two sisters and one of their husbands. He was not a man about town, but he was known to other civic-minded New Yorkers as an aloof but generous citizen. As described by his bookseller and biographer, Henry Stevens, Lenox “staked out his own course, hoed his own row, paddled silently his own canoe and revelled silently in his own generous suggestions which began literally at home in his own bosom.”‍[10] His greatest passion, aside from his devotion to the Presbyterian church, was for buying books, and he spent most of his days in correspondence with antiquarian book dealers in the United States and Europe. He and John Carter Brown of Providence were the great pioneer collectors of rare books in the United States. Both competed to flesh out their holdings with works devoted to the age of discovery, colonial history, and materials related to the founding fathers. Lenox also specialized in works by John Milton, John Bunyan, and Shakespeare and amassed a large collection of Bibles, including the first Gutenberg Bible to arrive in the United States. Collecting Works of Art Lenox began collecting art in the 1820s while on a grand tour after graduating from Columbia College. He started in London, where he stayed for a little over a year before leaving for the Continent. Information on his itineraries is confined to the listing of cities in his passports (Appendix 2) and notations of provenances included in the LLG. It is assumed from the dates of two paintings by the British painter and writer Charles Leslie, Portrait of a Gentleman (1823) and Portrait of a Lady (1824) listed in the LLG, that Lenox visited Leslie while in England. Leslie, a genre painter in the mode of Sir David Wilkie (also represented in the Lenox collection), had strong ties to the United States. He had lived in Philadelphia as a child but left to study in England with Benjamin West, in whose studio he met a number of other artists from the US, including the painters Washington Allston and Samuel F. B. Morse. Leslie and the writer Washington Irving were also friends, and Leslie’s small portrait of Irving was later bought by Lenox. For twenty years, during the 1840s and 1850s, Leslie remained a trusted art advisor who helped Lenox secure a painting from J. M. W. Turner and counseled him on other purchases.‍[11] After his trip to Europe, Lenox returned to New York, where he joined his father as a partner in his trading company. Lenox bought no works of art in the 1830s, but when his father died in 1839, he was left a great deal of money and land on Manhattan’s Upper East Side. He was now free from business obligations and began to collect books and art in earnest. Among the first people he contacted was Leslie, to whom Lenox wrote for advice on what up-and-coming artists associated with the Royal Academy Leslie recommended. Leslie praised Alfred Chalon as “the most consummate master of his art” and added that Chalon was “most successful in gay subjects and such as admit of splendid color.”‍[12] He also suggested other painters, such as William Etty, William Mulready, and Charles Eastlake, and was frank in his personal assessments, mentioning that he preferred Mulready to Eastlake. He concluded by saying that “these four [Chalon, Etty, Eastlake, and Mulready] are our principal painters of figures and you could not choose amiss among them.”‍[13] Lenox seldom purchased paintings from dealers. For the most part, he bought directly from artists, from private sales, or at auctions (Appendix 1). For instance, one of his first major purchases was Gilbert Stuart’s full length portrait of George Washington (1799), which he bought from the family of its original owner, Peter Jay Munro (LLG, 12, no. 70). Also that same decade, the 1840s, he began to buy from auctions, beginning with several works from an 1848 Christie and Manson’s London sale: John Constable’s Cottage on a River—“The Valley Farm” (ca. 1855), George Morland’s Marine View Back of the Isle of Wight: Revenue Cutter in Chase of Smuggler (ca. 1800), and William Collins’s View in Devonshire, on the Webber (1825). Lenox was not in London at the time and may have relied on either Leslie or his bookseller, Stevens, to serve as his agent. From the David Hosack sale in 1849 he purchased Thomas Cole’s Expulsion from Paradise (1828). While Lenox did not buy a great number of paintings during the 1840s, the ones he did buy—the Stuart, the Constable, and the Cole—suggest that he was a knowledgeable and discriminating buyer. It was not until his second trip abroad (1850–51) that he began to collect widely. In London in June 1850, he bought Sir Joshua Reynolds’s A Boy in a Red Velvet Dress Leaning Forwards on a Green Cushion, Holding a Pen and Paper in His Hand (1784) and five sketches (in one frame) by Sir David Wilkie (no known dates) at a Christie and Manson auction.‍[14] His purchases from a second auction, the sale of the collection of Charles Meigh, also at Christie and Manson, greatly expanded his holdings of British paintings. These included a Thomas Gainsborough landscape (1783–84), two paintings by Edwin Landseer (dates unknown), and a second Turner painting, A Scene on the French Coast with an English Ship-of-War Stranded (1831–32). The rest were an odd lot with works by George Morland, William Mulready, Peter Nasmyth, a copy of Reynolds’s portrait of Edmund Burke by John Jackson, and an unusual still life by David Wilkie, The Crown of Scotland (date unknown), which may have been first represented in his painting George IV Received by the Nobles and People of Scotland at Holyrood House (1830; Royal Collection).‍[15] From England, Lenox sailed for the Continent, where he spent the summer and fall touring France, Switzerland, Austria, and Czechoslovakia before reaching Belgium in mid-November. Once in Belgium, he met Ferdinand de Braekeleer, Sr., a well-known and esteemed genre painter who, like Leslie, became an art advisor. Lenox bought several paintings by him and asked the painter to recommend other artists. Their correspondence has been preserved in the NYPL, and while it is mainly focused on the shipment of paintings, the artist also asked Lenox for help in supporting his son, Ferdinand de Braekeleer, Jr., in a New York venture as a dealer in Belgian paintings.‍[16] The archives of the NYPL also include sales agreements with the Belgian artists recommended by de Braekeleer.‍[17] From Belgium, Lenox returned to France en route to Italy, where he arrived in Rome in February 1851. Here he commissioned The Children in the Wood (original ca. 1850) by the expatriate sculptor Thomas Crawford, who modeled and completed the work “to order” in Rome in 1854.‍[18] The Crawford was one of eighteen sculptures owned by the Lenox Library, among which included another work by Crawford, a bust of George Washington (ca. 1850), Hiram Powers’s La Penerosa (1856), and Thomas Ball’s Abraham Lincoln (ca. 1865).‍[19] Lenox returned home that summer and went back to Europe in the spring of 1855, arriving in Paris in time to attend the June 4, 1855 W. W. Hope sale, from which he bought The Field of Battle (date unknown) by Paul Delaroche and The Siege of Saragossa (1819) by Horace Vernet, the only purchases he made of the then-fashionable French painters. Delaroche in particular was popular with collectors of Lenox’s generation, including William Walters, who owned a reduction of his Hémicyle (1841–42), a mural for the auditorium of the Ecole des Beaux-Arts. Its popularity was such that it was sculpturally reproduced for the façade of the Pennsylvania Academy of Fine Arts in 1876.‍[20] In addition, during his two European trips he also bought porcelain vases and plaques, many of which were decorated with illustrations of famous paintings.‍[21] Not quite souvenirs, these decorative pieces were placed in his library’s rooms and hallways and served a didactic purpose, much like his copies of paintings and reproductive engravings. Over the next two decades and until his death in 1880, Lenox bought mostly paintings by artists from the United States, including works by Asher B. Durand, John Kensett, and Albert Bierstadt, purchased from the 1864 Metropolitan Fair. Lenox also added to his holdings of colonial and early republic paintings with the purchase of John Singleton Copley’s Portrait of Mrs. Robert Hooper (ca. 1767) from a granddaughter of the artist and Robert Edge Pine’s Portrait of David Garrick (1776–79), plus two portraits of George Washington, one a copy and one an original, by Rembrandt Peale (both ca. 1850), which are still at the NYPL. Lenox bought only a few paintings during the 1870s, since he was busy overseeing the building of his hospital and library. These included Copley’s Portrait of Lady Frances Deering Wentworth (ca. 1813) and three paintings by contemporary Spanish artists: Josė Jiménez y Aranda, Leon y Escosura, and Edouard Zamacois y Zabala. These were bought from Samuel Avery, one of the most respected art dealers of the era and one of the few dealers consulted by Lenox. Avery, who spent many years abroad, also worked closely with other collectors, such as William and Henry Walters. Lenox was not alone in his dedication to buying an international and eclectic array of portraits, genre paintings, copies of old masters, and landscapes. The same artists and subjects can be found in the inventories of contemporary collectors published in Earl Strahan’s The Art Treasures of America, an illustrated, three-volume tome that first appeared in 1881. While it is true that Lenox purchased many of his paintings abroad, similar European works were also available in New York. This new enthusiasm for collecting was fueled by the arrival of Michael Knoedler, who opened a branch of the Paris-based Goupil there in 1848. Knoedler exhibited paintings by European artists, including Ary Scheffer, Paul Delaroche, and Horace Vernet, and organized the International Art Union, similar to the then-thriving American Art-Union, that distributed prints of these and other important European artists.‍[22] Comparable works by the same artists and nationalities were also on view at two mid-century exhibitions in New York: the Crystal Palace (1853) and the city’s 1864 Metropolitan Fair.‍[23] While no survey has been done, a similar breakdown of genres and painting types is found in the private collections of Lenox’s contemporaries, such as William H. Aspinwall, Alexander Stewart, August Belmont, and Robert Stuart, whose homes had art galleries that were often open to the public at specified hours.‍[24] Installing the Collection By the late 1860s, Lenox’s varied collections filled his Fifth Avenue house. Stephens, in his biography of Lenox, describes the clutter: The truth was that from about 1845 to 1869 Mr. Lenox was actively collecting his library so rapidly and doing all the work himself that he had no time to catalogue or arrange his accessions, except a few of the tidier nuggets which he could put away in the few bookcases in his gallery of art which was also being filled at the same time with paintings and sculptures. The great bulk of his book collection was piled away in the numerous spare rooms of his large house, till they were filled to the ceiling from the further end back to the door.‍[25] It was time to build a library and repository for his treasures. The Lenox Library, which fronted the east side of Fifth Avenue where the Frick Collection is today, was a three-story building designed in the latest French, neo-Grec manner.‍[26] One entered through a wide entrance court, which opened onto an interior vestibule beyond which was a deep hallway with two handsome, wood-paneled, high-ceilinged reading rooms at the north and south ends. Two staircases led up to a wide corridor on the second floor. Here, Lenox placed his sculpture collection to the right and left of the picture gallery (fig. 2). The picture gallery, forty by fifty feet long, was at the rear of the building, where it was well lit by three large skylights.‍[27] To help him in the transfer and installation of his collections, Lenox turned to George Moore, his superintendent, who had formerly worked as chief librarian at the New-York Historical Society. During his tenure, he had overseen the society’s move, including its painting collection, from New York University to its own building on Second Avenue and Eleventh Street. Aside from his renown as a historian and bibliographer, Moore had the right administrative skills and experience to oversee the transfer and installation of Lenox’s collections.‍[28] After the gallery opened in 1877, Moore described for the New York Times one of the curatorial strategies that he and Lenox had devised. Based on “some of the modern requirements as to picture-hanging,” they placed “together the works of the same man, so far as was compatible with other demands.”‍[29] This was not the only strategy they followed. They also showcased their most important paintings on each wall. Gilbert Stuart’s full-length George Washington held center stage on the gallery’s east wall. On the north wall, it was the paintings by Turner, and on the south, Munkácsy’s Blind Milton Dictating Paradise Lost to His Daughters (1877). The entryway split the west wall in half; on its north end, Frederic Church’s Cotopaxi (1862) took pride of place, while on the south Charles Leslie’s Our Savior Teaching His Disciples a Lesson of Humility (date unknown) and Rembrandt Peale’s copy of Raphael’s Madonna of the Chair (1853) were the principal attractions. Another strategy they followed was to group paintings together with shared subject matter. For instance, paintings of domestic farm animals were hung together on the north end of the west wall. Similarly, landscapes dominated the north wall and portraits the east. Lenox did not separate landscapes by nationality. Instead, he placed paintings from the United States next to British ones, inviting comparison and tacitly acknowledging that the ones by US artists could hold their own. Inside the Gallery Broadly speaking, then, Lenox’s curatorial strategy was one of a librarian who sorted his artworks by subject. However, a more focused analysis of his hang suggests his commitment to several specific key topics. By studying his groupings of paintings within the LLPG, it becomes clear that Lenox’s interest in literary subject matter carried over into his museum; equally, he emphasized patriotism, the elevation of his own family, popular landscape and genre painters, and the advancement of Protestant themes. When visitors entered the gallery, they were greeted by Stuart’s full-length portrait of President George Washington, known as the Lansdowne version. Washington was one of Lenox’s heroes; he had several other portraits of Washington, which he placed above the Stuart. Directly above was Rembrandt Peale’s Portrait of George Washington (Porthole Type) (1850), in which the head of Washington was represented in a faux-stone, oval enclosure. To the left was Rembrandt’s copy (original, 1772; copy ca. 1850) of his father Charles Willson Peale’s first portrait of the president. Further to the right was James Peale’s adaptation of his brother Charles’s renderings of Washington as a soldier (1778). To the right of center was another copy by Rembrandt of a second portrait by Stuart of Washington, known as the Vaughan portrait (original, 1795; date of copy unknown), Stuart’s earliest representation of the president. All together these portraits can be interpreted as a visual biography—Washington as soldier in the Virginia militia, as general of the Continental Army, and lastly as the “Father of his Country.” These representations can be further linked to Lenox’s collections of books and manuscripts related to Washington and the American Revolution, which included Washington’s “Farewell Address to the People of the United States of America” (1796) published in David Claypoole’s American Daily Advertiser on September 19, 1796. Lenox bought the original letter in 1850 for $2,200 (about $50,000 today), outbidding the US Congress.‍[30] Lenox deemed it of enough significance that he had a facsimile made, which he distributed to libraries and universities in the United States and Europe. Lenox shared the passion of other nineteenth-century collectors—be they book or art collectors—of documenting the early history and birth of the United States. Surrounding the five images of Washington were portraits of members of Lenox’s family—his parents, three of his sisters—as well as a portrait of himself. Two of these were also by Stuart: Lenox’s sisters, Elizabeth Sproat Lenox (1813) and Isabella Lenox Banks (1813). There were also two earlier portraits of Lenox’s parents by John Trumbull (1813 and 1810–12), and a second portrait of his father (1830) and a posthumous portrait of his sister Althea (1817), both by John Wesley Jarves. James’s portrait (1848) by the by the Scottish painter Sir Francis Grant was one of two that appeared in the gallery. The second (1851) was by the US artist George P. A. Healy and hung on the west wall. The east wall, with its images of Washington and family likenesses, was a patriotic gesture that simultaneously linked Lenox, his relatives, and the first president of the United States. The north wall was dominated by US and British landscape paintings by such artists as John Constable, Thomas Gainsborough, Asher B. Durand, Albert Bierstadt, John Kensett, Thomas Cole, and Turner. The most prominent were two literary landscapes: Thomas Cole’s early Expulsion from Paradise (1828) placed above Turner’s Staffa, Fingal’s Cave (1831–32). The latter was the first Turner painting to enter a collection in the United States.‍[31] Lenox acquired it in 1845 with the help of Charles Leslie, but the collector had reservations. As recounted by Leslie in his Recollections, Lenox took a while to get used to what he described as Turner’s indistinctness. Later that year, Lenox wrote to Leslie saying that he now admired the picture greatly, “I have brought one or two of my friends to see it as I do, but it will never be a favorite with the multitude. I can now write to Mr. Turner, and tell him conscientiously how much I am delighted with it.”‍[32] Of interest is Lenox’s juxtaposition of the Cole and the Turner. William Dunlap, in his History of the Arts of Design, an early detailed compilation of biographies of US artists printed in 1834, published Cole’s impression of Turner when he visited him in his gallery in 1829. Cole expressed his ambivalence upon viewing Turner’s paintings, calling Turner “the prince of evil spirits.”‍[33] After a visit to the artist’s studio, his feelings had not changed, with Cole writing that Turner’s paintings were “the most splendid combinations of colour and chiaro-scuro—gorgeous but altogether false . . . in representing scenes in this world, rocks should not look like sugar-candy, nor the ground like jelly.” It is not known if Lenox had read Dunlop or if he knew of Cole’s misgivings, but by placing the works in the center of the wall he was expressing his belief that they were the two most important landscape painters of his era.‍[34] Moving to the south wall, the focus changed from landscape on the north and patriotism and family to the east to literary and religious concerns embodied in the figure of another of Lenox’s personal heroes, John Milton, in the subject of Munkácsy’s large Blind Milton Dictating Paradise Lost to His Daughters (1877). This was a painting given to the library by James’s brother-in-law, Robert Kennedy, who would succeed Lenox as president of the library after his death.‍[35] Munkácsy had become wildly popular in Europe and his success was known in the United States. Upon receipt of the gift, the Lenox Trustees noted in their annual report the “peculiar value and fitness of such a picture for the library in which is preserved so full and rich a collection of the works and ‘hallowed reliques’ of the great puritan poet.”‍[36] They also thanked Munkácsy’s dealer, the Paris-based Charles Sedelmeyer, who facilitated the purchase and who presented them with a bronze bust of Munkácsy by Louis-Ernest Barrias. Lenox, as a man of high religious convictions, owned one of the largest collections of works by Milton in the world. He admired the poet and politician not just for his literary accomplishments but for his connection to the men involved in the Protestant Reformation. Lenox’s interest in the Reformation is further exemplified by his portraits of Oliver Cromwell and John Calvin on the same wall. Portraits of these men had meaning for nineteenth-century Protestants in the United States who were still enamored of the idea that the discovery of America and the nation’s subsequent independence were linked to European Protestantism and the Puritans’ search for religious freedom in the New World. The works and deeds of three of these men—Calvin, Cromwell, and Milton—undergirded Protestantism in England and gave purpose to the Protestant diaspora in the United States. Central to their success was the invention of the printing press and the publication in the mid-fifteenth century of the Gutenberg Bible—and Lenox purchased the first copy of this historic text to arrive in the United States.‍[37] Replacing the literary or historical expression of religion on the south wall were more specifically religious and pious images on the west wall. In the center was Rembrandt Peale’s copy of Raphael’s Madonna della Seggiola (Madonna of the Chair) with Leslie’s Our Savior Teaching His Disciples a Lesson of Humility directly beneath. This pairing, along with other nearby paintings, is representative of contemporary Protestant teachings that emphasized the mother’s role in the religious education of the child. Evaluating the Collection It might be thought that, given the nature of Lenox’s collection—which included books, manuscripts, and works of art—it might be best compared with earlier East Coast athenaeums and historical societies. These early membership institutions, such the New-York Historical Society (NYHS; 1804), the Boston Athenaeum (1807), and Hartford’s Wadsworth Atheneum (1844), collected books, historical documents, furniture, and silver, and they also had notable art collections displayed in purpose-built galleries.‍[38] Yet when it came to establishing his own library, Lenox had a broader vision. His institution, the initiative of one man, did not reflect the collective will of these earlier associations, rather the founder, along with the trustees of the Lenox Library, made no pretense that their institution reflected community interests. Instead, its rare book collections, most of which were authored by British and Continental writers and bought abroad, tacitly acknowledged and honored European tradition. Carol Duncan, in her book Civilizing Rituals, makes this same distinction: “museums like the Metropolitan and Chicago’s Art Institute” were not outgrowths of earlier enterprises like Charles Willson Peale’s Museum but “were a new starting point and were directly and self-consciously informed by European precedents.”‍[39] William Constable, in his history of art collecting in the United States, makes a similar point specifically about Lenox that he had “a wider range of interest than [Luman] Reed,” an earlier and influential New York collector.‍[40] This was intended to mean that as a result of Lenox’s years abroad, he began to appreciate and collect European art: “like Reed, he bought contemporary American work . . . but he also owned some examples of contemporary Flemish, French and Spanish painters . . . with a remarkable group of English paintings.” The importance of this shift, according to Constable, was that the “art of the past” was no longer “a historical curiosity but . . . a living thing.”‍[41] The Lenox Library, with its distinguished book and art collections, is therefore more properly seen as a participant in the dawn of the museum age in the United States. As such, Lenox’s art collection and his impressive library have more in common with William Corcoran’s early ambitions for a national gallery of art.‍[42] Corcoran’s entry into the world of art collecting paralleled Lenox’s: both became active purchasers in the decades before the Civil War. Like Lenox, Corcoran was a civic benefactor with contributions to municipal beautification, religious institutions, and education. At the time his gallery opened in 1874, Corcoran had the same number of paintings as Lenox with a similar mix of US and European works. But Corcoran’s painting collection was augmented with a large assembly of plaster casts (including the Laocoön and friezes from the Parthenon), Barye bronzes, marble replicas of European sculpture, and electrotype reproductions of objects from the South Kensington Museum (today’s Victoria and Albert Museum) all on the ground floor. The main picture gallery was upstairs to take advantage of illumination from overhead skylights. It was reached by a central staircase and was near smaller galleries that held a mix of contemporary and European paintings plus portraits of Washington luminaries.‍[43] Both Lenox and Corcoran were among the bankers and wealthy businessmen who shared in their era’s desire, as Duncan further notes, “to make American cities more civilized, sanitary, moral, and peaceful. The same men who created the Met and other public art museums also created parks and libraries, symphony halls, and Grand Army Plazas.”‍[44] When the library opened, the press was enthusiastic about the building and expressed gratitude to Lenox for his generosity. Critics were less excited about the painting collection. They waxed rhapsodic about a few paintings but were disparaging of the collection as a whole. The most extensive coverage was by the New York Times, whose reporter claimed that the best pictures in the gallery were portraits and was sharply critical of Leslie’s genre paintings. Another reviewer, writing for the Aldine, made a valuable observation about the painting collection, commenting that “Lenox had a leaning toward what might be called the solid and substantial, having very little sympathy with the purely sentimental.”‍[45] He tried to be upbeat about the paintings but conceded that aside from those works of first rank, he was hard pressed to know why some of the paintings were included “except on the ground that they were probably pleasing to Mr. Lenox for reasons which nobody but himself knows.”‍[46] A few years later, critical opinion had not changed toward the old, darkened paintings: “Some of them have the appearance of age and hardly sustain the evidence of the best artistic skill.”‍[47] Conclusion Given these mixed and somewhat negative assessments, there is still value in resurrecting the appearance, history, and collections of the Lenox Library. Lenox, with his intimate knowledge of his collection, organized it in an accessible, albeit personal fashion, anticipating that in this way viewers would come to have a deeper understanding of the works of art. This digital recreation, then, is a starting point for the study of the holdings and installation practices of his contemporaries, the generation of art patrons referred to by James Jackson Jarves as those “wealthy connoisseurs, who have hitherto collected for their own gratification, are now proffering their stores of art and knowledge as free gifts to the public.”‍[48] At the same time, these “stores of art,” when transferred from a domestic milieu to a public venue, required new criteria for the installation of works of art, since the audience for these public venues were seldom connoisseurs, had not traveled abroad, and had little familiarity with the famous monuments of art history. There was, then, an urgency to create didactic hangings that would inform and educate the public. As the Bostonian Charles C. Perkins, a founder of the Museum of Fine Arts, reminded his readers, these rich collectors, in addition to creating a “rich heritage of beautiful forms,” also had the responsibility to contribute to “the education of a nation in art, not at making collections of objects of art.”