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Title
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1972 PAFA Press Release
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Format
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PDF
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Rights
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Digitized archival materials are accessible for purposes of education and research. We have indicated what we know about copyright and rights of privacy, publicity, or trademark.
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Publisher
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The Pennsylvania Academy of the Fine Arts' Archives
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Language
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English
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extracted text
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FELLQI;I}SHIP 75th ANNrvERSARY EXHIBITION OPENS AT 'fEE
PENNSYLVANL~ AC_~EMY
OF THE FINE ARTS
PHILADELPHIA, PA. - - On Friday evening, January 28th, the Pennsylvania
Academy of the Fine Arts unfurled a new green and blue banner over Broad
Street and welcomed the PAFA Annual FellGWship Exhibition with a gala
champagne reception for
o~
18 ()
~~
guests.
From el even o'clock on, the
present students of the Academy hosted an extremely popular discotheque in
the auditorium below the ga lleries.
The celebration marked what is a
momentous occasion in many respects, with all friends of the Academy giving
their best efforts to the event.
The exhibition
i~
is an outstanding selection of OVer 175 oil paintings,
watercolors, sculpture, and graphics assembled by the Academy's alumni
organization.
In addition, the Felloi..ship has organized a Memorial Show to
t heir great friend and former Board Member, the noted painter Paul Wescott.
Mr. Wescott , who for twenty years was head of the art department of the Hill
School in Pottstown, s pent
near~
all his summers in
Friendship, · MaL~e,
and it
was there that most of his scenes of seacoast horizons and skies were painted.
Visitors to these two exhibitions will also be interested in seeing the special
exhibi t .mich pays tribute to the men and women who founded the Fellowship
on April 19, 1897, among them Thomas Anschutz, Cecelia Beaux:, Charles Dana,
and John Sloan.
The Fellowship's pride in the artistic achievements and mutual loyalty of
its members is further ma!l.ifested in the handsome booklet which has just been
published outlining the illustrious history of services offered by the
Fello~fshipr
II
an extremely generous project to present the Academy with
+c
y
~
a painting by John Sloan ~ commemorat~ 9f their 75th a~~iversary. I ~~
~ pC(~~ r\;)
(more)
FELLmV'SHIP 75th ANNIVERSARY EXHIBITI ON, page 2.
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tA'--<-C .a.t.ltJ ~ (Jt. <LruC P""2ILCl"'
'iljti ].p~t.--ed shortly after Sloan was a student at the Academy,.. In order to raise -r (\J"LJ£ l,:jc"Tlv L 7
sufficient funds for this important paintlng ; many Fellowship exhibitors have
rr
~IU)\-·~CLV
allowed ~ o~ the s al e pr ice of their own work to be directed towards its
purchase.
In cooperation with the individual efforts of the Fellowship artists,
the Academy's Board, members, staff, and students are also taking part in the
endeavor by attempting to encourage tho sa.le - of as: 'many works as possible • . , ',
·This 75th
an~ivorsary
space,~,
exhibition, which fills nearly the ent ire gallery
represents the best of what the Academy's alumnae and
alumni are currently producing.
In encompassing work by eminent, long-admired
painters and sculptors as well as that of younger artists who are rapidly
coming into national prominence and that of the even more recent students who
have returned from travelling on Cresson Scholarships, the exhibition offers
the visitor and buyer a broad range of artistic styles, subjects, and media.
The exhibition extends through Tuesday, February 29th.
HOURS:
10 to 5, Tuesday through Saturday; 1 to 5 Sunday.
ADMIS SION:
FREE
For further information and photographs, please conta ct the Public Relations
off ice, LO 4-0219.
1 / 28/72
,
) "
FOR RELEASE :
IMMEDIATELY
news release
Pennsylvania Academy of the Fine Arts • Broad & Cherry Streets, Philadelphia, Pa.19102 • LO 4 -0219
FELLOWSHIP 75TH ANNIVERSARY OPENS AT THE
PENNSYLVANIA ACADEMY OF THE FINE ARTS
PHlLADELPHIA~ PA. - - On Friday evening, January 2'8th, the Pelll1sylv"ania
Academy of the Fine Arts unfurled a new green and blue banner over Broad
Street and welcbmed the PAFA Alll1ual Fellowship Exhibition with a gala champagne ·
reception for over I, 800 guests.
