Archive for the ‘American Art’ Category

John Singer Sargent | En route pour la pêche (Setting Out to Fish), 1878 | Corcoran Gallery of Art, Washington, D.C.

ARTstor and The Corcoran Gallery of Art are sharing approximately 1,200 images from the Gallery’s permanent collection in the Digital Library. The collection focuses primarily on American works from the 18th, 19th, and 20th centuries, as well as some European works. (more…)

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Jacob A. Riis | The First Patriotic Election in The Beach Street Industrial School – parlor in John Ericsson’s old house. | ca. 1890 | Museum of the City of New York

Voters across the United States are heading to the polls today to vote in the Presidential Election. Not sure where you need to go? You can look it up here.

This 19th-century photograph by Jacob Riis of children casting ballots on the issue of saluting the American flag comes to us from our partners at the Museum of the City of New York.

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ARTstor Digital Library and San Anto Cultural Arts are collaborating to share approximately 40 images of murals created as part of the organization’s Community Mural/Public Art Program.

San Anto Cultural Arts (SACA) is a nonprofit learning space that promotes and encourages organic and cultural self-expression in San Antonio, Texas. A small group of community residents established the organization in 1993 in the heart of the city’s Westside community, near the Alazan-Apache Housing Projects. (more…)

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ARTstor and the Museum of Fine Arts, Houston are collaborating to make approximately 20,000 images from the permanent collection available in the Digital Library.

The collection at the Museum of Fine Arts, Houston (MFAH) spans antiquity to today, with strengths in Italian Renaissance painting, French Impressionism, photography, American and European decorative arts, African and pre-Columbian gold, American art, and post-1945 European and American painting and sculpture. The museum has further strengthened the diversity of its collection with modern and contemporary Latin American art, Asian art, and Islamic art. (more…)

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Alex Katz | Home On the Range, 1948-1949 | Colby College Museum of Art | Art © Alex Katz / Licensed by VAGA, New York, NY. This work of art is protected by copyright and/or related rights and may not be reproduced in any manner, except as permitted under the ARTstor Digital Library Terms and Conditions of Use, without the prior express written authorization of VAGA, 350 Fifth Avenue, Suite 2820, New York, NY 10118. Tel.: 212-736-6666; Fax: 212-736-6767; Email: info@vagarights.com.

Alex Katz, one of the most distinctive painters in America, turned 85 years old this week. His style is now immediately recognizable: flat, minimal, large, and—usually—bright. While Katz has tackled a variety of subjects and media in his long career, his work has retained many of the same qualities since his first solo exhibition in 1954, which is why this selection from his student years at Cooper Union proves so fascinating.

These small gouaches on paper from 1948-1949 illustrating popular folk songs offer a glimpse of the artist in development. Many of the elements that would become Katz’s signature style are already in place, but we find unexpected hints of influence by American painters Ben Shahn and Stuart Davis.

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Not long after finishing these works, Katz began painting from life during a summer at the Skowhegan School for Painting and Sculpture in Maine, adding one more of the key elements that led to his mature work.

These images—from a series of nine gouaches—come to us from the collection of the Colby College Museum of Art in Waterville, Maine. Since 1954, Katz has spent his summers in a 19th-century clapboard farmhouse in neighboring Lincolnville, and he has developed a close relationship with the school, which has devoted a 10,000-square-foot wing to his work, of which they own more than 760 pieces, most of them accessible in the ARTstor Digital Library.

Giovanni Garcia-Fenech

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Arnold Genthe | Miss Helen Chamberlain with Buzzer the cat, May 28, 1918 | Library of Congress Prints and Photographs Division

“It is told that at the age of four, when I was taken by the nurse to look at my newly arrived brother Hugo, I seriously remarked, ‘I’d like a little kitten better.’ I am fond of dogs, but cats have always meant more to me, and they have been the wise and sympathetic companions of many a solitary hour.”

 –Arnold Genthe, As I Remember (1936)

Arnold Genthe is best remembered for his photos of San Francisco’s Chinatown, the 1906 San Francisco Earthquake, and his portraits of notables, from celebrities to politicians. Maybe that list should also include cats.

A self-taught photographer, Genthe opened a portrait studio in San Francisco in the late 1890s. His clientele grew to include celebrities such as silent actress Nance O’Neil, theater legend Sarah Bernhardt, poet Nora May French, and author Jack London. In 1911 Genthe moved to New York City, where he concentrated primarily on portraiture, photographing such towering figures as Theodore Roosevelt, Woodrow Wilson, and John D. Rockefeller. And all the while, he was photographing cats. Among the more than 1,000 images of Genthe’s photographs in the Library of Congress Collection in the ARTstor Digital Library, there are 82 that include cats, usually accompanying women, but occasionally alone. More than half of these feature his beloved cat Buzzer (or perhaps that should be “Buzzers,” as he used that name for four cats).

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Our slide show is made up of some highlights featuring Buzzer; search the ARTstor Digital Library for Genthe and cat to see all of the photographer’s feline friends.