‍[49] Lenox’s picture gallery, then, is representative of an era when these issues—collecting and installation practices in the United States—were coming to the fore and curatorial strategies were becoming articulated. What is needed is further inquiry into the roots of these initial endeavors, which have not been well mapped. Used as a template, this three-dimensional, interactive digital platform can help chart and illuminate the collections and curatorial strategies of Lenox’s contemporaries. In so doing, a fuller, more robust and accurate early history of museum collections and installations in the United States will emerge. Acknowledgements This complex project, which has been several years in the making, would not have seen the light of day if it were not for the generous support of several institutions and many individuals. Primarily, I want to thank the staff of the New York Public Library, Stephen A. Schwartzman Building, which holds the James Lenox and Lenox Library archives. For the Manuscripts and Archives Division: thanks to Thomas Lannon and his staff, most notably Tal Nadan; Research Services: Jay Barksdale, Carolyn Broomhead, Melissa Gasparotto, Melanie Locay, and Rebecca Federman; the Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Madeleine Viljoen and her staff; the staff of the NYPL Photographic Services; the former Andrew W. Mellon Director of the Research Libraries, Ann Thornton; and special thanks to William Kelly, the current Mellon Director of Research Libraries, for his ongoing support. I am also grateful to the Lehman College Art Department, CUNY, where I taught for many years, and for the help and encouragement of its chair, Sean McCarthy, and my colleague Herbert Broderick. Thanks, too, to Laura West of Sotheby’s and Martha Richardson of Martha Richardson Fine Arts for their help in securing images. I also want to thank my generous colleagues: Sarah Burns, Sarah Cash, Stephen Edidin, Linda Ferber, Ella Foshay, Barbara Gallati, Peter Hassrick, Margaret Laster, Karen Lemmey, Sura Levine, Mary and John McGuigan, Jr., Patricia Mainardi, Kenneth Myers, Kimberly Orcutt, Harriet Senie, Thayer Tolles, Alan Wallach, Gabriel and Yvonne Weisberg, and Karen Zukowski. Thanks, too, to European colleagues Jan Dirk Baetens, Cécilia Hurley Griener, and Dominique Marechal. No scholar could ask for more helpful, sympathetic and caring editors than those of Nineteenth-Century Art Worldwide: Isabel Taube, Elizabeth Buhe, and Petra Chu, founding editor of the journal who, from the start, saw the potential of the nine archival photographs of the Lenox Library. Thanks, too, to the officers of the Association of Historians of Nineteenth-Century Art: president Peter Trippi and treasurer Andrew Eschelbacher. I could not have wished for better collaborators. The technical team was headed by David Schwittek, who served as the estimable project manager, and who was ably assisted by Carlo Diego and Leonidas Maliokas. My gratitude to my research assistants knows no bounds: Lauren Ritz, Cara Jordan, and Bruce Weber. I also want to express my appreciation to the Terra Foundation for their generous financial assistance, and to the NYPL for supporting my research in the Wertheim Study, for sponsoring several lectures I have given on James Lenox and his library, and for generously absorbing photographic costs. I also want to acknowledge my family and their patience and encouragement during the years of my work on James Lenox and this project. Foremost is my husband Nick; my children, Albert and Kate, and their spouses, Kristina Stierholz and Marsha East; my three grandchildren, Karl, Lilly, and Eric; and my three brothers, Bob, Jack, and Jeff Beyer, and their spouses, Karen, Maryam, and Kathy. [1] There is a recently published allied essay: Sally Webster, “The Lenox Library: New York’s Lost Treasure House,” in New York: Art and Cultural Capital of the Gilded Age (New York: Routledge, 2018), 73–89. These photographs may have been taken as early as 1881, when one of the trustees and Lenox’s nephew, Robert Kennedy, presented two paintings to the library: Mihály Munkácsy’s Blind Milton Dictating Paradise Lost to His Daughters and Portrait of John Milton. The additions of the Kennedy gift brought the total to 147 paintings, a number which remained stable from 1881 to 1890, when changes were made to the gallery’s holdings. This tally of 147 corresponds to the number of paintings included in the archival photographs and in the Lenox Library Guide to the Paintings and Sculptures (LLG). The LLG was first published at the time of the gallery’s opening in January 1877, when 138 paintings were on display. The following year, as noted in the 1880 LLG, seven paintings were added bringing the total to 145. These included five paintings donated by John Fisher Shaefe, trustee of the Lenox Library and husband of James Lenox’s sister Mary Lenox Shaefe. The 1882 edition was used for this project. [2] The Lenox Library was incorporated in 1870 by James Lenox and a board of eight trustees for the express purpose of creating “a public library in the city of New York. . . . To receive from the said James Lenox his collection of manuscripts, printed books, engravings and maps, statuary, paintings, drawings and other works of art.” Annual Report for the Year 1870 of the Trustees of the Lenox Library of the City of New York (Albany: The Argus Company, 1871), 9. The Astor Library, the Lenox Library, and the Tilden Trust merged in 1895 to form the New York Public Library. The collections of the Lenox Library were transferred to the new building in 1911. [3] 146 of the 147 paintings are reproduced in the three-dimensional model. [Possibly P. or Paolo] Vallati (Italian, active nineteenth century), A Boar Hunt on the Campagna (1852; LLG 21, no. 38) appears over the door and is not illustrated in the three-dimensional model. [4] The numbers in the three-dimensional model correspond to the 1882 LLG. [5] There is one exception that exists in the catalogue of a private collection: line drawings in the 1860 Descriptive Catalogue Pictures Gallery of William H. Aspinwall (New York, 1860). Numbers were written on or near the illustrations and correspond, as with the LLG, to the listings in the catalogue. Aspinwall was a member of the Lenox Library Board of Trustees and there is every reason to believe that Lenox visited his gallery, had a copy of his catalogue, and was influenced by this kind of documentation. [6] Fr. Saule, “The Lenox Collection,” The Aldine 8, no. 10 (1877): 318, https://www.jstor.org/stable/20637411?seq=1#page_scan_tab_contents. [7] Theodore Fiske Savage, The Presbyterian Church in New York City (New York: The Presbytery of New York, 1949), 101. [8] Ibid., 102. [9] Hunt also designed the hospital Lenox founded, Presbyterian Hospital (1869–72), which was built to the north and east of the library. It was demolished in the 1920s and relocated to Washington Heights, where today it is known as New York Presbyterian Hospital. [10] Henry Stevens, Recollections of Mr. James Lenox of New York and the Formation of His Library (London: Henry Stevens & Son, 1886), 5. [11] I am grateful to my colleague Barbara Gallati for sharing her appraisal of Leslie’s role as a sought-after advisor by artists and collectors from the United States in London. [12] Letter from Charles Leslie, London, to James Lenox, New York, January 20, 1845, James Lenox Papers, Manuscripts and Archives Division, The New York Public Library, New York. [13] Lenox went on to buy paintings by Chalon and Mulready, as well as paintings by Leslie. Lenox noted in the LLG that he bought Chalon’s small Head of a Lady as a companion to Leslie’s earlier Portrait of a Lady (1824). He did not buy Mulready’s A Picturesque Cottage on the Bank of a River through Leslie but instead purchased it at auction in 1850 from the estate of Charles Meigh. [14] Christie and Manson, London, June 15, 1850. [15] There is a conundrum here: the first stop on Lenox’s passport for this second European trip was Boulogne, France, on July 11, 1850, so his London purchases may have been made by an agent. It is also possible that he was issued a separate passport for Great Britain that was not retained in his archives. [16] Catalogue of a Collection of Oil Paintings by the Modern Belgian Masters in Possession of De Braekeleer (New York, 1852). I am grateful to Dr. Jan Dirk Baetens of Radboud University Nijmegen, the Netherlands, for bringing this New York gallery to my attention. [17] Letter from Ferdinand De Braekeleer, Sr., Anvers, Belgium, to James Lenox, New York, 15 July 1852, James Lenox Papers, Manuscripts and Archives Division, The New York Public Library, New York. [18] Also known as Babes in the Wood, the sculpture is now in a private collection. See Thayer Tolles, ed., A Catalogue of Works by Artists Born before 1865, vol. 1, American Sculpture in the Metropolitan Museum of Art, 2 vols. (New York: Metropolitan Museum of Art, 1999), 1:40n6. [19] These are listed in the LLG, 23–4. Thomas Ball’s sculpture is a scaled-down replica of the 1876 marble monument in Washington, DC, known as the Emancipation Group or Freedman’s Memorial. [20] Sally Webster, “A Mural Carved in Stone,” Museum History Journal 5, no. 2 (2012): 283–302, doi:mhj.2012.5.2.283. [21] These decorative objects are included in the LLG, 27–32. [22] For a discussion of the New York art market in the first half of the nineteenth century, see Carrie Rebora Barratt, “Mapping the Venues: New York City Art Exhibitions,” in Art and the Empire City New York, 1825–1861 (New Haven: Yale University Press, 2000), 47–82; and Michael Goldstein, Landscape with Figures, A History of Art Dealing in the United States (New York: Oxford University Press, 2000). [23] Official Catalogue of the Pictures Contributed to the Exhibition of the Industry of All Nations in the Picture Gallery of the Crystal Palace (New York: G. P. Putnam, 1853); and Catalogue of the Art Exhibition at the Metropolitan Fair, in Aid of the U.S. Sanitary Commission (New York, 1864). [24] Private art galleries of the antebellum period are discussed in a series of articles titled “Our Private Collections” that appeared in the Crayon in 1856. The collectors were John Wolfe (January, 27–28); Jonathan Sturges (February, 57–58); Abraham M. Cozzens (April, 123); Charles M. Leupp (June, 186); Marshall O. Roberts (August, 249); and Rev. Elias Magoon (December, 174). A modern discussion of these and other collections (including Lenox) is found in John K. Howat, “Private Collectors and Public Spirit: A Selective View,” in Art and the Empire City, 83–108. [25] Stevens, Recollections, 9–10. [26] In 1895, the trustees of the Astor and the Lenox and the Tilden Trust consolidated to form the New York Public Library. After the contents of the Lenox Library were transferred to the New York Public Library in 1911, its Fifth Avenue site was bought by Henry Clay Frick. Here, he built a home and repository of his art holdings, later the Frick Collection. Frick offered to move the Hunt building, a proposal the board of the New York Public Library declined since all available monies were assigned to the construction and establishment of its new Forty-Second Street building. [27] “The Lenox Library, New York, N.Y.,” The American Architect and Building News, September 1, 1877, 281. [28] R. W. G. Vail [Robert William Glenroie], Knickerbocker Birthday, A Sesqui-Centennial History of the New-York Historical Society, 1804–1954 (New York: The New-York Historical Society, 1954), 97–98. [29] “The Fine Arts. Paintings at the Lenox Library . . . (Second Notice),” New York Times, January 21, 1877, 6. [30] Stevens, Recollections, 100. Lenox also bought two portraits of Washington from the same David Claypoole sale: James Peale’s Portrait of George Washington (1778) and Rembrandt Peale’s copy of Charles Willson Peale’s Portrait of George Washington (date of original, 1772). [31] Charles Leslie, in his recollections, notes that “it fell to my lot to select the first of [Turner’s] pictures that went to America.” Tom Taylor, ed., Autobiographical Recollections by the Late Charles Robert Leslie, R. A., 2 vols. (London: John Murray, 1860), 1:205. That Lenox’s painting was the first Turner to enter a collection in the United States is further confirmed by its present owner, the Yale Center for British Art, https://collections.britishart.yale.edu/vufind/Record/1669251. [32] Taylor, Autobiographical Recollections, 1:207. There is a copy of Turner’s letter to Lenox in NYPL Archives R. G. 2, “Lenox Library Board of Trustees,” box 5, Manuscripts and Archives Division, New York Public Library, New York. [33] William Dunlap, History of the Rise and Progress of the Arts of Design in the United States, 2 vols. (New York: G. P. Scott and Co., 1834; reprint ed. New York: Dover Publications, 1969), 2:363. [34] For more information on Cole and his contact with Turner, see Elizabeth Mankin Kornhauser and Tim Barringer, Thomas Cole’s Journey Atlantic Crossings (New York: Metropolitan Museum of Art, 2018), 35–37. [35] The Munkacsy painting created a controversy between New York’s two leading art critics—Clarence Cook and Marianna Van Rensselaer. Cook disliked the painting because it was not historically accurate, while Van Rensselaer praised it for its high ideals. M. G. Van Rensselaer, “Munkacsy’s Picture of Milton,” American Architect and Building News 6, no. 208, December 20, 1879, 195. [36] Tenth Annual Report for the Year 1870 of the Trustees of the Lenox Library of the City of New York (Albany: Weed, Parsons, 1880), 7. [37] The following page from Wikipedia contains an illustration of Lenox’s copy of the Gutenberg Bible, “Gutenberg Bible,” Wikipedia, accessed June 13, 2018, https://en.wikipedia.org/wiki/Gutenberg_Bible. [38] Lenox had a long-standing association with the NYHS and as a member in the 1850s made his first big splash as wealthy patron of the arts by purchasing thirteen Assyrian bas-reliefs, the Nineveh marbles, which he gave to the society. They are now on permanent loan to the Brooklyn Museum. [39] Carol Duncan, Civilizing Rituals: Inside Public Art Museums (London: Routledge, 1995), 145n4. [40] William G. Constable, Art Collecting in the United States of America (London: Thomas Nelson and Sons, 1964), 43. Constable, who died in 1976, was the first director of London’s Courtauld Institute and later a curator at the Museum of Fine Arts, Boston. [41] Ibid. [42] These ambitions are cogently laid out by Alan Wallach in Exhibiting Contradictions Essays on the Art Museum in the United States (Boston: University of Massachusetts, 1998), 22–37. [43] William Macleod, Catalogue of the Corcoran Gallery of Art (Washington, DC, 1878). [44] Duncan, Civilizing Rituals, 54. [45] Saule, “The Lenox Collection,” 318. [46] Ibid., 319. [47] “Lenox Library,” National Repository 7 (June 1880): 496. [48] James Jackson Jarves, “Museums of Art,” Galaxy 10 (July 1870), 17. Italics in the original. Jarves was an important collector of early Renaissance painting and an influential writer on the status of the visual arts in the United States at mid-century.
6840	dbpedia	1	89	https://www.nybooks.com/online/2020/02/08/swampland-sublime-the-landscapes-of-louisiana/	en	Louisiana Landscape Painting: Sublime Swampland	https://www.nybooks.com/…118_SL3-copy.jpg	https://www.nybooks.com/…118_SL3-copy.jpg	[ "https://www.nybooks.com/wp-content/uploads/2024/07/nyrb081524.jpg?w=360", "https://www.nybooks.com/wp-content/uploads/2024/07/nyrb081524.jpg?w=652", "https://www.nybooks.com/wp-content/uploads/2020/02/Clague-Trapers-Cabin-Manchac.jpg", "https://www.nybooks.com/wp-content/uploads/2020/02/50.118_SL3-copy.jpg?w=1024?w=1140", "https://www.nybooks.com/wp-content/uploads/2020/02/LA-2019-27_Rousseau_A-Swamp-in-the-Landes-copy.jpg?w=1024?w=1140", "https://www.nybooks.com/wp-content/uploads/2020/02/LA-2019-57_Brammer_Mississippi-Panorama.jpg?w=1024?w=1140", "https://www.nybooks.com/wp-content/uploads/2020/02/LA-2019-39_Ford_Water-Lilies-and-Spanish-Moss.jpg?w=1024?w=1140", "https://www.nybooks.com/wp-content/uploads/2020/02/John_Antrobus_-_Plantation_Burial.jpg?w=1024?w=1140", "https://www.nybooks.com/wp-content/uploads/2020/02/13-5-AAMD.jpg?w=1024?w=1140", "https://www.nybooks.com/wp-content/uploads/2024/07/Art_ParisRevNYRoB_Sum2024.png" ]	[]	[]	[ "" ]	null	[ "ZACHARY FINE" ]	2020-02-08T00:00:00	The recent exhibition at the New Orleans Museum of Art, “Inventing Acadia: Painting and Place in Louisiana,” is the first in nearly thirty years to attempt a survey of nineteenth-century Louisiana landscape painting.	en	https://www.nybooks.com/wp-content/themes/nyrb_2020/img/favicon.ico	The New York Review of Books	https://www.nybooks.com/online/2020/02/08/swampland-sublime-the-landscapes-of-louisiana/	The portion of the Earth containing southern Louisiana has spent most of its history shifting between land and liquid. Only in the last 5,000 years has sediment from the Mississippi River lifted New Orleans out of the water, placing the city, along with the rest of southeastern Louisiana, on an alluvial “doormat” at the edge of the continental crust. Many landscape painters have crawled into low-slung caves and hiked up mountains, or waded through meadows and wheatfields, but relatively few have captured the state’s vast, changeable, young swampland. The recent exhibition at the New Orleans Museum of Art, “Inventing Acadia: Painting and Place in Louisiana,” is the first in nearly thirty years to attempt a survey of nineteenth-century Louisiana landscape painting, and the first ever to place the tradition within wider national and international currents of art. The curator, Katie Pfhol, has done a masterful job with the resources available, but the show is somewhat cursed by the uncertainty of the land: many of the sites depicted in the paintings are today deforested, eroding, or underwater; the paintings themselves are among the few of their kind to have survived the constant humidity, as well as the floods and other disasters, that afflict the region; and even the museum itself sits in a part of the city that is still routinely inundated and was, until the second half of the nineteenth century, largely uninhabitable sludge. Among the more than sixty paintings from American collections, there are a few anchor-pieces by relatively well-known artists, such as Théodore Rousseau and Robert Duncanson, but what stand out are the unknowns: Alfred Boisseau, Toussaint François Bigot, Richard Brammer, Marie Adrien Persac, Blanche Virginia Blanchard, and Charles Giroux, among others, artists who came to Louisiana from all over the Americas and Europe. This presents the first of many problems for the show. These names are not only unfamiliar to most viewers, but would be obscure to veteran scholars of nineteenth-century painting. Although the “recovery” of forgotten artists and objects is typically welcome in the arts, Louisiana landscape paintings from this period are small and subtle, and they’re stuck at the crossroads of multiple zones of neglect. For one, there is subject matter. Landscape painting has, with a few exceptions, long suffered in the so-called “hierarchy of genres.” (André Félibien, a seventeenth-century French administrator and historian, influentially ranked history painting above all, putting landscape behind portraiture and genre painting, and only ahead of still-life.) There is also the issue of American art before World War II, which is barely taught in universities and consistently struggles to beat its reputation for being European-derived. And then most decisive is the fate of the regional tradition. Louisiana has produced very few painters who achieved national or international renown, and the most famous, arguably, are: John James Audubon, who only arrived in Louisiana in his thirties, the self-taught artist Clementine Hunter, and George Rodrigue, who—after decades of painting landscapes—unveiled his “Blue Dog” to the world in the 1990s (an ill-fitting and mostly unwelcome mascot of Louisiana). The New Orleans Museum has smartly tried to counter the accumulated neglect by adding some urgency to the exhibition. The marble-clad entrance hall is currently lined with a one-hundred-foot panorama by the contemporary artist Regina Agu, showing ghostly views of Louisiana’s waterways. Agu photographed a number of the sites depicted in the nineteenth-century paintings and then distilled the images into sweeping composites, in which bayous and swamp reeds and oil refineries melt into one another and fade out like fog. As the local environmental emergency continues to unfold—sinking soil, rising seas, harsher storms, and disappearing wetlands—Agu’s installation speaks in a warning future-perfect tense: this is what will have been Louisiana. In the galleries, the show begins with two of the earliest Louisiana landscape painters, Toussaint François Bigot and Richard Brammer, who made their way to New Orleans, from France and Ireland respectively, in the first half of the nineteenth century. Bigot’s Alchapalia, Louisiana (1848) is one of the exhibition’s highlights. It shows the intersection of five waterways deep in the Atchafalaya Basin, which is still North America’s largest river swamp. In the foreground, the land is split into two lobes: a group of indigenous people gather near a fire on one, and on the other, an alligator watches as a wildcat rips through a snake. Farther back, there are bald cypress trees, root systems knuckling their way out of the mud, and rowboats passing through the bayou. What stands out in Bigot’s work is that the water is not rendered as a brown-green slurry; it is limpid and pale, like a clean sheet of ice. Bigot, Brammer, and another contemporary, Marie Adrien Persac, who painted muddy plantations with perfect picket fences and rectilinear cabbage patches, all tended to use thin brushwork and muted colors that make entire swamps and floodplains look glassy and brittle. The land isn’t hot and diseased; nor does it bear the traces of chattel slavery or the displacement of indigenous people. Instead, it’s as if the congenial cool-blue weather of some vaguely Northern clime has descended onto the marshes, cypress knees, and Spanish moss. The style suggests how conflicted the desires of settlers were: to tame the land, to make it inviting and profitable; and, at once, to luxuriate in the undomesticated wild. While Bigot and Brammer were working in New Orleans, the dominant landscape tradition in the US was the Hudson River School, exceedingly popular in the mid-nineteenth century. The Knickerbocker magazine reported in 1853 that “landscape-painting has acquired in our country a dignity and character… which cannot be claimed by any other branch of the fine arts.” This not only breaks the landscape-as-neglected-genre rule but shatters it to the point that “Hudson River School” has become synonymous with American landscape painting as such, effectively smothering the various regional traditions. As early as the 1840s, Louisiana landscape painters were already under the influence of Hudson River artists such as Thomas Cole and Asher B. Durand—whose works had made their way into New Orleans collections—but what’s notable is how local painters developed a vernacular of their own. There was no room for swampland in the existing Hudson River mold: its contrasting “picturesque” and “sublime” modes; the quiet shorelines of John F. Kensett, and the booming, symbolic vistas of Albert Bierstadt; the patriotic fever for New England’s past, incarnate in the Catskills, and the allure of the nation’s future out West in Yosemite and Yellowstone. Louisiana was not monumental, and it was barely seen as American (considering its ties to Latin America and France). And God was not waiting for artists among tupelo gum trees or brackish marsh or duckweed. A new generation of painters in the decades following the 1850s responded more immediately to the mood and flora of Louisiana’s wetlands. There were, roughly, two strains: one Naturalist and the other Romantic. The leading Naturalist was Richard Clague, a Frenchman who attended the École des Beaux-Arts in Paris and became a legatee of the Barbizon School (which included French artists such as Théodore Rousseau and Charles-François Daubigny, who painted landscapes with an unsentimental eye beginning in the 1830s). In Louisiana, Clague was confronted with difficult, low-lying marshland, and he responded with spare compositions and rough-hewn brushwork. In pieces such as Fisherman’s Camp (undated) and Back of Algiers (circa 1870–1873), Clague paints open skies and floodplains, evenly lit and interrupted mostly by trapper’s cabins and rickety shacks. The Romantic counterpart to Clague was Joseph Meeker, an American who studied at the National Academy of Design—a Hudson River School hotspot in New York. During the Civil War, Meeker served as a paymaster on a US Navy gunboat in Louisiana and sketched the swamps in his spare time. Many of his paintings show lonely waterways bowered by thick walls of cypress. The trees are dark, almost silhouetted, and set off against bright skies that occasionally look juice-filled—red or lemon-colored. In The Land of Evangeline (1874), a painting based on Henry Wadsworth Longfellow’s epic poem “Evangeline, A Tale of Acadie” (1847), a canoe has run aground in a quiet swamp grove. A woman, Evangeline, looking for her lost lover Gabriel, rests under a canopy on a bed of earth barely larger than her body. The faded leaves are mint-green and soothing, and the water is calm. But in a swamp, everything crawls and ribbits and drips; there is mystery, menace even. The light dies sharply in the painting as if a drain were installed in the back of the composition—color being sucked from the foreground until it turns gray and dead—and Spanish moss hangs from the branches, fretting the edge of clean lines, like contrails or smeared ash. As with much of Meeker’s work, the painting flickers, lost somewhere between the picturesque and the sublime: it is restful and worried, restrained and haunted. “Inventing Acadia” underscores that nineteenth-century landscape artists in Louisiana were remarkable not just for what they painted, the charm and novelty of their views, but for what they often chose to exclude. Women, the enslaved, and the indigenous are largely invisible in the landscapes as the century wore on, and even though the Civil War, Reconstruction, and racial terror can be read into a wrecked skiff, a splintering cypress tree, or the dusk, they are ultimately absent. It leaves a sense of melancholy hanging over the show. The wounds of history are festering at the edge of every canvas, and the future of the land is being gradually erased from within. Advertisement
6840	dbpedia	0	1	https://artgallery.yale.edu/collections/objects/3263	en	A Sycamore Tree, Plaaterkill Clove (The Sycamore, Kaaterskill Clove)	https://artgallery.yale.edu/themes/custom/yuag/favicon.ico	https://artgallery.yale.edu/themes/custom/yuag/favicon.ico	[ "https://media.collections.yale.edu/thumbnail/yuag/6ac19c8e-fd27-4a07-bd41-d84d18b692db" ]	[]	[]	[ "" ]	null	[]	null		en	/themes/custom/yuag/favicon.ico		https://artgallery.yale.edu/collections/objects/3263	Asher Brown Durand believed that in order to achieve the ideal, the artist must first perfect the real. His now-famous "Letters on Landscape Painting," published in the art journal the Crayon in 1855, instructed fellow artists to "paint and repaint until you are sure that the work represents the model—not that it merely resembles it." A Sycamore Tree, Plaaterkill Clove is a result of this artistic process. Durand painted it as a plein-air study, visually dissecting the forest interior, which would become the foreground in the final picture, The Catskills (1859; now in the collection of the Walters Art Museum, Baltimore). The object of Durand’s most intense scrutiny, a mossy tree trunk, interested him not for the purposes of scientific inquiry, but of spiritual enlightenment, for Durand, as the leading voice of transcendental thought among his contemporaries, thought nature held the key to revelation.
