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Articles 31 - 57 of 57
Full-Text Articles in American Art and Architecture
Object List & Discussion Questions By Session
Object List & Discussion Questions By Session
Colby College Museum of Art
No abstract provided.
Colby Session 4: Urban Change And Renewal, Diana Tuite
Colby Session 4: Urban Change And Renewal, Diana Tuite
Colby College Museum of Art
No abstract provided.
Colby Session 3: Teaching Photography And Migration, Tanya Sheehan
Colby Session 3: Teaching Photography And Migration, Tanya Sheehan
Colby College Museum of Art
No abstract provided.
Colby Session 2: Photograph As Archive, Chansonetta Stanley Emmons, David Odo
Colby Session 2: Photograph As Archive, Chansonetta Stanley Emmons, David Odo
Colby College Museum of Art
No abstract provided.
Colby Session 1: Human/Nature, Lauren Lessing
Colby Session 1: Human/Nature, Lauren Lessing
Colby College Museum of Art
No abstract provided.
Bowdoin Session 4: 'Take Me To The River,' Photography And Place, Mike Kolster
Bowdoin Session 4: 'Take Me To The River,' Photography And Place, Mike Kolster
Colby College Museum of Art
No abstract provided.
Bowdoin Session 3: Ethnography And Photography, David Odo
Bowdoin Session 3: Ethnography And Photography, David Odo
Colby College Museum of Art
No abstract provided.
Bowdoin Session 2: The Body And Photography, Performance And Voyeurism, Sarah Montross
Bowdoin Session 2: The Body And Photography, Performance And Voyeurism, Sarah Montross
Colby College Museum of Art
No abstract provided.
Bowdoin Session 1: Overview Of Historic Photographic Processes, Frank Goodyear
Bowdoin Session 1: Overview Of Historic Photographic Processes, Frank Goodyear
Colby College Museum of Art
No abstract provided.
Fr 371 Writing The Self / L'Ecriture De Soi
Fr 371 Writing The Self / L'Ecriture De Soi
Colby College Museum of Art
In the spring of 2015, Colby students from the course FR 371 "L'écriture de soi / Writing the Self," taught by Assistant Professor Audrey Brunetaux, analyzed a variety of written and visual texts to understand how French writers, artists, and filmmakers conceptualize the notion of the "self." Research projects on Alex Katz, James McNeill Whistler and Mary Cassatt, accessible in French and English below, enabled students to apply the concepts and theories from class to textual and visual material in the Colby College Museum of Art.
For Lunder Collection: A New Home, Gerry Boyle
For Lunder Collection: A New Home, Gerry Boyle
Colby Magazine
Newly displayed at the Museum of Art, the Lunder Collection of American Art is a centerpiece for Colby and Maine.
'Not Unworthy Of His Hand': Crossing Borders In Benjamin West's A Drayman Drinking, Lauren K. Lessing, Terri Sabatos
'Not Unworthy Of His Hand': Crossing Borders In Benjamin West's A Drayman Drinking, Lauren K. Lessing, Terri Sabatos
Faculty Scholarship
In May 1797, Benjamin West—President of the Royal Academy, Historical Painter to the Court of King George III, and Surveyor of the King's Pictures—exhibited a small genre painting titled A Drayman Drinking at the annual exhibition of the Royal Academy in London. It was one of seven paintings West exhibited that year, and the only one overlooked by the reviewer for the Times. The critic's oversight may have stemmed from the unprecedented number of paintings on view (nearly twelve hundred, four hundred more than were hung the previous year) and the resulting overcrowding of the principle exhibition room. Through his …
Angels In The Home: Adelicia Acklen's Sculpture Collection At Belmont Mansion, Lauren K. Lessing
Angels In The Home: Adelicia Acklen's Sculpture Collection At Belmont Mansion, Lauren K. Lessing
Faculty Scholarship
Following the Civil War, the wealthy plantation owner Adelicia Acklen redecorated her villa, Belmont, near Nashville, Tennessee, with white marble ideal sculptures by the American sculptors Randolph Rogers, Chauncey Ives, Joseph Mozier, and William Rinehart. During the war, Acklen had compromised her reputation as a genteel Southern lady by bargaining with Union officers in order to sell her cotton at exorbitant wartime rates. By purchasing and displaying a collection of statues that embodied the ideal of true womanhood, Acklen hoped to publicly redomesticate both her home and herself and to express her affinity for the ideology of the Lost Cause.
