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"Louis Lozowick was born in Russia and studied at the Kiev Art School. He came to New York in 1906 and studied at the National Academy of Design with Leon Kroll and Emil Carlsen. He graduated from Ohio State University in 1918 and then went to Europe. While there he studied in Paris and Berlin and was influenced by the Constructivists, De Stijl and Bauhaus philosophies. He served on the editorial board of the New Masses and was active as a lecturer and writer. He was in the graphics division of the New York City WPA from 1934 to 1940 and was a member of the American Printmakers as well as the American Society of Printers, Sculptors and Gravers. His work was included in the AIGA 50 Prints of the Years in 1932, 33 and 34. Lozowick’s lithographic work featured his interest in the repetitious form of windows, pipes, towers, tanks and smokestacks of the factories, skyscrapers and bridges of New Jersey and New York."
MOONLIGHTSHADOW // FIVEMILESOUT // INDULCEJUBILO // CRISES ++ #YGGDRASIL #GOVINDA #PEACEEARTH #MAPS #IMAGE #MUSIC1978 #CATHEDRAL # #HOMELIGHT #RECORDLOVER #EARLS #GUARDIAN #DESIRE #ILLUSTRATIVE #HOLDONTOYOUREGO #COLORED #TSHIRTSTYLE #CROSSWAY #LABYRINTHMAGNETS #WALL #PASTEL #CRYSTALCORE #WIMMELBILDER #HAVEN #BEAUTIFUL #BIBLICAL #PROSE #EYE #WATERTEMPLE #OLYMPUS #HALLWAY #PLUS #SENSORYEXPERIENCE #CATPEOPLE #MOSTOFTHETIME #RUBYCON # #TOOL #ECOSYSTEM #SPIRITEMERALD #SMILE #AURORA #AGE #STYLE #STARDUST #DOORWAY #TEMPLEBLUE #WIZARD #VINYLFINDS #KEEP #GREEN # #CREATING #SECRET #SOWINGTHESEEDSOFLOVE #TEMPLELABYRINTH #ALLALONGTHEWATCHTOWER #ALCHEMY #WHENWILLYOUCOMEHOME #STATION #COSMOLOGICAL #SUPERCLUSTERS #MAGICMANDALA #MELISSA #NEEDAWOMAN #VISIONARY #STEVEMCQUEEN #STONETEMPLEPILOTS #SECRETCOLLEGE #CHURCH #SPACEBETWEEN #INBETWEENWORLDS #SOUNDTRACKS #MANDALASTARWILDERNESS #GIANTS #WEGOTTALIVETOGETHER #INSTALLATIONS #KNOWLEDGE #RECEPTIVITYSPACE #TN #LUCK # #LIBRARYOFOLYMPUS #FIRE #ALIENS #TOWERCOSMIC #STARSEA #FREYA #JIGSAW #NOMOREILOVEYOUS #POLKA #AWESOME #DISTRIBUTED #PRECISIONIST #BECOMING #SHIFTING #SWEETNESSANDLIGHT #PANORAMIC #WHITE #COLORS #ROOTS #TAROT #ONEWAYOUT #INTHEEYESOFNATURE #IFIHADAHEART #ELYSIUM #WATERCOLOR #DONTGIVEUP #CHILDRENOFTHESUN #BLOODYWELLRIGHT #CIRCLE #RIVEROFDREAM #CONCENTRATION #TENNESSEE #COZY #PUTASTRAWUNDERBABY #HEROES #SPRAWLII #ONEILOVE #TRUTHANDFICTION #SECRETSTARSTATION #BUILDING #WISDOM #STICKERS #GARDENSCAPES #MEMORYPALACE #COSMICCASTLE #INNBETWEEN #HEAVENANDHELL #DISTRIBUTION #RIVEROFDREAMS #WITCHHOUSE #IMPORTSFROMEUROPE #PETALS #TREEOFLIFE #TEMPLEOFLOVE #CLUTTERED #BRIGHTLY #SUNLANDICTWINS #FUTUREWORLD #GOBLINS #PLEASEREMEMBERME #PSYCHOLOGICAL #DIMENSION #LIBRARIANCONSTELLATION #I #EVANGELINE #YOUREGONNAMAKEMELONESOMEWHENYOUGO #UPTOME #VOYAGES #FLORALS #FARBEHIND #IDIOTWIND #VISHNU #LABYRINTHSCHOOL #PULSE #INSPIRATIONAL #DIAMONDDRAGON #FORESTMAGIC #RA #STONEROSES #DAYINDAYOUT #ACDC #JUMPTHEYSAY #EVERYBODYWANTSTORULETHEWORLD #JESSICA #LOVEUNDERSTANDING #LANDSCAPE #NOAHKAHAN #STORE #POCKET #VALHALLA #INTROSPECTION #RECORD #SINCE #GREATSMOKYMOUNTAINS #LOCAL #SEEYOUONTHEOTHERSIDE #GIANT #MEDICINE #ELVES #TOWNS #CREATIVE # #HOLIDAY #SCHOOLOFSTARS #MATTE #SOLARIZING #THEMOUNTAINSARECALLING #AMETHYSTOPAL #WATERFALLMOUNTAIN #TEARSINRAIN #YOUSPINMEROUND #STORYTELLING #GAEA #LIMETREEARBOUR #MYTHOLOGY #HEAVENISAPLACEONEARTH #REALISTIC #ASIA #LADYTRON #RECORDS #NEXT #PINS #PENTACLE #DREAMCORE #FLYBYNIGHT #BRIGHTHORSES #LISTS #ELVISPRESLEY #SMOKY #TRUECOLORS #RAINBOWS #BURZUM #PRAYERSFORRAIN #CLASSIC #MORNINGBELL #OLYMPIAN #PLANTS #10 #VISION #MGMT #TURTLE #CLOSERTOTHEHEART #SHAPESHIFTING #MIDNIGHTCITY #BIRD #FANTASY #GRATEFULDEAD #ETERNITY #FOREST #SUMMER #AND #LONGTRAINRUNNIN #FLOWERS #IMAGINARY #HEALINGREFLECTION #MADWORLD #COUNTRY #MUSICAL
Lake Wawayanda, Sussex County, New Jersey - 1870
Jasper Francis Cropsey (American, 1823 - 1900)
Lake Wawayanda is situated in Sussex County, New Jersey, just south of the New York-New Jersey border and just west of Greenwood Lake and was, therefore, not far from Cropsey's home, Aladdin. Indeed, the New Britain canvas, painted the year after Aladdin was built, depicts the region in which Cropsey’s art and life co-mingled to a greater extent than in any of the other locations in which he lived or spent time. He was most comfortable with the sort of tamed, welcoming, and lush environs that he found there, which blend rolling forested hills, low mountains, rich farmland, lakes, rivers, and streams. (1) The Hudson River area, of course, has similar terrain. Perhaps such surroundings best nurtured the lovingly faithful yet idealizing approach to nature that was characteristic of Cropsey’s Hudson River School style.
The New Britain scene is typical of his art in this regard; lyrically beautiful in mood, its carefully rendered imagery evokes a state of absolute peace, together with bounty and leisure in a world where nature and humanity are at one. A bit of cleared land and perhaps the home of a farmer amid verdant growth are visible in the middle distance at the right, while children and a dog play in the water in the right foreground and cows, one of the ubiquitous bucolic motifs in landscape painting, ford into the lake in the middle distance at the left. The mirror-like surface of the water and the almost cloudless sky softly glow with the light of the sun, which has just set behind the shoreline coulisse of land forms and foliage at the left, backlit to emphasize the reds, oranges, yellows, and greens of an autumnal palette. Aside from this latter construct, which is thickly and richly pigmented, the canvas is thinly painted.
The atmosphere of tranquility is enhanced by the horizontal Claudian composition that Cropsey has used. It found its way into American landscape painting by the 1820s, somewhat tentatively at first in the work of Thomas Doughty and Alvan Fisher. Cole and especially Durand made it even more popular. Cropsey used it frequently, particularly when he sought idealizing effects, as in the New Britain canvas, where the left to right expansion is contained by the coulisse at the left and the attention-getting repoussoir devices at the right: the beach, dog, sailboat, and children.
Such repoussoir imagery is common in Cropsey's work and had, of course, long been a mainstay of landscape painting. Indeed, it is almost obligatory in the horizontal Claudian composition to create a balance between left and right, not to mention near and far. J. M. W. Turner was particularly inventive with such repoussoir devices. Cropsey saw the first posthumous exhibition of Turner’s work, selected by John Ruskin, which opened at Marborough House in 1856, the year Cropsey arrived in London for his second stay abroad. Also pertinent to the Wawayanda scene is the way in which Turner used repoussoir imagery in combination with water in almost all of his designs engraved for his “Rivers of France”, which Cropsey probably owned.
