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Thomas Anshutz papers

Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Names:
Pennsylvania Academy of the Fine Arts  Search this
Philadelphia Sketch Club  Search this
Eakins, Thomas, 1844-1916  Search this
Extent:
2.76 Linear feet
Type:
Collection descriptions
Archival materials
Glass negatives
Photographs
Date:
circa 1870-1942
Summary:
The papers of Thomas Anshutz measure 2.76 linear feet and date from around 1870 to 1942, with the bulk of materials dating from 1880 to 1911. The papers document his education and career as a painter, photographer, and art instructor. The collection is particularly rich in photographs made between approximately 1880 and 1900, when Anshutz and others at the Pennsylvania Academy of the Fine Arts, under the direction of Thomas Eakins (1844-1916), began using photography as an aid in the study of the figure and as studies for paintings. Also found are correspondence, a notebook with scattered sketches, a handful of clippings regarding Anshutz's career, and scattered notes and printed materials.
Scope and Content Note:
The papers of Thomas Anshutz measure 2.76 linear feet and document his education and career as a painter, photographer, and art instructor. The collection is particularly rich in photographs made between approximately 1880 and 1900, when Anshutz and others at the Pennsylvania Academy of the Fine Arts, under the direction of Thomas Eakins (1844-1916), began using photography as an aid in the study of the figure and as studies for paintings. Also found are correspondence, a notebook with scattered sketches, a handful of clippings regarding Anshutz's career, and scattered notes and printed materials.

Photographs include vintage, original prints that were made during the period when Anshutz worked closely with Thomas Eakins, between 1880 and 1886, consisting of portraits, figure studies both nude and clothed, and class groups both posed and informal. Among the nude photographs are pastoral figure studies with Eakins himself as the model. This collection does not include any of the photographs from Eakins' so-called "Naked Series," although a triptych of three figure studies of Eadweard Muybridge closely resembles photographs from that series. Prints from this period are small in size and are probably original contact prints.

Also found are 49 glass negatives and 3 prints that Thomas Anshutz likely made in the 1890s, mostly of figures and marine subjects, many of which were used in his paintings of that period. Additional unattributed photographs of similar subjects are also found, as well as professional studio portraits of Eakins and others, and a handful of photographs that seem to have been made at a later time and kept by the family, which depict Anshutz, his studio, the Philadelphia Sketch Club, and Anshutz's artwork.

Dates and attributions made in this finding aid are taken from scholarly and curatorial publications based on primary sources, including Eakins and the Photograph (1994) by Susan Danly and Cheryl Leibold; Thomas Eakins (2002), catalog to the exhibition Thomas Eakins: American Realist at the Philadelphia Museum of Art, especially the chronology by Kathleen Brown; The Photography of Thomas Eakins (1972) by Gordon Hendricks; and Thomas Anshutz: Artist and Teacher (1994) by Randall C. Griffin.

See the series descriptions below for additional information on the attribution and identification of photographs in this collection.
Arrangement:
The collection is arranged into 5 series. Glass plate negatives are housed separately and closed to researchers:

Series 1: Correspondence, c. 1870-1911, 1942 (Box 1; 0.2 linear feet)

Series 2: Writings, 1880s, 1893 (Box 1; 2 folders)

Series 3: Financial Records, 1884-1910 (Box 1; 1 folder)

Series 4: Printed Material, 1884-1942, undated (Box 1; 2 folders)

Series 5: Photographs, circa 1880-1904, 1936 (Boxes 1-3, MGP 2; 2.1 linear feet)
Biographical Note:
Thomas Pollock Anshutz was born in Newport, Kentucky in 1851. He grew up in Newport and in Wheeling, then in Virginia, now West Virginia. He received early art instruction at the National Academy of Design in New York in the early 1870s, studying under Lemuel Wilmarth.