New Perspective: Rereading Seymour Joseph Guy's "Making A Train", Lauren K. Lessing
New Perspective: Rereading Seymour Joseph Guy's "Making A Train", Lauren K. Lessing
Faculty Scholarship
In March 1868 a reviewer for the Commercial Advertiser described a small painting on view in Seymour Joseph Guy’s Tenth Street studio in Manhattan. It depicted a young girl preparing for bed and holding around her waist “a gaudy skirt of a dress, its folds, draped behind her, forming a train. From her shoulders a single garment hangs loosely, disclosing her neck and finely rounded shoulders.” The painting, originally titled The Votary (or Votaress) of Fashion, is now known as Making a Train. Visually complex, beautifully painted, and disturbing in its sensual presentation of a prepubescent female body, Making a …
Ties That Bind: Hiram Powers' "Greek Slave" And Nineteenth-Century Marriage, Lauren K. Lessing
Ties That Bind: Hiram Powers' "Greek Slave" And Nineteenth-Century Marriage, Lauren K. Lessing
Faculty Scholarship
On an April evening in 1859, Louise Corcoran, the only child of fabulously wealthy banker, philanthropist, and art collector William Wilson Corcoran, married George Eustis Jr., a United States congressman from Louisiana, in her father’s Washington, D.C., mansion. A “select circle” of more than one thousand guests witnessed the ceremony, which took place in Corcoran’s private art gallery. Writing of the wedding for Harper’s Weekly, George Washington Jenkins noted that one of the original versions of Hiram Powers’s celebrated marble statue The Greek Slave stood at one end of the gallery, “in a bay window which forms a fitting shrine.” …
Unveiling Raphaelle Peale's "Venus Rising From The Sea -- A Deception", Lauren K. Lessing, Mary Schafer
Unveiling Raphaelle Peale's "Venus Rising From The Sea -- A Deception", Lauren K. Lessing, Mary Schafer
Faculty Scholarship
New technical information uncovered by conservator Mary Schafer has revealed an earlier, unfinished composition beneath the margins of Raphaelle Peale’s circa 1822 trompe l’oeil painting “Venus Rising from the Sea—a Deception.” The earlier version of the painting featured a partial copy of Charles Willson Peale’s 1817 portrait of Raphaelle seemingly concealed behind the same white kerchief that now appears to hide a copy of James Barry’s 1772 painting “The Birth of Venus.” Schafer and art historian Lauren Lessing reinterpret Peale’s painting in light of these findings, describing its complex nature as both a physical object and a dark visual joke.
Picturing Efficiency: Precisionism, Scientific Management, And The Effacement Of Labor, Sharon L. Corwin
Picturing Efficiency: Precisionism, Scientific Management, And The Effacement Of Labor, Sharon L. Corwin
Faculty Scholarship
In the early decades of the twentieth century, the pursuit of efficiency came to dominate instances of industrial and artistic production: the engineering consultants Frank and Lillian Gilbreth attempted to visualize a language of minimal waste, while Precisionist art achieved its own aesthetic of efficiency. This essay examines the Precisionist project alongside the discourses of the rationalized factory and suggests a relationship between the formal economy of Precisionism and the rhetoric of scientific management. For Precisionist art and the Gilbreths' time-motion studies, the representation of efficiency ultimately entailed the elision of artist and worker as producers of labor.
Colby College Sesquicentennial Project: Art In Maine; Or, Colony, Province And State - The Role Of Maine In American Art, Colby College
Colby College Sesquicentennial Project: Art In Maine; Or, Colony, Province And State - The Role Of Maine In American Art, Colby College
Archives of Maine Art
A statement of purpose.
The State of Maine offers the locale for a penetrating study of the visual arts as they relate to a people and a geographical setting. This study can reach fruition in three distinct but related ways: as an exhibition of the works of art themselves; in the establishment of a permanent repository for photographs, factual data and source material; and as a book combining good reproductions and an authoritative text. Each of these will be discussed separately later in this report.
As a region, Maine is perhaps uniquely qualified to reveal the scope of American art …