Cropsey portrayed Lake Wawayanda in a number of works, most of which date to the 1870s. His earliest depiction of the site appears to be an oil signed and dated 1846 (whereabouts unknown) that served as the basis for an engraved vignette that Cropsey designed for “The Home Book of the Picturesque”, published in 1852.) There are, however, no known drawings related to the New Britain canvas or any entries on the work in Cropsey’s journal.
Almost nothing is known of the picture’s provenance before it came to Vose Gallery of Boston, in 1959; there is no exhibition history before the 1960s. A tantalizing comment on one of Cropsey’s depictions of the stream called Wawayanda appears in an 1884 issue of “Manhattan Magazine”. “One large and delicious ‘Autumn on the Wawayandah’" by Cropsey, the author observes, “was bought by an English collector while on a visit to this country and carried off to England before it had a chance to be seen here.” Perhaps the New Britain oil was “carried off” in this manner as well, before it returned to reside at the Museum.
Jasper Francis Cropsey, a second generation Hudson River School painter, is best known for his views of American scenery, especially those of autumn. He was also a professionally trained architect and took on architectural commissions intermittently throughout his long career. He worked in watercolor as well as oil and in 1867 joined the American Society of Painters in Water-colors (later the American Watercolor Society). His oeuvre includes a great number of views made abroad, and, like his older contemporaries Thomas Cole and Asher B. Durand, both first generation Hudson River School painters, Cropsey produced imaginary landscape compositions, some with allegorical, historical, or literary content, considered during the first half of the century to be of a higher order than pure landscape. Despite the range in Cropsey’s output, he was mainly concerned with painting American scenery, employing the meticulously truthful, albeit idealizing, approach to nature common to the first American school of painting, the Hudson River School.
Cropsey was born in Staten Island and apprenticed to the New York architect Joseph Trench from 1837 to 1842. He displayed a talent for painting that was nurtured not only by Trench but also by his exposure to other painters in New York. Beginning in 1843, Cropsey, having set his sights on landscape painting, regularly visited the Greenwood Lake area, which extends from Orange County, New York, south into Passaic and Sussex Counties, New Jersey. He was attracted to the region for the beauty of its scenery, much admired at the time, which in 1844 he portrayed in a painting (whereabouts unknown) that won him election as an associate member of the National Academy, the youngest artist ever to win that honor.
Cropsey was also drawn to the Greenwood Lake area by one Maria Cooley of a locally prominent family from West Milford, New Jersey. He married Miss Cooley in May 1847 and they departed almost immediately for a trip to England, Scotland, and the Continent. After traversing the Alps and northern Italy, the couple arrived in October in Rome, where they settled in Thomas Cole’s former quarters. They remained in Italy for two years. Cropsey painted industriously in Rome, in the Campagna, and at important sites to the south. In 1849 the couple retraced their steps through the Continent, stopping in Paris, Fontainebleau, and the Barbizon Forest, before returning to England, where, after more sketching that took them to Wales, they set sail for New York.
During the 1850s, while maintaining a studio in New York in the winters, Cropsey traveled in Pennsylvania, New York, New England, and as far west as Michigan, recording the scenery. He also worked up countless subjects made abroad, mainly in England and Italy. He became a full member of the National Academy in 1851.
After a successful sale of his paintings in April 1856, Cropsey and his family departed for England, where they settled in London for seven years. He was prolific in painting both American and English views and received several commissions for illustrations for volumes of poetry. The high point of his artistic activity in London was the greatly successful exhibition of “Autumn on the Hudson River” (National Gallery, Washington, D.C.), first in 1860 in his studio and then at the Exhibition of the Industry of All Nations in the Crystal Palace in London in 1862. The work garnered him a presentation at court, appointments from Queen Victoria, and eventually a medal honoring him for his service to the Crown.
More successes and financial rewards awaited Cropsey in New York upon his return in 1863. Some of his most important pictures were produced in the 1860s, among them “Wyoming Valley, Pennsylvania” (Metropolitan Museum of Art, New York) and “Starrucca Viaduct” (Toledo Museum of Art, Ohio), both of 1865. Attesting to his success, Cropsey was able to design and build in 1869 a Gothic Revival mansion he named Aladdin on forty-five acres in Orange County, not far from Greenwood Lake and Lake Wawayanda. From 1869 to 1884 Aladdin served as his base in the spring, summer, and fall, while he maintained a studio in New York in the winters. Always prolific, he continued to paint the Hudson River School scenes for which he was so well known, along with subjects drawn from his stays in Europe.
Despite his successful showing in the 1876 Centennial Exhibition in Philadelphia, public taste for Cropsey’s style was waning. American art buyers, bolstered by the post-Civil War boom, increasingly turned to the work of European artists. By the 1880s, interest in Impressionism increased. Cropsey’s art had become “retardataire”, and, consequently, opportunities to sell were diminishing. In order to shore up his income, he increasingly took on architectural commissions from the 1860s through the 1880s, while, ironically, he had to put Aladdin on the market in 1884. With the proceeds, along with those from a sale of his works in 1885, he was able to purchase a much more modest residence in Hastings-on-Hudson. It was there, overlooking the Hudson River, that he lived and worked for the last fifteen years of his life.
_________________________________
"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
Lake Wawayanda, Sussex County, New Jersey - 1870
Jasper Francis Cropsey (American, 1823 - 1900)
Lake Wawayanda is situated in Sussex County, New Jersey, just south of the New York-New Jersey border and just west of Greenwood Lake and was, therefore, not far from Cropsey's home, Aladdin. Indeed, the New Britain canvas, painted the year after Aladdin was built, depicts the region in which Cropsey’s art and life co-mingled to a greater extent than in any of the other locations in which he lived or spent time. He was most comfortable with the sort of tamed, welcoming, and lush environs that he found there, which blend rolling forested hills, low mountains, rich farmland, lakes, rivers, and streams. (1) The Hudson River area, of course, has similar terrain. Perhaps such surroundings best nurtured the lovingly faithful yet idealizing approach to nature that was characteristic of Cropsey’s Hudson River School style.
The New Britain scene is typical of his art in this regard; lyrically beautiful in mood, its carefully rendered imagery evokes a state of absolute peace, together with bounty and leisure in a world where nature and humanity are at one. A bit of cleared land and perhaps the home of a farmer amid verdant growth are visible in the middle distance at the right, while children and a dog play in the water in the right foreground and cows, one of the ubiquitous bucolic motifs in landscape painting, ford into the lake in the middle distance at the left. The mirror-like surface of the water and the almost cloudless sky softly glow with the light of the sun, which has just set behind the shoreline coulisse of land forms and foliage at the left, backlit to emphasize the reds, oranges, yellows, and greens of an autumnal palette. Aside from this latter construct, which is thickly and richly pigmented, the canvas is thinly painted.
The atmosphere of tranquility is enhanced by the horizontal Claudian composition that Cropsey has used. It found its way into American landscape painting by the 1820s, somewhat tentatively at first in the work of Thomas Doughty and Alvan Fisher. Cole and especially Durand made it even more popular. Cropsey used it frequently, particularly when he sought idealizing effects, as in the New Britain canvas, where the left to right expansion is contained by the coulisse at the left and the attention-getting repoussoir devices at the right: the beach, dog, sailboat, and children.
Such repoussoir imagery is common in Cropsey's work and had, of course, long been a mainstay of landscape painting. Indeed, it is almost obligatory in the horizontal Claudian composition to create a balance between left and right, not to mention near and far. J. M. W. Turner was particularly inventive with such repoussoir devices. Cropsey saw the first posthumous exhibition of Turner’s work, selected by John Ruskin, which opened at Marborough House in 1856, the year Cropsey arrived in London for his second stay abroad. Also pertinent to the Wawayanda scene is the way in which Turner used repoussoir imagery in combination with water in almost all of his designs engraved for his “Rivers of France”, which Cropsey probably owned.
Cropsey portrayed Lake Wawayanda in a number of works, most of which date to the 1870s. His earliest depiction of the site appears to be an oil signed and dated 1846 (whereabouts unknown) that served as the basis for an engraved vignette that Cropsey designed for “The Home Book of the Picturesque”, published in 1852.) There are, however, no known drawings related to the New Britain canvas or any entries on the work in Cropsey’s journal.
Almost nothing is known of the picture’s provenance before it came to Vose Gallery of Boston, in 1959; there is no exhibition history before the 1960s. A tantalizing comment on one of Cropsey’s depictions of the stream called Wawayanda appears in an 1884 issue of “Manhattan Magazine”. “One large and delicious ‘Autumn on the Wawayandah’" by Cropsey, the author observes, “was bought by an English collector while on a visit to this country and carried off to England before it had a chance to be seen here.” Perhaps the New Britain oil was “carried off” in this manner as well, before it returned to reside at the Museum.
