October 24, 2010 |
Visitors to the Barnes Foundation eventually discover that there's much more to its extraordinary display than its renowned groups of impressionist, postimpressionist, and early modern paintings. There is, for instance, a sizable body of American art that accounts for about a quarter of the works installed in the Merion galleries. One room, Gallery 12, is devoted entirely to the American artists Albert C. Barnes knew and collected in depth. Despite this, and the fact that at least two American works hang in each gallery, in the public's perception the American artists continue to be eclipsed by European stars such as Renoir, Cezanne, Picasso, and Matisse.
April 12, 1997
Teachers keenly appreciate that music programs enrich education and help entice some kids to school. They're a great, sneaky way to get students to work on math, reading and composition skills. But when cash-strapped school districts weigh computers versus chorales, music usually loses. So when a private group pledges to help rejuvenate the Philadelphia schools' bare-bones music program, it's cause for applause. By January, all 13,845 students in the Martin Luther King school cluster will learn about and perform jazz, as part of a pilot program funded by a $150,000 grant from the William Penn Foundation.
October 23, 2002 |
For most of the 19th century, the Pennsylvania Academy of the Fine Arts collected and exhibited European as well as American art. It was perfectly natural, then, for multimillionaire businessman Henry C. Gibson, a Philadelphian, to bequeath his art collection of more than 100 works, most by European artists, to the academy in 1892. Yet ironically, even as the museum was receiving Gibson's substantial gift, it was beginning to eliminate European art from its purview. It had started to become what it is today, exclusively an institution for American art. The museum sold some European paintings in 1898, and 85 more in four sales between 1986 and 1996.
September 12, 1993 |
When Joseph Green Butler Jr., an iron and steel magnate deeply interested in the cultural life of his Youngstown, Ohio, community, began to build up his art collection, he acquired works by popular European and American artists of his day. Then, while a museum was under construction to house those holdings, a disastrous fire struck his residence, destroying virtually all the art he owned. Butler's response: He immediately started collecting all over again - this time concentrating seriously on American art - and speeded up the completion of his fireproof museum.
November 13, 1988 |
Area retirees looking for an alternative to bingo or bus trips are invited to register for a six-part slide lecture series titled "Looking at America Inside and Out: A History of American Painting," beginning Friday. The series, which runs through February, is to be held at the Jewish Community Center of Southern New Jersey, 2395 W. Marlton Pike, Cherry Hill. The lectures are sponsored and organized by the center and by the New Jersey Committee for the Humanities, which is a branch of the National Endowment for the Humanities, said Marian Reich, who is helping the center and NJCH coordinate the project.
July 4, 2002 |
Darrel Sewell came to the Philadelphia Museum of Art in 1973 to take over the new department of American art. For 29 years, he has been its only chief curator. Now, with the department on the verge of major expansion and reorganization, he has decided to retire on Oct. 1 and leave that responsibility to a successor. She will be Kathleen Adair Foster of the Indiana University Art Museum, who was a curator at the Pennsylvania Academy of the Fine Arts during the 1980s. Sewell, 62, said this week that the museum's expansion into the Perelman annex across Kelly Drive would lead to the creation of new galleries for American art in the museum's main building.
February 8, 1986 |
If tradition is, as some say, the last great frontier in American art today, Anthony Apesos is a pioneer. The sharp-focus realist paintings by this local artist have a Sienese and Tuscan Renaissance flavor, yet are unmistakably of our time. Not overly diluted remnants of an earlier era, they represent one artist's response to our own era of rapid transition. At the More Gallery, Apesos presents his sober groupings of figures (for which his friends and family members posed)
January 28, 1990 |
Whenever museum directors talk publicly about the problems that confront their institutions, they rarely, if ever, mention irrelevance. Their current concerns, frequently cited, are shrinking government subsidies, a concomitant decrease in donations of art and money from private benefactors, and the deleterious effects of runaway market values on acquisitions budgets and insurance costs for special exhibitions. Museums hire marketing specialists to devise strategies for attracting larger audiences.
October 20, 1990 |
The first reaction of people she meets, when she tells them what she does, is "their eyes glaze over," Marina Pacini observes cheerfully. Pacini, a slim, dark-haired woman born in Colombia 35 years ago, is the one-woman band who, for the last five years, has been coordinating the Philadelphia Arts Documentation Project for the Archives of American Art. Since 1954, when the Archives of American Art launched its initial two-year project -...
August 4, 1993 |
Transitions from one philosophy of art-making to another are never as clear-cut as art history paints them. The documenting of movements or periods as self-contained events is little more than a convenience; in fact, fashions in art, like those in apparel, tend to overlap, mix and generally confound anyone who tries to separate them. The transition from abstract expressionism to pop art during the 1950s and early '60s should be easy enough to understand in this regard. It occurred at a time when contemporary art was beginning to receive a lot of attention, not just in the art press but in the mass media as well.