In 1875, Anshutz moved to Philadelphia and attended the life class taught by Thomas Eakins at the Philadelphia Sketch Club. Eakins would soon come to be a major influence and close associate of Anshutz. In 1876, both artists joined the Pennsylvania Academy of the Fine Arts (PAFA); Eakins as Chief Demonstrator of Anatomy, and Anshutz as a student of Eakins and Christian Schussele. Anshutz became Eakins' assistant in 1878, and then succeeded him as Chief Demonstrator when Eakins was appointed Professor of Drawing and Painting. While he was still a student, Anshutz completed his ambitious painting Ironworkers' Noontime (1880), which was first exhibited at the Philadelphia Sketch Club in 1881 and was compared to Eakins' work by critics. 1881 was also the year that Anshutz became an instructor of drawing and painting at PAFA.

Around 1880, Thomas Eakins bought his first camera. By 1882, when he was appointed Director of Schools, he was using photography as an aid in his own artwork and as a teaching tool in his life classes. Many at the Academy got involved with photography, the cutting-edge medium of the age, a time when new photographic processes, materials, and devices were being introduced at a rapid rate and being put to new uses across many disciplines. At PAFA, Anshutz, Eakins, and others used the medium to carry out Eakins' vision of studying nature from life, posing models and students for the camera and making prints available for study.

Photography at the Academy ranged from informal photographs and class portraits to posed studies of nude or classically-dressed figures. Eakins also carried out a systematic documentation of nudes in seven pre-defined standing poses, which he called "The Naked Series." Anshutz, John Laurie Wallace, and Covington Few Seiss are known to have made photographs for this project, and Eakins himself was among the models. Around this same time, outings were organized with groups including Eakins, Anshutz, Wallace, and others, in which they photographed each other outdoors in the nude, boxing, wrestling, swimming, and in repose. Eakins used photographs from these outings in his Arcadia paintings and reliefs and in his painting, The Swimming Hole. In 1884, Eakins and Anshutz also became involved with the work of Eadweard Muybridge, who had come to Philadelphia to develop his photographic motion studies of animals and people. Eakins and Anshutz helped to build Muybridge's elaborate apparatus and took photographs for his well-known series, Animal Locomotion.

In 1886, when Eakins was dismissed from his position at PAFA for misconduct, Anshutz took over his classes and his leadership role in art instruction at the Academy. With the exception of a brief stint in Europe, teaching dominated Anshutz's remaining years, and may have earned him a more lasting reputation than his own artwork. Anshutz taught an impressive roster of American artists, many of whom would be among the vanguard of modernism in American art, including Robert Henri, John Marin, William Glackens, Everett Shinn, John Sloan, Charles Sheeler, Charles Demuth, and George Luks.

In 1892, Anshutz married Effie Shriver Russell, and the two traveled to Paris, where Anshutz briefly enrolled in the Académie Julian and visited museums, galleries, and the Salon des Indépendants. He returned to Philadelphia in 1893 and resumed teaching at the Pennsylvania Academy. During family vacations at Holly Beach, New Jersey, Anshutz experimented with watercolors, a brighter palette, and simplified compositions. He also continued taking photographic studies of scenes from nature and transcribing them onto canvas. He made dozens of photographs of Holly Beach scenes and other marine views from an 1897 boat trip down the Delaware and Maurice Rivers. Many of these photographs were used in his watercolors and oils of that period.

In 1898, Anshutz opened the Darby School, a summer school northwest of Philadelphia that emphasized plein air painting. He ran the school with Hugh Breckenridge, a former student who had studied at the Académie Julian around the same time as Anshutz. It was in this setting that Anshutz painted his most abstract work, a series of loosely-rendered and bright oil landscapes that were never exhibited. He continued teaching at the Darby School until 1910.