Jasper Francis Cropsey, a second generation Hudson River School painter, is best known for his views of American scenery, especially those of autumn. He was also a professionally trained architect and took on architectural commissions intermittently throughout his long career. He worked in watercolor as well as oil and in 1867 joined the American Society of Painters in Water-colors (later the American Watercolor Society). His oeuvre includes a great number of views made abroad, and, like his older contemporaries Thomas Cole and Asher B. Durand, both first generation Hudson River School painters, Cropsey produced imaginary landscape compositions, some with allegorical, historical, or literary content, considered during the first half of the century to be of a higher order than pure landscape. Despite the range in Cropsey’s output, he was mainly concerned with painting American scenery, employing the meticulously truthful, albeit idealizing, approach to nature common to the first American school of painting, the Hudson River School.
Cropsey was born in Staten Island and apprenticed to the New York architect Joseph Trench from 1837 to 1842. He displayed a talent for painting that was nurtured not only by Trench but also by his exposure to other painters in New York. Beginning in 1843, Cropsey, having set his sights on landscape painting, regularly visited the Greenwood Lake area, which extends from Orange County, New York, south into Passaic and Sussex Counties, New Jersey. He was attracted to the region for the beauty of its scenery, much admired at the time, which in 1844 he portrayed in a painting (whereabouts unknown) that won him election as an associate member of the National Academy, the youngest artist ever to win that honor.
Cropsey was also drawn to the Greenwood Lake area by one Maria Cooley of a locally prominent family from West Milford, New Jersey. He married Miss Cooley in May 1847 and they departed almost immediately for a trip to England, Scotland, and the Continent. After traversing the Alps and northern Italy, the couple arrived in October in Rome, where they settled in Thomas Cole’s former quarters. They remained in Italy for two years. Cropsey painted industriously in Rome, in the Campagna, and at important sites to the south. In 1849 the couple retraced their steps through the Continent, stopping in Paris, Fontainebleau, and the Barbizon Forest, before returning to England, where, after more sketching that took them to Wales, they set sail for New York.
During the 1850s, while maintaining a studio in New York in the winters, Cropsey traveled in Pennsylvania, New York, New England, and as far west as Michigan, recording the scenery. He also worked up countless subjects made abroad, mainly in England and Italy. He became a full member of the National Academy in 1851.
After a successful sale of his paintings in April 1856, Cropsey and his family departed for England, where they settled in London for seven years. He was prolific in painting both American and English views and received several commissions for illustrations for volumes of poetry. The high point of his artistic activity in London was the greatly successful exhibition of “Autumn on the Hudson River” (National Gallery, Washington, D.C.), first in 1860 in his studio and then at the Exhibition of the Industry of All Nations in the Crystal Palace in London in 1862. The work garnered him a presentation at court, appointments from Queen Victoria, and eventually a medal honoring him for his service to the Crown.
More successes and financial rewards awaited Cropsey in New York upon his return in 1863. Some of his most important pictures were produced in the 1860s, among them “Wyoming Valley, Pennsylvania” (Metropolitan Museum of Art, New York) and “Starrucca Viaduct” (Toledo Museum of Art, Ohio), both of 1865. Attesting to his success, Cropsey was able to design and build in 1869 a Gothic Revival mansion he named Aladdin on forty-five acres in Orange County, not far from Greenwood Lake and Lake Wawayanda. From 1869 to 1884 Aladdin served as his base in the spring, summer, and fall, while he maintained a studio in New York in the winters. Always prolific, he continued to paint the Hudson River School scenes for which he was so well known, along with subjects drawn from his stays in Europe.
Despite his successful showing in the 1876 Centennial Exhibition in Philadelphia, public taste for Cropsey’s style was waning. American art buyers, bolstered by the post-Civil War boom, increasingly turned to the work of European artists. By the 1880s, interest in Impressionism increased. Cropsey’s art had become “retardataire”, and, consequently, opportunities to sell were diminishing. In order to shore up his income, he increasingly took on architectural commissions from the 1860s through the 1880s, while, ironically, he had to put Aladdin on the market in 1884. With the proceeds, along with those from a sale of his works in 1885, he was able to purchase a much more modest residence in Hastings-on-Hudson. It was there, overlooking the Hudson River, that he lived and worked for the last fifteen years of his life.
_________________________________
"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
www.mndjet.com/item/4419/bulova-precisionist-claremont-tw....
Twotone stainless steel case and bracelet. Silver dial. Precisionist quartz movement. Date display. Water resistant 30 meters. Case measures 44mm diameter by 12mm thick.
Portrait of Madame T - 1888
Edmund C. Tarbell (American, 1862 - 1938)
Edmund Charles Tarbell (April 26, 1862 – August 1, 1938) was an American Impressionist painter. A member of the Ten American Painters, his work hangs in the Boston Museum of Fine Arts, Metropolitan Museum of Art, National Gallery of Art, Smithsonian American Art Museum, Corcoran Gallery, DeYoung Museum, National Academy of Design, New Britain Museum of American Art, Worcester Art Museum, and numerous other collections. Edmund Charles Tarbell was born in the Asa Tarbell House, which stands beside the Squannacook River in West Groton, Massachusetts.[1] His father, Edmund Whitney Tarbell, died in 1863 after contracting typhoid fever while serving in the Civil War. His mother, Mary Sophia (Fernald) Tarbell, remarried a shoemaking-machine manufacturer. Young "Ned" (as he was nicknamed) and his older sister, Nellie Sophia, were left to be raised by their paternal grandparents in Groton, a frontier town during the French and Indian Wars that the early Tarbell family helped settle.[2]
Girl Reading, 1909
As a youth, Tarbell took evening art lessons from George H. Bartlett at the Massachusetts Normal Art School. Between 1877 and 1880, he apprenticed at the Forbes Lithographic Company in Boston. In 1879, he entered the School of the Museum of Fine Arts, Boston, studying under Otto Grundmann. He matriculated in the same class with Robert Reid and Frank Weston Benson, two other future members of the Ten American Painters.
Tarbell was encouraged to continue his education in Paris, France, then center of the art world. Consequently, in 1883 he entered the Académie Julian to study under Gustave Boulanger and Jules-Joseph Lefebvre. Paris exposed him to rigorous academic training, which invariably included copying Old Master paintings at the Louvre Museum, but also to the Impressionist movement then sweeping the city's galleries. That duality would inform his work. In 1884, Tarbell's education included a Grand Tour to Italy, and the following year to Italy, Belgium, Germany and Brittany.
Tarbell returned to Boston in 1886, where he began his career as an illustrator, private art instructor and portrait painter.[3] Two years after returning to Boston, at age 26 Tarbell married Emeline Souther, an art student and daughter of a prominent Dorchester family. Preferring to work from posed models, Tarbell often painted those immediately at hand—his wife, four children (Josephine, Mercie, Mary and Edmund Arnold Tarbell), and grandchildren. The paintings illustrate their lives.
While teaching at the Museum School in Boston, Tarbell and his family lived from 1886 until 1906 in the Ashmont section of Dorchester, the house belonging to his stepfather, David Frank Hartford. Then they lived on Commonwealth Avenue in Boston at the Hotel Somerset, located beside The Fens and not far from his atelier in the Fenway Studios on Ipswich Street.
In 1905, they bought as a summer residence a Greek Revival house in New Castle, New Hampshire, an island on the Atlantic coast. Tarbell built his studio perched on the bank of the Piscataqua River, ambling there each morning along gardens of peonies, iris and hollyhocks. Through his north-facing wall of glass he could sketch sailboats as they tacked the busy shipping channel between Portsmouth and the ocean. He was an early and avid proponent of the Colonial Revival movement, collecting American antiques (back when most were considered used furniture) and arranging them with Chinese ceramics, Japanese prints and other objets d'art as studio props. Tarbell also collected salvaged architectural elements; his studio's facade featured a Federal fanlight doorway. In the new living room added to the main house, he installed a Georgian mantelpiece attributed to Ebenezer Dearing (1730-1791), a master Portsmouth ship woodcarver. The Tarbells eventually retired to New Castle.[4] In 1889, Tarbell assumed the position of his former mentor, Otto Grundmann, at the Museum School, where he was a popular teacher. He gave pupils a solid academic art training: before they learned to paint, they had to render from plaster casts of classical statues. His students included Margaret Fitzhugh Browne, F. Luis Mora, and Lilian Westcott Hale. So pervasive was his influence on Boston painting that his followers were dubbed "The Tarbellites."