From eleven
0' clock
on, the present students
of the Academy hosted an extremely popular. discotheque in the auditorium below
the galleries. The celebration marked what is a momentous occasion in many
respects, with all friends of the Academy giving their best efforts to the event.
The exhibition is an outstanding selection of over 175 oil paintings,
watercolors, sculpture, and graphics assembled by the Academy's alumni
organization. In addition, the Fellowship has organized a Memorial Show to
their great friend and former Board member, the noted painter Paul Wescott.
Mr. Wescott, who for twenty years was head of the art department of the Hill
School in Pottstown, spent nearly all his summers in Friendship, Maine, and
it was there that most of his scenes of seacoast hor izons and skies were painted.
Visitors to these two exhibitions will also be interested in seeing the special
'.-
.'
.;.
exhibit which pays tribute to the men and women who foundedthe Fellowship on
Apr il 19, 1897, among them Thomas Anschutz, Cecelia Beaux, Charles Dana
and John Sloan.
The Fellowship's pride in the artistic achievements arid mutual
loyalty of its members is further manifested in the handsome booklet which has
just been published outlining the illustrious history of services offered by the
Fellowship. Members of the FellO\vship are also engaged in an extremely
generous project to present the Academy with a painting by John Sloan to commemorate their 75th anniversary. The painting under consideration is of a
Philadelphia landmark, and was painted shortly after Sloan was a student at
the Academy and still in Ph'iladelphia. In order to raise suffic ient funds for
(more)
-2this important presentation, many Fellowship exhibitors have allowed a percentage
of the sale price of their own work to be directed towards its purchase.
In coopera-
tion with the individual efforts of the Fellowship artists, the Academy's Board,
members, staff and students are also taking part in the endeavor by attempting to
encourage the sale of as many works as possible.
This 75th anniversary exhibition, wh ich fills nearly the entire gallery
space, represents the best of what the Academy's alumnae and alumni are currently
producing.
In encompassing work by eminent, long-admired painters and sculptors
as well as that of younger artists who are rapidly coming into national preminence
and that of the even more recent students who have returned from travelling on
Cresson Scholarships, the exhibition offers the visitor and buyer a broad range of
artistic styles, subjects, and media. The exhibition extends through Sunday,
February 27th.
HOURS:
10 to 5, Tuesday through Saturday; 1 to 5 Sunday.
AD MISSION:
Free
#
For further information and photographs, please contact the Public Relations
office, LO 4-0219.
2/2/72
I
" {r,
FOR RELEASE:
C-
l}!:·lEDIATELY
news release
Pennsylvania Academy of the Fine Arts • Broad & Cherry Streets, Philadelphia, Pa. 19102 • LO 4 -0219
ACADEHY NEHS
PHILADELPHIA, PA. - - Horris Blackburr, Instructor in Graphics, Painting and
Drawing at the Pennsylvania Academy of the Fine Arts has been awarded the Percy H.
O\vens Nemorial for 1972.
Blackburn, whose prize-w'inning works were recently
exhibited at his thirty-fifth one-man shmv at the Chester County Art Association,
is a resident of Philadelphia and has taught at the Academy since 1952.
The Percy wens Memo rial Prize Has established in 1956 through the Fellowship
of the Academy in recognition of outstanding accomplishments by a Pennsylvania
artist.
Hiss Frances H. Vanderpool ",Jill retire from the Pennsylvania Academy of the
Fine Arts on April 1, after forty-four years of dedicated service.
her career in May of 1928 as membership and exh ibition clerk.
She began
Over the years,
Nis,s Vanderpool has been involved in all aspects of the Academy's func tions and
has made la s ting friendships with countless co-workers and artists.
Commenting on Miss Vanderpool's retirement, Academy Director, Tom Armstrong
said, "Frances's selfless dedication is a great foundation to our spirit and
,ve'll surely feel the loss of her con tribution to our life at the Academy."