Despite his openness to experimentation and his accomplishments in genre scenes and landscapes, Anshutz was best-known by his contemporaries for his portraiture. In the late 1890s and 1900s, he exhibited his portraits regularly and won several awards for them, including a silver medal at the 1904 World's Fair, the Gold Medal of Honor at the Pennsylvania Academy in 1909, and a gold medal at the Buenos Aires International Exposition in 1910. Around this time he advanced to head instructor at PAFA, was made a member of the National Academy of Design, and was elected president of the Philadelphia Sketch Club. In the fall of 1911 he was forced by ill health to stop teaching, and he died the following June.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 140) including eighteen illustrated letters written by Thomas Anshutz to his wife in 1897. Loaned materials were returned to the lender, Elizabeth R. Anshutz of Philadelphia, Pennsylvania, and are not described in the collection container inventory.
Provenance:
A portion of the letters, the glass negatives and photographs were donated to the Archives of American Art in 1971 by Robert and Joy McCarty, occupants of the property formerly owned by the Anshutz family in Fort Washington, Pennsylvania. The remaining letters, photographs, and other papers were donated by Elizabeth R. Anshutz, wife of Anshutz's son Edward, in two separate accessions in 1971 and 1972. Eighteen illustrated letters were also loaned by Mrs. Anshutz to the Archives for microfilming (reel 140) and were later returned.
Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Rights:
The Thomas Anshutz papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Photography -- Pennsylvania -- Philadelphia  Search this
Art, American -- Pennsylvania -- Philadelphia  Search this
Painters -- Pennsylvania -- Philadelphia  Search this
Genre/Form:
Glass negatives
Photographs
Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.anshthom
See more items in:
Thomas Anshutz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-anshthom
Online Media:

Erle Loran papers

Creator:
Loran, Erle, 1905-1999  Search this
Names:
Fine Arts Museums of San Francisco  Search this
Friends of Ethnic Art  Search this
San Francisco Art Institute  Search this
University of California, Berkeley -- Faculty  Search this
Bearden, Romare, 1911-1988  Search this
Cézanne, Paul, 1839-1906  Search this
Dasburg, Andrew, 1887-1979  Search this
Greenberg, Clement, 1909-1994  Search this
Haley, John, 1905-1991  Search this
Hartley, Marsden, 1877-1943  Search this
Hatfield, Dalzell, 1893-1963  Search this
Hofmann, Hans, 1880-1966  Search this
Levinson, Harry  Search this
Sabean, Samuel  Search this
Schaefer, Bertha, 1895-1971  Search this
Still, Clyfford, 1904-  Search this
Wilke, Ulfert, 1907-1987  Search this
Extent:
12.6 Linear feet
Type:
Collection descriptions
Archival materials
Watercolors
Sketches
Photographs
Writings
Date:
1912-1999
Summary:
The papers of California painter, writer, and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.
Scope and Content Note:
The papers of California painter and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.

Biographical materials include biographical sketches, curriculum vita, a will, notes and a notebook, and an appointment book for 1987. Also found is an anniversary invitation, a certificate from the University of California, and the Pepsi-Cola award for 1948.

Two linear feet of correspondence is with artists, critics, galleries, and universities. Correspondents inlcude Romare Bearden, Andrew Dasburg, Clement Greenberg, John Haley, Dalzell Hatfield, Hans Hofmann, Harry Levinson (president of Permanent Pigments), Sam Sabean, Bertha Schaefer, Clyfford Still, and Ulfert Wilke. There is also correspondence with the University of California.

Personal business records include exhibition files, price and consignment lists, teaching materials, University of California Press records, and records relating to the publication of his book on Cézanne. Some of these records also document Loran's involvement with the Fine Arts Museum, Friends of Ethnic Arts, and the San Francisco Art Institute. In addition, there are records related to Loran's role in a donation of forty-five paintings by Hans Hofmann to the University Art Center. Also found are materials related to Loran's activities as an art collector including sales receipts, auction catalogs, and photographs of artwork owned by Loran.

