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John Smibert (1688 - 1751)
Portrait of Benjamin Colman, 1739
This portrait of the Boston merchant Benjamin Colman, painted in September 1739, was done as Smibert observed the twentieth anniversary of his Boston painting career. In many ways the portrait affirms his dogged allegiance to a late baroque painting style that placed a premium on a rich dark palette, absolute decorum, and methodical modeling of features. It is for these reasons that Colman's portrait recalls earlier images by Smibert, such as “Henry Collins” (1736; Redwood Library and Atheneum, Newport, R.I.). Colman is shown in a well-established merchant pose and attired in a typical, if stylistically conservative, richly colored frock coat and matching waistcoat. The letter in his hand, inscribed To / Mr Benjn Colman / Mercht / in / Bost [on], was one of the visual conventions of the day through which the artist was able to incorporate an informal label in the portrait. Just after the work was painted, Smibert succumbed to a lengthy illness, which effectively curtailed his activity as a painter. “Benjamin Colman” is one of fewer than a dozen portraits that survive from the last years of Smibert’s career.
Colman was born in Boston, October 28, 1710, the tenth child of John Colman and Judith Hobby Colman. John Colman was the elder brother of Reverend Dr. Benjamin Colman of the Church in Brattle Square whose portrait Smibert painted in 1734. Benjamin graduated from Harvard in 1727 and ranked among a handful of families at the pinnacle of Boston society. On March 24, 1736, he married Deborah Oulton, daughter of John and Deborah (Legge) Oulton of Marblehead. On October 12, 1738, she died shortly after having given birth to their second child. Within less than a year Colman married Hannah Pemberton, a daughter of James and Hannah (Penhallow) Pemberton. Smibert had painted her portrait (Metropolitan Museum of Art, New York) in July 1734. Benjamin's portrait was apparently done to commemorate this second marriage. Colman fathered eleven children by his two wives.
Like his father, Benjamin was a merchant. In 1741 he formed a partnership with Nathaniel Sparhawk, and five years later they reached the height of their activity and commercial success, when they supplied the uniforms to the Massachusetts troops assaulting Louisbourg and workmen, supplies, and construction material to the forces that remained there. Their financial success, however, was short lived, and by 1758 Colman's firm declared bankruptcy. Colman’s death on April 20, 1765, his obituary identified him as "formerly a noted Merchant in this Town."
Although a native of Edinburgh, Scotland, Smibert is remembered today as the first academically trained painter to carve out a career as a portraitist in colonial America. Smibert studied in London at the Great Queen Street Academy of Sir Godfrey Kneller, after which he painted briefly in Scotland. From 1719 to 1722 Smibert was in Italy, painting portraits, making contacts, and studying the great artistic monuments to be found there. From 1722 to 1728 he lived in London and established himself as a portrait painter of some note. In 1728, however, Dean George Berkeley persuaded Smibert to join him on a venture to establish a college in Bermuda, where Smibert would be a professor. Smibert commemorated this venture with his influential group portrait “The Bermuda Group” (1729-31; Yale University Art Gallery, New Haven, Conn.). When the college failed to materialize, Smibert stayed in Boston, where he painted for more than twenty years. He produced portraits of the colony's leading citizens and created a visual record of the pomp and pageantry associated with the late baroque work of the early eighteenth century.
Smibert is unusual for a colonial painter in that his career is clearly documented. His personal account book (Massachusetts Historical Society) records more than four hundred portrait commissions that he received in Italy, England, and America between 1719 and 1746. Smibert's American portraits, rather than showing a radical departure from those painted in London, indicate a slow but persistent transformation of his technique. Like native-trained colonial artists, he suffered from a lack of ongoing exposure to European traditions and knowledgeable criticism. Nevertheless, his career spawned the most impressive body of colonial portraits prior to those of John Singleton Copley.
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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."
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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.
On view September 27 - November 22, 2024
Ceramics Program, Office for the arts at Harvard
224 Western Ave, Allston, MA 02134
Audrey An explores the notion of home, where furniture in domestic spaces becomes a repository for physical remnants of accumulated memories, shaping and reflecting one's identity. Drawing inspiration from Korean historical furniture, artifacts, and cross-cultural iconographies, in "Wishful Things”, An creates hypothetical spaces that embrace emotional states of oscillation between cultures, offering a venue for reflection and self-personification through inanimate-objects.
An explores the condition of being a 1.5 generation Korean-American, an ‘in-betweener’ who is not quite first or second generation enough. Through wishful object-making and their curation, she examines this in-betweenness, the embodiment of emotional oscillation to seek balance. Similarly to the way she moves fluidly between the two languages she speaks, An approaches her studio practice as a form of ‘code-switching’ between physical and digital work, as well as between clay and other materials such as plastic, wood, and foam. Her practice also navigates the spectrum between the analog handling of clay and digital fabrication methodologies, creating multifaceted visual renderings of objects noting on how we often remember things: sometimes exaggerated, somewhat fabricated, and glitched in low-resolution. These objects then come together as physical collages of organic and mechanized tension reflecting the complex and fragmented, but essentially harmonious feelings that transcend the cultural oscillations.
2022-2024 Ceramics Program Artist In Residence Audrey An’s creative research revolves around the notion of applying digital technologies to ceramics from the perspective of ‘convergence,’ whether it be cultural, technological, or interdisciplinary. She earned her BFA and Art History Minor from New York State College of Ceramics at Alfred University, an MFA from Penn State University, and was a post-baccalaureate student at Colorado State University. Audrey has participated in artist residency programs at Haystack Mountain School of Crafts (Deer Isle, ME), Watershed Center for the Ceramic Arts (Newcastle, ME) and was selected as Ceramics Monthly 2023 Emerging Artist.
Jan 03 2008 - Squamish Emergency Program out in training. Here is a walk across broken ice. Need less to say he did not make it. Do not try this at home or out on the ice. _DSC_6699
Programa de celebración del 40 aniversario de la carrera de Medicina de la Universidad de Montemorelos, realizado el viernes 13 de noviembre del 2016 en el Auditorio de la Facultad de Ciencias de la Salud. Fotografía: Esteban de la Cruz
May 12, 2014
Residential College Program with Jae Woo Choi at SUNY Korea
The State University of New York, Korea
Stony Brook University
A collaborative effort between The Women's Museum and the Texas Discovery Gardens, the Environmental Leadership Program (ELP) works to help students understand and take responsibility for issues in environmental and leadership studies.
Students learn environmental awareness, "green" careers, leadership skills, local environmental issues and strategies to impact environmental policy decisions.
Support provided by the JP Morgan Chase Foundation
April 7, 2014
Residential College Program with Alex Lim at SUNY Korea
The State University of New York, Korea
Stony Brook University
Mouse on The keys : www.myspace.com/mouseonthekeys
Party Program : www.party-program.com/blog/
La Malterie, Lille : www.lamalterie.com/
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2018 SCCA National Championship Runoffs
Sonoma Raceway - Sonoma, CA
SCCA Club Racing
* This is not a program but instead, just an event media guide, as there were no programs from the event.
USG successfully hosted the second annual Achieving Collegiate Excellence and Success (ACES) Summer Bridge Program from June 16-19, 2015. ACES seeks to support students and create a seamless pathway from high school to college completion.
ACES focuses on career preparation and exploration. Rising seniors from local high schools participate in activities that develop leadership, teamwork, and interpersonal skills essential for success in today's workforce.
Coaching and support will continue for ACES scholars as they pursue their education with Montgomery County Public Schools, Montgomery College, and the Universities at Shady Grove.