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Displaying items by tag: American painting

The Minneapolis Institute of Arts (or Mia, as it is styled now) announced today that Robert Cozzolino will be the museum’s new Patrick and Aimee Butler Curator of Paintings. He is expected to begin his position at the Minnesota museum on March 1, 2016.

Cozzolino comes from the Pennsylvania Academy of Fine Arts. In his eleven-year tenure at the Philadelphia museum, where he is currently a senior curator and the Evelyn and Will Kaplan Curator of Modern Art, Cozzolino established himself as an expert in American painting.

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Works by some of France’s most celebrated painters are featured in From the Collection: 300 Years of French Landscape Painting, a new exhibition that opened July 17 at the Toledo Museum of Art.

Curated by Lawrence W. Nichols, William Hutton senior curator of European and American painting and sculpture before 1900, this small, insightful show offers a chronological survey of the French approach to painting landscapes.

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In its pre-Instagram, pretelevision, all-but-pre-photography day, George Caleb Bingham’s “The Jolly Flatboatmen” (1846) was a viral image, a joyous genre painting of America’s westward expansion that became wildly popular through mezzotints and lithographs. The work itself, considered one of the most important American paintings of its kind, has hung in the National Gallery of Art in Washington for so many decades — regularly since 1956 — that it long ago came to seem like a part of the museum’s fabric.

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The final installment of the “American Encounters” exhibition series co-organized by the musée du Louvre, the High Museum of Art, the Crystal Bridges Museum of American Art and the Terra Foundation for American Art, the exhibition “The Simple Pleasures of Still Life” explores the rise of still-life painting in 19th-century America. In the wake of the exhibitions on landscape, genre painting, and portraiture, this exhibition provides a new opportunity to foster dialogue on American painting.

Featuring 10 artworks from the collections of the four partner institutions, this final exhibition follows on from the previous ones to illustrate how American painters like Raphaelle Peale, Martin Johnson Heade, and William Michael Harnett adapted European models to their time and country, and thus contributed to the creation of a national voice.

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The Speed Art Museum continues to add to its curatorial staff in preparation for re-opening in 2016. Erika Holmquist-Wall, a specialist in 19th and 20th century Nordic art and design, joins the museum next month as the Mary and Barry Bingham Sr. Curator of European and American Painting and Sculpture.

The Speed announced the hire of contemporary art curator Miranda Lash, formerly of the New Orleans Museum of Art, in July.

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High atop a hill, about two hours north of Manhattan, stands one of the most celebrated landmarks of the Hudson Valley region: Olana, the opulent Orientalist palazzo of Hudson River School landscape painter Frederic Edwin Church (1826-1900). Church chose the spot for his home because of its commanding views of the beautiful river and its Catskill Mountain surroundings, views that he painted in all seasons. Moreover, a much smaller house directly across the majestic waterway was especially close to his heart: Cedar Grove, the home of Church's teacher Thomas Cole (1801-48). Cole is acknowledged as the founder of the Hudson River School, his Romantic compositions inaugurating the first body of distinctively American landscape paintings.

Now Cedar Grove, the Thomas Cole National Historic Site, is showing "Master, Mentor, Master: Thomas Cole & Frederic Church," an exhibition central to the story of Church's artistic development.

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For decades, the Norman Rockwell painting hung in the principal’s office at Gardner High School, all but unknown to the world beyond.

Now, the 1941 original has burst into the public eye, slated for a Sotheby’s auction that could fetch millions for the Central Massachusetts city.

In the early 1950s, Rockwell gave the painting, part of a popular World War II series for The Saturday Evening Post, to the principal, who hung it in his office. There it would stay until 2001. Realizing its value, school officials had the painting appraised, then stored it away for safekeeping.

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On March 1, 2014, “An American Odyssey: The Warner Collection of American Painting” will open at the Frick Art Museum at the Frick Art & Historical Center in Pittsburgh, Pennsylvania. The exhibition features 50 paintings from the collection of Alabama businessman and philanthropist, Jack Warner. Warner, who is the former CEO of Gulf States Paper Corp., founded Alabama’s Tuscaloosa Museum of Art in 2011.

The exhibition, which spans the entire 19th century, includes works by Gilbert Stuart, Charles Peale Polk, Thomas Cole, Frederic Edwin Church, Severin Roesen, William Merritt Chase, James McNeill Whistler, Winslow Homer, Childe Hassam, Maurice Prendergast, John Henry Twachtman, and Mary Cassatt. The comprehensive show tracks the evolution of painting in the United States from early American portraiture to the romantic paintings of the Hudson River School and the rise of American Impressionism during the tail-end of the century.

“An American Odyssey: The Warner Collection of American Painting,” which was organized by the Warner Foundation, will remain on view at the Frick Art Museum through May 25, 2014.

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The Amon Carter Museum of American Art in Fort Worth, TX has received a $70,000 grant from the National Endowment for the Arts to support the exhibition ‘Navigating the West: George Caleb Bingham and the River.’ Andrew J. Walker, the museum’s director, said, “Receiving this prestigious NEA grant is certainly an honor. The support will help us create an exhibition that engages and resonates with our diverse audiences.”

George Caleb Bingham, who captured American life in the frontier lands along the Missouri River in the Luminist style, was relatively unknown until his art was rediscovered in the 1930s.‘Navigating the West’ brings together 17 river paintings and nearly 40 drawings that collectively tell the story of how Bingham created his art and artistic persona during a time when American painting, as well as the country, was rapidly changing.

‘Navigating the West’ will be on view at the Amon Carter Museum from October 2, 2014 through January 18, 2015. 

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From Colony to Nation: 200 Years of American Painting is an exhaustive exhibition now on view at the New-York Historical Society in Manhattan. The show presents over 80 works dating from 1729 to 1918 from the Historical Society’s own comprehensive collection of American paintings. From early Colonial portraits to urban Impressionism, the exhibition tells the tale of America’s past through art.

Many of the works on view have not been exhibited in decades and have recently undergone conservation efforts. Highlights include John Singer Sargent’s (1856-1925) portrait Mrs. Jacob Wendell (1888), which is the first work by Sargent to join the New-York Historical Society’s collection; Charles Wilson Pearle’s (1741-1827) The Peale Family (1773-1809), which brings together several generations in the artist’s studio; and Childe Hassam’s (1859-1935) Flags on 57th Street, Winter (1918), which offers a glimpse of New York City during its early years as a budding metropolis. From Colony to Nation is arranged thematically. Topics explored include The Early Republic: Patriots, Citizens & Democratic Vistas; A Second War of American Independence: The War of 1812; The Native Scenery & American Narratives; and The Gilded Age: Identity, Nostalgia & the Modern City.

From Colony to Nation: 200 Years of American Painting will be on view at the New-York Historical Society through September 8, 2013.

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