Displaying items by tag: Pennsylvania Academy of Fine Arts

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.

The first carved woodblock prints by Wharton Esherick, an artist who was a major figure in American crafts, have just been republished. They illustrated "Rhymes of Early Jungle Folk," a book of children's verse, published in 1922.

Pieces by Esherick, known for his expressive, modernist furniture and wood sculpture, are now collected by major museums around the world. But he started as a painter at the Pennsylvania Academy of the Fine Arts in Philadelphia.

Unfortunately, nobody wanted his paintings.

The “Nature and Metamorphosis” retrospective includes 56 paintings and 103 drawings from 1924 through 1990, spanning Peter Blume’s entire career. From jarring early works inspired by the machine age and growth of cities through profound ruminations on to power of nature. Blume’s work helped define American modernism.

While best known as a painter, Blume was a virtuoso, dynamic draftsman, and his drawings show a surprising range. The retrospective is curated by Robert Cozzolino, Pennsylvania Academy of Fine Arts (PAFA) senior curator and curator of Modern Art. “Blume was critical to the development and reception of modernism in America. His work played a key role in disseminating avant-garde ideas in the U.S. art world using a method that resembled Flemish art transposed through the lens of Cubism and the unconscious.

The Pennsylvania Academy of the Fine Arts will sell a painting by Edward Hopper to start an endowment fund to acquire contemporary art. East Wind Over Weekhawken is one of two paintings by the American Modernist artist in the museum’s collection. The work will be sold at auction at Christie’s in New York in December and is expected to garner between $22 million and $28 million.

East Wind Over Weehawken was purchased by the museum from Hopper’s dealer, Frank K.M. Rehn, in 1952 for $2,750. If the painting realizes its pre-sale estimate, it will quintuple the funds generated annually for acquisitions. While a portion of the endowment will be used for purchasing historic art, the majority of new acquisitions will be in contemporary art, mainly American painting and sculpture.

The Pennsylvania Academy will keep its other Hopper painting, Apartment Houses, which was purchased from the artist directly and was the first oil painting by Hopper to enter the Pennsylvania Academy’s collection.

The Shelburne Museum in Shelburne, VT has organized an exhibition that explores the use of extreme perspectives, unconventional angles and powerful narratives in works by N.C. Wyeth (1882-1945), his son, Andrew (1917-2009) and Andrew’s son, Jamie (b. 1946). Wyeth Vertigo presents nearly 40 works from one of the most influential families in modern American art.

Highlights include the Shelburne’s own monumental painting by Andrew Wyeth, Soaring (1942-1950), and 39 works on loan from institutions such as the Whitney Museum of American Art and Pennsylvania Academy of Fine Arts as well as from private collections including those of the Wyeth family. Thomas Denenberg, The Shelburne Museum’s director and co-curator of the show, said, “The exhibition expands our understanding of the work of each Wyeth, while tracing a key theme that unifies the generations. Imaginative, playful, thoughtful, somber – at times even magical, the work of the Wyeths tells the story of twentieth-century America.”

Wyeth Vertigo will be on view at the Shelburne Museum through October 31, 2013 and is complemented by an exhibition catalogue published by the University Press of New England.

The Pennsylvania Academy of the Fine Arts (PAFA) in Philadelphia announced plans to build a new gallery to display their works on paper collection. The addition will be housed in the museum’s Historic Landmark Building, which was designed by the acclaimed American architect, Frank Furness (1839-1912). A $250,000 grant from The Richard C. von Hess Foundation will be used to fund the project.

Works on paper are a huge component of PAFA’s permanent collection, encompassing over 75% of the museum’s holdings. The collection features drawings, watercolors, sketchbooks, prints, photographs, and experimental media from all periods of American art. Highlights include a collection of photographs by Thomas Eakins (1844-1916), studies and sketchbooks by William Glackens (1870-1938), and works by John Singleton Copley (1738-1815), Mary Cassatt (1844-1926), Arthur Dove (1880-1946), and Robert Motherwell (1915-1991).