But in 1912, the Museum of Fine Arts hired Huger Elliott from the Rhode Island School of Design as Supervisor of Educational Work, charged with reorganizing the Museum School, which until then managed its own affairs. An upheaval ensued. He lectured Tarbell how to teach, then how to paint. Tarbell was incensed, making it no secret that he considered Elliott artistically inept. In December, Tarbell resigned together with Frank W. Benson, his friend and fellow instructor.[5] The men in 1913 discussed founding a society to encourage art and artists in the city. With financial backing from Lilla Cabot Perry, painter and affluent Brahmin, The Guild of Boston Artists opened in 1914. Tarbell was its first president, serving through 1924.
In 1918, Tarbell was hired as principal of the art school at the Corcoran Gallery of Art in Washington, a position he held until 1926. But the Museum of Fine Arts wanted him back at the Museum School, appointing him in 1925 as Chairman of the Advisory Council. For two years he promoted and oversaw construction of the school's new building designed by Guy Lowell. In 1930, however, the school asked Augustus John to recommend English artists as instructors. Tarbell and Benson, advocates of indigenous talent, would again resign.[6] His 1891 plein air painting entitled In the Orchard established his reputation as an artist. It depicts his wife with her siblings at leisure. Tarbell became famous for impressionistic, richly hued images of figures in landscapes. His later work shows the influence of Johannes Vermeer, the 17th-century Dutch painter. In such works, Tarbell typically portrays figures in genteel Colonial Revival interiors; these studies of light and tone are executed with restrained brushwork and color.[7]
Tarbell painted portraits of many notable individuals, including industrialist Henry Clay Frick, Yale University President Timothy Dwight V, and U.S. presidents Woodrow Wilson, Calvin Coolidge, and Herbert Hoover.
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"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
Sunlit Houses - United States, circa 1912-1915
John R. Grabach (United States, New Jersey, Newark, 1880-1981)
In 1912 Grabach moved to Greenfield, Massachusetts, drawn there by the landscape of this section of the Connecticut River Valley. Until he moved back to New Jersey in 1915, he devoted much of his time to painting winter landscapes -- possibly inspired by the snowy scenes of JOHN TWACHTMAN -- that were well received at the National Academy of Design annuals. During the late nineteenth century artists had begun using such images as a means to explore the potential of the color white, but by Grabach’s time such interest was more of a decorative nature. In true impressionist fashion Grabach found much color in the snowy image: a setting sun casts a golden orange on the rooftops, while cooler pastels of green and lavender describe the shadows. The impastoed brushwork is somewhat controlled in the delineation of the forms of the houses, but looser for the field of snow. The canvas is an exact square, a format popular with early twentieth-century impressionists and post-impressionists, as were a high viewpoint and brushwork that served to emphasize the picture plane. The buildings and yards are read as flat shapes in a jigsaw-puzzle arrangement. As Sunlit Houses is a view of a town, it foreshadows Grabach’s later urban images and probably was done just before he left Greenfield.
John R. Grabach determined to be an artist early on and took lessons from a local artist in New Jersey, Albert Dick, and joined the Newark Sketch Club before enrolling at the Art Students League in New York. Supporting himself as a machinist and then a designer of silverware, Grabach spent his free time painting. He began exhibiting publicly in 1913 at the National Academy of Design and in important annuals. In 1915 he returned from Massachusetts, where he had lived for three years, to settle permanently in New Jersey. In 1922 he and eleven other artists formed The Dialis for the purpose of exhibiting together.
Inspired by Ash Can school artists, Grabach became fascinated with the urban landscape. The decorative, dynamic character of his Wash Day series of the mid-1920s became the hallmark of his brand of urban realism. Toward the end of the decade his lighthearted treatment changed as he became more concerned with social conditions, and consequently during the Great Depression his urban images developed a stronger, satirical tone, and the figures were made larger and dominated the scene. At this time Grabach supported himself by working as a freelance illustrator and a teacher of life drawing at the Newark School of Fine and Industrial Art. Despite recognition and awards, Grabach began retreating from public attention and the mainstream art world. Thus he was all but forgotten, despite the fact that he continued to teach and paint, adopting in the 1940s a dark, Munich-inspired palette and brushwork.
collections.lacma.org/node/165537
Blue Grass, Green Skies: American Impressionism and Realism from the Los Angeles County Museum of Art
JANUARY 24, 2025 - MAY 18, 2025
"It must not be assumed that American Impressionism and French Impressionism are identical. The American painter accepted the spirit, not the letter of the new doctrine." - Christian Brinton, 1916
In 1874, a group of avant-garde French artists, including Edgar Degas, Claude Monet, Camille Pissarro, and Pierre-Auguste Renoir, organized the first exhibition of the “Anonymous Society of Painters, Sculptors, Printmakers, etc.” in Paris. Although working independently, rather than as a unified movement or school, they came to be known as the Impressionists—a term first used to disparage their works as unfinished “impressions.” Defined by their loose brushwork, vibrant color palettes, and attention to capturing the ephemeral effects of light and atmosphere, these artists rejected established academic traditions and developed innovative approaches to depicting modern life.
Impressionism’s influence was felt globally, but perhaps nowhere as profoundly or as long lasting as in the United States. American artists working abroad had opportunities to see and study Impressionist works, but it was not until 1886—when the movement had lost some of its radical edge—that the first large-scale exhibition of French Impressionism was held in the United States. The New York Tribune reported that although Impressionist pictures were often criticized for their “blue grass, violently green skies, and water with the coloring of a rainbow,” Americans would nevertheless benefit from studying the “vitality and beauty” in these works.
Over the next three decades, artists working across the United States adapted Impressionist aesthetics to depict modern American life. While their works embody the optimism and nationalism that then defined American culture, by the turn of the twentieth century, rapid urbanization and industrialization had transformed the nation, giving rise to new artistic tendencies. A group of younger artists, often described as Realists, rejected Impressionism’s colorful palette, instead portraying the grittier side of urban life. However, like their Impressionist contemporaries, they continued to paint the American scene, focusing on life in the city, the country, and the home. Drawn from the collection of the Los Angeles County Museum of Art, the works in this exhibition highlight the evolution of Impressionism’s blue grass and green skies into a distinctly American art.
________________________________
"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
Lake Wawayanda, Sussex County, New Jersey - 1870
Jasper Francis Cropsey (American, 1823 - 1900)
Lake Wawayanda is situated in Sussex County, New Jersey, just south of the New York-New Jersey border and just west of Greenwood Lake and was, therefore, not far from Cropsey's home, Aladdin. Indeed, the New Britain canvas, painted the year after Aladdin was built, depicts the region in which Cropsey’s art and life co-mingled to a greater extent than in any of the other locations in which he lived or spent time. He was most comfortable with the sort of tamed, welcoming, and lush environs that he found there, which blend rolling forested hills, low mountains, rich farmland, lakes, rivers, and streams. (1) The Hudson River area, of course, has similar terrain. Perhaps such surroundings best nurtured the lovingly faithful yet idealizing approach to nature that was characteristic of Cropsey’s Hudson River School style.
The New Britain scene is typical of his art in this regard; lyrically beautiful in mood, its carefully rendered imagery evokes a state of absolute peace, together with bounty and leisure in a world where nature and humanity are at one. A bit of cleared land and perhaps the home of a farmer amid verdant growth are visible in the middle distance at the right, while children and a dog play in the water in the right foreground and cows, one of the ubiquitous bucolic motifs in landscape painting, ford into the lake in the middle distance at the left. The mirror-like surface of the water and the almost cloudless sky softly glow with the light of the sun, which has just set behind the shoreline coulisse of land forms and foliage at the left, backlit to emphasize the reds, oranges, yellows, and greens of an autumnal palette. Aside from this latter construct, which is thickly and richly pigmented, the canvas is thinly painted.
The atmosphere of tranquility is enhanced by the horizontal Claudian composition that Cropsey has used. It found its way into American landscape painting by the 1820s, somewhat tentatively at first in the work of Thomas Doughty and Alvan Fisher. Cole and especially Durand made it even more popular. Cropsey used it frequently, particularly when he sought idealizing effects, as in the New Britain canvas, where the left to right expansion is contained by the coulisse at the left and the attention-getting repoussoir devices at the right: the beach, dog, sailboat, and children.
Such repoussoir imagery is common in Cropsey's work and had, of course, long been a mainstay of landscape painting. Indeed, it is almost obligatory in the horizontal Claudian composition to create a balance between left and right, not to mention near and far. J. M. W. Turner was particularly inventive with such repoussoir devices. Cropsey saw the first posthumous exhibition of Turner’s work, selected by John Ruskin, which opened at Marborough House in 1856, the year Cropsey arrived in London for his second stay abroad. Also pertinent to the Wawayanda scene is the way in which Turner used repoussoir imagery in combination with water in almost all of his designs engraved for his “Rivers of France”, which Cropsey probably owned.