Writings by Loran include a complete manuscript version of Cézanne's Composition along with additional notes and drafts, and numerous other short essays on Cézanne's life and art. Loran's other writings include essays about Hans Hofmann, Marsden Hartley, symbology in abstract art, and contemporary art.

Loran's career as an artist is extensively documented by four linear feet of original artwork, mostly preliminary sketches. The work demonstrates a variety of techniques including watercolor, pastel, pencil, pen, gouache, and oil sketches. Content includes landscapes, portraits, fantasy scenes, urban scenes, and rural scenes.

Printed materials include extensive newsclippings from seven decades, exhibition announcements, and exhibition catalogs. Photographs are of Loran, his second wife Clyta, the Loran family, friends and colleagues, artwork, and source materials. Also found within the papers is an audio recording on cassette of a lecture by Loran on Cézanne.
Arrangement:
The collection is arranged into 8 series:

Series 1: Biographical Materials, 1930s-1990s (Box 1; 0.25 linear feet)

Series 2: Correspondence, 1912-1992 (Boxes 1-3; 2.0 linear feet)

Series 3: Personal Business Records, 1930s-1992 (Box 3; 0.25 linear feet)

Series 4: Writings, 1921-1999 (Boxes 3-4; 1.25 linear feet)

Series 5: Artwork, 1920s-1980s (Boxes 4-8, 13-14; 4.3 linear feet)

Series 6: Printed Material, 1925-1999 (Boxes 8-10, 14; 2.3 linear feet)

Series 7: Photographs, 1910s-1990s (Boxes 10-12, 14; 2.5 linear feet)

Series 8: Audio Recording, 1982 (Box 12; 1 folder)
Biographical Note:
California painter, writer, and teacher Erle Loran was born on October 2, 1905 in Minneapolis, Minnesota. He attended the Minneapolis School of Art and graduated in 1926. That same year, Loran won the Paris Prize from the Chaloner Foundation which enabled him to study in France for the next three years. Here, he immersed himself into the world of Paul Cezanne. He lived for two years in Cézanne's studio, meeting many who knew Cezanne, including painter Emile Bernard, and art dealer Ambroise Vollard. This experience was critical to the development of Loran's artistic vision and his later writings and lectures about Cézanne.

In 1929, Loran returned to the United States, and published the article "Cézanne's Country" in The Arts in 1930. He then spent the early 1930s in Minnesota, after returning to Minneapolis to be treated for tuberculosis. There, Loran began to paint in a regionalist style, producing landscapes and scenes of life in rural Minnesota. In 1931, Loran was given his first one-man show at the Kraushaar Gallery in New York. During the depression, Loran began teaching art and was given painting commissions as part of the federal arts programs of the WPA.

Loran moved to California in 1937 and accepted a position as professor in the art department at the University of California, Berkeley. There he taught until retiring in 1973, serving as the department's chair in the 1950s. He established a program to invite east coast artists to teach at the university, and participants included Conrad Marca-Relli and Milton Resnick. Loran's students included Jay DeFeo, Richard Diebenkorn, and Sam Francis. In 1941 Loran began to write the synthesis of his research and interpretations about Cézanne's work, culminating in his pioneering book Cézanne's Composition published in 1943 by the University of California Press.

During this period Loran associated himself with modernist Hans Hofmann. Loran's early paintings were lyrical abstractions in primary colors; however, his style constantly changed with the times. Watercolor was Loran's medium of choice because it lent itself to his often-remote plein air locations, such as the ghost towns of California and Nevada. With John Haley and Worth Ryder he formed the "Berkeley Group," whose paintings consisted of scenes of the California and southwestern landscape painted in flat, open areas of color. During the war, painting in the open became increasingly difficult and Loran transitioned from plein-air painting to studio work. Shortly thereafter he began to focus his painting on abstraction.