6840	dbpedia	0	92	https://human.libretexts.org/Bookshelves/Art/American_Encounters%253A_Art_History_and_Cultural_Identity_(Miller_Berlo_Wolf_and_Roberts)/02%253A_The_Old_World_and_the_New-_First_Phases_of_Encounter_1492-1750/08%253A_Nature's_Nation_1820-1865/8.02%253A_The_Sublime-_The_Formation_and_Development_of_the_Hudson_River_School_of_Painting	en	8.2: The Sublime- The Formation and Development of the Hudson River School of Painting	https://a.mtstatic.com/@…social-share.png	https://a.mtstatic.com/@…social-share.png	[ "https://cdn.libretexts.net/Logos/human_full.png", "https://cdn.libretexts.net/Logos/human_full.png", "https://a.mtstatic.com/@public/production/site_9956/1481233284-logo.png", "https://biz.libretexts.org/@api/deki/files/5084/girl-160172__340.png", "https://human.libretexts.org/@api/deki/files/134241/clipboard_e446cf445f341c12dbba151bb0838a5e5.png?revision=1", "https://human.libretexts.org/@api/deki/files/134242/clipboard_e571f18a4d7dd81019631ebce8381992b.png?revision=1", "https://human.libretexts.org/@api/deki/files/134243/clipboard_e31fa34fbe84147bec85b7c2b7aec6e58.png?revision=1&size=bestfit&width=750&height=538", "https://human.libretexts.org/@api/deki/files/134244/clipboard_eba4fa99e46a7ee55c7d162bd2bd3e7a3.png?revision=1", "https://human.libretexts.org/@api/deki/files/134245/clipboard_e433539ff04366507dec7973e8a94106c.png?revision=1", "https://human.libretexts.org/@api/deki/files/134246/clipboard_ec929545de5fa6ab556d0f30e3fe393de.png?revision=1", "https://human.libretexts.org/@api/deki/files/134247/clipboard_e4681fe2454cc5d447f0a027e56252103.png?revision=1", "https://human.libretexts.org/@api/deki/files/134248/clipboard_eb5cbece66525a410ddc355a764142005.png?revision=1", "https://human.libretexts.org/@api/deki/files/134249/clipboard_e10e1515e7b8e50085cd09c9e44ff627e.png?revision=1", "https://human.libretexts.org/@api/deki/files/134250/clipboard_e094131938b8b42117dcdf0c65f053414.png?revision=1&size=bestfit&width=740&height=405", "https://human.libretexts.org/@api/deki/files/134251/clipboard_e6844e1b33503f04a9f9ac9f0d5092689.png?revision=1", "https://human.libretexts.org/@api/deki/files/134252/clipboard_ee981b766f9d3de39cd72cd13d77034e3.png?revision=1", "https://human.libretexts.org/@api/deki/files/134253/clipboard_e7d3597ce76001109682bfed4eff5e92b.png?revision=1", "https://human.libretexts.org/@api/deki/files/134254/clipboard_e27595c2441997a9ceecd977d628a71dc.png?revision=1" ]	[]	[]	[ "" ]	null	[ "Libretexts" ]	2023-12-27T03:54:00+00:00		en	https://a.mtstatic.com/@…e-touch-icon.png	Humanities LibreTexts	https://human.libretexts.org/Bookshelves/Art/American_Encounters%3A_Art_History_and_Cultural_Identity_(Miller_Berlo_Wolf_and_Roberts)/02%3A_The_Old_World_and_the_New-_First_Phases_of_Encounter_1492-1750/08%3A_Nature's_Nation_1820-1865/8.02%3A_The_Sublime-_The_Formation_and_Development_of_the_Hudson_River_School_of_Painting	In the same years that Downing helped popularize the picturesque landscape, and Greenough converted nature into a lesson in practical design, artists and entrepreneurs were discovering the commercial possibilities of sublime prospects and mountain vistas. In 1824, a small tourist hotel opened in the Catskill Mountains near Kaaterskill Falls, New York. Situated high upon a rocky ledge with breathtaking views of the nearby ridges and valleys, the Catskill Mountain House provided its visitors with an opportunity to experience the wilderness from the comfort of a private room. Visitors to the Catskill Mountain House were awakened each morning by a hotel employee, who would arouse them just in time to catch the rising sun. They would spend the rest of the day exploring the nearby woods, visiting Kaaterskill Falls, or awaiting the late-afternoon thunderstorms that often raged in the valley below. Their experiences mark the beginning of a national love affair with the wilderness, an affair all the more popular for being consummated from the safety of a hotel balcony. Edmund Burke had insisted that terror by itself was not sublime (see page 243). The sublime required an assurance of safety: powerful forces viewed from a distance. The Catskill Mountain House provided tourists with a way of testing Burke's statement.
6840	dbpedia	3	28	https://www.iloveny.com/blog/post/discover-new-york-state-museums-week-3-the-catskills-hudson-valley-and-the-capital-region/	en	Discover New York State museums, week 3: The Catskills, Hudson Valley and the Capital Region	https://assets.simplevie…0bec7e537585.jpg	https://assets.simplevie…0bec7e537585.jpg	[ "https://www.iloveny.com/includes/public/assets/images/common/iloveny-logo.png", "https://www.iloveny.com/includes/public/assets/images/svg/logo.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg", "https://assets.simpleviewinc.com/simpleview/image/upload/c_fill,h_391,q_75,w_588/v1/clients/newyorkstate/Olana_State_Historic_Site_57b5108d-99b4-4629-a855-0bec7e537585.jpg", "https://res.cloudinary.com/simpleview/image/upload/v1490231478/clients/newyorkstate/000634_c282b57f-30c6-4760-bfd0-ef0969b81a5b.jpg", "https://www.iloveny.com/includes/public/assets/images/svg/logo_white.svg", "https://www.iloveny.com/includes/public/assets/images/svg/tripadvisor.svg", "https://www.iloveny.com/includes/public/assets/images/footer/heart_footer.png", "https://www.iloveny.com/includes/public/assets/images/footer/heart_footer_t.png", "https://www.iloveny.com/includes/public/assets/images/footer/heart_footer_m.png", "https://www.iloveny.com/includes/public/assets/images/svg/svlogo.svg" ]	[]	[]	[ "" ]	null	[ "Don Wildman", "Monumental Mysteries" ]	2016-11-18T05:00:00+00:00	Continuing our tour of New York's museums, we start with a virtual weekend-long art-history course that only the Hudson Valley and Catskills could provide. (And we never, ever have to take a test.) In	en			https://www.iloveny.com/blog/post/discover-new-york-state-museums-week-3-the-catskills-hudson-valley-and-the-capital-region/	Continuing our tour of New York's museums, we start with a virtual weekend-long art-history course that only the Hudson Valley and Catskills could provide. (And we never, ever have to take a test.) In this region just north of New York City, the art scene is remarkably varied, with sites and exhibitions that land you in nearly every decade of American art and design. Museums of the Hudson Valley and Catskills: Thomas Cole National Historic Site marks the sylvan spot where the master of the Hudson River School of painters lived and worked throughout his brief lifetime. Back in 1840, Cole first journeyed to the upstate wilderness and began painting his visions of nature as a spiritual allegory. Cole influenced younger artists like Frederic Edwin Church, Jasper Cropsey and dozens more who, in time, coalesced into what is now known as the Hudson River School. Visitors today can tour the home, see the art, stroll the gardens and take in the spectacular views of the Catskill Mountains. The museum has just reconstructed Cole's self-designed New Studio, and a new exhibit there features the artist's lesser known architectural endeavors. Olana State Historic Site is a short drive away, across the Rip Van Winkle Bridge and through the town of Catskill. Olana, where Cole's student Frederic Edwin Church flourished, is simply one of the most remarkable historic homes in the nation. Inspired by their travels through the Middle East, the Churches designed a thrilling showcase of Persian and Ottoman influences. It is appropriately poised over a sweeping view, the kind that inspired the art that afforded him such prosperity. Francis Lehman Loeb Art Center in Poughkeepsie is on the campus of Vassar College, the first university in the nation to include an art museum as part of its original plan. The 36,000-square-foot facility includes more than 19,000 paintings, sculptures, photographs, textiles, glass works, ceramic wares and more, from ancient to modern times. The collection includes masterworks from Hudson River School painters as well as contemporary artists like Georgia O'Keefe, Matisse, Pablo Picasso and Jackson Pollock. Dia: Beacon in Beacon is the place to sign up for a dose of the avant-garde. Opened in 2005 in a reclaimed Nabisco box factory, the 36,000 square feet of gallery space is perfectly suited to the monumental art pieces within, spanning from the 1960s to the present. Dia:Beacon calls itself a "daylight museum" thanks to copious natural light provided by more than 34,000-square-feet of skylights and broad spans between supporting columns. The museum has significant holdings of Warhol and features guided tours, gallery talks and more. Storm King Art Center in New Windsor takes the prize for sheer size and scope. Its 700-acres of woods, meadows and riverbank comprise an unsurpassed outdoor museum for sculptures whose dimensions daunt and dazzle. Don't miss the rolling hills that make up Maya Lin's Wavefield, or the meandering Wall by Andy Goldsworthy-you'll never view masonry the same way again. The Hudson River Maritime Museum, located on the Rondout waterfront in Kingston, commemorates the days when shipping-via oceans, rivers and canals-was the mode of delivery for nearly all of the goods that kept people alive. The Hudson River was, of course, the major conduit of commerce for New York City, delivering food, fuel and, well, everything else. This compact and colorful museum drops anchor in the deep end of Hudson Valley shipping, hosting exhibits on just about every aspect of our maritime heritage. Kids will love the Mathilda, a 1898 steam tug berthed outside the museum, at water's edge. The Museum at Bethel Woods in Bethel is dedicated to making the lessons and ideals of the tumultuous decade of the 1960s relevant and accessible. The famous Woodstock Music & Art Fair didn't take place in the town called Woodstock. It happened on a dairy farm in Bethel, sixty miles from Woodstock, when the previously arranged venue there fell through. The museum is situated on the property of that very farm and uses the legend of Woodstock as a jumping off point to explore the broader context of an era that dramatically altered American society in all sorts of ways. The award-winning Main Exhibit, "Woodstock and The Sixties," offers 21 short films, interactive exhibits and lots of interesting artifacts to tell its story. The museum is part of the Bethel Woods Center for the Arts, a concert venue that operates throughout the summer. Best way to go? Tour the museum and take in a concert! For other terrific museums in the Hudson Valley, head here. And click here for more sites in the Catskills. Museums of the Capital-Saratoga region: Any grade school student should be able to tell you that Albany is the Capital of New York. The region is also a hotbed of history, from its prominence in colonial history to its pivotal role in the American Revolution. Though it's not, strictly speaking, a museum, the New York State Capitol Building is a bona fide historic site with museum-quality exhibits on many aspects of New York State history. Completed in 1899, it's a spectacular sight, the architectural star of New York's Gilded Age, the Camelot Castle of the Empire State. It's now fully open for tours on which you can walk the majestic paneled hallways and carved staircases and view the many historic artifacts on display. The Albany Institute of History & Art, a few blocks away from the Capitol, is one of America's oldest museums. The Institute's elegant and studied collection documents the rise of the Capital and Upper Hudson Valley regions, their political and cultural identities, and how much of the epic story of modern America- from smudgy jewel in the colonial crown to dominant mercantile power-house-begins in upstate New York, right here on the Hudson River. There are even two mummies with a fascinating history of how they ended up in New York's Capital District. The New York State Museum, just a 10-minute walk from the Capitol across the 98-acre, white-marbled expanse of Empire State Plaza - thank you, Nelson Rockefeller - is an even more ambitious repository of NY artifacts and archives. Its exhibits trace the natural and cultural origins of the state. You could spend hours here in the towering exhibition halls. Make sure you don't miss the 9/11 artifacts, the collection of antique fire trucks and subways, the dioramas of NY birds, an eons-old mastodon and a ride on the century-old carousel. In Saratoga Springs, the New York State Military Museum commemorates the service of New York military units from the Revolution to the Civil War to modern day battlegrounds. Most visitors will also want to head north to the Saratoga National Historic Site where, in 1777, the British General John Burgoyne surrendered his sword in what historians call "The Turning Point of the American Revolution." Don't miss the chance to climb to the top of the nearby Saratoga Monument for a birds-eye view of the area-and some excellent cardio. For more museums in the Capital-Saratoga region, click here.
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This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1929.
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6840	dbpedia	1	8	https://art.thewalters.org/browse/creator/asher-brown-durand/	en	Artwork by Asher Brown Durand			[ "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/ico-search.svg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/walters-logo-white.svg", "https://art.thewalters.org/images/art/thumbnails/PS3_38.458_Fnt_DD_T12.jpg", "https://art.thewalters.org/images/art/thumbnails/PS1_37.122_Fnt_DD_T09.jpg", "https://art.thewalters.org/images/art/thumbnails/PS3_37.1579_Fnt_DD_KI13.jpg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/copyright.svg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/facebook.svg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/instagram.svg", "https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/twitter.svg" ]	[]	[]	[ "" ]	null	[]	2022-08-01T19:38:12+00:00	Browse artwork by Asher Brown Durand at The Walters Art Museum.	en	https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/favicon.ico	Online Collection of the Walters Art Museum	https://art.thewalters.org/browse/creator/asher-brown-durand/
6840	dbpedia	0	47	https://www.questroyalfineart.com/artist/sanford-robinson-gifford/	en	Sanford Robinson Gifford	https://www.questroyalfi…rd-1823–1880.jpg	https://www.questroyalfi…rd-1823–1880.jpg	[ "https://www.questroyalfineart.com/wp-content/uploads/2024/06/SS24.jpg", "https://www.questroyalfineart.com/wp-content/uploads/2024/06/SS24.jpg", "https://www.questroyalfineart.com/wp-content/uploads/bb-plugin/cache/Gifford-A-Sketch-of-DerWentWater-768x526-square-32c9e15060e4e522ab650ce29691f856-.jpg", "https://www.questroyalfineart.com/wp-content/uploads/bb-plugin/cache/Gifford-Mount-Etna-from-Catania-1868-768x445-square-75ce48699b9c070c6f83fccee9f12585-.jpg", "https://www.questroyalfineart.com/wp-content/uploads/bb-plugin/cache/Gifford-Mariana-Grande-Capri-with-Figures-1857-768x748-square-da83d5ac92cc5cda9066492682cb29ab-.jpg" ]	[]	[]	[ "" ]	null	[]	2023-11-28T13:30:37+00:00	Prominent Luminist Hudson River School painter By Amy Spencer Defining the salient characteristics of the second-generation Hudson River School, Sanford R. Gifford’s luminist style effectively evoked both the subtle and dramatic effects epitomized by landscape painting in nineteenth-century America. I. Biography The second-generation Hudson River School painter Sanford Robinson Gifford was a master at depicting…	en		Questroyal Fine Art	https://www.questroyalfineart.com/artist/sanford-robinson-gifford/	Prominent Luminist Hudson River School painter By Amy Spencer Defining the salient characteristics of the second-generation Hudson River School, Sanford R. Gifford’s luminist style effectively evoked both the subtle and dramatic effects epitomized by landscape painting in nineteenth-century America. I. Biography The second-generation Hudson River School painter Sanford Robinson Gifford was a master at depicting light and atmosphere in landscapes. As the only painter among his contemporaries to be born and grow up in the heart of the Hudson River Valley, Gifford had a special affinity for the mountains, valleys, and rivers of the region. Over the course of his career he also traveled extensively around the Catskill, Adirondack, and White Mountains, and ventured abroad on painting trips throughout Europe and the Middle East. This contrasting subject matter demonstrated his skill at depicting various ambient atmospheres with sincerity, charm, and realism. Sanford Robinson Gifford was born in Greenfield, New York. He spent his childhood in Hudson (on the Hudson River south of Albany) where his father operated iron foundries and a bank. Coming from a reasonably wealthy family allowed Gifford the freedom to pursue his artistic endeavours unhindered by commercial incentives and trends. From 1842 to 1844, Gifford attended Brown University in Providence, Rhode Island, before moving to New York City to become an artist. Gifford trained to become a portrait and figure painter by studying drawing, perspective, and anatomy under the direction of the British watercolorist John Ruebens Smith. He also took drawing classes at the National Academy of Design and studied the human figure in anatomy classes at the Crosby Street Medical College. As a student Gifford developed solid skills at figure drawing; however, a sketching trip in 1846 to the Catskills and the Berkshires led to his focused interest in landscape painting. He later explained the profound significance of this trip to a friend: “Having once enjoyed the absolute freedom of the landscape artist’s life, I was unable to return to portrait painting. From this time my direction in art was determined.”[1] After this seminal trip, Gifford returned annually to experience the “absolute freedom” of the Catskills, White Mountains, Shawangunk Mountains, and Adirondack Mountains every summer for the next nine years. His companions on these trips included the artists Samuel Colman, Benjamin Champney, Alfred T. Ordway, and Aaron Draper Shattuck. In 1847 some of Gifford’s first works were exhibited by the American Art Union. The same year Gifford exhibited his first landscape at the National Academy and submitted work almost annually thereafter. He was elected an associate of the Academy in 1851 and a full Academician in 1854. In the summer of 1855 Gifford visited England, where he studied the glowing atmospheric effects in J.M.W. Turner’s work at London’s National Gallery; he also discussed Turner’s work with the art critic John Ruskin. He then visited Scotland, France, Belgium, Holland, Germany, Switzerland, and Italy. In the autumn of 1856 Gifford rented a studio in Rome where he painted his largest, and one of his most famous, works Lake Nemi (1856–57; Toledo Museum of Art). He exhibited Lake Nemi at the National Academy the same year. This work, with is depiction of radiant sunlight and hazy atmosphere, marks the crystallization of Gifford’s achievements in Europe and heralds the beginning phase of his mature style. During the spring of 1857, Gifford spent time sketching with William H. Beard, Albert Bierstadt, and T. Worthington Whittredge. He then took a walking tour of southern Italy with Bierstadt in May, before ending his European tour with a trip to Innsbruck, Munich, Vienna, Prague, Dresden, Berlin, and Paris. Gifford returned to America at the end of the summer in 1857. He rented studio Number 19 in the Tenth Street Studio Building in New York City, where his studio neighbors included Bierstadt, Frederic Edwin Church, John Frederick Kensett, William Hart, Jervis McEntee, and Whittredge. Gifford retained this studio for the next twenty-three years working in it during fall, winter, and spring, then spending most of his summers traveling in Northeastern locations such as those along the Delaware, Chenango, Susquehanna, Chemung, and Hudson rivers. During the Civil War Gifford served in New York’s Seventh Regiment of the National Guard, which was based in New York City. He continued to paint throughout the war and his reputation grew rapidly with the production of landscape masterworks such as Gorge in the Mountains (Kauterskill Clove) (1862; Metropolitan Museum of Art), and historic wartime scenes including Bivouac of the Seventh Regiment at Arlington Heights, Virginia (1861; whereabouts unknown) and Camp of the Seventh Regiment, near Frederick, Maryland, in July 1863 (1864; Seventh Regiment Fund, New York). Gifford’s professional success during these years was deeply marred by personal tragedy; his brother Charles committed suicide in 1861, and his brother Edward died in conflict in 1863. During the summer of 1867, Gifford spent most of his time painting on the New Jersey coast, specifically at Sandy Hook and Long Branch. The next year, the artist returned to Europe. He visited London and Paris again with his close friends McEntee and McEntee’s wife. He then spent the summer visiting the Alps and Sicily before wintering in Rome with the McEntees, his sister Mary, Church and his wife. In January 1869 Gifford embarked on a two-month excursion down the Nile in Egypt, visiting Alexandria and Cairo. He then travelled through the Middle East with a group of Americans, visiting Syria, Jerusalem, Samaria, Damascus, Greece, and Turkey. During his travels Gifford painted monuments such as the pyramids and the Colossi of Memnon; however, most of his paintings from this trip are Nile River scenes. Gifford returned to continental Europe via Beirut, Greece, Istanbul, Budapest and Vienna. He then spent six weeks in Venice over the summer before returning to the United States in September. In 1870 Gifford took advantage of the newly connected railways to visit the Rocky Mountains with fellow artists Whittredge and Kensett. They accompanied a United States Geological party under Dr. Hayden in the exploration of Wyoming, Utah, and the Colorado territories. Gifford took a second trip west in the summer of 1873, visiting California, Oregon, British Columbia, and Alaska. During the last decade of his life, Gifford continued to travel extensively around the northeastern region of America and into Canada. He married Mary Cecilia Canfield, an old school friend, in 1877. While on a fishing trip at Lake Superior in 1880 he contracted a respiratory ailment, returned to New York City, and died shortly after at age fifty-six on August 29. Gifford was eulogized at a memorial meeting of the National Academy of Design and buried in the Gifford family plot in Hudson, New York. In November 1880 Gifford was posthumously honored with the Metropolitan Museum of Art’s first monographic retrospective in its new Central Park building. In 1881 the museum published the Memorial Catalogue of the Paintings of Sanford Robinson Gifford, N.A., which documents 735 of Gifford’s works. This tribute by the Metropolitan Museum was especially fitting as Gifford had been among one of fifty prominent New Yorkers to draft the museum’s original resolution for the municipal art institution. Gifford’s paintings are held in the esteemed collections of the Museum of Fine Arts, Boston, Whitney Museum of American Art, Smithsonian American Art Museum, National Gallery of Art, and the Metropolitan Museum of Art.