Cropsey portrayed Lake Wawayanda in a number of works, most of which date to the 1870s. His earliest depiction of the site appears to be an oil signed and dated 1846 (whereabouts unknown) that served as the basis for an engraved vignette that Cropsey designed for “The Home Book of the Picturesque”, published in 1852.) There are, however, no known drawings related to the New Britain canvas or any entries on the work in Cropsey’s journal.
Almost nothing is known of the picture’s provenance before it came to Vose Gallery of Boston, in 1959; there is no exhibition history before the 1960s. A tantalizing comment on one of Cropsey’s depictions of the stream called Wawayanda appears in an 1884 issue of “Manhattan Magazine”. “One large and delicious ‘Autumn on the Wawayandah’" by Cropsey, the author observes, “was bought by an English collector while on a visit to this country and carried off to England before it had a chance to be seen here.” Perhaps the New Britain oil was “carried off” in this manner as well, before it returned to reside at the Museum.
Jasper Francis Cropsey, a second generation Hudson River School painter, is best known for his views of American scenery, especially those of autumn. He was also a professionally trained architect and took on architectural commissions intermittently throughout his long career. He worked in watercolor as well as oil and in 1867 joined the American Society of Painters in Water-colors (later the American Watercolor Society). His oeuvre includes a great number of views made abroad, and, like his older contemporaries Thomas Cole and Asher B. Durand, both first generation Hudson River School painters, Cropsey produced imaginary landscape compositions, some with allegorical, historical, or literary content, considered during the first half of the century to be of a higher order than pure landscape. Despite the range in Cropsey’s output, he was mainly concerned with painting American scenery, employing the meticulously truthful, albeit idealizing, approach to nature common to the first American school of painting, the Hudson River School.
Cropsey was born in Staten Island and apprenticed to the New York architect Joseph Trench from 1837 to 1842. He displayed a talent for painting that was nurtured not only by Trench but also by his exposure to other painters in New York. Beginning in 1843, Cropsey, having set his sights on landscape painting, regularly visited the Greenwood Lake area, which extends from Orange County, New York, south into Passaic and Sussex Counties, New Jersey. He was attracted to the region for the beauty of its scenery, much admired at the time, which in 1844 he portrayed in a painting (whereabouts unknown) that won him election as an associate member of the National Academy, the youngest artist ever to win that honor.
Cropsey was also drawn to the Greenwood Lake area by one Maria Cooley of a locally prominent family from West Milford, New Jersey. He married Miss Cooley in May 1847 and they departed almost immediately for a trip to England, Scotland, and the Continent. After traversing the Alps and northern Italy, the couple arrived in October in Rome, where they settled in Thomas Cole’s former quarters. They remained in Italy for two years. Cropsey painted industriously in Rome, in the Campagna, and at important sites to the south. In 1849 the couple retraced their steps through the Continent, stopping in Paris, Fontainebleau, and the Barbizon Forest, before returning to England, where, after more sketching that took them to Wales, they set sail for New York.
During the 1850s, while maintaining a studio in New York in the winters, Cropsey traveled in Pennsylvania, New York, New England, and as far west as Michigan, recording the scenery. He also worked up countless subjects made abroad, mainly in England and Italy. He became a full member of the National Academy in 1851.
After a successful sale of his paintings in April 1856, Cropsey and his family departed for England, where they settled in London for seven years. He was prolific in painting both American and English views and received several commissions for illustrations for volumes of poetry. The high point of his artistic activity in London was the greatly successful exhibition of “Autumn on the Hudson River” (National Gallery, Washington, D.C.), first in 1860 in his studio and then at the Exhibition of the Industry of All Nations in the Crystal Palace in London in 1862. The work garnered him a presentation at court, appointments from Queen Victoria, and eventually a medal honoring him for his service to the Crown.
More successes and financial rewards awaited Cropsey in New York upon his return in 1863. Some of his most important pictures were produced in the 1860s, among them “Wyoming Valley, Pennsylvania” (Metropolitan Museum of Art, New York) and “Starrucca Viaduct” (Toledo Museum of Art, Ohio), both of 1865. Attesting to his success, Cropsey was able to design and build in 1869 a Gothic Revival mansion he named Aladdin on forty-five acres in Orange County, not far from Greenwood Lake and Lake Wawayanda. From 1869 to 1884 Aladdin served as his base in the spring, summer, and fall, while he maintained a studio in New York in the winters. Always prolific, he continued to paint the Hudson River School scenes for which he was so well known, along with subjects drawn from his stays in Europe.
Despite his successful showing in the 1876 Centennial Exhibition in Philadelphia, public taste for Cropsey’s style was waning. American art buyers, bolstered by the post-Civil War boom, increasingly turned to the work of European artists. By the 1880s, interest in Impressionism increased. Cropsey’s art had become “retardataire”, and, consequently, opportunities to sell were diminishing. In order to shore up his income, he increasingly took on architectural commissions from the 1860s through the 1880s, while, ironically, he had to put Aladdin on the market in 1884. With the proceeds, along with those from a sale of his works in 1885, he was able to purchase a much more modest residence in Hastings-on-Hudson. It was there, overlooking the Hudson River, that he lived and worked for the last fifteen years of his life.
_________________________________
"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
Maine Islands - ca. 1938
Marsden Hartley (American, 1877 - 1943)
“Maine Islands” is one of several related versions of the subject that Hartley painted between about 1938 and 1942. (1) The works represent his attempt to naturalize and contain topics that caused him great pain, the death of loved ones and the landscape of his childhood.
Between 1900 and 1912 Hartley had for the most part lived inland and painted the mountains around North Lovell, Maine, west of his birthplace in Lewiston. His only recorded painting of the coast, dating from his student days, is a timid exercise in Tonalism. (2) For much of his subsequent career, mountains and hills remained his primary landscape subject, one that he put through countless variations. But in 1935 he had visited Eastern Points, Nova Scotia, and had fallen in love with both the landscape and the people, particularly the sons of the family with whom he lived. Both seemed simple, direct, and honest: a landscape pared down to a few elements of rock, water, sky, and the people equally essential in their character: "The people that inhabit it, fine types of hard boned sturdy beings, have the direct simplicity of these unique and original places, this country being of course Nova Scotia." (3) Alty and Donny Mason accidently drowned in 1936, and the harrowing event inspired several paintings of jagged rocky coasts and small imperiled boats under threatening skies, much as the suicide by drowning of his friend, the poet Hart Crane, in 1932 had inspired “Eight Bells' Folly” (1933; Frederick R. Weisman Museum, University of Minnesota). Leaving Nova Scotia, he retreated to New York and opened his annual exhibition at Steiglitz’s Gallery “291”, which was billed as "On the Subject of Nativeness--A Tribute to Maine": "The rocks, pines and thrashing seas never lose their power and their native tang. Nativeness is built of such primitive things. . . . I wish to declare myself the painter from Maine." (4) After this declaration there was only one thing he could do, and that was actually to go to the state where he had been born and which he had not visited for years.
Hartley, however, did not go back to his birthplace inland, but the coast, to Georgetown, between Portland and Penobscot Bay. He spent the winter of 1937 in Portland and continued to paint.
Just as the place was new, so were the subjects--at least for Hartley. But they are directly inspired by his elegiac paintings for Alty and Donny Mason, particularly “Northern Seascape--Off the Banks at Night” (1936; Milwaukee Art Museum). Instead of violent seas and threatened boats, however, in Hartley’s paintings of Maine, the coast has been lengthened and flattened and the boats transformed into islands that are certainly sturdier but still alone. The paint is calmer and the colors cooler. Hartley, who was a poet as well as a painter, wrote at this time of islands as solitary beings hostile to change, like people, in a poem entitled "Islands in Penobscot Bay":
Here they sit
in the manner of black notes
upon a sheet of music--
sol-fa-me-re do--
timed, tempered, toned,
submerged with indigenous shapes.
How often we have seen
such islands--even in
the faces of men and women we know...
Islands say, when they are alone
(do they take their speech from us?)
"we are too much like ourselves...
and we are left alone,
so like--ourselves."
"An island is something to be discouraged"--
said an aged one--
"it wants itself and hated to give it up."
Marsden Hartley was born in Lewiston, Maine. When he was eight, his mother died, and he was raised by an older sister and aunt. In 1893 he joined his father, stepbrother, and two sisters in Cleveland, Ohio, where he received his first art training before winning a scholarship to go to New York in 1899. He studied at the National Academy of Design and, after his scholarship ran out, he returned to Maine. Impoverished and isolated, he developed an intensely personal style based on Impressionism and on the cross-stitch brushstroke of Giovanni Segantini. In 1909 his early paintings came to the attention of the modernist dealer and photographer Alfred Stieglitz, who managed his career until 1937.