Loran's artwork during the 1950s consisted primarily of abstractions based on natural forms like crystal and driftwood. In 1955, he spent six weeks studying with Hans Hofmann, whom he later called, along with Cézanne, a second "great father figure." In 1960, he was instrumental in securing a gift of forty-five paintings by Hans Hofmann for Berkeley's University Art Center. In the late 1960s, his work became a fusing of Op, Pop, and Hard Edge. From this he moved to figurative painting and later to geometric designs and symbols.

Loran continued to paint throughout the rest of his life in a variety of styles, including nudes, abstractions, and landscapes. Besides being an artist and a teacher, Loran was also a lifelong collector of ethnic art who specialized in African, Asian, Native American, and pre-Columbian tribal art. Many works from his collection are presently housed at the de Young Museum in San Francisco. Loran died in 1999 in Berkeley, at the age of 93.
Related Material:
Found in the Archives of American Art is an oral history interview with Erle Loran conducted by Herschel Chipp, June 18, 1981, and a 1981 interview with Erle and Clyta Loran in the Fine Arts Museums of San Francisco Interviews With Artists collection. Also found is a letter from Loran to Richard Wattenmaker, 1975.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel 906) including photographs of artwork by Erle Loran and two clippings of reproductions of Loran's artwork. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Erle Loran lent the Archives of American Art materials for microfilming and donated papers in 1975. In 1999 Mrs. Ruth Schora-Loran, Loran's widow, donated additional material, including artworks.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Erle Loran papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Art teachers -- California -- Berkeley  Search this
Painters -- California -- Berkeley  Search this
Topic:
Art, Abstract  Search this
Art -- Collectors and collecting -- California -- San Francisco Bay Area  Search this
Painting, Modern -- 20th century -- California -- Berkeley  Search this
Art, Modern -- 20th century  Search this
Genre/Form:
Watercolors
Sketches
Photographs
Writings
Citation:
Erle Loran Papers, 1912-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.loraerle
See more items in:
Erle Loran papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-loraerle
Online Media:

Oral history interview with Dennis Pinette, 2005 Aug. 30-Sept. 1

Interviewee:
Pinette, Dennis, 1951-  Search this
Interviewer:
Larsen, Susan C., 1946-  Search this
Type:
Sound recordings
Interviews
Topic:
Painting, Abstract  Search this
Painting -- Technique  Search this
Record number:
(DSI-AAA_CollID)12699
(DSI-AAA_SIRISBib)255247
AAA_collcode_pinett05
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_255247

Oral history interview with Dennis Pinette

Interviewee:
Pinette, Dennis, 1951-  Search this
Interviewer:
Larsen, Susan C.  Search this
Extent:
46 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2005 Aug. 30-Sept. 1
Scope and Contents:
An interview of Dennis Pinette conducted 2005 Aug. 30 and Sept. 1, by Susan C. Larsen, art historian, for the Archives of American Art, at the artist's home and studio, in Belfast, Me.
Pinette discusses his childhood in Williamstown, Mass., and Morristown, N.J., and his early fascination with industrial scenes and railroad sightings; his family and artistic bloodline from his maternal grandparents, Harold and Frances McMennamin; his education at Mount Greylock Regional High School in Williamstown; his first influential art teacher, John D. Maziarz; his secondary education at Hartford Art School where he studied with Rudolph Zallinger; his first job out of college for a picture framer in West Hartford, Conn., while at the same time continuing to paint at night; his marriage to Megan Pinette (née Smith) in 1975, and how they first met; the couple's easel-backed picture frame business in Westerly, R.I., in the early 1980s, which they gave up to move to Maine and paint; their move to Belfast, Me., in the summer of 1983, when they bought the house in which they still live; the Artfellows art cooperative, started in Belfast in 1980; his shift back to realism from abstraction in the early 1980s; his wanderings in and around industrial parks in Maine, including the Maine Yankee Nuclear Power Plant in Wiscasset, to find inspiration for his canvases; his total refusal of the idea that his paintings have social or political messages to convey; his continuing fascination with the visceral quality of industrial scenes; his artistic influences, including American artists of the early twentieth century, such as Edward Hopper, John Sloan, William Glackens, Charles Sheeler, and Charles Burchfield, as well as later American artists such as Agnes Martin and Jackson Pollock; the influence and inspiration of Maine's varied landscape; his preferences for working, especially plein-air painting during the spring and fall; and his most recent series of works, which focus on fire and on water. Pinette also recalls Vito Acconci, Sol LeWitt, Bruce Brown, Stewart Henderson, Richard Norton, Yvonne Jacquette, Alex Katz, Linden Frederick, Stephen Pasterhoff, Neil Welliver, Dudley Zopp, and others.
Biographical / Historical:
Dennis Pinette (1951- ) is a painter from Belfast, Me. Interviewer Susan C. Larsen is an art historian, from St. George, Me.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 2 hr., 20 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Painters -- Maine -- Interviews  Search this
Topic:
Painting, Abstract  Search this
Painting -- Technique  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.pinett05
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pinett05