She \ViII be honored at a luncheon at the Academy's Peale Club on Barch 30th.
HOURS:
Tuesday through Saturday 10 a.m~ to 5 p.m. Sunday, 1 p.m. to 5 p.m.
Admission is FREE of charge.
For additional infonnation and photographs " please contact the Public Relations
Departme'n t, John Alexander, Director at LO 4-0219.
-more-
The Pennsylvania Academy of the Fine Arts, a privately supported public institution,
established in 1805, is the nation's oldest museum and art school.
The present
school and museum building, completed in 1876, was one of the first commissions
for the then unknmm thirty-hlO year old arch itect, Frank Furness.
When the
Academy opened in the year of the Nation's Centennial Celebration, it established
a ne,,, architectural direction for the decade to come and launched one of the great
American architectural talents.
FOR RELEASE :
IMMEDIATE
n wsrelease
Pennsylvania Academy of the Fine Arts • Broad & Cherry Streets, Philadelphia, Pa. 19102 • LO 4 -0219
A SALUTE TO
FRAJ.'~KLIN
HATKINS
PHILADELPHIA, PA. - - The Pennsylvania Academy of the Fine Arts will honor
Franklin C. Watkins, distinguished faculty member of the Academy school, with
a special exhibition, A Salute to Franklin Watkins, on the occasion of his
receiving the 1972 Phila delphia Award.
The exhibition opens at the Academy in
galleries C and D on March 14 and \vill extend through April 16th.
Watkins is one of America's most distinguished artists.
He began his
career with the Academy in 1913 whcu he ent ered the Academy school as a student.
His training was at a time when the faculty included the well-known American
artists Cecilia Beaux, Hugh Breckenridge, Daniel Garber, Henry McCarver and
Emil Carlsen.
Watkins joined the faculty of the Academy in 1943.
He has
served as faculty representative and member of the Board, a position he now
holds.
Paintings by Franklin Watkins have been exhibited throughout the world and
he has been awarded numerous honors including: First Prize, Carnegie International
Exhibition (1931), Bronze Medal, Paris International Ex hibition (1937), Bronze
Medal, Musee du Jeu de Paume, Paris (1938), Gold Medal of Honor, PAFA (1949) and
the Salon of Honor at the Second Inter-American Biennial Exhibition of Mexico
(1960).
His works are owned by the Hhitney Museum, Metropolitan M'.lseum,
Philadelphia Museum of Art and many other public institutions and private
collections.
The exhibition consists of thirty of Watkins' most representative and
(more)
A SALUTE TO FRANKLIN WATKINS, Pa ge 2
outstanding works.
Most are fro m Philadelphia coll e ctions and several have
not previously been ex hibited publically including th e portrait of Henry Allen
Hoe, mmed by the American Philo s ophical Society.
The paintings rang e in date
from Suicide i n Cos tume , 1931, from the Philadelphia Museum of Art coll e ction,
to Still Life with Ca t, 1972, l e nt by Wa t k ins' de a l e r, Kenned y Galleries of
Ne\v York.
Suic ide i n Cos tume, one of Ha t k ins' fir s t of many prize-\vinning
piec es , ,,,as paint ed a fter th e a rtists l earned tha t a f riend had comm itt ed
suicide a s Wa t k ins ,,,as dressing for a Ne,,, Years' ev e party.
The artist is
well knmm for hi s portraits \vhi ch atte s t to his sincere interest in peopl e .
Critics have oft en noted that in audition to the s trong phy s:"cal char a ct e ristics
of his sitters, Wa tkins ha s the great fa c ility to c a pture th e ir spirit.
In
the tr ad ition of great portr a it painter s , he reali zes the und erlying pers onalit y
of the pe r s on be ing painted.
The exhibition has been installed by Tom Arm s trong , Director of the Academy .
The ga lleri e s have been pain ted in deep shad e s of blue-green and apricot and
the painting s a re combined \"ith a selection of Ame rican and Eng lish pe riod
furni t ure to provid e a domestic atmospher e for th e ensemble of objects.