In 1912 Stieglitz inspired Hartley to go to Europe to learn the latest avant-garde developments; unlike any other American painter, Hartley found his inspiration in Germany not Paris. Generally out of step with his American contemporaries, Hartley never enjoyed much success. After he returned to the United States in 1915, he reluctantly adapted his abstract style to American subjects, ultimately (like many other artists) arriving at representational modes. He returned to Europe in 1921 and remained there until the onset of the Depression and lack of income impelled him back to New York. Much of Hartley's career was spent in an unsatisfied search for a home--whether stylistically or geographically—so that he stayed in no one place for very long. In summer 1936 he painted on Nova Scotia’s Eastern Points Island, where he boarded with a local family, the Masons. Under the impact of the tragic drowning of two sons of the Mason family, who died at sea when a hurricane overturned their sailboat, his work changed one last time. In 1938 he returned to Maine after a twenty-five year absence and ventured into figure painting for the first time. He died just as his work was finally achieving wide recognition. His last works, as well as his German abstractions, have been his most influential.
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"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
Thetis Bringing Armor to Achilles - 1806
Benjamin West (Anglo/American, 1738 - 1820)
Benjamin West was born in Springfield, Pennsylvania. From 1760 to 1763 he visited Italy, and his experience there, particularly his exposure to the beginnings of Neoclassicism in Rome, provided the basis of his later career. In 1763 he settled in London and he remained in England for the rest of his life. In 1768 West became a founding member of the English Royal Academy, and in 1792 he became its second president, succeeding Sir Joshua Reynolds. In 1768 he attracted the patronage of George III, for whom he painted some sixty pictures between 1768 and 1801. In 1772 he was named Historical Painter to the King.
In America, West worked primarily as a portraitist. In England, he achieved recognition as a history painter, producing subjects from Greek and Roman history. In 1771 his painting of a recent historical event, The Death of General Wolfe (1770; National Gallery of Canada, Ottowa), achieved instant celebrity. After 1780 a majority of his works were inspired by the Bible. As his subjects changed, his stylistic vocabulary changed as well, becoming increasingly neo-Baroque or proto-Romantic, but at any moment West was capable of chameleonlike stylistic changes, as he responded to different subject matter and artistic influences.
West’s royal commissions ended in 1801 with the failing health of George III, but in the last years of his life he had great public success with three huge Biblical pictures, Christ Healing the Sick (1811, destroyed; an 1815 version is in the Pennsylvania Hospital, Philadelphia), “Christ Rejected” (1814), and “Death on a Pale Horse” (1817); both Pennsylvania Academy of the Fine Arts, Philadelphia). After his death his two sons turned his home and studio into a public gallery. When its popularity waned, they sold the works at public auction in 1829.
In the opening lines of the nineteenth book of the “Iliad” by Homer, the Greek hero Achilles has withdrawn from the war with Troy and is grieving over the body of his slain companion Patroclus. To persuade Achilles to return to battle, Thetis, his mother, has had new armor made by Vulcan to replace Achilles’ previous set, which Patroclus had been wearing when he was killed. Achilles’ followers, the Myrmidons, are fearful of the shiny new armor.
Of the several known or recorded pictures by West showing Thetis bringing the armor, only the New Britain work includes the Myrmidons. The treatment of the main figures-Thetis, Achilles, and the corpse of Patroclus-is basically the same as it is in West's initial depiction of the subject, a large picture exhibited at the Royal Academy, London, in 1805, THAT has disappeared but is known through engravings and copies. (1) West exhibited a second painting of the subject at the Royal Academy in 1805 and a third, in 1808. The New Britain picture may have been the version shown in 1808. While the final digit in the date on the canvas can be interpreted as a 6 or an 8, either reading precludes identification of the work as being one of the paintings exhibited in 1805. In addition, several purportedly complete lists of West’s works were drawn up and published between 1802 and 1808. The last of them, published in 1808 in “La Belle Assemblee, or Bell’s Court and Fashionable Magazine” is the only one that includes “the small picture of Thetis bringing the armour to Achilles in which the Myrmidons are introduced.” This reference must be to the New Britain picture, which evidently was only recently completed in 1808, too late to have appeared in any of the other, earlier lists.
West initially made his reputation in the late 1760s with “Agrippina Landing at Brundisium with the Ashes of Germanicus” (1768; Yale University Art Gallery, New Haven), which is among the important early monuments of the Neoclassical style that dominated European art in the late eighteenth century and the early years of the nineteenth. Following the great success of his modern-life history painting “The Death of General Wolfe” (1770; National Gallery of Canada, Ottowa), he moved away from classical subject matter. By 1790 such themes had virtually disappeared from his oeuvre, but about 1800 he began to return to classical subjects. The group of paintings devoted to Thetis and Achilles, painted some forty years after “Agrippina”, are his most ambitious later ventures in this vein. West’s renewed interest in classical subjects was probably inspired by the series of outline engravings illustrating the Iliad and the Odyssey published in 1793 after designs by the Englishman John Flaxman and by the Neoclassical paintings of Jacques-Louis David and his followers, which West saw in Paris in 1802.
Both Flaxman and the French artists practiced more severe, archaeologically precise, and abstract formal classicism than West had in his earlier paintings, and this later influence is reflected in the essentially two-dimensional composition, the pronounced emphasis on outline, and the compact quasigeometrical arrangement of the main figures in the New Britain picture as well as in such details as Thetis’s profile, Achilles’ nudity, and the elaboration of the sword, shield, and helmet. Achilles’ glowering expression, extended leg, and brooding posture are prefigured in “Phaedra and Hippolytus” (1822; Museé du Louvre, Paris) by Pierre-Narcisse Guérin, which West saw and admired in the Salon of 1802 in Paris.
The New Britain picture was not painted on commission, and it remained in the possession of the artist and his heirs until 1829. The first version was one of three works commissioned from West by Thomas Hope, a leading figure in the Greek revival of the early nineteenth century and a scholar who published a two-volume Costume of the Ancients in 1809 as well as later works devoted to antique furniture and decoration. We do not know if Hope dictated the subject or if West chose it in order to appeal to Hope’s known interests.
Whereas West’s earlier pictures, such as “Agrippina” are all variants of the Neoclassical “exemplum virtutis”, (3) focusing on the high-minded and patriotic actions of their protagonists whose self-sacrifice and devotion to duty served as models of behavior, his Achilles is a reluctant hero who must be bribed by his mother to do his duty--hardly a role model for anyone. Rather than a celebration of virtue, the picture is about a tormented, disobedient, and unhappy man. Achilles has become a romantic hero whose soulmates are Milton’s Satan from “Paradise Lost” and Shakespeare’s Hamlet and Coriolanus, characters who have trouble making up their minds, all of whom were the subjects of ambitious paintings exhibited between 1797 and 1801 by Thomas Lawrence, probably the most admired and respected younger artist in England at the turn of the century. (4)
Yet “Thetis Bringing the Armor to Achilles” did have a timely message about duty. Between 1793 and 1815 England and France were almost constantly at war. The only significant break in the fighting was the brief Peace of Amiens of 1802, which allowed West and other English artists to visit Paris. By the beginning of 1805, hostilities had resumed and Britain was preparing for an invasion by Napoleon’s armies. In West’s pictures showing Thetis urging her son to return to battle, conceived and begun at precisely that moment, the implicit call to arms is clear. In the first version and in the New Britain picture, Achilles is brooding and shows no visible interest in what Thetis has brought him, but in yet another version of the subject, which was probably West’s second treatment of the subject exhibited in 1805, Achilles has taken the helmet in one hand, raises the sword above his head with the other, and is manifestly on his way to do battle with the Trojans.
The introduction of ten Myrmidons into the New Britain picture, eight on the left side and two on the right behind the body of Patroclus, transforms the earlier vertical compositions into a horizontal one. The armor, freshly made by Vulcan, lovingly described by Homer, and faithfully re-created by the artist, is clearly meant to be beautiful and to represent West’s conception of the highest achievements in ancient craftsmanship and design. These objects are to be appreciated aesthetically, not feared; nevertheless, the “Iliad” is explicit about the Myrmidons’ fright: “Trembling took hold of all the Myrmidons. None had the courage to look straight at it. They were afraid of it.” (5) Their gestures and expressions recall similar responses of spectators before miraculous or terrifying events in other paintings by West, notably the terror of Saul’s companions in “Saul and the Witch of Endor” (1777; Wadsworth Atheneum, Hartford). What partly explains such ancillary figures in many late-eighteenth and early-nineteenth-century paintings is the notion of the “Sublime” propounded by Edmund Burke in his influential “Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful” (1757). Burke defined Sublimity as the opposite of beauty, yet it bears equal aesthetic power stemming from our psychological responses to what we perceive as threatening. Pictures showing terrifying apparitions, natural disasters, and the like can often be related to Burke’s ideas, and, since the theory was about responses, many of those pictures show not only something to terrify us but also terrified observers whose reactions we can observe and share.
ink.nbmaa.org/people/1684/benjamin-west
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"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
UIC Medical Center on the roof of the Wood street parking garage . John Hancock landmark skyscraper shows inside the concrete circle. Willis (Sears) Tower appears to the left of the smoke stack.