In the light of Italy : Corot and early open-air painting / Philip Conisbee, Sarah Faunce, Jeremy Strick ; with Peter Galassi, guest curator

Author:
Conisbee, Philip  Search this
Faunce, Sarah  Search this
Strick, Jeremy  Search this
National Gallery of Art (U.S.)  Search this
Brooklyn Museum  Search this
St. Louis Art Museum  Search this
Subject:
Corot, Jean-Baptiste-Camille 1796-1875 Exhibitions  Search this
Physical description:
288 p. : ill. (some col.), maps : 31 cm
Type:
Exhibitions
In art
Place:
Europe
Italy
Date:
1996
C1996
18th century
19th century
Topic:
Plein air painting  Search this
Landscape painting, European  Search this
Landscape painting  Search this
Call number:
ND1353.4 .C66 1996X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_531538

Paysages d'Italie : les peintres du plein air, 1780-1830 : Galeries nationales du Grand Palais, Paris, 3 avril-9 juillet 2001 ; Centro Internazionale d'Arte e di Cultura di Palazzo Te, Mantoue, 1er septembre-16 décembre 2001 / [sous la direction de Anna Ottani Cavina]

Author:
Ottani Cavina, Anna  Search this
Galeries nationales du Grand Palais (France)  Search this
Centro internazionale d'arte e di cultura di Palazzo Te  Search this
Physical description:
xlviii, 384 p. : ill. (some col.) ; 28 x 25 cm
Type:
Exhibitions
In art
Place:
Europe
Italy
Date:
2001
C2001
18th century
19th century
Topic:
Landscape painting, European  Search this
Plein air painting  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_675616

Selections from the Irvine Museum / Jean Stern, Janet Blake, Harvey L. Jones

Author:
Irvine Museum  Search this
Stern, Jean 1946-  Search this
Blake, Janet 1944-  Search this
Jones, Harvey 1935-  Search this
Subject:
Irvine Museum  Search this
Physical description:
271 pages : illustrations (chiefly color) ; 31 cm
Type:
Books
Art
Place:
California
Date:
2009
©2009
20th century
Topic:
Painting, American  Search this
Painting, Modern  Search this
Landscape painting  Search this
Impressionism (Art)  Search this
Art  Search this
Call number:
ND230.C3 I78 2009
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_975470

Painting Indiana III : heritage of place / Indiana Plein Air Painters Association, Inc. and Indiana Landmarks ; text by Rachel Berenson Perry

Title:
Painting Indiana 3
Painting Indiana three
Author:
Perry, Rachel Berenson  Search this
Indiana Plein Air Painters Association  Search this
Indiana Landmarks  Search this
Physical description:
xii, 254 pages : illustrations ; 26 x 30 cm
Type:
Books
Art
Place:
Indiana
Date:
2013
21st century
Topic:
Landscape painting, American  Search this
Plein air painting  Search this
In art  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1045548