Sculpture, some of which appear s in Hatkins' still-life pc;tinting s on exhibition,
is u sed ,vith the furniture.
For the ex hibition, which "'ill b e the scene of
the festivities in conne ction ,,,ith the Philadelphia A",ard cer emonies on March 28,
a special collection of topiary and orchids also have been used it'. the
gall e ries.
Armstrong has att empt ed to cr e at e a unique atmosphere for the
tribut e of a man 'vhose life has been devoted to continuing the standards and
traditions of th e Pennsylvani a Academy of the Fine Arts.
(more)
b SALUTE TO FRANKLIN
\~ATKINS,
Page 3
Watkins is being honored for his outstanding work as a painter and his
great contribution as a member of the Academy faculty for more than tl..'enty-five
years.
"His singular, greatest cont ribution to the school has been his concern
for the difficult tas k a Fine Arts student has in surviving in our society",
said Henry Hotz, Administrator of the school .
One of Watkins' former students,
Nurray Desner, has described him as "an image of dignity and grace; someone
whose critiqu es tau gh t you hm" to make a painting, made you a,-7are of the
pO'iver contained in paint."
HOURS:
10 a.m . to 5 p.m. Tuesday through Saturday; 1 p.m. to 5 p.m. Sunday.
Admission is FREE of charge.
For additional information and photographs, contact the Public Relations
Department, John Alexander, Director at LO 4-0219.
Ma rCh
FOR RELEASE:
)972.
llfMEDIATELY
news release
Pennsylvania Academy of the Fine Arts • Broad & Cherry Streets, Philadelphia, Pa. 19102 • LO 4 -0219
~~SHALL
GLASIER - A SELECTIVE RETROSPECTIVE
PHILADELPHIA, PA. -- On March 23, a Se18ctive Retrospective of paintings and
drawings by Marshall Glasier will be presented at the Peale Galleries of the
Pennsylvania Academy of the Fine Arts, 1811 Chestnut Street, Philadelphia.
The exhibit, a resume of the artist's \vork from the 40's to the present, is
designed to illustrate the development of the artist as a painter.
Glasier's career interests Here varied until his late twenties when he
"ran into a man who was to greatly influence my whole future - George Grosz."
In Ne\v York he studied for five years with Grosz, \'Jho later said of Glasier:
"Look at his work and you discover 'human values' ... there is the human figure,
there is the sea, shells, t\vigs ... his paintings are sometimes like those shells
you put to your ear and hear all kinds of rhythms and music."
Glasier has also been the subject of articles by other outstanding artists
and critics including William de Kooning, Brian O'Doherty and Harold Rosenberg.
In referring to Glasier's vivid personality and bohemian life-style, Henry Hotz,
Academy School Administrator, has said, "he gives of himself for art 's sake
without concern for personal gain ."
The show at the Peale Galleries will contain a group of fifty paintings
and drawings, several never shmm publically, dating from 1945 \vhen Glasier
lived and \vorked in New York, Oregon and
groups or series.
~Hsconsin.
These include three distinct
The Aztec Series, in which he uses bold linear structures, is
a result of Glasier's keen interest in the Indians of the northwest.
- more -
The
MARSHALL GLASIER - A SELECTIVE RETROSPECTIVE
Page 2
Stratification Series draws upon the geographic influence of the western
states.
In the Color Executive Series, the line becomes more fluid as Glasier
satirizes the social conditions of his time.
These and other works strongly
reflect the effects of physical and social environments upon the artist.
In addition to the east and west galleries, Peale Galleries has cleared
out yet another storage area behind one of the galleries for Mr. Glasier.
It is called Environment and will house very large paintings of Egyptian and
Greek vase figures done in a special type of florescent paint.
The walls
will be very dark and the room lit by a blue light giving a phosphorescent
affect to the works.
Preview is Wednesday , March 22,5 to 7p.m.
Open to the Public March 23 through April 30.
HOURS:
Tuesday through Saturday 10 a.m. to 5 p.m.; Sunday 1 p.m. to 5 p.m.
For additional information and photographs, contact the Public Relations Department, John Al exander, Director at LO 4-0219.