[2] II. Chronology 1823 Sanford Robinson Gifford is born in Greenfield, Saratoga County, New York, the fourth of eleven children to Elihu and Eliza Starbuck Gifford; as an infant moves with his family to Hudson, New York 1830 Attends school at the Hudson Academy until 1842 1842 Attends Brown University for two years 1845 Moves to New York City to study drawing, perspective and anatomy under English artist John Reubens Smith; takes a drawing trip through New York, Massachusetts, and Connecticut; visiting the Catskills and the Berkshires 1846 In the summer returns to the Catskills and the Berkshires; studies at the Antique School and at the National Academy of Design 1847 Has first painting, Lake Scene, on the Catskills (c.1846), exhibited at the National Academy of Design (submits his work almost annually hereafter); studies the human figure in anatomy classes at the Crosby Street Medical college; visits the Catskills in August 1848 In the summer travels through the Adirondack Mountains and returns to the Catskills 1849 Sketches with Henry Ary in the Catskills and travels on the Hudson River between Albany and Glens Falls 1850 Elected an associate of the National Academy; takes a trip to the White Mountains in New Hampshire, and to Milwaukee, Wisconsin 1851 Sketches in the Adirondack Mountains with Eliphalet Terry, Richard W. Hubbard, and his older brother Frederick 1852 Travels around Pennsylvania, also returns to Hudson and visits Philadelphia 1854 Elected a full academician of the National Academy; sketches in New Jersey and Maine, and visits an artists colony in Saco Valley, New Hampshire 1855 In summer sails to England, where in London he visits the National Gallery, Royal Academy of Art, and Society of Painters of Water Colors; takes summer sketching trips around England and Scotland before sailing to Paris 1856 Rents a studio in Rome where he paints Lake Nemi (1856–57; Toledo Museum of Art), his largest-known work 1857 During the spring meets fellow American artists Worthington Whittredge, William H. Beard and Albert Bierstadt; in May takes sketching trip with Bierstadt through southern Italy; ends his European tour with a visits to Innsbruck, Munich, Vienna, Prague, Dresden, Berlin, and Paris; returns to New York in September and rents a studio number 19 at the Tenth Street Studio Building where Bierstadt and Frederic Church are his neighbors (he retains this studio until his death) 1858 Travels to Vermont with painter Jerome Thompson 1861–63 During the Civil War serves in the Union Army with the Seventh Regiment of the New York Militia stationed in defense of Washington D.C. 1861 Brother Charles commits suicide at the war’s outbreak 1863 Brother Edward dies in conflict 1867 Spends the summer in New Jersey painting the coast at Sandy Hook and Long Branch; represents American art at the International Exposition in Paris with painting Hunter Mountain Twilight (1866; Terra Foundation of American Art) along with Winslow Homer’s Prisoners from the Front (1866; Metropolitan Museum of Art) 1868 Makes final journey to Europe with Jervis McEntee and his wife; spends the summer visiting the Alps and Sicily before wintering in Rome 1869 Travels to Egypt where he takes a two-month boat voyage from Cairo down the Nile River; travels to the Middle East with Alfred Craven via the Suez Canal, where his itinerary includes Syria, Jerusalem, Samaria, Damascus, Greece and Turkey 1870 After returning to America takes a trip to Colorado with Whittredge and Kensett 1872 Serves as a pallbearer at Kensett’s funeral 1873 Visits California, Oregon, British Columbia and Alaska 1877 Marries Mary Canfield, a widow 1880 While on a fishing trip at Lake Superior contracts a respiratory ailment, returns to New York City, and dies shortly after at age fifty-six; has the first monographic retrospective to be held at the Metropolitan Museum of Art 1881 The Metropolitan Museum of Art publishes A Memorial Catalogue of the Paintings of Sanford Robinson Gifford, N.A., which documents 735 of Gifford’s works III. Collections Addison Gallery of American Art, MA Adirondack Museum, NY Albany Institute of History and Art, NY Amherst College, Mead Art Museum, MA Amon Carter Museum, TX Art Complex Museum, MA Art Institute of Chicago, IN Ball State University Museum of Art, IA Baltimore Museum of Art Brooklyn Museum Butler Institute of American Art, OH Century Association, NY Chazen Museum of Art at the University of Wisconsin, WI Cheekwood Botanical Garden and Museum of Art, TN Chrysler Museum of Art, VA Cleveland Museum of Art Colby College Museum of Art, ME Columbia County Historical Society, NY Columbus Museum, GA Corcoran Gallery of Art, Washington DC Currier Gallery of Art, NH Dayton Art Institute, OH Detroit Institute of Arts Everson Museum of Art of Syracuse and Onondaga County, NY Farnsworth Art Museum, MA Figge Art Museum, IA Fine Arts Museums of San Francisco Fogg Museum at Harvard University, MA Frances Lehman Loeb Art Center at the Vassar College, NY George Walter Vincent Smith Art Museum, MA Hood Museum of Art at Dartmouth College, NH Hunter Museum of Art, TN Indiana University Art Museum Los Angeles County Museum of Art Metropolitan Museum of Art Montclair Art Museum, NJ Munson-Williams-Proctor Institute Museum of Art, NY Museum of Fine Arts, Boston Museum of Fine Arts at Brigham Young University, UT Museum of the City of New York Nashville Parthenon, TN National Gallery of Art, Washington DC New Britain Museum of American Art, CT New-York Historical Society New York Public Library New York State Military Museum and Veterans Research Center Newark Museum, NJ North Carolina Museum of Art Oakland Museum, CA Palmer Museum of Art at Pennsylvania State University Parthenon, TN Pennsylvania Academy of the Fine Arts Philadelphia Museum of Art Picker Art Gallery at Colgate University, NY Phoenix Art Museum, AZ Princeton University Art Museum, NJ Rhode Island School of Design Museum of Art Robert Hull Fleming Museum at the University of Vermont St. Johnsbury Athenaeum, VT Samuel Dorsky Museum of Art, NY Seattle Art Museum Smith College Museum of Art, MA Smithsonian American Art Museum, Washington DC Spencer Museum of Art at the University of Kansas Springfield Museum of Art, OH Sweet Briar College, VA Terra Foundation for the Arts, IL Thyssen-Bornemisza Museum, Madrid Toledo Museum of Art, OH Trinity College, CT Union League Club, NY United States Department of the Interior, Washington DC Virginia Steele Scott Foundation, CA Wadsworth Atheneum, CT Washington University Gallery of Art, MO Whitney Museum of American Art Williams College Museum of Art, MA Yale University Art Gallery, CT IV. Exhibitions 1847 The National Academy of Design, New York (also in 1848, 1849, 1850, 1850, 1851, 1852, 1853, 1854, 1855, 1856, 1857, 1858, 1859, 1860, 1861, 1862, 1863, 1864, 1865, 1866, 1867, 1868, 1870, 1872, 1873, 1874, 1876, 1877, 1878, 1879, and 1880) 1848 The American Art-Union, New York (also in 1849, 1850, and 1852) 1855 The Boston Athenaeum, Boston (also in 1858, 1859, 1860, 1861, 1864, 1865, and 1869) 1856 Pennsylvania Academy of the Fine Arts, Philadelphia (also in 1861, 1863, 1864, 1867, 1868, and 1880) 1858 The Washington Art Association, Washington DC 1859 Young Men’s Association, Troy, New York (also in 1860, and 1861) Yale Art Library, New Haven, Connecticut Tenth Street Studio Exhibition, New York (also in 1860) Dodsworth’s Studio Exhibition, New York (also in 1860) 1860 Artists’ Fund Society, New York (also in 1862, 1863, 1864, 1865, 1866, 1867, 1868, 1871, 1872, and 1873) Pittsburgh Art Association Western Academy of Art, Saint Louis 1861 Brooklyn Art Association, New York (also in 1862, 1864, 1865, 1866, 1867, 1868, 1869, 1870, 1872, 1873, 1874, 1875, 1876, 1877, 1878, 1879, and 1880) 1863 Weehawken Gallery, New Jersey 1864 Great Central Fair, Philadelphia, Pennsylvania 1865 Northwestern Fair, Chicago, Illinois Philadelphia Sketch Club Buffalo Fine Arts Academy, New York (also in 1873) 1866 Opera House Art Association, New York, New York 1867 Exposition Universelle, Paris (also in 1878) Yale [College] School of Fine Arts, New Haven, Connecticut (also in 1870, 1871, 1872, 1874, and 1875) Derby Gallery, New York, New York American Society of Painters in Water Colors, New York 1868 Union League Club, New York (also in 1870, 1871, 1873, and 1876) Utica Art Association, New York (also in 1871, and 1878) Maryland Historical Society, Baltimore 1869 Century Association, New York (also in 1870, 1871, 1872, 1873, 1874, 1875, and 1876) 1870 Harrison Collection, Philadelphia Jenkins Collection, Walters Art Gallery, Baltimore 1871 Saint Louis Mercantile Library, St. Louis (also in 1872) 1873 Cincinnati Industrial Exposition, Cincinnati (also in 1874) Connecticut School of Design, Hartford, Connecticut “John Frederick Kensett Memorial Exhibition,” National Academy of Design 1874 Metropolitan Museum of Art, New York (also in 1875) Moore’s Art Rooms, New York 1875 Centennial Loan Exhibition, Hartford, Connecticut Chicago Interstate Industrial Exposition, Chicago (also in 1876) Hoe’s Collection, New York 1876 Centennial Exhibition Art Gallery, Philadelphia Young Women’s Christian Association, New York “Centennial Exhibition”, National Academy of Design, New York, “Centennial Exhibition”, Metropolitan Museum of Art San Francisco Art Association 1880 “Sanford Robinson Gifford Memorial Exhibition,” Metropolitan Museum of Art “Sanford Robinson Gifford Memorial Exhibition,” Century Association 1980 “American Light: The Luminist Movement,” National Gallery of Art, Washington DC 1987 “American Paradise: The World of the Hudson River School,” Metropolitan Museum of Art 2002 “American Sublime: Landscape Painting in the United States 1820–1880,” Pennsylvania Academy of Fine Arts, Philadelphia 2003 “Hudson River School Visions: The Landscapes of Sanford R. Gifford,” Metropolitan Museum of Art “Hudson River School Drawings From Dia Art Foundation,” Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York 2006 “American Scenery: Different Views in Hudson River School Painting,” Samuel Dorsky Museum of Art, New Paltz, New York V. Memberships Artists’ Fund Society Century Association Dodsworth’s Artists’ Reception Association National Academy of Design New York Sketch Club Union League Club VI. Notes 1. Sanford Robinson Gifford, “Frothingham Letter,” Archives of American Art; quoted in Kevin J. Avery and Kelly, Franklin, eds., Hudson River School Visions: The Landscapes of Sanford R. Gifford (New York: The Metropolitan Museum of Art, 2003), 6. 2. In 2008 Gifford’s painting Mount Mansfield, Vermont (1859; whereabouts unknown) and Frederic Edwin Church’s Scene on the Magdalene (1854; whereabouts unknown) were involved in controversy when the National Academy of New York deaccessioned them from its collection. They were sold to an unknown buyer for $13.5 million; money which the Academy needed to raise to cover operating expenses during America’s worst financial downturn since the Great Depression. The high price garnered by the sale reflects the ‘recession-proof’ performance of good Hudson River School works at auction, demonstrating how Gifford has become an invaluable part of American national heritage. VII. Suggested Resources
6840	dbpedia	3	12	https://harvardartmuseums.org/collections/object/31155	en	A Ledge on South Mountain, in the Catskills	https://nrs.hvrd.art/urn-3:HUAM:78974_dynmc?width=3000&height=3000	https://nrs.hvrd.art/urn-3:HUAM:78974_dynmc?width=3000&height=3000	[ "https://harvardartmuseums.org/assets/images/logos/logo.svg", "https://harvardartmuseums.org/collections/object/item.primaryimageurl ? item.primaryimageurl +'?width=200&height=200' : '/assets/images/no_image_thumb.png'", "https://harvardartmuseums.org/collections/object/image_url", "https://nrs.hvrd.art/urn-3:huam:STR009930_dynmc?width=3000&height=3000" ]	[]	[]	[ "" ]	null	[]	null	Paintings	en	https://harvardartmuseums.org/favicon.ico		https://harvardartmuseums.org/collections/object/31155	A man stands on the ledge of a mountain, waving his hat with his right hand, and leaning on a cane-like object with his left hand. The view behind him is a hazy vista, featuring more mountains. There are trees protruding from the side of the ledge, as well as along the left hand-side of the image. There are two additional figures in the bottom left corner, which appear to be climbing up to the ledge. The three people are tiny figures in comparison with the vast landscape backdrop.
6840	dbpedia	0	10	https://judithdobrzynski.com/15913/a-father-son-endeavor	en	A Father-Son Endeavor From Rye to Raphael: The Walters Story	http://www.judithdobrzynski.com/dobrzynski/pics/339.jpg	http://www.judithdobrzynski.com/dobrzynski/pics/339.jpg	[ "https://pundicity.com/dobrzynski/headshot.jpg", "https://pundicity.com/images/pundicity-logo.png", "https://judithdobrzynski.com/images/icons/item_send_24.png", "https://cache.addthiscdn.com/icons/v3/thumbs/32x32/whatsapp.png", "https://cache.addthiscdn.com/icons/v3/thumbs/32x32/telegram.png", "https://judithdobrzynski.com/images/icons/item_print_22.png", "http://www.judithdobrzynski.com/dobrzynski/pics/large/338.jpg", "http://www.judithdobrzynski.com/dobrzynski/pics/large/339.jpg", "http://www.judithdobrzynski.com/dobrzynski/pics/large/340.jpg" ]	[]	[]	[ "Arts & Culture A Father-Son Endeavor: From Rye to Raphael: The Walters Story" ]	null	[ "Judith H. Dobrzynski" ]	null	Baltimore Even before J.P. Morgan, Henry Clay Frick and the other U.S. industrialists whose names are today synonymous with museums began amassing art, there was William T. Walters. Beginning in the 1850s, this whiskey merchant and railroad magnate		https://judithdobrzynski.com/favicon.ico	Judith H. Dobrzynski	https://judithdobrzynski.com/15913/a-father-son-endeavor	Baltimore Even before J.P. Morgan, Henry Clay Frick and the other U.S. industrialists whose names are today synonymous with museums began amassing art, there was William T. Walters. Beginning in the 1850s, this whiskey merchant and railroad magnate started a collection that became the Walters Art Museum here, whose 35,000 objects span ancient Egypt to the early 20th century. Yet his story and that of his son, Henry, who followed his father's lead and then bequeathed their trove to the city, is far less known. "Sea of Galilee" "From Rye to Raphael: The Walters Story," which opened this fall to celebrate the museum's 80th anniversary as a public institution, is a welcome and fascinating, if slightly flawed, corrective. To tell its creation story, the museum has filled its fourth floor—normally home to 19th-century paintings, a gallery for prints and drawings, and some decorative arts—with more than 200 works of art, purchased internationally, that show the tastes and passions of the father-and-son duo. Some are always on view; others were pulled from storage. They are supplemented by photographs, archival documents, monogrammed china and a 19th-century whiskey bottle. William Walters developed his penchant for art because his mother said it would make him a better citizen. He began buying and commissioning American art (mostly), often with a moralistic message, to display in his townhouse. A classical, life-size marble that stood at the base of his grand staircase, William Henry Rinehart's "The Woman of Samaria" (1862), dominates the introductory gallery of his early purchases. With a draped blouse baring her shoulder, she is the fallen woman who, during their conversation at a well, recognizes Jesus as the Messiah. Walters championed Rinehart and bought many pieces from him. On a nearby wall, "The Scarlet Letter" (1861) by Hugues Merle illustrates why this French artist was a rival to famed realist painter William-Adolphe Bouguereau, who is renowned for his rendering of, well, female flesh. Here, Hester Prynne, protectively clutching her illegitimate daughter in a Madonna-and-Child pose, is a symbol of the redemption that can follow sin. Nice, but not quite Bouguereau. Morality and religious themes pop up occasionally throughout the exhibition—notably in the next gallery, where Delacroix's "Christ on the Sea of Galilee" (1854) and "Christ on the Cross" (1846) hang—but father and son also collected landscapes, among other things. They started with canvases like "The Catskills" (1859), commissioned from Asher B. Durand and a fine, representative work by this charter member of the Hudson River School. But after the Civil War broke out in 1861, enveloping Baltimore in turmoil, the Walters family fled to Paris, precipitating a change in taste. Upon their return, William sold many American paintings—including "Twilight in the Wilderness" by Frederic Edwin Church, which is now owned by the Cleveland Museum of Art—and started to focus on French paintings (by Ingres, Gerome, Millet, Breton, Daubigny, etc.) plus works by a few other European artists. "Hoarfrost" Initially, Henry Walters tended to buy what his father bought, less successfully. He purchased three more works by Delacroix, for example, and "Marphise" (1852)—a fable depicting virtue triumphing over beauty and not normally on view—is a bit of a muddle. It looks as if the artist could not get the central image right, whereas "Sea of Galilee"—bought by William—is powerful and crisp. Henry's other Delacroix works remain in storage. Henry got better, though, especially once he envisioned the collection as a museum for the public. In a long gallery filled with landscapes, the acquisitions are fairly evenly matched. Both men seemed to admire storm scenes, mountains, clouded skies. An interesting tale surrounds Théodore Rousseau's "Hoarfrost" (1845), a cold, dark sunset picture, with one small figure traversing a field dotted with white, the only light provided by a break in the clouds. William first bid on it in 1880, unsuccessfully. Two years later, ready to spend more, he paid more for this painting than he had ever done before. Then he gave it another name, "Winter Solitude." Around 1900, Henry veered away from Barbizon school works and bought some by Impressionists—Monet, Sisley, Pissarro and Boudin. He bought a J.M.W. Turner—"Raby Castle, the Seat of the Earl of Darlington" (1817)—a rather traditional house painting, with fox hunt, distinguished by its dramatic sky. In 1909 and 1910, he also purchased an atypical—for him—brushy cafe scene by Manet and a racehorse scene by Degas. Comparatively small works, they were never hung by him, but they are on view here. Henry also came into his own buying decorative arts and jewelry at World's Fairs, particularly those in Paris in 1900 and St. Louis in 1904. A small gallery here is filled with these purchases. Among the most stunning are an ivory-and-gold orchid comb, the central vein of each leaf lined with diamonds, and a gold, glass and enamel pansy brooch—both by Rene Lalique. Pansy brooch Also of note is the re-creation of a gallery, hung salon-style from ceiling to floor, that William Walters had opened to about 200 invited artists, dignitaries and friends as early as 1884—an event heralded even in New York. Later, the collection was opened on certain days to the public, with proceeds going to the poor. So what's wrong with this show, other than the fact that the Raphael of the title, "Madonna of the Candelabra" (c. 1513)—the first Raphael to enter a U.S. collection—is downstairs in the permanent-collection galleries? Some 70% of the museum's collection was purchased by William or Henry, and selecting what to single out for this installation must have been difficult. Parts of their story had to be left out: There's no mention of their antiquities or Renaissance purchases, for example. Yet here and there the curators have added works that were not owned by the founders—and sometimes for the wrong, politically correct reason. This flaw starts in the very first gallery, with "River Scene" (1868) by Robert Seldon Duncanson, which was bought by the museum in 2012, and a bust of Dr. Dio Lewis (1868) by Edmonia Lewis, purchased in 2002. Both are fine works by African-American artists, but neither has anything to do with the founders' story. To my mind, this kind of attempt to be "inclusive" is not only condescending, but also a distortion of history. Rather than being intermixed, those works could easily have been shown in the final gallery, titled "Continuing the Story," which displays gifts and purchases made by the museum after Henry died in 1931.