Columbus -- Copeland Provençal Garden

Landscape architect:
Schieber, Mark R.  Search this
Architectural Gardens, Inc. (Gahanna, Ohio)  Search this
Former owner:
Davis, Preston, d. 1967  Search this
Davis, Julia, d. 2005  Search this
Provenance:
Little Garden Club of Columbus  Search this
Architect:
Tibbals, Crumley, and Musson  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Copeland Provençal Garden (Columbus, Ohio)
United States of America -- Ohio -- Franklin County -- Columbus
Scope and Contents:
The folder includes worksheets, site plans (with plant names), print copies of two of the slides, and other information.
General:
This one-third acre garden is located in Sessions Village in Columbus, Ohio, a planned community of 29 free standing homes in the architectural style of a walled French village. Its artist-owner's passion for all things relating to the gardens of southern France inspired her to engage a landscape architect whom she primed with words and images of her personal vision and with whom she created a plan that was implemented in 2006. With "no grass" as a design mandate, a comprehensive plan was developed that could be implemented in stages beginning with the rear garden. Few changes had been made to the 1960s garden of the original owners. However, wherever possible existing trees and shrubs were saved and incorporated into the new design. Strong sight lines were created with the use of sweeping paths of brown gravel and bluestone insets. Lavender is used prolifically as an edging plant and boxwood hedges encircle prominent trees and garden features. Perimeter areas along the fence enclosure are pocketed with an abundance of shrubs, shade perennials, and colorful annuals. Masses of seasonal flowers, selected for a succession of bloom, offer the owner-artist an ever-changing palette of colors and a subject for home-based plein air painting.
Persons and firms associated with the site and garden include Mark R. Schieber (landscape architect, 2006); Architectural Gardens, Inc. (landscape architects, 2006); Preston and Julia Davis (former owners, 1962-2005); and Tibbals, Crumley and Musson (architects, 1961).
There is additional documentation of other gardens in Sessions Village. See OH230000-235000.
Related Materials:
Copeland Provençal Garden related holdings consist of 1 folder (9 35 mm. slides (photographs); 1 photographic print)
See others in:
Copeland Provençal Garden, 2005-2007.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Ohio -- Columbus  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File OH226
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Ohio
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref15499

Europe's Mini-Countries

Collection Director:
Porterfield, Jeanne  Search this
Chickering, Lisa  Search this
Type:
Archival materials
Date:
circa 1968
Scope and Contents:
Edited film shot in 1966-1967 and released in 1968 representing various aspects of daily life in five small European countries. Depicted in each or many of these countries are a wide variety of tourist sites and activities including: castles, government buildings, parks, parades accompanied by military bands, eating in cafés, shopping for souvenirs, demonstrations of traditional dances and dress, tending to farm animals and harvesting crops, and plein air painting. Anonymous citizens are given individual screen time alongside more famous residents, including the royal families of Monaco and Liechtenstein (highlighted in footage of the wedding of Prince Hans-Adam II and Marie Aglaë), oceanographer Jacques-Yves Cousteau, and author Paul Gallico. This film is a travelogue, made to accompany live explanatory lectures by the filmmakers, and as such is missing much identifying information such as photographed signage. The overall effect is impressionistic, with a gentle sense of humor present both in choice of subject and editing.

Locations include: Liechtenstein, Andorra, the Sovereign Military Order of Malta, San Marino, Monaco.
Collection Restrictions:
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
Identifier:
HSFA.2015.16, Subseries 7.8
See more items in:
Lisa Chickering and Jeanne Porterfield collection
Lisa Chickering and Jeanne Porterfield collection / Series 7: Films and film-related sound recordings
Archival Repository:
Human Studies Film Archives
EDAN-URL:
ead_component:sova-hsfa-2015-16-ref839