FOR RELEASE:
IMMEDIATELY
news release
Pennsylvania Academy of the Fine Arts • Broad & Cherry Streets, Phi ladelphia, Pa. 19102 • LO 4 -0219
STUEMPFIG - HARRIS l'fEHORIAL EXHIBITIONS
PHILADELPHIA, PA.
The Pennsylvania Academy of the Fine Arts will honor two
of its distinguished former
f~culty
members, the painter Walter Stuempfig and the
sculptor Allen Harris, with major retrospective exhibitions presented
simultaneously from March 15 through April 9, 1972.
A native Philadelphian, Stuempfig was born in Germantown on January 26, 1914.
He graduated from Germantown ·Academy in 1931 and immediately began studies at
the Pennsylvania Academy of the Fine Arts at the age of 17.
Soon thereafter,
he established himself as an outstanding young artist when he exhibited in
the PAFA Annual Ex hibition of 1932.
In 1945, Stuempfig received the first of
many coveted awards - the PAFA Cresson European Traveling Scholarship.
His
other awards includ ed the Corcoran Silver Medal (1947), the Benjamin Altman
Landscape Prize (1953) and the Percy O,vens Prize of the PAFA Fellmvship (1963),
an award established in 1956 to recognize outstanding Pennsy l v ania artists.
He was elected to the National Institute of Arts and Letters, the Century
Association and the National Academy of Design.
The PAFA faculty was fortunate
to have him as Instructor in Composition and Dral,.ring for t wenty-t,vo years.
The Stuempfig Memorial Ex hibition contains 84 painting s and has been
organized and catalogued by Mrs. Susan Cooley, Curator of the Academy's
collection.
"Stuempfig was a very prolific and competent painter whose works
include portraits, still-lifes, landscapes and city-scapes", Mrs. Cooley
has commented.
"He was extremely ..adept regardless of the subj ect matter".
The exhibition contains four self portraits done between 1945 and 1951 and many
(more)
STUEMPFIG - HARRIS MEMORIAL EXHIBITIONS, Page 2
works indicating his use of recurring themes related to the sea which he
loved from childhood and the Italian Landscape.
Italy, its traditions and landscapes, had a great affect upon Stuempfig's
entire career.
He began to visit this birthplace of the Renaissance in 1949
and made annual trips from 1960 until his death in 1970.
Stuempfig paid
hommage in his work to the European 'masters' including Poussin, Carravaggio
and Corot.
The profound influence of the Academy's great teacher, Thomas Eakins,
is evident in many of Stuempfig's paintings particularly those of oarsmen on
the Schuylkill.
Stuempfig painted many landscapes of Philadelphia and vicinity,
including MANAYUNK, 1947 which recalls the 'Manayunk School' of the 40's
and Stuempfig's revered friend and gifted teacher, Francis Speight.
Lenders to the Stuempfig show include: Mr. and Mrs. R. Kirk Askew, Jr.,
Mr. and Mrs. Malcolm Forbes, Mr. and Mrs. R. Sturgis Ingersoll, Henry Luce III,
Henry P. McIlhenny Collection, the Metropolitan Museum of Art, the Museum of
Modern Art, National Collection of Fine Arts, Smithsonian Institution,
Philadelphia Museum of Art, Mr. and Mrs. George Brooke Roberts, sons of the
artist, Wadsworth Atheneum, Mr. and Mrs. John Hay Whitney, Whitney Museum of Art
and Yale University Art Gallery.
For the Allen Harris Memorial Exhibition, twenty-seven sculptures, two of
which are prize-winning bronzes, are on display in the Rotunda of the Academy
building at Broad and Cherry Streets.
Born in St. Louis in 1924, Harris studied at the John Burroughs School,
(more)
STUEMPFIG - HARRIS MEMORIAL EXHIBITIONS, Page 3
Washington and Jefferson College and the Academy where he taught for five years
until his death in 1970.
As a student at the Academy, Harris won the PAFA Stimson Prize in Sculpture
(1949) and a PAFA Cresson European Traveling Scholarship (1950).