Giovanni Garcia-Fenech

Arnold Genthe | Buzzer the cat, 1912 | Library of Congress Prints and Photographs Division

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Albrecht Durer | St. John Beholding the Seven Golden Candlesticks (Jesus appearing in the clouds) | Wetmore Print Collection, Connecticut College, New London

ARTstor and Connecticut College have partnered to release more than 600 images from the Wetmore Print Collection to the Digital Library. This collection features work by artists from across Europe and the United States, including William Blake, Rembrandt, John Sloan, Annibale Carracci, Canaletto, David Teniers, Claude Lorrain, and many others.

View the collection in the Digital Library: http://library.artstor.org/library/collection/ctcollege_asian or enter the Keyword Search: asian conncoll.

For more detailed information about this collection, visit the Connecticut College page.

Related collections:

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Eduardo Carrillo | Down The Lane, 1991-1992 | Museo Eduardo Carrillo | Image and original data courtesy of the Estate of Eduardo Carrillo

ARTstor has collaborated with the Museo Eduardo Carrillo to share nearly 30 images of works by the Californian painter in the Digital Library.

Born in 1937 in Los Angeles, California, Eduardo Carrillo was a pivotal figure in the Los Angeles Chicano Art Movement of the 1960s and 1970s. Carrillo’s paintings often refer to history, religion, and mythology. His still lifes, landscapes, and empty rooms from the early 1960s show the influence of the Spanish masters, imbued with magic realism. In the 1970s, social themes and the human figure became central to his work, which increasingly included murals.

The Museo Eduardo Carrillo was founded to extend the artist’s work into the world through exhibitions, Web presence, and publications.

For more detailed information about this collection, visit the Museo Eduardo Carrillo collection page.

Related collections:

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Tsukioka Yoshitoshi | Minamoto no Yoshitsune, Suke no tsubone and Shin chunagon Taira no Tomomori, 1867 | Ruth Chandler Williamson Gallery, Scripps College

ARTstor and the Ruth Chandler Williamson Gallery at Scripps College are now sharing more than 700 images of works from the permanent collection in the Digital Library. The collection in ARTstor consists of highlights from several special collections. The Gallery houses a teaching collection of Japanese woodblock prints and illustrated books from the late 17th century to late 20th century, featuring works by the artists Yoshu Chikanobu (1838-1912) and Tsukioka Yoshitoshi (1839-1892). The Marer Collection of contemporary ceramics is international in scope, comprising American, British, Japanese, Korean, and Mexican works. The Young Collection focuses on Impressionist oil paintings by 19th and 20th century American artists, including George Bellows, Mary Cassatt, William Glackens, Frederick Childe Hassam, Robert Henri, Winslow Homer, Maurice Prendergast, and Theodore Robinson, among others. Another important teaching collection traces the history of photography with a selection works from the 19th through the 21st century. Finally, there is the Samella Lewis Contemporary Art Collection, which comprises works by contemporary artists with a special focus on art by women and African-American artists, such as Elizabeth Catlett, Samella Lewis, Faith Ringgold, and Alison Saar.

View the collection in the Digital Library.

For more detailed information about this collection, visit the Ruth Chandler Williamson Gallery (Scripps College) collection page.

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On June 4, 1919, U.S. Congress passed the 19th Amendment to the Constitution guaranteeing women the right to vote, and sent it to the states for ratification. To celebrate this momentous anniversary, we are featuring an essay by Stacy C. Hollander, senior curator and director of exhibitions at the American Folk Art Museum, on an anonymous 19th-century artist’s “Crazy” quilt (i.e., a quilt with no repeating motifs) and its message about women’s suffrage.

Artist unidentified; initialed “J.F.R.” | Cleveland-Hendricks Crazy Quilt, Cleveland-Hendricks Crazy Quilt | American Folk Art Museum, folkartmuseum.org

The constitutional amendment giving the vote to American women was not ratified until 1920. Therefore, the unidentified maker of this quilt voiced her political sentiments in one of the only socially acceptable means available to her in the late nineteenth century. Using the idiom of the Crazy quilt, she constructed a strong statement of Democratic sympathies in a highly fashionable format.

The strutting rooster prominently featured in the center of the quilt was an emblem often used by the Democratic Party during the 1880s and 1890s, particularly in Grover Cleveland’s presidential campaign. Below the rooster are portraits of two unsuccessful Democratic presidential candidates: Samuel J. Tilden of New York, who ran in 1876, and Winfield S. Hancock of Pennsylvania, the candidate in 1880. These fabrics, originally parts of printed campaign banners, evidently were saved by the maker until after Grover Cleveland’s successful bid in the 1884 campaign. Cleveland and his running mate, Thomas A. Hendricks, are shown in the upper corners of the central block. A Cleveland-Hendricks inaugural ribbon, dated March 4, 1885, with an image of an American flag and pileus, is placed above.

In addition to the political references that abound on this textile, the quiltmaker included elements more typically associated with the Crazy quilt aesthetic, including Japanese-inspired corner fans, a small handheld fan, flowers, stars, and a crescent moon. The Japan pavilion at the Philadelphia Centennial Exposition of 1876 is often cited as a significant contributing factor to the development of the American Crazy quilt. The design principles of the Aesthetic Movement, which emphasized surface ornamentation and exoticism, also influenced the direction of American quiltmaking in the last quarter of the nineteenth century. Both come together artfully in this contained Crazy quilt.

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