6840	dbpedia	3	45	https://stormking.org/	en	Storm King Art Center	https://stormking.org/wp…Alt-01-32x32.png	https://stormking.org/wp…Alt-01-32x32.png	[ "https://www.facebook.com/tr?id=628475795341497&ev=PageView&noscript=1", "https://www.facebook.com/tr?id=478607827375460&ev=PageView&noscript=1", "https://stormking.org/wp-content/uploads/2021/01/2021_SKAC_Logo_Website-1.svg", "https://stormking.org/wp-content/uploads/2021/01/2021_SKAC_Logo_Website-1.svg" ]	[]	[]	[ "" ]	null	[]	null		en	https://stormking.org/wp…Alt-01-32x32.png		https://stormking.org/
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"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2004-07-29T08:54:37+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Walters_Art_Museum	Art museum in Baltimore, Maryland, US Walters Art Museum is a public art museum located in the Mount Vernon section of Baltimore, Maryland. Founded and opened in 1934, it holds collections from the mid-19th century that were amassed substantially by major American art and sculpture collectors, including William Thompson Walters and his son Henry Walters. William Walters began collecting when he moved to Paris as a nominal Confederate loyalist at the outbreak of the American Civil War in 1861, and Henry Walters refined the collection and made arrangements for the construction what ultimately was Walters Art Museum. After allowing the Baltimore public to occasionally view his father's and his growing added collections at his West Mount Vernon Place mansion during the late 1800s, Henry Walters arranged for an elaborate stone palazzo-styled structure to be built for this purpose in 1905–1909, located a block south of the Walters mansion on West Monument Street/Mount Vernon Place, on the northwest corner of North Charles Street at West Centre Street. The mansion and gallery were also just south and west of the landmark Washington Monument in the Mount Vernon-Belvedere neighborhood, just north of the downtown business district and northeast of Cathedral Hill. Upon his 1931 death, Henry Walters bequeathed the entire collection of then more than 22,000 works, the original Charles Street Gallery building, and his adjacent townhouse/mansion just across the alley to the north on West Mount Vernon Place to the City of Baltimore, "for the benefit of the public". The collection includes masterworks of ancient Egypt, Greek sculpture and Roman sarcophagi, medieval ivories, illuminated manuscripts, Renaissance bronzes, Old Master European and 19th-century paintings, Chinese ceramics and bronzes, Art Deco jewelry, and ancient Near East, Mesopotamian, or ancient Middle East items. Dorothy Miner became its first Keeper of Manuscripts in 1934 and held the post until her death in 1973. In 2000, "The Walters Art Gallery" changed its long-time name to "The Walters Art Museum"[1] to reflect its image as a large public institution and eliminate confusion among some of the increasing out-of-state visitors. The following year, "The Walters" (as it is often known locally) reopened its original main building after a dramatic three-year physical renovation and replacement of internal utilities and infrastructure. The Archimedes Palimpsest was on loan to the Walters Art Museum from a private collector for conservation and spectral imaging studies. Starting on October 1, 2006, the museum was enabled to make admission free to all, year-round, as a result of substantial grants given by Baltimore City and the surrounding suburban Baltimore County arts agencies and authorities.[2] In 2012, "The Walters" released nearly 20,000 of its own images of its collections on a Creative Commons license, and collaborated in their upload to the world-wide web and the Internet on Wikimedia Commons.[3] This was one of the largest and most comprehensive such releases made by any museum.[3] The Walters' collection of ancient art includes examples from Egypt, Nubia, Greece, Rome, Etruria and the Near East. Highlights include two monumental 3,000-pound statues of the Egyptian lion-headed fire goddess Sekhmet on long-term loan from the British Museum; the Walters Mummy; alabaster reliefs from the palace of Ashurnasirpal II; Greek gold jewelry, including the Greek bracelets from Olbia on the shores of the Black Sea; the Praxitelean Satyr; a large assemblage of Roman portrait heads; a Roman bronze banquet couch, and marble sarcophagi from the tombs of the prominent Licinian and Calpurnian families. Sumerian male worshiper, c. 2300 BC Padiiset's Statue, illustrates Canaan - Ancient Egypt trade, c. 1700 B.C. (inscription c. 900 B.C.) Portrait bust of Livia, wife of Emperor/Caesar Augustus, (Octavius), c. 35 B.C. Al Fayum mummy portrait, Roman Egypt, c. A.D. 175 The Rubens Vase, an agate hardstone carving of c. A.D. 400 Roman Funeral stele with Latin inscription referring to Mithra In 1911, Henry Walters purchased almost 100 gold artifacts from the Chiriqui region of western Panama in Central America, creating a core collection of ancient American native art. Through subsequent gifts of art and loans, the museum has added works, mostly in pottery and stone, from Mexico, Central America and South America, including pieces from the Mesoamerican Olmec, Aztec, and Maya cultures, as well as the Moche and Inca peoples of South America. Whistle in the form of a dancing figure from Colima, Mexico, pottery, c. 300 B.C. - A.D. 200 Maya head in stucco, A.D. 550-850 Mixteca-Puebla style labret, obsidian Jama Coaque figure, from Manabí Province, Ecuador, c. 300 BCE-800 CE 11th century doll Highlights of the Asian art collection assembled earlier by Baltimorean father and son collectors William T. and Henry Walters include Japanese arms and armor, and Chinese and Japanese porcelains, lacquers, and metalwork. Among the museum's outstanding works of Asian art is a late-12th- or early-13th-century Cambodian bronze of the eight-armed Avalokiteshvara, a Tang dynasty earthenware camel, and an intricately painted Ming dynasty wine jar. The museum owns the oldest surviving Chinese wood-and-lacquer image of the Buddha (late 6th century AD). It is exhibited in a gallery dedicated solely to this work. The museum holds one of the largest and finest collections of Thai (Siam/Thailand) bronze, scrolls, and banner paintings in the world. Head of a Jain Tirthankara, India, 10th century 'Mandala of Padmavati' - bronze statue of Goddess Padmavati, India, 11th century Brass idol of tirthankar Parshvanatha, India, 16th century Detail of Ming dynasty wood and lacquer Guanyin 15th-century Tibet, a ritual knife and chopper 19th-century Thai illustration of Vessantara Jataka, Ch 10 18th-century Chinese jar with dragon Hashiguchi Goyo, Woman in Blue Combing Her Hair, woodblock print, Japan, 1920 Islamic art in all media is represented at the Walters. Among the highlights are a 7th-century carved and hammered silver bowl from Iran, (ancient Persia); a 13th-century candlestick made of copper, silver, and gold from the Mamluk era in Egypt; 16th-century mausoleum doors decorated with intricate wood carvings in a radiating star pattern; a 17th-century silk sash from the Mughal Empire in India; and a 17th-century Turkish tile with an image of the Masjid al-Haram ("Great Mosque of Mecca"), the center of Islam in Mecca, (modern Saudi Arabia). The Walters Museum owns an array of Islamic manuscripts. These include a 15th-century Koran from northern India, written at the height of the Timurid Empire; a 16th-century copy of the "Khamsa of Nizami by Amir Khusraw, illustrated by a number of famous artists for the Emperor Akbar; and a Turkish calligraphy album by Sheikh Hamadullah Al-Amasi, one of the greatest calligraphers of all time. Walters Art Museum, MS W.613 contains five Mughal miniatures from an important "Khamsa of Nizami" made for the Emperor Akbar; the rest are in London, Great Britain. Early Qur'an page in Kufic script, 9th century Mamluk-era in Egypt candlestick base, c1240, brass with silver, gold and copper inlays Detail of an 18th-century ceremonial jeweled Turkish rifle Inside of Qur'an cover, 19th century, sub-Saharan Africa Henry Walters assembled a collection of art produced during the Middle Ages in all the major artistic media of the period. This forms the basis of the Walters' medieval collection, for which the museum is best known internationally. Considered one of the best collections of medieval art in the United States, the museum's holdings include examples of metalwork, sculpture, stained glass, textiles, icons, and other paintings. The collection is especially renowned for its ivories, enamels, reliquaries, early Byzantine silver, post-Byzantine art, illuminated manuscripts, Georgian illuminated Gospel manuscript, and the largest and finest collection of Ethiopian Orthodox Church art outside Ethiopia. The Walters' medieval collection features unique objects such as the Byzantine agate Rubens Vase that belonged to the painter Rubens (accession no. 42.562) and the earliest-surviving image of the "Virgin of Tenderness", an ivory carving produced in Egypt in the 6th or 7th century (accession no. 71.297). Sculpted heads from the royal Abbey of St. Denis are rare surviving examples of portal sculptures that are directly connected with the origins of Gothic art in 12th-century France (accession nos. 27.21 and 27.22). An ivory casket covered with scenes of jousting knights is one of about a dozen such objects to survive in the world (accession no. 71.264). Many of these works are on display in the museum's galleries. Works from the medieval collection are also frequently included in special touring exhibitions, such as Treasures of Heaven, an exhibition about relics and reliquaries that was on view at the Cleveland Museum of Art in (Cleveland, Ohio), the Walters Art Museum, and the British Museum in London in 2010–11. Works in the medieval collection are the subject of active research by the curatorial and conservation departments of the museum, and visiting researchers frequently make use of the museum's holdings. In-depth technical research carried on these objects is made available to the public through publications and exhibitions, as in the case of the Amandus Shrine (accession no. 53.9), which was featured in a small special exhibition titled The Special Dead in 2008–09. Hunnish set of horse trappings, 4th century French Gothic ivory Box Lid with a Tournament, 14th century (Walters 71274) Leaf from Barbavara Book of Hours, Milan c. 1440 15th century Nottingham alabaster panel of the Resurrection of Christ German chandelier, red deer antler and wood, 15th century There are also Late Medieval devotional Italian paintings by these painters at the Walters: Tommaso da Modena, Pietro Lorenzetti, Andrea di Bartolo (Resurrection), Alberto Sotio, Bartolomeo di Tommaso (Death of Saint Francis), Naddo Ceccarelli, Master of Saint Verdiana, Niccolo di Segna (Saint Lucy), Orcagna, Olivuccio di Ciccarello, Master of Panzano Triptych and Giovanni del Biondo. The collection of European Renaissance and Baroque art features holdings of paintings, sculpture, furniture, ceramics, metal work, arms and armor. The highlights include Hugo van der Goes' Donor with Saint John the Baptist, Heemskerck's Panorama with the Abduction of Helen Amidst the Wonders of the Ancient World, Giambattista Pittoni's Sacrifice of Polyxena, the Madonna of the Candelabra, from the studio of Raphael, Veronese's Portrait Of Countess Livia da Porto Thiene and her Daughter Porzia, El Greco's Saint Francis Receiving the Stigmata, Bernini's "bozzetto" of Risen Christ, Tiepolo's Scipio Africanus Freeing Massiva, and The Ideal City attributed to Fra Carnevale. The museum has one of ten surviving examples of the Sèvres pot-pourri vase in the shape of a ship from the 1750s and 1760s. The Ideal City (c. 1480–1484) attributed to Fra Carnevale Madonna of the Candelabra (c. 1513) by Raphael. Leaf from Book of Hours, French Renaissance, 1524 Giovanni Battista Tiepolo, Scipio Africanus Freeing Massiva, c. 1720 The Sacrifice of Polyxena, Giambattista Pittoni William and Henry Walters collected works by late-19th-century French academic masters and Impressionists. Highlights of the collection include Odalisque with Slave by Ingres (a second version); Claude Monet's Springtime; Alfred Sisley's panoramic view of the Seine Valley; and Édouard Manet's realist masterpiece, The Café Concert. Henry Walters was particularly interested in the courtly arts of 18th-century France. The museum's collection of Sèvres porcelain includes a number of pieces that were made for members of the Royal Bourbon Court at Versailles Palace outside of Paris. Portrait miniatures and the examples of goldsmiths' works, especially snuffboxes and watches, are displayed in the Treasury, along with some exceptional 19th- and early-20th-century works. Among them are examples of Art Nouveau-styled jewelry by René Lalique, jeweled objects by the House of Fabergé, including two Russian Imperial Easter eggs, and precious jewels by Tiffany and Co. of New York City. The Walters' collection presents an overview of 19th-century European art, particularly art from France. From the first half of the century come major paintings by Ingres, Géricault, and Delacroix. William Walters stayed in Paris with his family during the Civil War, because of his notorious Southern-leanings, and he soon developed a keen interest in contemporary European painting. He either commissioned directly from the artists or purchased at auctions such major works by the Barbizon masters, including Jean-François Millet and Henri Rousseau; the academic masters Jean-Léon Gérôme and Lawrence Alma-Tadema; and even the modernists Monet, Manet and Sisley. Raby Castle, the Seat of the Earl of Darlington (1817) by Joseph Mallord William Turner News from Afar (1860) by Alfred Stevens, (Exhibition: "Salute to Belgium, 1980) Springtime (1872) by Claude Monet. The Café-Concert (ca. 1879) by Édouard Manet. Léon Bonvin - Still Life on Kitchen Table with Celery, Parsley, Bowl, and Cruets - Walters 371504 Confessional, Toledo, by Félicien Rops, 1889 Courtier Standing by a Column, by Adolphe-René Lefèvre, c. 1860 Street Scene with Gothic Building, by Théodore Henri Mansson, 1845 Henry Walters' original gallery was designed by architect William Adams Delano and erected between 1904 and 1909, facing South Washington Place (at the northwest corner with West Centre Street) and attached by an overhead bridge/passageway across the back alley from his adjacent townhouse/mansion to the north on West Mount Vernon Place (facing the Washington Monument to the northeast). Its exterior was inspired by the Renaissance-revival-style Hôtel Pourtalès in Paris and its interior was modeled after the 17th-century "Collegio dei Gesuiti" (now the Palazzo dell'Università) built by the Balbi family for the Jesuits in Genoa. The arts of the Renaissance and Baroque periods, French decorative arts of the 18th and 19th centuries, and manuscripts and rare books are now exhibited in this palazzo-style structure.[4] Designed by the Boston firm of Shepley, Bulfinch, Richardson & Abbott, in the "Brutalist" poured-concrete style prevailing in the 1960s, (one of the few others in the region of this extremely modernistic style in the city – such as the recently razed Morris A. Mechanic Theatre in downtown Charles Center on the southwest corner of Charles and Baltimore Streets from 1967), this annex building (which has several horizontal lines paralleled with features in the 1909 structure) to the west along West Centre Street and rear of the original main gallery, extending to Park Avenue, opened in 1974. It was substantially altered in 1998–2001 by another firm of Kallmann McKinnell and Wood, Architects, to provide a four-story glass atrium, with a suspended staircase at the juncture between the older and newer buildings with a new entrance lobby along Centre Street. The new lobby, which also provides easier ground-level handicapped access along with enhanced security provisions for both collections and visitors is also providing a café, an enlarged museum and gift store and a reference library.[5] The ancient, Byzantine, medieval, Ethiopian, and 19th-century European collections are housed in this building, with its large display walls and irregular corridors and galleries. Also here is the museum's famed art conservation laboratory, which is one of the oldest in the country.[1] This Greek Revival style townhouse/mansion, one of the most elaborate in the city, was designed by famed local architect John Rudolph Niernsee (1814–1885), and erected between 1848 and 1850 for John Hanson Thomas, was long regarded as the most "elegant" house along Mount Vernon Place or Washington Place. It sits on the southwest corner of the circle surrounding the Washington Monument and was later owned by the families Jencks and Gladding (and the house has been known as the Thomas-Jencks-Gladding Mansion). Considered in its premiere landmark municipal location to be used for Baltimore City's Official Mayor's Residence (similar to other major American cities mayor's mansions such as Gracie Mansion in a river-front park on New York City's east side of Manhattan, facing the East River), when it was briefly acquired by the city in the late 1950s and then being considered to be razed for an unfortunately poorly-conceived and planned northern expansion of the Gallery engendered local preservationists' protests before being finally re-sold to the Gladding family of a well-known public-spirited local Chevrolet auto dealership, who promised to restore and preserve the noted mansion. Among the original owning family of the Thomas's distinguished guests of the mid-19th century were the Prince of Wales (eldest son of Queen Victoria), the future King Edward VII (reigned 1901–1910); and General Lajos Kossuth (1802–1894), the then famous Hungarian freedom fighter, president of an early, brief Hungarian republic, veteran of the European Revolutions of 1847–1848 and the "Father of modern Hungary". Since the mid-1980s when, the Thomas-Jencks-Gladding Mansion was reacquired by the city under Mayor William Donald Schaefer (1921–2011), who served the city from 1971 to 1987, and future governor of Maryland (1987–1995) from the Gladding family with a donation by the mayor's friend and local businessman Willard Hackerman, and transferred to the purposes of "The Walters". Since additional renovations with the addition of a connecting gallery with domed skylight and corridor constructed through the top of the old rear carriage house/garage to the south end of the house, and across the east–west alley to the old 1909 Main Building's north side. Reopened in 1991, the newly renamed "Hackerman House" has been devoted to The Walters' recently expanded holdings of Asian art.[6] As "Thomas-Jencks-Gladding House", the building was designated a Baltimore City Landmark in 1975.[7] Throughout 2021, director Julia Marciari-Alexander, advised by union-busting law firm Shaw Rosenthal LLP,[8] refused to meet with Walters employees, stalling the advance of a wall-to-wall unionization effort.[9] In October 2021, when directed by the Baltimore City Council and Comptroller Bill Henry to meet with employees and allow a vote on unionization,[10] Marciari-Alexander refused, claiming that meeting with her employees constitutes interference.[11] It was later stated that if the unionization effort was successful, workers would be represented by AFSCME Council 67, which would also represent workers at Baltimore Museum of Art and Enoch Pratt Free Library.[12] This is a list of selected works from the museum collection. Collaboration Between Walters Art Museum and Wikimedia Commons Union busting American Art Collaborative Archimedes Palimpsest Baltimore Museum of Art William Henry Rinehart Peabody Institute George Peabody Library Charles Street Washington Monument Parker Building (New York City), earlier location of Walters' art collection The Walters Art Gallery, Guide to the Collections, 1997, Scala Books, ISBN 978-0911886481 Rines, George Edwin, ed. (1920). "Walters Collection" . Encyclopedia Americana. Gruelle, R. B., Collection of William Thompson Walters (Boston 1895) Bushnell, S. W., Oriental Ceramic Art Collections of William Thompson Walters (New York 1899)
6840	dbpedia	3	44	https://www.timeout.com/newyork/news/a-new-museum-is-opening-in-the-catskills-this-month-051222	en	A new museum is opening in the Catskills this month	https://media.timeout.co…891860/image.jpg	https://media.timeout.co…891860/image.jpg	[ "https://media.timeout.com/images/105868779/170/170/image.jpg", "https://media.timeout.com/images/105891860/750/422/image.jpg", "https://media.timeout.com/images/105891859/image.jpg", "https://media.timeout.com/images/105891861/image.jpg" ]	[]	[]	[ "" ]	null	[ "Anna Rahmanan" ]	2022-05-12T20:35:00+00:00	Assembly is set to debut in Monticello on May 21.	en	/static/images/favicon.ico	Time Out New York	https://www.timeout.com/newyork/news/a-new-museum-is-opening-in-the-catskills-this-month-051222	A new museum-cum-art-space seeking to bring people together through creativity is set to open in Monticello, in the Catskills, on May 21. Aptly named Assembly, the project is the brainchild of Mexican-born and Brooklyn-based artist Bosco Sodi. "I really believe that art is a tool to better understand the universe," says Sodi. "I believe it can help you change your relationship with other humans, with yourself and with nature." The story of Assembly starts off with a former Buick dealership, the 23,000-square-foot space that Sodi fell in love with and decided to take over and re-purpose. "Every time I would pass by it, I would remark what a beautiful building it is," he reminisces, mentioning that he actually owns a house nearby. "Two years ago, my family came to celebrate my 50th birthday from Mexico and my brother said to me, 'Did you see that beautiful building that they are selling?'" The rest, as they say, is history. This isn't Sodi's first foray into art spaces. He is, in fact, the man behind Casa Wabi, a nonprofit artist residence and foundation in the Mexican province of Oaxaca. He is also responsible for the Santa María exhibition space in Mexico City and the art residency program Casa Nano in Tokyo. He's also a prolific artist in his own right. A few years ago, his installation "Muro," a wall of bricks made in Mexico, was built in Washington Square Park—and taken down the same day by visitors who took down a brick each. But don't expect Assembly to solely be filled with Sodi's own works. The museum is made up of three spaces in total. To kick things off, the inaugural exhibition—organized by Dakin Hart, the senior curator of the Noguchi Museum in Queens—will focus on, according to the New York Times, "artworks [...] rescued from the isolation of storage crates and being re-entered into the world, where they can play their role in the marketplace of ideas." Other smaller shows will also be on display, including one featuring a number of contemporary sculptures by Sodi himself and 16 other Mexican artists, plus a selection of the founder's pieces (including a smaller version of "Muro"). Sodi explains that, given the magnitude of the project, folks can expect for exhibits to rotate about once a year for now. The museum will be open Thursdays through Sundays by appointment only starting next week. As for the town's response to the endeavor, Sodi could not have hoped for anything better. "Everyone in Monticello knows about this and is positive about it," he says. "The whole town is on board. We've been contacted by schools and associations to collaborate on projects." Given the fact that no similar venue can be found within 30 minutes of Assembly, the general feedback should come as no surprise. "Monticello is the second poorest town in the state of New York so people are seeing this with some hope," says Sodi. "We can begin to bring people in and enjoy the Catskills."
6840	dbpedia	2	2	https://www.nga.gov/collection/art-object-page.71025.html	en	Art Object Page	https://www.nga.gov/content/dam/ngaweb/icons/favicon.ico	https://www.nga.gov/content/dam/ngaweb/icons/favicon.ico	[ "https://media.nga.gov/iiif/7ce06963-2e5f-4d9e-9a38-3c1b59e80a81/full/!588,600/0/default.jpg", "https://www.nga.gov/etc/designs/ngaweb/images/icons/cc-zero.svg", "https://media.nga.gov/iiif/7ce06963-2e5f-4d9e-9a38-3c1b59e80a81/full/!600,600/0/default.jpg", "https://www.nga.gov/content/dam/ngaweb/imgs/nga-campus-map-icon.jpg" ]	[]	[]	[ "" ]	null	[]	null	National Gallery of Art	en	/content/dam/ngaweb/icons/favicon.ico		null	In the spring of 1826, Thomas Cole met Robert Gilmor Jr., a highly knowledgeable and sophisticated Baltimore collector, who soon commissioned a view of Catskill Mountain House, a popular hotel overlooking the Hudson River Valley. After a summer spent sketching and painting in the area and corresponding with his patron concerning the selection of a new subject, Cole completed Sunrise in the Catskills in early December and had it delivered to Baltimore on Christmas Day. According to the artist, the painting shows sunrise from Vly Mountain, a peak near the eastern headwaters of the Delaware River. Cole chose a daringly elevated vantage point for the work, one where the viewer is poised looking out at several other mountains and at valleys filled with mist shining in the morning light. The foreground is filled with tangled bits of underbrush, contorted and fallen trees, and rough outcroppings of rock precariously situated at the slope's edge. This is not a tamed and cultivated portion of the American landscape but a remote, wild area with no evidence of human presence. Upon receiving the picture, Gilmor wrote immediately to Cole: "It is extremely well painted, with great truth of nature. I have seen a thousand such scenes when in the mountains, and though the task was a very difficult one, yet you have perfectly succeeded in rendering the mists of the valley rising as the sun began to peep over the summits of the mountains." As Cole's first fully expressed wilderness painting and a document of his relationship to his important early patron, Sunrise in the Catskills is a pivotal work in the story of 19th-century American landscape painting, containing the seeds of Cole's later masterpieces and anticipating the great wilderness pictures of his pupil Frederic Edwin Church in the 1850s and 1860s.
