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Archive for the ‘Drawings and Watercolors’ Category

Jamini Roy, Queen on Horseback. University of Florida: Harn Museum of Art

Jamini Roy, Queen on Horseback. University of Florida: Harn Museum of Art

Artstor and the University of Florida are now sharing more than 700 images from the Samuel P. Harn Museum of Art in the Digital Library.

The images are a selection of artworks representing the Samuel P. Harn Museum of Art’s five core collecting areas: African art, Asian art, modern art, contemporary art, and photography, as well as its holdings of Ancient American art, Oceanic art, and Prints and Drawings before 1850.

As an integral part of the University of Florida, the museum advances teaching and research and serves as a catalyst for creative engagement between the university and diverse local, state, national and international audiences. (more…)

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artstor_logo_rgb2Artstor and the Garth Greenan Gallery have collaborated to release 20 images of works by contemporary artist Howardena Pindell in the Digital Library.

Howardena Pindell (b.1943) explores issues of racism, feminism, violence, slavery, and exploitation through the language of abstraction. She is known for her use of unconventional materials in her otherwise formalist paintings, including string, perfume, glitter, and postcards. Pindell also occasionally works in video.

Pindell was a founding member of feminist art collective AIR Galleries in 1972, and her art has been exhibited at the Studio Museum in Harlem, Walker Art Center, Philadelphia Museum of Art, and the Museum of Contemporary Art, Los Angeles. Pindell’s work is included in the permanent collections of MoMA, the Whitney Museum of American Art, and the Yale University Art Museum. (more…)

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artstor_logo_rgb2Artstor and the University of Puget Sound are collaborating to release 150 images of works by the painter, activist, and writer Abby Williams Hill in the Digital Library.

Abby Williams Hill (b.1861) is best known for her commissions for the Great Northern and Northern Pacific railways. Her railway works were exhibited at the St. Louis World’s Fair in 1904, the Lewis & Clark Exposition in Portland in 1905, the Jamestown Tricentennial in 1907, and the Alaska-Yukon-Pacific Exposition in Seattle in 1909. These pieces, along with her other landscapes, offer a rich portrait of the natural landscape of the American West during the nineteenth and early twentieth centuries. The accompanying archive of papers and personal materials offer insight into Hill’s life and provides an example of the American experience between the Civil War and World War II.

(more…)

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artstor_logo_rgb2Artstor and the Garth Greenan Gallery are collaborating to release 20 images of works by the artist Howardena Pindell in the Digital Library.

Howardena Pindell (b.1943) explores issues of racism, feminism, violence, slavery, and exploitation through the language of abstraction. She is known for her use of unconventional materials in her otherwise formalist paintings, including string, perfume, glitter, and postcards. Pindell also occasionally works in video.

(more…)

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Gavin Hamilton, Venus Presenting Helen to Paris, Museo di Roma. Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y.;www.artres.com; scalarchives.com, Rights (c) 2006, SCALA, Florence / ART RESOURCE, N.Y.

Gavin Hamilton, Venus Presenting Helen to Paris, Museo di Roma. Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y.; http://www.artres.com; scalarchives.com, Rights (c) 2006, SCALA, Florence / ART RESOURCE, N.Y.

“Was this the face that launched a thousand ships?”

So asks the title character in Christopher Marlowe’s Doctor Faustus upon seeing the radiant ghost of Helen of Troy. Marlowe was not the only artist to be captivated by Helen and her fabled beauty. Indeed, for millennia, painters, sculptors, poets and playwrights have been inspired by her story.

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Théodore Géricault, Scene from the Race of the Barberi Horses. Image and original data provided by the Art Gallery of Ontario; ago.net. Image © Art Gallery of Ontario.

Théodore Géricault, Scene from the Race of the Barberi Horses. Image and original data provided by the Art Gallery of Ontario; ago.net. Image © Art Gallery of Ontario.

Artstor and the Art Gallery of Ontario (AGO) are now sharing more than 300 images from the Gallery’s permanent collection in the Digital Library. The AGO will eventually contribute selections from their Prints and Drawings collection, which covers the history of Western drawing and printmaking from 1400 to the present, as they undertake a major digitization project for this curatorial department.

Thanks to Artstor’s agreement with SODRAC, the principal society for reproduction rights in Canada representing major international and Canadian artists, works by contemporary artists in the AGO’s Collection in SODRAC’s repertoire will be available to the more than 1,500 institutions that subscribe to the Artstor Digital Library worldwide, including over 60 colleges, universities, museums, and schools in Canada. (more…)

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Aubrey Beardsley, Le Morte D'Arthur; "La Beale Isoud at Joyous Gard", 1893. Image and catalog data provided by Allan T. Kohl, Minneapolis College of Art and Design

Aubrey Beardsley, Le Morte D’Arthur; “La Beale Isoud at Joyous Gard”, 1893. Image and catalog data provided by Allan T. Kohl, Minneapolis College of Art and Design

Aubrey Beardsley was born on August 21, 1872. Despite dying of tuberculosis at the young age of twenty-five in 1898, the artist managed to have a brilliant career full of controversy and scandal. He shot to fame with his illustrations for Thomas Malory’s Le Morte D’Arthur in 1893, and then became notorious for his illustrations for Oscar Wilde’s Salome (1894).

Recurring images throughout his career follow two seemingly incongruous paths. There is an emphasis on sly, clever wickedness; a youthful disregard for propriety; and an interest in the perverse and profane. Overlapping imagery of melancholia and death lead the second path. These two broad and inconsistent currents each render distinct images of the same artist who was drawn to scandal and associated himself with the 1890s Symbolist crowd often scorned by the arts elite and general public alike.

The images in this post come from the Minneapolis College of Art and Design and George Eastman House collections in the Artstor Digital Library.

Elizabeth Darocha Berenz

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