The Clove, Catskills - DATEc. 1826
Thomas Cole (English/American, 1801 - 1848)
Thomas Cole, best known as the founder of the Hudson River School of landscape painting, was born in Bolton-le-Moor, Lancashire, England, the son of a textile manufacturer. He completed his formal education in 1815 and began an apprenticeship to an engraver of designs for printed calico; two years later, he was hired as an engraver's assistant. In 1818, financial difficulties related to labor uprisings led the Cole family to immigrate to Philadelphia, where Thomas found work as an engraver's assistant. Later, Cole joined his family at their new residence in Steubenville, Ohio, where he taught painting and drawing at a seminary for young women run by his older sisters.
It is thought that John Stein, an itinerant portrait painter, introduced the fundamental technique of oil painting to Cole. In 1821 Cole began painting portraits of Steubenville residents and soon was traveling himself. It was not long before he returned to Philadelphia with the intention of becoming a professional artist. He drew from casts at the Pennsylvania Academy of the Fine Arts, where he was impressed by landscapes by Philadelphia artists Thomas Doughty and Thomas Birch.
In the meantime, the Coles had moved to New York City. Thomas followed in 1825 and sold three paintings to George Bruen, a New York merchant who then financed the artist's first trip up the Hudson River. Cole's career was launched with the sale of three pictures resulting from this trip-to John Trumbull, William Dunlap, and Asher B. Durand, all active members of the New York art community. Through Trumbull in particular, Cole gained some of his first and most important early patrons, including Daniel Wadsworth of Hartford and Robert Gilmor of Baltimore. Cole continued to take sketching trips up the Hudson to the Catskill area-the first and most influential artist to do so-and, inspired by Wadsworth, began to travel to the White Mountains in New Hampshire. He also sketched in the Adirondacks, the Berkshires, Maine, and Connecticut. These trips provided material for paintings composed in his studio.
Cole's early career centered around the wilderness landscape of North America, and it is on these canvases that he built his reputation. His elevation of American landscape painting from a primarily descriptive genre to a symbolic one was the impetus for his quick success. In his writings and sketchbooks, however, it is clear that his goal was to make history paintings. Luman Reed, a New York merchant, commissioned Cole's first major series in this vein, The Course of Empire (1834-36; New-York Historical Society). Generally misunderstood in its day, the series is now considered to be a comment on the administration of Andrew Jackson. Samuel Ward, also of New York, commissioned Cole's second major series, The Voyage of Life (1839-40; Munson-Williams-Proctor Institute, Utica N.Y.), four allegorical paintings exploring the stages of life and Christian salvation. The Cross and the World (ca. 1846-47; whereabouts unknown), Cole's final unfinished series, was inspired by John Bunyan's Pilgrim's Progress, and continued the artist's investigation of religious themes.
Cole traveled in Europe from 1829 to 1832 and from 1841 to 1842, after which he added European and arcadian views to his repertoire, inspired by the art and landscapes he saw abroad. During his first stay in London, from 1829 to 1831, he met J. M. W. Turner and John Constable and exhibited paintings at the Royal Academy. In 1832 he sailed for Paris, where he remained for one week before leaving for Italy. He spent time in Naples, Florence, Volterra, and Rome, where he stayed in the studio said to have belonged to Claude Lorrain. On his second trip to Europe, he again visited England, France, and Italy and toured Switzerland as well.
Cole took on two students during his career, Frederic Church, who achieved fame equal to his own, and Benjamin McConkey. Church studied with Cole from 1844 to 1846, and his early work bears the mark of Cole's tutelage, particularly in its subject matter.
Cole was a prolific poet, essayist, and diarist and lectured frequently. One of his most important lectures was "Essay on American Scenery," delivered to the American Lyceum Society in New York in 1835 and published in the American Monthly Magazine the following year. He died in Catskill, New York.
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"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
Charles Sheeler American ( 1883-1965)
Americana , 1931
Oil on canvas
Between 1926 and 1934 Sheeler produced seven paintings and several photographs of the interior of his home in South Salem, New York. Prominently featured in all of them is his collection of early American furnishings. Although he rendered each object with Precisionist clarity, he treated the composition as an abstract design, enlivened by his unusual choice of perspective.
Edith and Milton Lowenthal Collection, Bequest of Edith Abrahamson Lowenthal, 1991
1992.24.8
From the placard: Metropolitan Museum of Art
RHYTHM SECTION SYMMETRICAL ANGELIC LUMINOUS PSYCHEDELIC ULTRA DETAILED MOEBIUS WATERCOLOR ENHANCED SUPER BLUE ELECTRIC SOUND VISION ++ RAINBOW CASTLE IMAGINATION STATION NEXUS GATEWAY COSMIC OCEAN STAR ISLAND DREAM WORLD TREE LIBRARY LABYRINTH LEGENDARY GLASS SPIDER / TIME WILL CRAWL NEVERENDING STORY UP TO ME LOVING THE ALIEN DREAM MIDNIGHT CITY TELEVISION RULES NATION INTO WILD EVERYTHING IN ITS RIGHT PLACE PYRAMID SONG KARMA POLICE LEAVING MEANING SOME NEW THINGS FOR SUN RAINBOW RISING DARK TOUCH OF GRAY I KNOW YOU RIDER LOGOS THRU METAMORPHIC ROCKS TYGER LONDON UNDERWATER SUNLIGHT RIDE ON RAY SILVER CROSSES SUPERNATURAL POWER PLANT DRAGON SACRED HEART LAST LINE MAGICAL MYSTERY TOUR MOTHER PEARL #THE #WILD # #RAINBOW #TOWER #LIBRARY #CASTLE #MEMORY #PALACE #STATION #RAINBOW #INN #ASTRAL #CELESTIAL #CITADEL #SANCTUARY #IMAGINATION #STAIRWAY #TO #HEAVEN #RIVER #OF #DREAMS #LIGHT #LIFE #LOVE #GUARDIAN #PEACE #DRAGON #LUCK #SPIRAL #WIZARD #HEART #EMERALD #AVATAR #MOUNTAIN #GREEN 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RHYTHM SECTION SYMMETRICAL ANGELIC LUMINOUS PSYCHEDELIC ULTRA DETAILED MOEBIUS WATERCOLOR ENHANCED SUPER BLUE ELECTRIC SOUND VISION ++ RAINBOW CASTLE IMAGINATION STATION NEXUS GATEWAY COSMIC OCEAN STAR ISLAND DREAM WORLD TREE LIBRARY LABYRINTH LEGENDARY GLASS SPIDER / TIME WILL CRAWL NEVERENDING STORY UP TO ME LOVING THE ALIEN DREAM MIDNIGHT CITY TELEVISION RULES NATION INTO WILD EVERYTHING IN ITS RIGHT PLACE PYRAMID SONG KARMA POLICE LEAVING MEANING SOME NEW THINGS FOR SUN RAINBOW RISING DARK TOUCH OF GRAY I KNOW YOU RIDER LOGOS THRU METAMORPHIC ROCKS TYGER LONDON UNDERWATER SUNLIGHT RIDE ON RAY SILVER CROSSES SUPERNATURAL POWER PLANT DRAGON SACRED HEART LAST LINE MAGICAL MYSTERY TOUR MOTHER PEARL #THE #WILD # #RAINBOW #TOWER #LIBRARY #CASTLE #MEMORY #PALACE #STATION #RAINBOW #INN #ASTRAL #CELESTIAL #CITADEL #SANCTUARY #IMAGINATION #STAIRWAY #TO #HEAVEN #RIVER #OF #DREAMS #LIGHT #LIFE #LOVE #GUARDIAN #PEACE #DRAGON #LUCK #SPIRAL #WIZARD #HEART #EMERALD #AVATAR #MOUNTAIN #GREEN 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www.mndjet.com/item/4443/bulova-precisionist-rose-steel-l....
Rose and stainless steel case and bracelet. White mother of pearl dial. Precisionist quartz movement. Flat mineral crystal. Date. Water resistant 30 meters. Case 30mm.
www.mndjet.com/item/4636/bulova-precisionist-tanglewood-d....
Stainless steel case and bracelet. Mother of pearl patterned inner dial and genuine diamond hour markers. Genuine diamonds line the Tanglewood twist design case boarders. Precisionist accurate quartz movement. Date display. Water resistant 30 meters. Case measures 32mm diameter by 9mm thick.