6840	dbpedia	0	11	https://www.1stdibs.com/art/paintings/landscape-paintings/mary-josephine-walters-autumn-river-punt-reeds-mj-walters-american-1837-1883/id-a_13595262/	en	Mary Josephine Walters - Autumn River with Punt in the Reeds by M.J. Walters (American, 1837-1883)	https://a.1stdibscdn.com…er.jpg?width=768	https://a.1stdibscdn.com…er.jpg?width=768	[ "https://a.1stdibscdn.com/ann-sophia-towne-darrah-paintings-cattle-by-the-sea-c-1867-by-ann-sophia-towne-darrah-american-1819-1881-for-sale/a_21512/a_148193221721570446464/Darrah_Anne_Sophia_Towne_Cattle_by_the_Sea_1867_master.jpg", "https://a.1stdibscdn.com/arthur-parton-paintings-autumn-on-the-hudson-river-by-arthur-parton-american-1842-1914-for-sale/a_21512/a_147831721720836304371/Parton_Arthur_Autumn_on_the_Hudson_updated_master.jpg", "https://a.1stdibscdn.com/jervis-mcentee-1828-1891-american-paintings-mink-hollow-brook-by-hudson-river-artist-jervis-mcentee-american-1828-1891-for-sale/a_21512/a_132203921696870129004/McEntee_Jervis_Mink_Hollow_Brook_framed_master.jpg", "https://a.1stdibscdn.com/otto-norquist-paintings-gordon-setter-in-a-landscape-by-otto-norquist-american-1859-1906-for-sale/a_21512/a_113844821670695812630/Norquist_Otto_Gordon_Setter_in_a_Landscape_framed_master.jpg", "https://a.1stdibscdn.com/edward-delavan-nelson-paintings-catskill-mountains-landscape-by-edward-delavan-nelson-american-1821-1871-for-sale/a_21512/a_148264321721921077226/Nelson_Edward_Delavan_Catskill_Mountains_master.jpg", "https://a.1stdibscdn.com/laura-woodward-paintings-camels-hump-vermont-1877-by-laura-woodward-american-1834-1926-for-sale/a_21512/a_135956221702329121157/Woodward_Laura_Camel_27s_Hump_VT_1877_framed_master.jpg", "https://a.1stdibscdn.com/mary-josephine-walters-paintings-autumn-river-with-punt-in-the-reeds-by-mj-walters-american-1837-1883-for-sale/a_21512/a_135952621702327627998/WaltersMaryJosephine_AutumnRiverPunt_master.jpg", "https://a.1stdibscdn.com/mary-josephine-walters-paintings-autumn-river-with-punt-in-the-reeds-by-mj-walters-american-1837-1883-for-sale-picture-2/a_21512/a_135952621702327648709/rsz_walters_josephine_autumnal_landscape_email_master.jpg", "https://a.1stdibscdn.com/otto-norquist-paintings-gordon-setter-in-a-landscape-by-otto-norquist-american-1859-1906-for-sale/a_21512/a_113844821670695812630/Norquist_Otto_Gordon_Setter_in_a_Landscape_framed_master.jpg?width=240", "https://a.1stdibscdn.com/ann-sophia-towne-darrah-paintings-cattle-by-the-sea-c-1867-by-ann-sophia-towne-darrah-american-1819-1881-for-sale/a_21512/a_148193221721570446464/Darrah_Anne_Sophia_Towne_Cattle_by_the_Sea_1867_master.jpg?width=240", "https://a.1stdibscdn.com/arthur-parton-paintings-autumn-on-the-hudson-river-by-arthur-parton-american-1842-1914-for-sale/a_21512/a_147831721720836304371/Parton_Arthur_Autumn_on_the_Hudson_updated_master.jpg?width=240", "https://a.1stdibscdn.com/jervis-mcentee-1828-1891-american-paintings-mink-hollow-brook-by-hudson-river-artist-jervis-mcentee-american-1828-1891-for-sale/a_21512/a_132203921696870129004/McEntee_Jervis_Mink_Hollow_Brook_framed_master.jpg?width=240", "https://a.1stdibscdn.com/edward-delavan-nelson-paintings-catskill-mountains-landscape-by-edward-delavan-nelson-american-1821-1871-for-sale/a_21512/a_148264321721921077226/Nelson_Edward_Delavan_Catskill_Mountains_master.jpg?width=240", "https://a.1stdibscdn.com/laura-woodward-paintings-camels-hump-vermont-1877-by-laura-woodward-american-1834-1926-for-sale/a_21512/a_135956221702329121157/Woodward_Laura_Camel_27s_Hump_VT_1877_framed_master.jpg?width=240", "https://a.1stdibscdn.com/samuel-colman-1832-1920-american-paintings-tower-of-babel-colorado-canyon-oil-painting-by-samuel-colman-for-sale/a_24652/1699282465954/Colman_frame_master.jpg?width=240", "https://a.1stdibscdn.com/henry-bacon-paintings-the-beekeepers-daughter-oil-painting-by-henry-bacon-for-sale-picture-2/a_24652/a_126676221689112641013/Beekeepers_Daughter_frame_master.jpg?width=240", "https://a.1stdibscdn.com/william-rickarby-miller-paintings-the-rapelyse-homestead-bowery-bay-long-island-for-sale/a_119/1667056987833/Miller_WR_The_Rapelyse_Homestead_Bowery_Bag_Long_Island_1877_master.jpg?width=240", "https://a.1stdibscdn.com/ralph-albert-blakelock-paintings-indian-encampment-for-sale/a_119/1676401394000/Blakelock_Indian_Encampment_NBI_2198_11__master.jpg?width=240", "https://a.1stdibscdn.com/john-frederick-kensett-1816-1872-american-paintings-new-england-coastal-scene-with-figures-for-sale/a_119/1677610259350/Kensett_New_England_Coast_master.jpg?width=240", "https://a.1stdibscdn.com/jasper-francis-cropsey-1823-1900-american-paintings-niagara-falls-with-view-of-clifton-house-for-sale/a_119/1671723408552/Cropsey_Niagara_Falls_with_View_of_Clifton_House_1852_master.jpg?width=240" ]	[]	[]	[ "" ]	null	[]	null	For Sale on 1stDibs - Autumn River with Punt in the Reeds by M.J. Walters (American, 1837-1883), Canvas, Oil Paint by Mary Josephine Walters. Offered by Hawthorne Fine Art.	en	https://a.1stdibscdn.com…ram-white-32.png	1stDibs.com	https://www.1stdibs.com/art/paintings/landscape-paintings/mary-josephine-walters-autumn-river-punt-reeds-mj-walters-american-1837-1883/id-a_13595262/
6840	dbpedia	3	13	https://blog.mam.org/2016/05/05/from-the-collection-in-the-catskills-by-asher-brown-durand/	en	From the Collection: In the Catskills by Asher Brown Durand	https://blog.mam.org/wp-…16/05/r_l105.jpg	https://blog.mam.org/wp-…16/05/r_l105.jpg	[ "https://blog.mam.org/wp-content/uploads/2020/01/logo-mam_wordmark_stacked.png", "https://blog.mam.org/wp-content/uploads/2016/05/r_l105.jpg?w=300", "https://blog.mam.org/wp-content/uploads/2016/05/r_l105.jpg?w=640", "https://blog.mam.org/wp-content/uploads/2016/05/durand_claude.jpg?w=241", "https://blog.mam.org/wp-content/uploads/2016/05/durand_constable.jpg?w=300", "http://www.mam.org/include/footers/images/footerLogo.jpg" ]	[]	[]	[ "" ]	null	[]	2016-05-05T00:00:00	A number of the artists featured in the special exhibition Nature and the American Vision: The Hudson River School can also be found in the galleries of the Milwaukee Art Museum. This is the fourth and final in a series of blog posts that will highlight Milwaukee’s artworks during the run of the exhibition. Although they depicted…	en	https://s0.wp.com/i/webclip.png	Milwaukee Art Museum Blog	https://blog.mam.org/2016/05/05/from-the-collection-in-the-catskills-by-asher-brown-durand/	A number of the artists featured in the special exhibition Nature and the American Vision: The Hudson River School can also be found in the galleries of the Milwaukee Art Museum. This is the fourth and final in a series of blog posts that will highlight Milwaukee’s artworks during the run of the exhibition. Although they depicted the American landscape, Hudson River School painters found inspiration in Europe. Traveling to France or Italy to study Old Masters was a common tradition, even for American artists looking to assert their cultural identity, and they adapted European conventions to a uniquely American vision. For this blog post, we will use the painting In the Catskills by Asher Brown Durand (American, 1796-1886) as a case study, showing the influence of European artistic traditions. Background Before becoming a landscape painter, Durand started his artistic career as an engraver. His first major commission was in 1820; his patron, John Trumbull (American, 1756-1843), hired Durand to make an engraving of his painting The Declaration of Independence. Durand soon became known for his engraving talents, and he produced everything from bank notes to portraits to copies of other artists’ works. Partly inspired by Thomas Cole (American, born England, 1801-1848) during the 1830s, Durand became increasingly interested in landscape painting. In 1837, the two went on a sketching trip to the Schroon Lake region of the Adirondacks, and this signified Durand’s artistic transition from engraver to landscape painter. In the summer of 1840 Durand went to Europe, where he studied the works of Old Masters and English artists of earlier generations, and the influence of this trip is evident throughout the rest of his career. When questioning which European artist influenced Durand the most, historians seem to be divided between two candidates: Claude Lorrain (French, 1600-1682) (usually just called “Claude”) and John Constable (English, 1776-1836). But, Durand’s influences are not in such black and white terms. Instead of choosing one artist, it would be more interesting to compare In the Catskills to works by both artists. Durand and Claude To start, let’s compare Durand’s In the Catskills to Claude’s Landscape with Goatherd and Goats (right). Unlike Claude, Durand does not include figures in his landscape but does allude to European artistic traditions in other ways. The composition is the most similar aspect of both paintings. In Goatherds, Claude is creating a circular composition. The large tree to the left frames the painting. The dark shadows contrast with the curving highlight of the tree, leading the viewer’s eye towards the center of the canvas. Durand mirrored this compositional technique. The left edge of Catskills is framed by a tree curving that, along with the receding river, guides the viewer’s eye to the center of the painting. Both Claude and Durand also use similar lighting, casting an even glow over the canvas, rendering the deepest shadows at left. The middle ground is lighter, and the backgrounds the brightest, with light-blue mountains fading into the distance. It seems to be late afternoon in both works. While the shadows are deep, there is no dramatic contrast between highlights and shadows. Durand and Constable Now I want to take the time to compare In the Catskills with a work by John Constable, titled Stratford Mill (left). Like Claude, Constable employs a softer light source, one that creates more shadows but has less dramatic contrast than later works by American Landscape painters. Constable’s influence on Durand is best seen in the focus on empirical details. The artist made multiple cloud studies in order to capture them accurately. Look at the perfect rendering of the bark on the trees and the detailed fishermen. In the far back of the image, the viewer can even see a perfectly executed fence. Each post has a highlight and shadow. Durand mirrored Constable’s ideas. He was focused on painting directly from nature, sketching in oil to get paintings as lifelike as possible. Like Constable, Durand minutely depicted leaves on trees, bark, branches and twigs. Far off into the distance, viewers can see perfectly rendered trees, just like Constable’s detailed fence. The strength in Durand’s work is not in his ability to copy other artists (although he was capable of that), but to fuse their style with his own. Near the end of his career, Durand relied too heavily on the Dutch landscape traditions, and lost some of his American appeal. In the Catskills is an amazing piece from the height of his career showing how Durand blended the teachings of Claude and Constable while also appealing to the American tastes. –Kelsey Rozema, Curatorial Intern
6840	dbpedia	1	9	https://www.questroyalfineart.com/artist/asher-b-durand/	en	Asher B. Durand	https://www.questroyalfi…5/qst-social.jpg	https://www.questroyalfi…5/qst-social.jpg	[ "https://www.questroyalfineart.com/wp-content/uploads/2024/06/SS24.jpg", "https://www.questroyalfineart.com/wp-content/uploads/2024/06/SS24.jpg" ]	[]	[]	[ "" ]	null	[]	2023-11-28T13:29:05+00:00	Nineteenth-Century American Landscape Painter, Engraver, and Leader of the Hudson River School By Margarita Karasoulas Renowned for his reputation as one of the most important landscape painters in nineteenth-century American art, Asher B. Durand is best known as the leader of the Hudson River School and co-founder of the National Academy of Design. I. Biography…	en		Questroyal Fine Art	https://www.questroyalfineart.com/artist/asher-b-durand/	Nineteenth-Century American Landscape Painter, Engraver, and Leader of the Hudson River School By Margarita Karasoulas Renowned for his reputation as one of the most important landscape painters in nineteenth-century American art, Asher B. Durand is best known as the leader of the Hudson River School and co-founder of the National Academy of Design. I. Biography Born in 1796 in Jefferson Village, NJ, Asher Brown Durand was the eighth child of Rachel and John Durand. Throughout his childhood, Durand worked closely with his father, a watchmaker and silversmith, before beginning an apprenticeship under the engraver Peter Maverick in Newark, NJ in 1812. After only five years, he advanced within the ranks and became Maverick’s co-partner, founding a branch of the business in New York City. Though the partnership dissolved in 1820, he would soon form his own lucrative banknote, commercial engraving, and printing company with his brother Cyrus.1 Durand quickly gained national recognition as an engraver and made profound contributions to the iconography of the paper money then in distribution, using classical motifs and contemporary references of political and military heroes that remain an integral part of our national currency. In 1823 he completed an important commission by John Trumbull to engrave the Declaration of Independence, a project that earned him fame and substantiated his position in the art world. At the apogee of a commercially successful career as an engraver, Durand’s interests shifted to painting. Largely self-taught, he studied oil portraits and prints, attended the anatomical lectures of Dr. Wright Post, and drew from casts of classical sculpture at the American Academy of Fine Arts.2 Under the auspices of Luman Reed, the period’s most influential patron, Durand’s artistic production commenced with genre subjects and portraits, which dominated his early exhibitions at the American Academy of Arts and Letters and the National Academy of Design He received particular acclaim for his portraits and was commissioned to paint some of the nation’s most influential political figures including Senator Henry Clay, ex-President James Madison, and President Andrew Jackson.3 His early works of the 1820s and 1830s reveal his precise rendering and superior draftsmanship. In 1837 Durand accompanied his friend, the artist Thomas Cole, on a sketching trip in what would be Durand’s first visit to the Adirondack Mountains in New York. Durand was moved by the quietude and splendor of the American wilderness and felt an instant kinship with the land. This excursion, coupled with a financial panic that year that limited patronage for portraiture, prompted Durand to turn to landscapes for the duration of his career. Beginning in 1840, with money advanced by Jonathan Sturges, Durand toured Europe in a year-long sojourn visiting England, France, Belgium, Holland, Germany, Switzerland, and Italy. While abroad Durand studied the works of the Old Masters and those of his contemporaries, especially the landscapes of Claude Lorrain, Nicolas Poussin, J.M.W. Turner and John Constable. Surprisingly, Durand was dissatisfied with the European artists’ populated, civilized images of nature, writing: “The wide field of landscape painting has never yet been so successfully … cultivated … as have other departments of Art, relating to the action and passion of men.”4 Durand’s views corresponded with the sentiments of his countrymen, who favored a sense of nostalgia that yearned for the uncorrupted, undomesticated nature of the distant past, and a national effort to tie America’s cultural identity to the magnificence of its land. Durand returned to America with a renewed fervor, as he wrote to Cole, and a personal agenda to paint “the beauties of my own beloved country.”5 Durand painted in a realistic style that embodied the main tenets of the Hudson River school: a commitment to naturalism, a keen attention to detail, and above all, a deep love of nature—what Daniel Huntington later called a “passion, an enthusiasm always burning within him.”6 Within a prolific oeuvre spanning from the 1830s onward, Durand explored a variety of themes: marine, wilderness, forest, and pastoral landscapes formed his artistic repertoire. Durand was celebrated for the botanical precision of his foliage, the minute details that captured every mossy-covered rock, branch, and leaf with an arresting topographical accuracy.7 He also forged unique compositional elements: his panoramic, sweeping views and vertical formats are immediately recognizable, signature components of his works.8 Though Thomas Cole arguably had the greatest influence on Durand’s stylistic development, their art also revealed fundamental differences as reflected in the dual approach adopted by the next generation of Hudson River school artists. Like Cole, Durand depicted both the sublime grandeur of the American wilderness and evoked the pastoral relationship between man and nature. Yet his first landscapes, redolent of many of Claude Lorraine’s thematic and stylistic tendencies, were serene and bucolic in contrast to Cole’s often wild, romantic, and theatrical conceptualization of nature.9 As Durand developed his own mature style, he championed naturalism, placing greater emphasis on the real versus the ideal and capturing the specificity of nature in his works. Of all the Hudson River School painters, Durand was the most avid proponent of working en plein air, or directly from nature, a progressive departure for artists of the period, who traditionally created sketches outdoors and finished large-scale works in their studios.10 In addition to Durand and Thomas Cole, the first generation of Hudson River School painters included John W. Casilear, John F. Kensett, David Johnson, Jervis McEntee, George Inness, Jasper F. Cropsey, Homer Dodge Martin and Alexander Wyant.11 Following the death of Cole in 1848, Durand was considered the leader of the Hudson River School, which reached its peak by the 1850s. Durand’s art set an important precedent for the nation’s fledgling sense of self, painting landscapes as a direct expression of cultural nationalism.11 Durand was at the forefront of this crucial development. The venerable tradition of landscape painting, which has its roots in the Hudson River School, continues to inspire American artists today. An active member of the art community, Durand formed friendships with some of the most influential figures of his time, including Samuel Morse, John Vanderlyn, and William Cullen Bryant.12 He also played an instrumental role in establishing some of America’s most well-known art institutions; he was a founder and member of the Century Association, the New York Drawing Association, the Sketch Club, and the National Academy of Design, serving as President from 1845 to 1861.13 In this capacity, Durand had a profound impact as a friend, mentor, and teacher to successive generations of American artists. He additionally contributed regularly to art historical literature, relating his theories on art and nature in Letters on Landscape Painting (1855) in the monthly periodical The Crayon.14 Durand retired from an illustrious career in 1869, spending the remainder of his years on his family farm in New Jersey, where he passed away in 1886. Durand was enormously successful throughout his career, though his fame soared to new heights recently when his painting, Kindred Spirits (1849), secured a record price at $35 million when it was purchased by Walmart heiress Alice Walton in 2005. In 2006 the Brooklyn Museum launched a major retrospective of his art, highlighting his critical role in the Hudson River school. Durand’s works may be viewed in such esteemed collections as the Smithsonian American Art Museum, Corcoran Gallery of Art, Museum of Fine Arts, Boston, and The Metropolitan Museum of Art. II. Chronology 1796 Born August 21st in Jefferson Village (now Maplewood) in Springfield Township, Essex County, New Jersey; eighth child of John and Rachel Durand 1812 Began five-year apprenticeship under the engraver Peter Maverick in Newark, NJ 1817 Partnered with Peter Maverick and opened a branch of the business in New York City 1820 Commissioned by John Trumbull to engrave the Declaration of Independence for $3,000. Partnership with Maverick dissolved. Entered six portrait engravings at the American Academy of the Fine Arts exhibition 1821 Married Lucy Baldwin in Bloomfield, NJ on April 2nd 1822 Birth of son, John Durand, on May 6th 1823 Publication of Declaration of Independence; recognized nationally for his success as an engraver. Became associated with various engraving firms during the next eight years. Entered a portrait of his child in the American Academy of the Fine Arts exhibition 1824 Birth of daughter, Eliza B. Durand, on July 13th. Entered partnership with elder brother, Cyrus, and Charles C. Wright in a banknote, commercial engraving, and printing business entitled A.B. & C. Durand, Wright & Co 1825 Designed the invitation for New York City’s celebration to mark the completion of the Erie Canal. Chaired the November 8th meeting of artists to organize the New York Drawing Association. Elected member of James Fenimore Cooper’s Bread and Cheese Club (or the Lunch Club). December 13th, birth of second daughter, Caroline Durand 1826 Elected by members of the New York Drawing Association as one of the fifteen founders of the National Academy of Design on January 15th. Entered a religious painting, a portrait, and three engraved portraits in first exhibition of the National Academy 1827 Built home on Amity Street in New York. Became a founding member of the Sketch Club and one of the members of the Council of the National Academy of Design 1828 A.B. & C. Durand, Wright & Co renamed Durand, Perkins & Co. Wife Lucy became ill. 1829 Birth of third daughter, Lucy Maria Durand, on February 27th. Became a founding member of the Sketch Club. Began sketching in Hoboken, NJ at the Elysian Fields, a location he continued to visit through the early 1830s 1830 Briefly moved to St. Augustine, FL and Charleston, SC to restore his wife’s health. Lucy passed away on April 5th. Closed house on Amity Street. Provided six engravings and the cover image for William Cullen Bryant’s The American Landscape 1831 End of active participation in engraving firms; Durand, Perkins & Co dissolved 1833 Visited Virginia in September to paint ex-President James Madison, a portrait commissioned by George P. Morris, editor of the New York Mirror. Began work on a series of engravings for Herring and Longacre’s National Portrait Gallery of Distinguished Americans. Elected Recording Secretary and Member of the Council of the National Academy of Design, a post he kept for the next five years. Began receiving many major commissions for portraits 1834 Married second wife, Mary Frank. Received first commission from Luman Reed, his future patron. William Dunlap’s History of the Rise and Progress of the Arts of Design in the United States featured a chapter on Durand that referred to him as the country’s “first engraver” 1835 With Reed’s patronage, ended his career as an engraver. Traveled to Boston, Washington, and Brunswick to paint Presidential portraits for Luman Reed. Visited Washington Allston. Painted Senator Henry Clay for Charles Augustus Davis in Washington and President Andrew Jackson for Luman Reed. Visited Thomas Cole in the Catskills in the fall. 1836 Death of Luman Reed. Traveled to Hudson, Saugerties, Catskills, Albany, Utica, Boston, Trenton Falls, and Madison, in company with John W. Casilear part of the way. 1837 Mr. and Mrs. Durand accompanied Mr. and Mrs. Thomas Cole on a sketching trip to Schroon Lake in the Adirondacks 1838 Contributed nine landscapes to N.A.D. annual exhibition. Reopened Amity Street home. Began sketching excursion in the Hudson River Valley in September with Casilear. 1839 Traveled with Cole to Boston, Salem, Massachusetts, Portsmouth, Lake Winnipesaukee, White Mountains, New Hampshire, Rutland, Green Mountains, Vermont. Birth of second son, Frederic F. Durand, on August 23rd 1840 Added studio to the house on Amity Street. Jonathan Sturges advanced money for European tour. Beginning June 1st, traveled with John W. Casilear, John F. Kensett, and Thomas P. Rossiter to England, France, Germany, Switzerland, and Italy. 