Among his
other awards were prizes from the National Academy of Design, the Simon Prize
from the City Art Museum in St. Louis and the Gold Medal, Da Vinci Art Alliance
which he received on two separate occassions.
In 1958 he was awarded the Prix de Rome Fellowship in sculpture and was
distinguished as one of the few people to ever receive
for
t~vo
successive years.
It
~vas
rene~'lals
of the award
in Rome, amid the world's greatest bronze
foundries, that Harris developed artistically and narrowed his thematic material.
The grace and beauty of the female figure became his most frequent subject, and
subsequently the theme of his life's work.
Harris developed full length molds
of the figure from which he made casts in varying size, some full length, some
of the torso alone.
He is especially known for establishing advanced methods
for the casting of bronze.
In 1955 he built his own foundry.
This was the
first foundry to operate in the Philadelphia area in over thirty years.
Harris
was particularly anxious to teach his students to cast and allowed thein the use
of the facilities of his foundry.
Several pieces in the exhibition are closely related in that their forms are
all derived from the same mold.
This 'variation on. a theme' approach, a
traditional method of teaching figurative sculpture, is evident in three
pieces, the DRAPED TORSO, BROACAE TORSO and LACE TORSO.
The same mold was used
in several additional pieces, with slight variations in the position and medium.
(more)
,
,
.
STUEMPFIG - HARRIS MEMORIAL EXHIBITIONS, Page 4
Unlike many of his contemporaries, Harris sketched none of his studies on
paper, but in wax.
This procedure allowed him to work in a three-dimensional
technique from concept until execution of the finished bronze.
Lenders to the Allen Harris Memorial Exhibition are;
J. Schiller Paul,
Mr. and Mrs. T. Ben Harris, Pennsylvania State University and Mrs. Allen Harris .
.. Several pieces in the exhibit are available for purchase through the
Academy's Museum Shop.
Members' previe-.;" will be March 14th from six to eight p.m.;
open to the public Wednesday, March 15th.
It
HOURS:
10 a.m. to 5 p.m. Tuesday through Saturday; 1 p.m. to 5 p.m. Sunday
Admission is FREE of charge.
For further information and photographs, contact the Public Relations
Department, John Alexander, Director at Lo 4-0219.
FOR RELEASE:
UftvlEDIATELY
news release
Pennsylvania Academy of the Fine Arts • Broad & Ch~rry Streets, Philadelphia, Pa. 19102 • LO 4 -0219
A DAY IN THE COUNTRY
PHILADELPHIA, PA. - - - The Women's Committee of the Pennsylvania Academy of the
Fine Arts is sponsoring a
cour~yard
fair at the Brandywine River Museum in Chadds Ford
on Sunday, May 7th from 11 a.m. to 4 p.m.
A DAY IN THE COUNTRY is the tenth in a
continuing series. of Art Safaris that the Women' s
Committe~
has organized since 1966,
when it was decided that a concerted effort be made to pay tribute to America's grea t
art museums and collections. · Since that time, the Safaris have visi.ted such outst anding
museums as the Fine Arts Museum of Boston, the Me tropolitan Museum of
Ne~-l
York, the
Baltimore Fine Arts Huseum, the National Gallery of Hashington, D.C., Colonial Williamsburg and the Abby Aldrich Rockefeller Folk Ar t Collection in Williamsburg, Virginia.
The DAY IN THE COUNTRY committee,
~-lith
Nrs. Albert N. Greenfield, Jr., and l1rs .
H. Richard Dietrich ::is co-chainnen is '.Jorking (li ligently to provide many pleasant
aspects to the BrandYHine event.
"We've had our sights set for some time on an outing
in the country combined with an art fair and the Brandy,vine provides the perfect environment for such an event", Mrs. Greenfield noted.
The County Fair in the Courtyard of the
interest to young and old.
BrandY~-line
Huseum Hi ll offer something of
Booths wi ll sell art, posters, white elephants, flo wers
and selected antiques; organic delicacies, cheeses, mushrooms and a d emons tration of
open-pit Greek cooking of a lamb are sure to stir everyone's appetite.