Hollyhocks - 1876
Eastman Johnson (American, 1824 - 1906)
“Hollyhocks” depicts nine young women enjoying a summer afternoon in a garden. They quietly tend the blooming hollyhock plants or casually converse beneath a vine-laden arbor. Their elegant attire and their pretty unlined faces attest to an existence free from the trials of hard work. Refined outdoor activities became an accepted form of leisure after the Civil War, and with the increased industrialization of the late nineteenth century such paintings of pastoral bliss became popular among the newly urbanized elite.
Johnson executed “Hollyhocks” following extensive training in Europe, and the influence of his teacher Thomas Couture is especially evident in the fluid application of color and in the academic method of building up the composition from a series of individual studies. Johnson exhibited one of these studies, “Catching the Bee” (1872; Newark Museum, N.J.) at the National Academy of Design in New York in 1872. This highly finished work shows young woman plucking a single blossom from the tall stem of a hollyhock plant. Four years later Johnson incorporated this figure into the left side of “Hollyhocks”. “Catching the Bee” and “Hollyhocks” display a brighter palette and stronger contrasts of light and shadow than Johnson’s paintings of the previous decade, revealing the artist’s exploration of natural light in the 1870s.
The subject of women in an enclosed garden has a long tradition in art history. The enclosed garden, or hortus conclusus, was traditionally associated with the Garden of Eden, a theme with potent implications for artists of the New World. It was also identified with the purity of the Virgin Mary, and many late-nineteenth-century artists extended this analogy to women in general. An evocative floral language developed to suggest the fertility and beauty of the female sex. In “Hollyhocks” the flowers stand as tall as the women, their lyrical swaying attitudes mirroring the grace of their human counterparts.(1) The women, like the hollyhocks, are arranged decoratively along the periphery of the compound, and the red, pink, and white of their gowns are the colors of hollyhock blooms. Enclosing the hollyhocks--and, by extension, the nineteenth-century women--within the confines of a walled garden allowed them the benefits of air and light without exposing them to the dangers of the rapidly modernizing world. From this sheltered position, both the women and the flowers in “Hollyhocks” become beautiful, but passive, objects of contemplation.
Eastman Johnson was born in Lovell, Maine, and began his career in Boston in 1840 as an apprentice in Bufford’s Lithographic Shop, designing title pages for books and sheet music. He became an itinerant portrait painter in 1842, and for the next seven years he worked in Newport; Portland, Maine; Washington, D.C.; and Boston. In 1849 Johnson traveled to Germany, where he studied at the Düsseldorf Academy, and joined the studio of Emanuel Leutze, who was then working on the second version of his “Washington Crossing the Delaware” (1851; Metropolitan Museum of Art, New York). Johnson continued his studies in The Hague, where he spent three and a half years studying the painterly brushwork of the seventeenth-century Dutch and Flemish masters, and in 1855 he enrolled in the Paris studio of Thomas Couture.
Settling in New York in 1858, Johnson opened a studio in the University Building and began work on “Negro Life at the South” (1859; New-York Historical Society), which he exhibited at the National Academy of Design to the acclaim of abolitionists and slaveholders alike. The following years were devoted to Civil War subjects and to the traditional American genre scenes for which he became best known. During the 1860s he began a series of maple-sugaring scenes in Maine and bought his first property on Nantucket in 1871. He was elected an associate of the National Academy of Design in 1859 and became a full member in 1860. Johnson became prominent in New York art circles, joining the Century Association and the Union League Club and becoming a founding trustee of the Metropolitan Museum of Art. In the 1880s Johnson began to refocus his attention on portraiture, dedicating the last two decades of his career to the depiction of the nineteenth century’s wealthy industrialist class.
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"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
www.mndjet.com/item/3373/bulova-precisionist-brightwater-....
Stainless steel case and bracelet. Diamond accents in a swirling design on bezel. Mother of pearl dial. Continuously sweeping second hand. Quartz movement. Water resistant 30 meters. Case 31mm.
A lot of people on flickr look down on photoshopped images. However, as a former commercial llustrator, I have never considered my self a "photographer" but an image creator. Often, it matters not -- be it straight photography or photo illustration, or a completely fabricated illustration. I was concerned here with composition alone. Photoshop is a great way to work out ideas fast.
All Out for Sport - 1949
Anna Mary Robertson (Grandma) Moses (American, 1860 - 1961)
"All Out for Sport," painted in 1949, is typical of Moses' flat, colorful style. Despite using few colors, details, and little to no shading, she captures the movement and the mood of the people and the landscape. Her simple style lends itself to this kind of iconic winter scene; the flat broad brushstrokes are perfectly suited to depict the gray sky, and the rolling snowdrifts.
"GRANDMA MOSES LIVES! That could be the title of the exhibition built around her at the New Britain Museum of American Art. Grandma Moses is America's coziest painter, a representative of a more sedate time in our history, so a little manufactured excitement is in order.
The exhibition's real title is ''Memory Is a Painter: The Art of Grandma Moses.'' It is a traveling show circulated by the Bennington Museum in Vermont, and most of the 20 paintings in it come from there. Bennington is just across the state line from Hoosick Falls and Eagle Bridge, N.Y., communities in which Anna Mary Robertson Moses (1860-1961) spent almost all of her long life.
As is the case with many exhibitions these days, the art itself is only one facet of the show. The center of the gallery is taken up by other diversions including a ''working quilt.'' What is referred to as a corps of quilters is busy during museum hours answering questions while working on an outsized fabric version of one of the busy paintings, ''All Out for Sport'' (1949) in New Britain's collection. This project seems appropriate, for Grandma Moses' style is often compared with patchwork, for the way she boldly unites disparate elements in a composition.
Another added attraction is the kitchen table with its peeling linoleum top that served as her studio. On it are dried-out tubes of paint and brushes, and the jar lids that served as her palette. The artist only used pure colors, but also on the table is a large jar filled with silver glitter, traces of which can be seen in her winter scenes.
Several red and white checkered signposts, a motif taken from a checkered house that figures in two paintings, labeled ''Grandma Says,'' dot the exhibition space. They offer gleanings from her 1952 autobiography, ''Grandma Moses: My Life's History.'' She describes old fashioned activities like sugaring and candle making, and reflects on her arthritis and old age.
But a viewer can get even closer to Grandma Moses with the video presentation, a television interview she had with Edward R. Murrow in December 1955 on the program ''See It Live!'' She shows herself to have a little of Andy Warhol in her (Warhol would come on the scene only a decade later) when she reassures Mr. Murrow that ''anyone can paint.'' It is amusing to watch him take her at her word, trying to draw a tree branch while balancing a paintbrush and a cigarette in the same hand.
She also reveals her savvy in a 1947 conversation with a friend who recalled her saying that she would have to live at least six more years to outlive the contract with her dealer, Otto Kallir of the St. Etienne Gallery in New York. Her complaint was succinct: ''He got too much money.'' But at the same time she understood and appreciated that Mr. Kallir made her career.
Also in the show are spinoffs made from her art, including fabrics and dinnerware. These extras make Grandma Moses a more palpable figure than the naive artist of legend. Today the public is used to the phenomenon of the idiosyncratic Outsider artist, not exactly a folk artist, who is aware of the marketplace.
The earliest examples of her work are yarn paintings from the 1930's. A major theme is shepherds, which is consistent with her medium, yarn made from wool. Another yarn painting is the fanciful ''Cairo,'' a rare musing on an exotic place.
The figures in her early paintings can be large and often clumsy. In the later work, the many figures are subordinate to the general sense of multifarious activity, so maladroitness isn't even an issue, and it can even be a charm, such as a horse that resembles a hyena. But in ''Spirit of the Cider Barrel'' (1945) the large figures make up something on the order of an enchanting myth. The female figure is like a goddess of plenty providing the nectar for the men to sip.
Grandma Moses hit her classic stride in the 1950's with the paintings that celebrate the seasons. It is an immense pleasure to be immersed in white, in the winter scenes for which she is best known, and then, in an adjacent painting, be plunged into the insistent green of summer. Transition seasons also get their due.
Wall text reminds viewers that a venerable tradition lies behind her art, 15th- and 16th-century Flemish and Dutch landscape painting as practiced by Pieter Brueghel or the Limbourg Brothers. Like them, Grandma Moses rejected linear perspective and used other devices to flatten out a scene enabling her to present a panorama in a restricted space. Her focus on commonplace activity is something also shared with the earlier painters.
Her last painting, ''School,'' made in July 1961, is a sweet reminiscence of her girlhood. The figures are once again large, but here they exist in an atmosphere that approaches Impressionism. A viewer is sent off by a portrait of Grandma Moses by Dean Fausett, painted on her 100th birthday. She looks very much in the pink, and as it is presented in this show, so does her legend."
www.nytimes.com/1998/07/26/nyregion/art-the-varied-tradti...
________________________________
"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.