1841 Returned to New York from his European tour in July 1842 Submitted ten works in the N.A.D. exhibition, all subjects concerned with his year’s study abroad. Began sketching in the Hudson River Valley around Newburgh at the end of the summer 1843 In Saugerties, NY in August 1844 August-September, with Casilear at Kingston, NY. Works first distributed by the American Art Union 1845 Followed Samuel F.B. Morse as President of N.A.D. and remained in office until resignation in 1861. Visited the Mohawk River Valley from July–August 1846 Spent summer from late June through mid-September in Cornwall, Marbletown, Pine Hill, and Kingston, NY 1847 Bought a summer house near Newburgh. Century Association was established at a meeting of the Sketch Club; Durand was a founding member 1848 Spends June–July in Adirondacks with Casilear and Kensett and September–October in the Catskills. Albany Gallery of Fine Arts acquires one of Durand’s works. Appointed to the committee establishing a New York Artists’ Fund Society 1849 September: travels to Tannersville in the Catskills with Casilear and Kensett 1850 Received a loan from Jonathan Sturges. Sold Newburgh property in July. September–October: with Christopher P. Cranch at Tannersville, NY 1851 Birth of third son, Eugene H. Durand, July 23rd. August–September: visits Manchester and Dorset, VT 1852 Pawlett, VT, with Elias W. Durand, his nephew 1853 June–August: Olive Township in the Catskills with E.W. Durand 1854 June–September: Olive Township 1855 January: The Crayon began publication and Durand’s influential “Letters on Landscape Painting” are published. June–October: Springfield and St. Johnsbury, VT, Littleton, Franconia, North Conway, Campton, and West Campton, NH. Benjamin Champney, Albert Hoit, Alvan Fisher, John F. Kensett, and Daniel Huntington also worked at North Conway during the summer of 1855 1856 July–September: West Campton, NH 1857 Death of Mary, Durand’s second wife. July–September: Catskills, NY, Woodstock, VT, and West Campton, NH 1858 August: Catskills 1859 June–July: Geneseo, NY 1860 July–September: Fishkill, NY 1861 June–October: Hillsdale, NY 1862 July–August: at Lake George at Hague, NY 1863 June–October: at Lake George at Bolton, NY 1864 July: Catskill Clove, NY 1865 June–August: in the vicinity of Barrytown and Livingston on the east side of the Hudson River 1866 July–August: near the vicinity of Tannersville in the Catskills 1867 December 5: public auction of Durand’s paintings by Henry H. Leeds & Miner 1868 July–September: Keene in the Adirondacks 1869 After fifty-two years in the city, retired in April to a newly built house and studio on family property at Maplewood, NJ. Visits Lake Placid in September 1870 August–September: Adirondacks 1871 September–October: Lake George 1872 Appointed to the Committee on Fine Arts of the New-York Historical Society, a post he would serve on until his death. A committee of five, including Jervis McEntee, Daniel Huntington, and J.F. Kensett, organized a “surprise party” in honor of Durand on June 8th. Twenty painters and long established friends, including William Cullen Bryant, came from New York. September: Lake George 1874 September: Lake George 1877 Final summer excursion to the Adirondacks. One of his works acquired by The Metropolitan Museum of Art 1878 Painted last work, Sunset-Souvenir of the Adirondacks (New-York Historical Society)_ 1886 Died on September 17th in Maplewood, NJ. Buried in Greenwood Cemetery, Brooklyn, NY 1887 Executor’s sale on April 13th and 14th, auctioned from Ortgies’ Art Gallery, New York, NY III. Collections Addison Gallery of American Art, MA Albany Institute of History & Art, NY American Antiquarian Society, MA Berkshire Museum, MA Brandywine River Museum, PA Brooklyn Museum, NY Butler Institute of American Art, OH Century Association, NY Cincinnati Art Museum, OH Cleveland Museum of Art, OH Corcoran Gallery of Art, Washington, D.C. Currier Gallery of Art, NH Detroit Institute of Arts, MI Fenimore Art Museum, NY Fine Arts Museums of San Francisco, CA Grolier Club, NY Harvard University Art Museum, MA Hudson River Museum, NY Huntington Library, CA Mead Art Museum, Amherst College, MA Memorial Art Gallery, University of Rochester, NY Metropolitan Museum of Art, NY Montclair Art Museum, NJ Museum of Fine Arts, Boston, MA Museum of the City of New York, NY National Academy of Design, NY National Gallery of Art, Washington, D.C. New Britain Museum of American Art, CT New Orleans Museum of Art, LA New-York Historical Society, NY New York Public Library, NY Newark Museum, NJ Pennsylvania Academy of the Fine Arts, PA Princeton University Art Museum, NJ San Diego Museum of Art, CA Smith College Museum of Art, MA Smithsonian American Art Museum, Washington, D.C. Springfield Museum of Art, OH Toledo Museum of Art, OH University of Southern California, CA Wadsworth Athenaeum, CT Walters Art Museum, MD White House, Washington, D.C. Wichita Art Museum, KS Worcester Art Museum, MA Yale University Art Gallery, CT IV. Exhibitions 1820–1833 American Academy of the Fine Arts 1826–1874 National Academy of Design 1835–1871 Boston Athenaeum 1843–1868 Pennsylvania Academy of the Fine Arts 1853 New York Gallery of Fine Arts 1859 Chicago Exposition 1864 Metropolitan Fair of the U.S. Sanitary Commission 1866 Paris Salon 1867 Exposition Universelle, Paris 1872 Brooklyn Art Association, “First Chronological Exhibition of American Art” 1876 Centennial Exhibition, Philadelphia 1878 Century Association V. Memberships Bread and Cheese Club (also known as the Lunch Club) Century Association, founder and member Committee on Fine Arts of the New York Historical Society National Academy of Design, founder and member New York Drawing Association, founder and member The Sketch Club, founder and member VI. Notes 1 David B. Lawall, A.B. Durand, 1796-1886 (Montclair, NJ: Montclair Art Museum, 1971), p. 13. 2 Barbara D. Gallati, “Asher B. Durand’s Early Career: A Portrait of the Artist as an Ambitious Man” in Kindred Spirits: Asher B. Durand and the American Landscape, ed. Linda S. Ferber (New York: Brooklyn Museum, 2006), p. 51. 3 Lawall, p. 14. 4 Linda S. Ferber, “Asher B. Durand, American Landscape Painter” in Kindred Spirits: Asher B. Durand and the American Landscape (New York: Brooklyn Museum, 2006), pp. 138-139. 5 Ibid., p. 140. 6 Lawall, p. 13. 7 Ferber, “Asher B. Durand, American Landscape Painter,” p. 181. 8 Ibid., p. 189. 9 Lawall, p. 15. 10 Ferber, “Asher B. Durand, American Landscape Painter,” p. 181. 11 Carter B. Horsley, “Intimate Friends: Asher B. Durand, & William Cullen Bryant.” http://www.thecityreview.com/durand.html. 12 Ferber, “Asher B. Durand, American Landscape Painter,” p. 131. 13 Gallati, “Asher B. Durand’s Early Career: A Portrait of the Artist as an Ambitious Man,” p. 53. 14 Ferber, “Asher B. Durand, American Landscape Painter,” p. 171. 15 Please see Lawall A.B. Durand, pages 24–29 for this chronology. VII. Suggested Resources
6840	dbpedia	0	46	https://tfaoi.org/aa/10aa/10aa410.htm	en	Hudson River School			[ "https://tfaoi.org/cm/3cm/3cm513c.jpg", "https://tfaoi.org/cm/11cm/11cm86.jpg", "https://tfaoi.org/cm/9cm/9cm610.jpg", "https://tfaoi.org/cm/9cm/9cm612.jpg", "https://tfaoi.org/cm/10cm/10cm472.jpg", "https://tfaoi.org/cm/12cm/12cm313.jpg", "https://tfaoi.org/cm/3cm/3cm247.gif", "https://tfaoi.org/cm/3cm/3cm247.gif", "https://tfaoi.org/cm/3cm/3cm247.gif", "https://tfaoi.org/cm/2cm/2cm287.jpg", "https://tfaoi.org/cm/7cm/7cm6.gif", "https://tfaoi.org/cm/10cm/10cm369.jpg", "https://tfaoi.org/cm/10cm/10cm640.jpg", "https://tfaoi.org/cm/6cm/6cm121.jpg" ]	[]	[]	[ "" ]	null	[]	null					null	(above: John Frederick Kensett (American, 1816-1872). Hudson River Scene, 1857. Oil on canvas, 32 x 48 inches. The Metropolitan Museum of Art, New York, Gift of H. D. Babcock, in memory of his father, S. D. Babcock, 1907. Public domain, via Wikimedia Commons) Introduction This section of the Traditional Fine Arts Organization (TFAO) catalogue Topics in American Art is devoted to the topic "Hudson River School." Articles and essays specific to this topic published in TFAO's Resource Library are listed at the beginning of the section. Clicking on titles takes readers directly to these articles and essays. The date at the end of each title is the Resource Library publication date. After articles and essays from Resource Library are links to valuable online resources found outside our website. Links may be to museums' articles about exhibits, plus much more topical information based on our online searches. Following online resources may be information about offline resources including museums, DVDs, and paper-printed books, journals and articles. We recommend that readers search within the TFAO website to find detailed information for any topic. Please see our pageHow to research topics not listed for more information. (above: Asher Brown Durand, circa 1869, photo by Abraham Bogardus. Public domain, via Wikimedia Commons) Resource Library articles and essays honoring the American experience through its art: Nelson Augustus Moore; essay by Todd and Marenda Stitzer (10/3/14) Nature and the American Vision: Masterpieces of the Hudson River School (3/18/11) Remember the Ladies: Women Artists of the Hudson River School (5/17/10) Petticoats and Palettes: Dress and Women Painters of the Hudson River School; essay by Olivia H. Good (5/17/10) River Views of the Hudson River School (10/19/09) Different Views in Hudson River School Painting; text by Judith Hansen O'Toole (4/14/08) The Hudson River School at the New-York Historical Society: Nature and the American Vision (12/1/06) American Scenery: Different Views in Hudson River School Painting (7/28/05) For Spacious Skies: Hudson River School Paintings from the Henry and Sharon Martin Collection (7/18/05) The Hudson River School at the New-York Historical Society: Nature and the American Vision (7/14/05) American Eden: Landscape Paintings of the Hudson River School from the Collection of the Wadsworth Atheneum Museum of Art (3/15/04) Hudson River School: Masterworks from the Wadsworth Atheneum Museum of Art (3/13/04) Hudson River School: Masterworks from the Wadsworth Atheneum Museum of Art; with article by Patricia McDonnell (9/7/04) A Wilder Image Bright: Hudson River School Paintings from the Manoogian Collection (1/29/04) Hudson River School: Masterworks from the Wadsworth Atheneum Museum of Art (8/26/03) Hudson River School Visions: The Landscapes of Sanford R. Gifford (8/8/03) Art and Nature: The Hudson River School (3/7/00) All that is Glorious: Paintings from the Hudson River School (2/24/00) Art and Nature: The Hudson River School (1/20/00) This Tranquil Land: Hudson River Paintings from the Hersen Collection (1/14/00) Art and Nature: The Hudson River School (10/14/99) Art & Nature: The Hudson River School Tours Nationally (8/4/99) Art and Nature: The Hudson River School, Paintings from the Albany Institute of History & Art (7/27/99) All that Is Glorious Around Us (Hudson River School Painters) (6/22/99) (above: Frederic Edwin Church, date unknown. Public domain, via Wikimedia Commons) Information from other websites American Paradise: The World of the Hudson River School, an exhibition catalog from Metropolitan Museum of Art, fully available online as PDF, 367 pages, introduction by John K. Howat. Accessed 5/18 American Scenery: Different Views in Hudson River School Painting, was held February 26 - May 13, 2012 at the Blanton Museum of Art. The article from the Blanton includes .pdf gallery guides for the exhibition. Accessed May, 2014. American Scenery: Different Views in Hudson River School Painting, an exhibit held 2/19/11 - 6/5/11 at the Reading Public Museum. Includes two online videos. "Connoisseurship and the Hudson River School," by Jennifer Kriger; from Hawthorne Fine Art. Accessed 5/18 The Grand Women Artists of the Hudson River School, by Judith H. Dobrzynski, Smithsonian.com, July 27, 2010; from Judith H. Dobrzynski. Accessed August, 2015. Home on the Hudson: Women and Men Painting Landscapes 1825-1875 from NewYorkHistoryBlog.org. Accessed 5/18 The Hudson Flows West is a 2013 exhibit at the Frye Art Museum which says: "Drawn from holdings of the Frye Art Museum and local private collections, The Hudson Flows West explores how the complicated notion of manifest destiny informed emblematic depictions of the 'New World,' from the pristine beauty of the Hudson River Valley to the earliest images of the western frontier. While these depictions of spectacular and awe-inspiring natural phenomena were often used as rationale for expansion and exploitation of the wealth of resources they detailed, their works reflect the artists' deep reverence for the land, one that coincided with stirrings of environmental consciousness and the national call for preservation." Accessed 3/17 Hudson River School from Wikipedia. Accessed August, 2015. The Hudson River School: Landscape Paintings from the Albany Institute is an ongoing exhibition at the Albany Institute -- including artwork labels and 3D tour -- which says: "For the first time, nearly all ninety paintings from this important collection is on view. These landscapes, painted by artists like Thomas Cole, Frederic Church, Jasper Cropsey, Asher Durand, and numerous others, capture America's scenic grandeur in all its magnificence from rugged coastal scenery to imposing mountains and rivers." Accessed 10/22 "The Hudson River School," excerpt of essay by Arthur Danto, "Encounters & Reflections: Art in the Historical Present" from artchive.com "The Hudson River School" by Kevin J. Avery, Department of American Paintings and Sculpture, The Metropolitan Museum of Art. Accessed August, 2015. Hudson River School Art Trail from hudsonriverschool.org. Accessed August, 2015. A Hudson River School Legacy: The Newman Bequest and Other Gifts is a 2017 exhibit at the New-York Historical Society which says: "Inspired by the natural beauty of the Hudson River Valley region and the emotional intensity of the scenes captured by painters of the first self-consciously "American" school of art, the Newmans acquired works by artists including Thomas Cole, Frederic Edwin Church, and Martin Johnson Heade." Accessed 4/17 Hudson River School Painters from askArt. Accessed August, 2015. Hudson River School Trilogy, an exhibit held August 17 - October 21, 2007 at the Frances Lehman Loeb Art Center. Includes news release. From Frances Lehman Loeb Art Center. Accessed August, 2015. Hudson River School Visions: The Landscapes of Sanford R. Gifford from the National Gallery of Art, Washington, DC. Accessed August, 2015. List of Hudson River School artists from Wikipedia. Accessed August, 2015. The Making of the Hudson River School is an extensive 14-part online exhibit hosted by the Albany (NY) Institute of History and Art. Accessed 10/19 "Nature and the American Vision: The Hudson River School" is an educators' essay from LACMA which says: "Nature and the American Vision: The Hudson River School is designed as a grand tour of the nineteenth-century American landscape, and the paintings on view reveal much about issues of national identity, westward expansion, mistreatment of the native population, and the beginnings of environmentalism in the United States." Accewssed 5/18 Nature and the American Vision: The Hudson River School is a 2016 exhibit at the Milwaukee Art Museum which says: " Nature and the American Vision: The Hudson River School transcends centuries to show visitors the powerful, breathtaking vistas that defined our heritage and shaped our nation. Accessed 8/18 The Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society is an exhibition hosted by the New Britain Museum of American Art in New Britain, Connecticut from January 28, 2022 through May 22, 2022. The New Britain Museum of American Art described the exhibition as follows: "A stunning array of over 40 paintings created between 1818 and 1886, The Poetry of Nature illustrates America's scenic splendor as seen through the eyes of over 25 leading Hudson River School artists, including Thomas Cole, Asher B. Durand, John F. Kensett, Albert Bierstadt, as well as lesser-known but important artists Josephine Walters, Christopher Pearse Cranch, and Louisa Davis Minot, among others. Its display at the NBMAA will include the addition of works by Robert S. Duncanson, the first Black artist of the Hudson River School to gain international acclaim. Drawn from the collection of the New-York Historical Society, the exhibition explores the exchange of influence among this group of artists, their favored sketching grounds, and the legacy of Hudson River School painting today... The growing number of crowded industrial cities in the East gave rise to an appreciation for pictures of the landscape untouched by man. This closely-knit group of artists, together with like-minded poets and writers, forged a self-consciously "American" landscape vision and literary voice. Both were grounded in the exploration of the natural world as a rouse for spiritual renewal and as an expression of cultural and national identity. The Hudson River and the varied scenery along its banks provided the subjects for many of their landscape paintings.".Accessed 9/23 The Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society is a 2017 exhibit at the Allentown Art Museum which says: "The Poetry of Nature, comprised of some forty paintings by twenty-five artists ranging in date from 1818 to 1886, features a variety of important paintings conceived in the style of the Hudson River School. Bound by common purpose, these New York City-based painters often carved literal paths to remote and perilous sketching locations. Explore the confluence and tributaries of their artistic expression in this naturally wondrous exhibit." Accessed 11/17 Thomas Cole's Studio: Memory and Inspiration is a 2023 exhibit at the Albuquerque Museum which says: "The exhibition reassembles the paintings that were in Cole's studio when he died in 1848 and explores the significance of Cole's late work for art in America. Thomas Cole was the founder of the Hudson River School. This group of painters established an iconic style of American landscape painting. Accessed 10/23 Thomas Cole's Voyage of Life was a 2016 exhibit from Chrysler Museum of Art which says "Spanning four monumental canvases, The Voyage of Life takes viewers on a journey through Childhood, Youth, Manhood, and Old Age, presenting each stage as progress along a grand but treacherous river.... These masterpieces from the collection of the Munson-Williams-Proctor Arts Institute in Utica, N.Y.... embark on this historic tour together with many of the artist's seldom-exhibited original drawings and preliminary studies. The Chrysler's own Thomas Cole painting, The Angel Appearing to the Shepherds, the largest single canvas he ever created, joins this extraordinary tribute to one of the founding fathers of American art." See Thomas Cole from Resource Library essay and artfixdaily.com 10/20/14 article "Chrysler Museum Becomes "Thomas Cole Central" with Monumental Works from "Voyage of Life" and Chrysler Collection" Accessed 10/16 Transitional Nature: Hudson River School Paintings from the David and Laura Grey Collectionis a 2020 exhibit at the Frost (Patricia and Phillip) Art Museum, Florida International University https://frost.fiu.edu/ which says: "Transitional Nature draws from the collection of David and Laura Grey and includes masterpieces by Albert Bierstadt, Robert S. Duncanson, Asher B. Durand, and George Inness." Also see extensive Resource Library materials Accessed 10/20 Women Artists of the Hudson River School" by Jennifer C. Krieger from Spring 2010 issue of Antiques & Fine Art Magazine. Accessed 5/18 In October 2012 The Metropolitan Museum of Art launched MetPublications, an online resource that offers in-depth access to the Museum's print and online publications, covering art, art history, archaeology, conservation, and collecting. Titles relating to American representational art available for free viewing via.pdf download or online reading as of 2013 include: American Paradise: The World of the Hudson River School; Avery, Kevin J., Oswaldo Rodriguez Roque, John K. Howat, Doreen Bolger Burke, and Catherine Hoover Voorsanger (1987); Hudson River School Visions: The Landscapes of Sanford R. Gifford; Avery, Kevin J., and Franklin Kelly, with Claire A. Conway, and essays by Heidi Applegate and Eleanor James Harvey (2003). Accessed August, 2015. (above: Thomas Cole, The Voyage of Life Childhood, 1842. Picture from National Gallery of Art (Washington, D.C.) Source: Wikimedia Commons - public domain) Online videos April, 2023 screenshot via Google video search: Hudson River School - Sunday Arts [05:09], December 10, 2008, from WNET. Accessed August, 2015. The San Diego Museum of Art produced a video titled Asher Brown Durand, 1796-1886, Landscape-Composition: In the Catskills, available online through ArtBabble. According to ArtBabble, "Asher B. Durand is best known today for his enduring images of the American landscape, especially of the Hudson River Valley, the Catskills, and the Adirondack Mountains in New York. A founding member of the National Academy of Design, he studied engraving before devoting himself to landscape painting and was one of the primary painters of the Hudson River School. Durand's canvases reflect the great passion and unrelenting respect he possessed for the natural environment. In the detailed charcoal study for Landscape-Composition: In the Catskills, which he probably made on site, Durand included the small figural forms in the foreground; in this, the final painting of the subject, these tiny figures, juxtaposed with the immensity of the mountains and the breadth of the land before them, emphasize the awe-inspiring presence of the land itself." Accessed June, 2015. The San Diego Museum of Art also produced a video titled Thomas Moran, Below the Towers of Tower Falls, available online through ArtBabble. According to ArtBabble, "ArtStops are 15 minute, staff-led tours of one to three works on view. Museum curators and educators present these brief yet always enlightening and informative talks every Thursday and third Tuesday at noon. This week features: Thomas Moran, Below the Towers of Tower Falls, Yellowstone Park, 1909, with Lucy Eron, Art Educator" Accessed June, 2015. The WGBH/Boston Forum Network is an audio and video streaming web site dedicated to curating and serving live and on-demand lectures, including a number of videos on Art and Architecture. Partners include a number of museums, colleges, universities and other cultural organizations. See listings of related videos in this catalogue indexed by partner name. Boston Athenaeum partnered with the WGBH Forum Network for a series of lectures on American art by David Dearinger, who is Susan Morse Hilles Curator of Paintings and Sculpture at the Boston Athenaeum. An art historian and curator, he received his Ph.D. from the Graduate Center of the City University of New York, with a specialty in nineteenth-century American art. Titles include: Hudson River School of American Landscape Painting, (1 hour, 11 minutes) a general introduction to the famous Hudson River School of American landscape painting. [March 29, 2005]. Accessed August, 2015. DVD/VHS videos Hudson River and its Painters, The is a 57 minute 1988 video from the Metropolitan Museum of Art Series released by Home Vision Entertainment. The mid-nineteenth century saw the growth of America's first native school of landscape painters, artists inspired by the compelling beauty of the Hudson River Valley, who portrayed this and other romantic wilderness areas with an almost mystical reverence. This 57 minute video explores the life and work of the major artists of what came to be known as the Hudson River School -- Thomas Cole, Asher Durand, Frederic Church, Albert Bierstadt, John Kensett, Jasper Cropsey, Worthington Whittredge, Sanford Gifford, and George Inness. Although its members traveled widely, the growth and development of the school were centered around New York City, and its success reflected the ambitions of the youthful American nation. It presents more than 200 paintings, prints and photographs of the period and juxtaposes them with dramatic location photography of the Hudson River area. The Hudson Company in association with The Metropolitan Museum of Art. Hudson River and its Painters, The is available through the Sullivan Video Library at The Speed Art Museum which holds a sizable collection of art-related videos available to educators at no charge. TFAO does not maintain a lending library of videos or sell videos.Click here for information on how to borrow or purchase copies of VHS videos and DVDs listed in TFAO's Videos -DVD/VHS, an authoritative guide to videos in VHS and DVD format Above artist photos courtesy of Wikipedia. Return to Topics in American Representational Art See our Museums Explained to learn about the "inner workings" of art museums and the functions of staff members. In the exhibitions section find out how to get the most out of a museum visit. 