The Museum of the City of New York is presenting a new exhibit, “Picturing Prestige: New York Portraits, 1700-1860,” an ensemble of iconic New Yorkers presented through portraits, which were commissioned as status symbols and painted by the very best artists a young nation had to offer. Continue reading
When American writer Henry James labeled the group of American women sculpting in Rome the “white marmorean flock,” he also made another note. “One of the sisterhood was a negress, whose color, picturesquely contrasting with that of her plastic material [white marble], was the pleading agent of her fame.” Like many of his contemporaries, James attributed the success of Edmonia Lewis to her skin color while also disregarding her mixed-race heritage.
In the early nineteenth century, it was difficult to be an American sculptor. There were no professional art schools, no specialized carvers, few quality materials, and only a few practicing sculptors in America. The pilgrimage to Rome was a necessity for those who aspired to be sculptors. If a woman wished to pursue sculpting, she confronted additional obstacles. Continue reading
The Thomas Cole National Historic Site has announced the inaugural art exhibition in its “New Studio” building at the former home of Thomas Cole (1801-1848), founder of the first distinctly American art movement.
The New Studio, built in 1846, was designed by Cole, and demolished in 1973 before the historic site became a museum. The reconstruction, to be officially unveiled with the opening of the exhibition on May 1, 2016, provides the Site with museum-quality climate-controlled space for displaying art. The upcoming show will be the first to take advantage of that new capacity. Continue reading
In the new show at Harlem’s Wintner-Tikhonova Fine Art Gallery open till Jan. 17, Caribbean artists show varieties of imagination rooted in that history of exchange. Francks Deceus from Haiti offers an abstracted photographic image of a dapper suited man in derby hat imprinted on an outlined version of a worker’s jumpsuit, evoking the urban and rural amalgam that haunts the identity of so many New Yorkers hailing from the Caribbean. Continue reading
“I went out after a Christmas tree and some laurel, through seas of mud,” wrote Jervis McEntee on Christmas eve, 1881, “to the place where I always go on the cross road between the Flat-bush and Pine bush roads. It rained a part of the time and turned into a snow storm on our return.”
Another year, McEntee’s usual places for a tree were so wet that he settled for a small hemlock on the side of the hill where he lived. It was a hill that offered a panoramic view of the entire village as well as the Rondout Creek and the Hudson River. His father James, an engineer who had helped build the nearby Delaware and Hudson Canal, had built the first house on the hill and the family still lived there. Continue reading
“If new thought can enter the mind, even for a moment, then change has a chance,” writes JT Liss. His photographs search for those figures and visions that allow us to see new ways and think new thoughts.
Ilon Gallery’s show Harlem: Life in Pictures on view in a classic 1890s brownstone, demonstrates how historic images of figures that have become iconic can acquire new resonance when displayed along fresh takes on a neighborhood that has been a cradle of creativity for well over 100 years. Continue reading
The idea of promoting the changing colors of the leaves on the trees to encourage tourists to visit an area did not exist much at all before the late 1930s, and although both the Berkshires in Massachusetts and the Poconos in Pennsylvania were promoting fall foliage tours as far back as the 1940s, the Catskills did not begin to cash in on the idea until the 1950s. Continue reading
These guided hikes go to the painting sites of the 19th-century artist Thomas Cole and his contemporaries including Frederic Church, Jasper Cropsey, Sanford Gifford, and Asher B. Durand. Participants will be able to see the same views that appear in famous landscape paintings. Continue reading
“What is the Hudson River School?” is the frequently asked question that prompted the Albany Institute of History & Art to present the exhibition The Making of the Hudson River School: More than the Eye Beholds in 2013. The exhibition featured 96 works from the Albany Institute’s collection of Hudson River School paintings, drawings, prints, and historical documents, along with 38 works from several private collections that had not been shown before in a public exhibition.
This exhibition, which highlights such a key component of New York State’s history and the history of American art, has been digitized and is now available as the museum’s first online exhibition, bringing the story of the Hudson River School to greater audiences. Continue reading