When not brm-lsing among the many other interesting items such as herbs, and a
fascinating collection of curios, visitors may take advantage of the last exhibition
day of the museum's current popular show - "Th e Beginning of the Brandyo:.;rine Collection
and Study Center".
Highlights of the exhibition are thirty preliminary draHings for three
major works by Andrew Wyeth.
Wyeth's studies of "Roasted Chestnuts", "James Loper",
- more -
PAGE 2
and "Outpost" done in charcoal, pencil, watercolor and pen-and-ink demonstrate the
step-by-step development of the artist's concept of his subject.
Proceeds from A DAY I N THE COUNTRY will aid in a program to bring visiting
critics to t he Academy School.
The Brand~vine River Museum is located 2~ miles past the junction of U.S. Routes
#202 and #1, on U.S. Route #1.
Hours:
Tuesday through Saturday 10 a.TIl. to 5 p.m.; Sunday 1 p.m. to 5 p.m.
For additional informati on and photographs, please contact the Public Relations
Department, John Alexander, Director at LO 4-0219.
The Pennsylvania Academy of the Fine Arts, a privately supported public institution,
establi shed in 1805, is the nation's oldest museum and art school. The present school
and museum building, comp l e ted in 18 76, was one of the first commissions for the then
unkn d~VIl thirt y -t ~vo year old architect, Frank Furriess.
Hhen the Academy opened in the
year of th e Nation's Centennial Cel ebration, it established a new architectural direction
for the decade to come and launched one of the great American architectural talents.
FOR RELEASE :
c,
news release
Pennsylvania Academy of the Fine Arts • Broad & Cherry Streets, Philadelphia, Pa. 19102 • LO 4 -0219
- - - ---_.
]eJr s. Evan Handolph, President of the Women I s Committee of the Pennsylvania Academ:v of
the Fine Arts, has announced that Mr s. James W. Cooke has been elected as her successor .
Th e official installation of JVlrs . Cooke and her supporting officer s to ok place at the
a nnual meeting of the lJomen IS Co rl1mi ttee at the Peale Club on rJ] onday, J1ay 15, 1972 .
JVlr s. Randolph has been President since 1969 .
During l'1r s. Randolph 1 s tenure the Women 1 s
Committee 1 s fostered the very successful Art Safar i Series a nd provi ded continuous
support of student pro:iects .
Iif.:r s. Randol ph will continue to s upp ort th e interests of the
Women 1 s Committee as it pro gresses under the guidance of JVlrs . Cooke.
~rrs .
Randolph ' s
mother, the late J'il rs . Leonard T. Beale, f ound ed the irJomen ls COrrl.rn ittee of the Academy in 195 0.
l'1r s . ' Cooke of Haverford, Pa., Has elec t ed to the committee in 1969 and has contributed
greatl y to the succ e ss of various Academy events and spe cial pro,iects .
.
Sh e is curr e ntly
a me mb er of the Board of lv10men Visitors at the University Hos pi tal, member of t he Advisory
I
Committee of the Ardmore Hecr eation Center, on the Bpard of Governors of the Acorn Club
and has taught remedial reading for the past ten year s privately an d a t the Shipley
School.
Her daughte r , Rebecca , a former
A ca de~r
student and winner of the Cecilia Beaux
Memorial Prize an d the Cresson European Traveling S cholarship, is a well-known
Phi ladelphia portrait painter.
Mrs. Cooke intends to "con tinue to ass ist in strengthening the Academy 1 s r ole as
foremost art institution in the nation.
II
For a ddi tional information and photographs, please contact the Pub lic Relations Department ,
John Al exander, Director, at LO 4-0219.
J~(1 13, /CJ72
FOR RELEASE:
IMMEDIATE
news release
Pennsylvania Academy of the Fine Arts • Broad & Cherry Streets, Philadelphia, Pa. 19102 • LO 4 -0219
CONTINENTAL PLEASURE S
The artistic tastes of native Philadelphians are handsome l y documented in
the Pennsylvania Academy of the Fine Arts' final summer exhibition at the Peale
Galleries at 1811 Chestnut Street.