The new gallery will allow the institution to significantly expand public access to its vast collection while keeping the light-sensitive objects safe. A separate space will be allotted for scholars conducting research and curators and faculty who will use the collection for educational purposes. PAFA has selected the Philadelphia-based architectural firm Atkin Olshin Schade to design the Works on Paper Gallery. Construction is expected to start early this year and last until Summer 2013.

A printmaker and painter, there is a quiet, striking quality that pervades all of Will Barnet’s art. Best known for his portraits of women, children, animals, family members, and friends, Barnet passed away at his home in Manhattan on November 13. He has lived at the National Arts Club building on New York City’s Gramercy Park since 1982. Barnet was 101.

A native of Beverly, Massachusetts, Barnet studied at the School of the Museum of Fine Arts, Boston and then, starting in 1931, at the Arts Students League in New York. It was here that Barnet studied briefly with the early Modernist painter Stuart Davis and became acquainted with Arshile Gorky, a major influence on Abstract Expressionism. Four years after joining the League, Barnet was named the official printer and went on to work for the Works Progress Administration Federal Art Project. He also made prints for well-known artists such as the Mexican muralist Jose Clemente Orozco and the painter and cartoonist William Gropper.

Barnet started out as a Social Realist printmaker and had his first solo exhibition in 1935 at the Eighth Street Playhouse in Manhattan. Three years later, he had his first gallery show at the Hudson Walker Gallery. It was during this time that he married Mary Sinclair, a painter and fellow student. They had three sons.

In the 1940s Barnet was inspired by Modernist inclinations and his paintings became more colorful and fractured, depicting family scenes and young children. By the end of the decade Barnet moved towards complete abstraction after becoming involved with the Indian Space Painters, a group that created abstract paintings using forms from Native American art and modern European painting.

In the 1950s Barnet divorced Sinclair and remarried Elena Ciurlys with whom he had a daughter. It wasn’t until the 1960s that Barnet returned to representational painting, often using his wife and daughter as subjects. Barnet’s style had evolved and the portraits from this time are flatter and more exact. He also made a number of portraits of the architect Frederick Kiesler, the art critic Katherine Kuh, and the art collector Roy Neuberger during this time.

Barnet never stopped painting and continued to experiment and evolve stylistically, returning to abstraction in 2003. In 2010 he was the subject of the exhibition Will Barnet and the Art Students League at the Phyllis Harriman Mason Gallery in Manhattan. He was awarded a National Medal of Arts in 2011, which he accepted from President Obama at a ceremony at the White House. The subject of many museum retrospectives, Will Barnet at 100, which took place at the National Academy Museum in 2011, was the last.

   Besides his work as an artist, Barnet was also an influential instructor. He taught graphic arts and composition at the Art Students League in 1936 and went on to teach painting at the school until 1980. Barnet also taught at Cooper Union from 1945 to 1978 and briefly at Yale, the Pennsylvania Academy of Fine Arts, and other schools.

Barnet is survived by his wife, three sons, one daughter, nine grandchildren, and three great-grandchildren.

Police in Lower Merion, Pennsylvania have made meager progress in the search for a portrait bust of Benjamin Franklin that was stolen from a home in nearby Bryn Mawr. Also missing is an autographed picture of the German-American composer Victor Herbert, mounted in a shadowbox along with one of his batons and sheet music, valued at $80,000. Though a warrant has been issued for Andrea Lawton, a 44-year-old house-cleaner who was dismissed from her job at a housekeeping service contracted by the sculpture's owners, repeated visits to Lawton's current address have proven ineffectual.

When the Japanese collector Michimasa Murauchi decided to sell Gustave Courbet’s painting “Le Chêne de Flagey” (“The Flagey Oak Tree”), it was a chance for the recently renovated Courbet Museum in the artist’s hometown of Ornans to acquire one of his most emblematic works. With support from the French government, the department of Doubs in eastern France, where Ornans is located, will pay €4 million ($5 million) for the painting, which measures 43 by 35 inches and was painted in 1864.

“Le Chêne de Flagey” has a brief and illustrious provenance. The American banker and philanthropist Henry C. Gibson bought it from the artist’s sister Juliette Courbet in 1896, and he bequeathed it to the Pennsylvania Academy of the Fine Arts. The Philadelphia institution parted with it in 1987, and it entered Murauchi’s private museum outside Tokyo.