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6840	dbpedia	3	52	https://www.independent.co.uk/news/world/americas/thomas-cole-murals-catskills-home-new-york-state-hudson-river-school-us-painter-a7619971.html	en	Thomas Cole murals uncovered on walls of Catskills home in New York state	https://static.independe…h=1200&auto=webp	https://static.independe…h=1200&auto=webp	[ "https://static.independent.co.uk/s3fs-public/thumbnails/image/2017/03/09/09/thomas-cole-walls.jpg", "https://static.independent.co.uk/static-assets/images/newsletter/evening-headlines/evening-headlines.png", "https://static.independent.co.uk/s3fs-public/thumbnails/image/2017/03/09/10/thomas-cole.jpg", "https://static.independent.co.uk/s3fs-public/thumbnails/image/2017/03/09/09/thomas-cole-oxbow.jpg", "https://www.independent.co.uk/img/icons/google.svg" ]	[]	[]	[ "19th century art", "lost painting", "Architectural Conservation", "New York", "Internal" ]	null	[ "Michael Hill" ]	2017-03-09T10:55:43+00:00	Patterned borders by influential 19th century father of Hudson River School uncovered thanks to meticulous restoration work	en	/img/shortcut-icons/favicon.ico	The Independent	https://www.independent.co.uk/news/world/americas/thomas-cole-murals-catskills-home-new-york-state-hudson-river-school-us-painter-a7619971.html	Patterned borders by influential 19th century father of Hudson River School uncovered thanks to meticulous restoration work Article bookmarked Find your bookmarks in your Independent Premium section, under my profile Don't show me this message again ✕ The latest headlines from our reporters across the US sent straight to your inbox each weekday Your briefing on the latest headlines from across the US Please enter a valid email address Please enter a valid email address I would like to be emailed about offers, events and updates from The Independent. Read our privacy policy Thanks for signing up to the Evening Headlines email {{ #verifyErrors }} {{ message }} {{ /verifyErrors }} {{ ^verifyErrors }} Something went wrong. Please try again later {{ /verifyErrors }} Not only did Thomas Cole paint the lush mountain landscapes that inspired the Hudson River School art movement of the 19th century, he also painted on the walls of his home. Lost beneath layers of paint for more than a century, the patterned borders below the ceilings were rediscovered several years ago and are now revealed in their semi-faded glory. The stylised depictions of drapery and fabric, painstakingly recovered by conservators, will be fully displayed when the Thomas Cole National Historic Site opens for the season in May. While not exactly lost masterworks, they offer new insight into one of America's most influential painters. “His choice of designs... are his way of expressing his personality, the way he wanted people to see him and the way he wanted people to see his art,” said Elizabeth Jacks, executive director of the site. “It tells us a lot of what was going on in the mind of this person at the time in his life when he was creating these incredible art works.” Cole is believed to have painted the borders around the time he moved into the house in 1836 to provide a sort of frame for paintings displayed on the parlour walls. One sunny parlour features abstract folds of a fabric in blue and green; the other features a more elaborate pattern depicting drapery swags. While Cole did not sign his name on the walls, there's evidence of the master's hand. Cole had experience making designs on fabric and wallpaper and had been impressed with the ornate Roman wall decorations he saw on a tour of Pompeii and Herculaneum. A then-rare ultramarine blue pigment points to a painter of Cole's stature. And there are no records of payments made for the work among the household's meticulous financial records. Cole died in 1848 at age 47, though the home in this village 100 miles north of New York City remained with the family for more than a century. At some point, no one knows exactly why, the border art was covered up by wallpaper and then layers of paint. One parlour had successive coats of green, cream, dark green, light blue, periwinkle and more. The lost art was discovered after historic paint expert Matthew J. Mosca in 2014 examined a bit of what looked like exposed wallpaper up high in a pantry. A closer look revealed it was a painted design. “When I got up on a ladder and looked at it, I thought, 'Oh my God,”' he recalled. The discovery in the parlours followed, and Mosca and art restorer Margaret Saliske began carefully removing decades of wall paint with scalpels and solvent. Saliske finished uncovering the designs this winter and took up a fine-tipped paint brush for the delicate restoration works. High on a scaffold, she spent a recent morning dabbing in paint where the original work is missing, careful never to overlap Cole's work. “I'll circle around and bump up against the edge with my colour,” she said, “but I'm honouring every little piece of paint.” World news in pictures Show all 50 She matched colour by eye, mixing paint and ground pigment to get exactly the right intensity and transparency. Saliske has restored about 5 feet of one border in one parlour and the site is seeking grant money to restore more. The goal is to fully restore three of the four walls in each parlour, giving visitors a sense of both the discovered work and what the walls looked like 180 years ago when Cole gazed at the forested mountains outside his windows. AP Subscribe to Independent Premium to bookmark this article Want to bookmark your favourite articles and stories to read or reference later? Start your Independent Premium subscription today. Already subscribed? Log in
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6840	dbpedia	3	29	http://arthistorynewsreport.blogspot.com/2017/05/sanford-r-gifford-in-catskills.html	en	Art History News: Sanford R. Gifford in the Catskills	https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_udAwNQzTvYGDH-r43gl_8JDoEJLTKcMOhOU2Q0kIlXdqw1Ch8IZ1zClPgyH3TKoS0Qc3h4k6MLruggSLsh73cpHCqEQMyhcKI0x2ppC6EG8TYJ8C5lxz0WrRUOhGas8nItVpulEzzVWBx65jtO9J6DhIQlJ0M2ArnY5zeDLOEv0YIf6XBafFRyW7tlthv4svvRKub5EQJ0xOIx8gxhr-cVH4lstNgJxj7nmEj0ne3iVVPlWyyPtzFZ67EsnjnM42UWc64gEgQkOnqQNQ=w1200-h630-p-k-no-nu	https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_udAwNQzTvYGDH-r43gl_8JDoEJLTKcMOhOU2Q0kIlXdqw1Ch8IZ1zClPgyH3TKoS0Qc3h4k6MLruggSLsh73cpHCqEQMyhcKI0x2ppC6EG8TYJ8C5lxz0WrRUOhGas8nItVpulEzzVWBx65jtO9J6DhIQlJ0M2ArnY5zeDLOEv0YIf6XBafFRyW7tlthv4svvRKub5EQJ0xOIx8gxhr-cVH4lstNgJxj7nmEj0ne3iVVPlWyyPtzFZ67EsnjnM42UWc64gEgQkOnqQNQ=w1200-h630-p-k-no-nu	[ "https://img.evbuc.com/https%3A%2F%2Fcdn.evbuc.com%2Fimages%2F28140535%2F3243390915%2F1%2Foriginal.jpg?w=1000&rect=0%2C37%2C1024%2C512&s=b85515fd87e44ddc73881c2c1539f6fb", "https://hudsonvalleyone.com/wp-content/uploads/2017/04/Sanford-Gifford-Ledge-on-South-Mountain-in-the-Catskills-700x467.jpg", "http://thomascole.org/wp-content/uploads/02_Gifford_Mt-Merino_small.jpg", "https://resources.blogblog.com/img/icon18_edit_allbkg.gif", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJgsVgENtOzv_nv1tHkp6pX-diuDihwPWg2MLth9WMgTZD4GIIU0IMjIoB4yg2bmeKtbn8-pBBuloXYqdA_yKXQdVkUR622LwQ0Tig7wUnpGCOpp9WbAsIGbAEgFTjag/s220/JK.jpg" ]	[]	[]	[ "" ]	null	[ "Jonathan Kantrowitz", "View my complete profile" ]	null	Sanford R. Gifford in the Catskills at the Thomas Cole National Historic Site , Catskill, NY, features paintings by the 19th-century lands...	en	http://arthistorynewsreport.blogspot.com/favicon.ico		http://arthistorynewsreport.blogspot.com/2017/05/sanford-r-gifford-in-catskills.html
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"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2004-07-29T08:54:37+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Walters_Art_Museum	Art museum in Baltimore, Maryland, US Walters Art Museum is a public art museum located in the Mount Vernon section of Baltimore, Maryland. Founded and opened in 1934, it holds collections from the mid-19th century that were amassed substantially by major American art and sculpture collectors, including William Thompson Walters and his son Henry Walters. William Walters began collecting when he moved to Paris as a nominal Confederate loyalist at the outbreak of the American Civil War in 1861, and Henry Walters refined the collection and made arrangements for the construction what ultimately was Walters Art Museum. After allowing the Baltimore public to occasionally view his father's and his growing added collections at his West Mount Vernon Place mansion during the late 1800s, Henry Walters arranged for an elaborate stone palazzo-styled structure to be built for this purpose in 1905–1909, located a block south of the Walters mansion on West Monument Street/Mount Vernon Place, on the northwest corner of North Charles Street at West Centre Street. The mansion and gallery were also just south and west of the landmark Washington Monument in the Mount Vernon-Belvedere neighborhood, just north of the downtown business district and northeast of Cathedral Hill. Upon his 1931 death, Henry Walters bequeathed the entire collection of then more than 22,000 works, the original Charles Street Gallery building, and his adjacent townhouse/mansion just across the alley to the north on West Mount Vernon Place to the City of Baltimore, "for the benefit of the public". The collection includes masterworks of ancient Egypt, Greek sculpture and Roman sarcophagi, medieval ivories, illuminated manuscripts, Renaissance bronzes, Old Master European and 19th-century paintings, Chinese ceramics and bronzes, Art Deco jewelry, and ancient Near East, Mesopotamian, or ancient Middle East items. Dorothy Miner became its first Keeper of Manuscripts in 1934 and held the post until her death in 1973. In 2000, "The Walters Art Gallery" changed its long-time name to "The Walters Art Museum"[1] to reflect its image as a large public institution and eliminate confusion among some of the increasing out-of-state visitors. The following year, "The Walters" (as it is often known locally) reopened its original main building after a dramatic three-year physical renovation and replacement of internal utilities and infrastructure. The Archimedes Palimpsest was on loan to the Walters Art Museum from a private collector for conservation and spectral imaging studies. Starting on October 1, 2006, the museum was enabled to make admission free to all, year-round, as a result of substantial grants given by Baltimore City and the surrounding suburban Baltimore County arts agencies and authorities.[2] In 2012, "The Walters" released nearly 20,000 of its own images of its collections on a Creative Commons license, and collaborated in their upload to the world-wide web and the Internet on Wikimedia Commons.[3] This was one of the largest and most comprehensive such releases made by any museum.[3] The Walters' collection of ancient art includes examples from Egypt, Nubia, Greece, Rome, Etruria and the Near East. Highlights include two monumental 3,000-pound statues of the Egyptian lion-headed fire goddess Sekhmet on long-term loan from the British Museum; the Walters Mummy; alabaster reliefs from the palace of Ashurnasirpal II; Greek gold jewelry, including the Greek bracelets from Olbia on the shores of the Black Sea; the Praxitelean Satyr; a large assemblage of Roman portrait heads; a Roman bronze banquet couch, and marble sarcophagi from the tombs of the prominent Licinian and Calpurnian families. Sumerian male worshiper, c. 2300 BC Padiiset's Statue, illustrates Canaan - Ancient Egypt trade, c. 1700 B.C. (inscription c. 900 B.C.) Portrait bust of Livia, wife of Emperor/Caesar Augustus, (Octavius), c. 35 B.C. Al Fayum mummy portrait, Roman Egypt, c. A.D. 175 The Rubens Vase, an agate hardstone carving of c. A.D. 400 Roman Funeral stele with Latin inscription referring to Mithra In 1911, Henry Walters purchased almost 100 gold artifacts from the Chiriqui region of western Panama in Central America, creating a core collection of ancient American native art. Through subsequent gifts of art and loans, the museum has added works, mostly in pottery and stone, from Mexico, Central America and South America, including pieces from the Mesoamerican Olmec, Aztec, and Maya cultures, as well as the Moche and Inca peoples of South America. Whistle in the form of a dancing figure from Colima, Mexico, pottery, c. 300 B.C. - A.D. 200 Maya head in stucco, A.D. 550-850 Mixteca-Puebla style labret, obsidian Jama Coaque figure, from Manabí Province, Ecuador, c. 300 BCE-800 CE 11th century doll Highlights of the Asian art collection assembled earlier by Baltimorean father and son collectors William T. and Henry Walters include Japanese arms and armor, and Chinese and Japanese porcelains, lacquers, and metalwork. Among the museum's outstanding works of Asian art is a late-12th- or early-13th-century Cambodian bronze of the eight-armed Avalokiteshvara, a Tang dynasty earthenware camel, and an intricately painted Ming dynasty wine jar. The museum owns the oldest surviving Chinese wood-and-lacquer image of the Buddha (late 6th century AD). It is exhibited in a gallery dedicated solely to this work. The museum holds one of the largest and finest collections of Thai (Siam/Thailand) bronze, scrolls, and banner paintings in the world. Head of a Jain Tirthankara, India, 10th century 'Mandala of Padmavati' - bronze statue of Goddess Padmavati, India, 11th century Brass idol of tirthankar Parshvanatha, India, 16th century Detail of Ming dynasty wood and lacquer Guanyin 15th-century Tibet, a ritual knife and chopper 19th-century Thai illustration of Vessantara Jataka, Ch 10 18th-century Chinese jar with dragon Hashiguchi Goyo, Woman in Blue Combing Her Hair, woodblock print, Japan, 1920 Islamic art in all media is represented at the Walters. Among the highlights are a 7th-century carved and hammered silver bowl from Iran, (ancient Persia); a 13th-century candlestick made of copper, silver, and gold from the Mamluk era in Egypt; 16th-century mausoleum doors decorated with intricate wood carvings in a radiating star pattern; a 17th-century silk sash from the Mughal Empire in India; and a 17th-century Turkish tile with an image of the Masjid al-Haram ("Great Mosque of Mecca"), the center of Islam in Mecca, (modern Saudi Arabia). The Walters Museum owns an array of Islamic manuscripts. These include a 15th-century Koran from northern India, written at the height of the Timurid Empire; a 16th-century copy of the "Khamsa of Nizami by Amir Khusraw, illustrated by a number of famous artists for the Emperor Akbar; and a Turkish calligraphy album by Sheikh Hamadullah Al-Amasi, one of the greatest calligraphers of all time. Walters Art Museum, MS W.613 contains five Mughal miniatures from an important "Khamsa of Nizami" made for the Emperor Akbar; the rest are in London, Great Britain. Early Qur'an page in Kufic script, 9th century Mamluk-era in Egypt candlestick base, c1240, brass with silver, gold and copper inlays Detail of an 18th-century ceremonial jeweled Turkish rifle Inside of Qur'an cover, 19th century, sub-Saharan Africa Henry Walters assembled a collection of art produced during the Middle Ages in all the major artistic media of the period. This forms the basis of the Walters' medieval collection, for which the museum is best known internationally. Considered one of the best collections of medieval art in the United States, the museum's holdings include examples of metalwork, sculpture, stained glass, textiles, icons, and other paintings. The collection is especially renowned for its ivories, enamels, reliquaries, early Byzantine silver, post-Byzantine art, illuminated manuscripts, Georgian illuminated Gospel manuscript, and the largest and finest collection of Ethiopian Orthodox Church art outside Ethiopia. The Walters' medieval collection features unique objects such as the Byzantine agate Rubens Vase that belonged to the painter Rubens (accession no. 42.562) and the earliest-surviving image of the "Virgin of Tenderness", an ivory carving produced in Egypt in the 6th or 7th century (accession no. 71.297). Sculpted heads from the royal Abbey of St. Denis are rare surviving examples of portal sculptures that are directly connected with the origins of Gothic art in 12th-century France (accession nos. 27.21 and 27.22). An ivory casket covered with scenes of jousting knights is one of about a dozen such objects to survive in the world (accession no. 71.264). Many of these works are on display in the museum's galleries. Works from the medieval collection are also frequently included in special touring exhibitions, such as Treasures of Heaven, an exhibition about relics and reliquaries that was on view at the Cleveland Museum of Art in (Cleveland, Ohio), the Walters Art Museum, and the British Museum in London in 2010–11. Works in the medieval collection are the subject of active research by the curatorial and conservation departments of the museum, and visiting researchers frequently make use of the museum's holdings. In-depth technical research carried on these objects is made available to the public through publications and exhibitions, as in the case of the Amandus Shrine (accession no. 53.9), which was featured in a small special exhibition titled The Special Dead in 2008–09. Hunnish set of horse trappings, 4th century French Gothic ivory Box Lid with a Tournament, 14th century (Walters 71274) Leaf from Barbavara Book of Hours, Milan c. 1440 15th century Nottingham alabaster panel of the Resurrection of Christ German chandelier, red deer antler and wood, 15th century There are also Late Medieval devotional Italian paintings by these painters at the Walters: Tommaso da Modena, Pietro Lorenzetti, Andrea di Bartolo (Resurrection), Alberto Sotio, Bartolomeo di Tommaso (Death of Saint Francis), Naddo Ceccarelli, Master of Saint Verdiana, Niccolo di Segna (Saint Lucy), Orcagna, Olivuccio di Ciccarello, Master of Panzano Triptych and Giovanni del Biondo. The collection of European Renaissance and Baroque art features holdings of paintings, sculpture, furniture, ceramics, metal work, arms and armor. The highlights include Hugo van der Goes' Donor with Saint John the Baptist, Heemskerck's Panorama with the Abduction of Helen Amidst the Wonders of the Ancient World, Giambattista Pittoni's Sacrifice of Polyxena, the Madonna of the Candelabra, from the studio of Raphael, Veronese's Portrait Of Countess Livia da Porto Thiene and her Daughter Porzia, El Greco's Saint Francis Receiving the Stigmata, Bernini's "bozzetto" of Risen Christ, Tiepolo's Scipio Africanus Freeing Massiva, and The Ideal City attributed to Fra Carnevale. The museum has one of ten surviving examples of the Sèvres pot-pourri vase in the shape of a ship from the 1750s and 1760s. The Ideal City (c. 1480–1484) attributed to Fra Carnevale Madonna of the Candelabra (c. 1513) by Raphael. Leaf from Book of Hours, French Renaissance, 1524 Giovanni Battista Tiepolo, Scipio Africanus Freeing Massiva, c. 1720 The Sacrifice of Polyxena, Giambattista Pittoni William and Henry Walters collected works by late-19th-century French academic masters and Impressionists. Highlights of the collection include Odalisque with Slave by Ingres (a second version); Claude Monet's Springtime; Alfred Sisley's panoramic view of the Seine Valley; and Édouard Manet's realist masterpiece, The Café Concert. Henry Walters was particularly interested in the courtly arts of 18th-century France. The museum's collection of Sèvres porcelain includes a number of pieces that were made for members of the Royal Bourbon Court at Versailles Palace outside of Paris. Portrait miniatures and the examples of goldsmiths' works, especially snuffboxes and watches, are displayed in the Treasury, along with some exceptional 19th- and early-20th-century works. Among them are examples of Art Nouveau-styled jewelry by René Lalique, jeweled objects by the House of Fabergé, including two Russian Imperial Easter eggs, and precious jewels by Tiffany and Co. of New York City. The Walters' collection presents an overview of 19th-century European art, particularly art from France. From the first half of the century come major paintings by Ingres, Géricault, and Delacroix. William Walters stayed in Paris with his family during the Civil War, because of his notorious Southern-leanings, and he soon developed a keen interest in contemporary European painting. He either commissioned directly from the artists or purchased at auctions such major works by the Barbizon masters, including Jean-François Millet and Henri Rousseau; the academic masters Jean-Léon Gérôme and Lawrence Alma-Tadema; and even the modernists Monet, Manet and Sisley. Raby Castle, the Seat of the Earl of Darlington (1817) by Joseph Mallord William Turner News from Afar (1860) by Alfred Stevens, (Exhibition: "Salute to Belgium, 1980) Springtime (1872) by Claude Monet. The Café-Concert (ca. 1879) by Édouard Manet. Léon Bonvin - Still Life on Kitchen Table with Celery, Parsley, Bowl, and Cruets - Walters 371504 Confessional, Toledo, by Félicien Rops, 1889 Courtier Standing by a Column, by Adolphe-René Lefèvre, c. 1860 Street Scene with Gothic Building, by Théodore Henri Mansson, 1845 Henry Walters' original gallery was designed by architect William Adams Delano and erected between 1904 and 1909, facing South Washington Place (at the northwest corner with West Centre Street) and attached by an overhead bridge/passageway across the back alley from his adjacent townhouse/mansion to the north on West Mount Vernon Place (facing the Washington Monument to the northeast). Its exterior was inspired by the Renaissance-revival-style Hôtel Pourtalès in Paris and its interior was modeled after the 17th-century "Collegio dei Gesuiti" (now the Palazzo dell'Università) built by the Balbi family for the Jesuits in Genoa. The arts of the Renaissance and Baroque periods, French decorative arts of the 18th and 19th centuries, and manuscripts and rare books are now exhibited in this palazzo-style structure.[4] Designed by the Boston firm of Shepley, Bulfinch, Richardson & Abbott, in the "Brutalist" poured-concrete style prevailing in the 1960s, (one of the few others in the region of this extremely modernistic style in the city – such as the recently razed Morris A. Mechanic Theatre in downtown Charles Center on the southwest corner of Charles and Baltimore Streets from 1967), this annex building (which has several horizontal lines paralleled with features in the 1909 structure) to the west along West Centre Street and rear of the original main gallery, extending to Park Avenue, opened in 1974. It was substantially altered in 1998–2001 by another firm of Kallmann McKinnell and Wood, Architects, to provide a four-story glass atrium, with a suspended staircase at the juncture between the older and newer buildings with a new entrance lobby along Centre Street. The new lobby, which also provides easier ground-level handicapped access along with enhanced security provisions for both collections and visitors is also providing a café, an enlarged museum and gift store and a reference library.[5] The ancient, Byzantine, medieval, Ethiopian, and 19th-century European collections are housed in this building, with its large display walls and irregular corridors and galleries. Also here is the museum's famed art conservation laboratory, which is one of the oldest in the country.[1] This Greek Revival style townhouse/mansion, one of the most elaborate in the city, was designed by famed local architect John Rudolph Niernsee (1814–1885), and erected between 1848 and 1850 for John Hanson Thomas, was long regarded as the most "elegant" house along Mount Vernon Place or Washington Place. It sits on the southwest corner of the circle surrounding the Washington Monument and was later owned by the families Jencks and Gladding (and the house has been known as the Thomas-Jencks-Gladding Mansion). Considered in its premiere landmark municipal location to be used for Baltimore City's Official Mayor's Residence (similar to other major American cities mayor's mansions such as Gracie Mansion in a river-front park on New York City's east side of Manhattan, facing the East River), when it was briefly acquired by the city in the late 1950s and then being considered to be razed for an unfortunately poorly-conceived and planned northern expansion of the Gallery engendered local preservationists' protests before being finally re-sold to the Gladding family of a well-known public-spirited local Chevrolet auto dealership, who promised to restore and preserve the noted mansion. Among the original owning family of the Thomas's distinguished guests of the mid-19th century were the Prince of Wales (eldest son of Queen Victoria), the future King Edward VII (reigned 1901–1910); and General Lajos Kossuth (1802–1894), the then famous Hungarian freedom fighter, president of an early, brief Hungarian republic, veteran of the European Revolutions of 1847–1848 and the "Father of modern Hungary". Since the mid-1980s when, the Thomas-Jencks-Gladding Mansion was reacquired by the city under Mayor William Donald Schaefer (1921–2011), who served the city from 1971 to 1987, and future governor of Maryland (1987–1995) from the Gladding family with a donation by the mayor's friend and local businessman Willard Hackerman, and transferred to the purposes of "The Walters". Since additional renovations with the addition of a connecting gallery with domed skylight and corridor constructed through the top of the old rear carriage house/garage to the south end of the house, and across the east–west alley to the old 1909 Main Building's north side. Reopened in 1991, the newly renamed "Hackerman House" has been devoted to The Walters' recently expanded holdings of Asian art.[6] As "Thomas-Jencks-Gladding House", the building was designated a Baltimore City Landmark in 1975.[7] Throughout 2021, director Julia Marciari-Alexander, advised by union-busting law firm Shaw Rosenthal LLP,[8] refused to meet with Walters employees, stalling the advance of a wall-to-wall unionization effort.[9] In October 2021, when directed by the Baltimore City Council and Comptroller Bill Henry to meet with employees and allow a vote on unionization,[10] Marciari-Alexander refused, claiming that meeting with her employees constitutes interference.[11] It was later stated that if the unionization effort was successful, workers would be represented by AFSCME Council 67, which would also represent workers at Baltimore Museum of Art and Enoch Pratt Free Library.[12] This is a list of selected works from the museum collection. Collaboration Between Walters Art Museum and Wikimedia Commons Union busting American Art Collaborative Archimedes Palimpsest Baltimore Museum of Art William Henry Rinehart Peabody Institute George Peabody Library Charles Street Washington Monument Parker Building (New York City), earlier location of Walters' art collection The Walters Art Gallery, Guide to the Collections, 1997, Scala Books, ISBN 978-0911886481 Rines, George Edwin, ed. (1920). "Walters Collection" . Encyclopedia Americana. Gruelle, R. B., Collection of William Thompson Walters (Boston 1895) Bushnell, S. W., Oriental Ceramic Art Collections of William Thompson Walters (New York 1899)