Fairfield Porter painting in the woods in Maine

Subject:
Porter, Fairfield  Search this
Type:
Photographs
Place:
Me.
Date:
1975 Aug.
Topic:
Artists at or with their work  Search this
Plein air painting  Search this
Record number:
(DSI-AAA)5664
See more items in:
Fairfield Porter papers, 1888-2001, bulk 1924-1975
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_5664

Pocket diary

Creator:
Mora, F. Luis (Francis Luis), 1874-1940  Search this
Subject:
Mora, F. Luis (Francis Luis)  Search this
Type:
Writings
Date:
1901 Aug
Topic:
Fishing  Search this
Plein air painting  Search this
Record number:
(DSI-AAA)12483
See more items in:
F. Luis Mora papers, 1891-1986, bulk 1891-1922
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_12483

Browne and his children above timber line, with a finished 30 x 40 canvas tied on the white-horse

Subject:
Browne, Belmore  Search this
Type:
Photographs
Date:
ca. 1932
Topic:
Horses  Search this
Landscape painters  Search this
Painters  Search this
Plein air painting  Search this
Record number:
(DSI-AAA)17975
See more items in:
Macbeth Gallery records, 1947-1948, bulk 1892-1953
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_17975
Online Media:

Belmore Browne painting en plein air

Subject:
Browne, Belmore  Search this
Type:
Photographs
Date:
ca. 1932
Topic:
Landscape painters  Search this
Painters  Search this
Plein air painting  Search this
Record number:
(DSI-AAA)17976
See more items in:
Macbeth Gallery records, 1947-1948, bulk 1892-1953
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_17976
Online Media:

Fidelia Bridges

Subject:
Bridges, Fidelia  Search this
Type:
Photographs
Date:
ca. 1864
Topic:
Painters  Search this
Plein air painting  Search this
Portraits  Search this
Record number:
(DSI-AAA)8573
See more items in:
Oliver Ingraham Lay, Charles Downing Lay, and Lay Family papers, 1789-2000, bulk 1870-1996
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_8573
Online Media:

Stefan Hirsch plein air painting

Photographer:
Juley, Peter, 1862-1937  Search this
Subject:
Hirsch, Stefan  Search this
Type:
Photographs
Date:
between 1926 and 1937
Topic:
Artists at or with their work  Search this
Painters  Search this
Plein air painting  Search this
Record number:
(DSI-AAA)9042
See more items in:
Stefan Hirsch and Elsa Rogo papers, 1851-1986, bulk 1920-1960
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_9042

Marjorie Martinet painting a horse

Subject:
Martinet, Marjorie D.  Search this
Type:
Photographs
Date:
circa 1910
Topic:
Artists' models  Search this
Horses  Search this
Plein air painting  Search this
Record number:
(DSI-AAA)15710
See more items in:
Beatrice Fenton papers, 1836-1984, bulk 1890-1978
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_15710

Edmund W. Greacen plein air painting with Ethol Booth Greacen

Subject:
Greacen, Edmund W.  Search this
Greacen, Ethol Booth  Search this
Type:
Photographs
Date:
1954
Topic:
Painters  Search this
Plein air painting  Search this
Record number:
(DSI-AAA)9214
See more items in:
Edmund Greacen papers, 1987-1972, bulk 1905-1949
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_9214
Online Media:

Charles Kaeselau and his son Jean Kaeselau

Subject:
Kaeselau, Charles Anton  Search this
Kaeselau, Jean  Search this
Type:
Photographs
Date:
ca. 1935
Topic:
Painters  Search this
Painting  Search this
Plein air painting  Search this
Record number:
(DSI-AAA)8142
See more items in:
Edward Bruce papers, 1902-1960, bulk 1932-1942
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_8142

Mary Butler and other artists plein air painting on the New England coast

Subject:
Butler, Mary  Search this
Type:
Photographs
Date:
ca. 1900
Topic:
Plein air painting  Search this
Record number:
(DSI-AAA)9264
See more items in:
Mary Butler papers, 1853-1946, bulk 1884-1946
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_9264

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