Posts Tagged ‘Georgia O’Keeffe’

Washington Square Park, New York City

Washington Square Park, New York City

New York City has hundreds of iconic landmarks, parks, monuments, streets, and buildings. During the early 20th century it was a bustling city, full of excitement, investment, and room for expansion and it quickly became a destination for travelers, immigrants, and artists. Art societies and academics became widely accepted and popular, and popped up all over the city. The depictions of New York increased dramatically throughout this time period. This metropolitan destination  could not be missed by any one in the art world, and many moved there to be part of the burgeoning art scene. Therefore, it is no surprise that dozens of prominent artists in the NBMAA’s collection lived and worked in New York City, and derived endless inspiration from the city. (more…)

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East River from the 30th Story of Shelton Hotel (1928). Georgia O’Keeffe (1887-1986). Oil on canvas, 30 x 48 1/8 in. New Britain Museum of American Art, Stephen B. Lawrence Fund, 1958.09.

East River from the 30th Story of Shelton Hotel, 1928. Georgia O’Keeffe (1887-1986). Oil on canvas, 30 x 48 1/8 in. New Britain Museum of American Art, Stephen B. Lawrence Fund, 1958.09.

The end of the Industrial Revolution sparked interest in the lives of everyday people, as well as the creative endeavors of practicing artists of the period. American cities were bustling centers of business and industry. Inventions were changing the way people lived day to day, and cities like New York were at the top of their game. The New Britain Museum of American Art’s collection contains countless paintings that depict cities. Two examples are John Sloan’s Main Street, Gloucester and Georgia O’Keeffe’s East River from the 30th Story of Shelton Hotel. Each of theses works utilize color and brush strokes in powerful ways to convey distinct meanings. (more…)

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Chester Harding's Mrs. Samuel Appleton

Mrs. Samuel Appleton (Julia Webster). Chester Harding (1792-1866). Oil on canvas, 49 x 40 7/8 in. New Britain Museum of American Art, John Butler Talcott Foundation, 1972.91.

Are museums:

  1. 1. Places to preserve history,
  2. 2. Places to establish new history, or
  3. 3. Places to encourage creative growth?

Can there be a fourth choice- All of the above?

The New Britain Museum of American Art (NBMAA) is an interesting example that falls into the “All of the above” category. The facilities of the NBMAA include a variety of galleries that tell the story of Art History in America, while allowing contemporary artists to show us what tomorrow’s  textbooks might include. In addition, the museum has two spaces that allow for the artistic exploration and expression of children and adults alike.

On the first floor of the NBMAA’s gallery space, visitors can literally walk through the history of American art. The central hall features the Museum’s illustration collection, while rooms branching off allow the visitor to stroll through galleries highlighting Colonial Portraiture, the Hudson River School, 19th-20th Century Academic and Genre paintings, and American Impressionism. (more…)

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Abstraction, 1913. Max Weber (b. 1881–1961). Pastel, charcoal, and collage on paper, 24 1/2 x 18 3/4 in. New Britain Museum of American Art, Charles F. Smith Fund, 1953.04.

Cubism and Abstraction, which developed in Europe in the early twentieth century, represented radical tendencies. The Cubists Pablo Picasso (1881-1973) and Georges Braque (1882-1963) were considered revolutionaries because they reinterpreted space and form without regard for traditional perspective. They were motivated by a wish to replace objective reality with a subjective approach, triggered in part by their study of ancient Spanish sculpture and African art. The writings of Sigmund Freud (1856-1939) freed them to explore the subconscious. In response to this movement, Max Weber (1864–1920) visited Paris and emulated the French Cubists and Alfred Stieglitz (1864–1946) opened his New York gallery 291, which became a beacon for radical modernists. He championed the young Georgia O’Keeffe (1887–1986), whom he married in 1924, and together they set about creating a new vocabulary for American art characterized by simplification and strong emotional content. Sculptor William Zorach (1887–1966) was inspired by his study of indigenous art from Africa and Central and South America. Alexander Calder (1898–1976) declared that the underlying concept of his abstract mobiles was the organization of the universe. The American Abstract Artists, a group formed in 1936, espoused completely nonobjective art. (more…)

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Daisies, 1925. Charles Demuth (1883-1925). Watercolor and graphite on wove paper , 11 5/8 x 13 7/8 in. New Britain Museum of American Art, Harriet Russell Stanley Fund, 1947.14.

Continuing our series on The Great American Watercolor exhibition , today we’ll be looking at the works of Charles Demuth and Charles E. Burchfield.

Demuth was born in Lancaster, Pennsylvania and studied at both Drexel Institute and the Pennsylvania Academy of Fine Arts in Philadelphia. As a young man, Demuth traveled to Paris where he was part of the avant-garde movement and was influenced by the art of Marcel Duchamp. He created many watercolors with a breadth and force of brushwork and color that reflect the Fauve movement in Paris.  Demuth is known as one of America’s first “moderns.” Many of his paintings were left in the hands of fellow artist and friend Georgia O’Keeffe who helped ensure his legacy after his death. (more…)

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East River from the 30th Story of the Shelton Hotel, 1928. Georgia O’Keefe (1887-1986).Oil on canvas.New Britain Museum of American Art, Stephen B. Lawrence Fund, 1958.9.

The art world has long been a male-dominated domain. Although the ratio has shifted in recent years, men were traditionally afforded far more access to artistic training. One of the most important aspects of this training, the study of the nude model, was generally altogether barred from female students.

As women have been incorporated into the art world and art history in recent decades, many issues have arisen concerning the handling of these changes. These have included the attribution, collection, display and analysis of works by female artists. (more…)

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