The exhibition, entitled CONTINENTAL PLEASURES,
consists of over forty examples of French, German, Italian and Dutch paintings.
It will hand in the East and West galleries of the Peale House from July 1st
through July 31st.
With increased travel abroad by Philadelphians in the last quarter of the
1 9th century, a growing awareness of the European heritage both past and present
excited many Americans to acquire European art.
One such collector was the noted
Philadelphian Henry C. Gibson who bequeathed his paintings and sculptures to the
Academy in 1896.
Gibson was one of five men under whose supervision the Academy
building at Broad and Cherry streets was erected.
Vice-President of the Academy.
He later became a Director and
The Gibson collection contains paintings by such
celebrated artists as G~rome, Millet, Cabana 1 , Tissot, Daubigny, Corot and
Courbet whose works are presented in the current show.
G~rome's The Guardian which hangs in the West gallery exemplifies his skill
as an academic painter.
Unhesitantingly acknowledged during the mid-1870's as
the greatest living French painter, G~rome's exotic canvasses were tremendously
popular in the Paris Salon exhibitions .
Equally noteworthy is Alexandre Cabanal's
celebrated Birth of Venus, one of three versions painted by the artist.
CONTINENTAL PLEASURES affords the viewer an opportunity to compare and contrast
the changing artistic styles and tastes of 19th century Europe.
(more)
The Great Oak of
Ornans by Gustave Courbet (1819-1877) was not well received by the Paris Salon
tastemakers and Courbet was not permitted to exhibit there for some years.
His
choice of common subjects as well as r adical political ideas were not in keeping
with French traditionalism.
The Return of the Flock by Jean Francois Millet
(1814-1875) also depicts a pastoral scene.
Millet chose to paint the common
people of the soil whose lives were not deemed fit subjects by academic standards.
Millet retired to Barbizon, France in 1855 and became closely associated with the
Barbizon school of painters, notably Gorot and Daubigny, examples of whose works
are included in the exhibition.
Labels containing detailed information about many of the paintings have
been posted beside the works.
#############
HOURS:
10 to 5, Tuesday through Saturday, 1 to 5 Sunday.
Admission is always FREE.
For additional information and photographs, please contact John Alexander,
Director of Public Relations at LO 4-0219.
The Pennsylvania Academy of the Fine Arts, a privately supported public institution
established in 1805, is the nation's oldest museum and art school. The present
school and museum building, completed in 1876, was one of the first commissions
for the then unknown thirty-two year old architect, Frank Furness. When the
Academy opened in the year of the Nation's Centennial Celebration, it established
a new architectural direction for the decade to come and launched one of the
great American architectural talents.
7/3/72
-
---
-----------------
'.HilHEDIATELY
.ACADKrvfY HONORS HELEN
FA.~~
SLOAN
The Homen's Committee of the Pennsylvania Academy of the
Fine .t!,rts will honor Helen Farr Sloan , 'vidow of noted A-nerican
painter John Sloan (1871-1951), with a special dinner reception
on September 14th beginning at 6:30 at the Academy building ,
Broad and Cherry Streets.
The di nner \vill COITn:nence the
festivities for the IlJOHN SLOAlil I N PHILAlJELPHIA" exhibition
v>7hich opens to the public September 16th and closes October 22nd.
llT.;le are most pleased to recognize Hrs. Sloan IS outstanding efforts in assisting scholars to further understand the
life work of this great A-nerican Realist and for her in valuable assistance to the Academy staff in provi ding additional works for public displayll, said Hrs. James
chairman of the vJomen I s Com.mittee .
tlJ .
Cooke,
Mrs. Sloan has loaned
personal memorabilia such as Sloan i s easel, \vorkbench , palette ,
dralivings , sketches and photographs of him and his contemporaries
known then as the " Fhiladelphia Gang . "
Mrs. Cooke is also chairman of the Sloan Dinner corrn:nittee
and she is being assisted by Mrs. David J. Grossman (Philadelphia),
Hrs . John Gribbel (Huntington Valley), l1rs Charles Mather II
(more)
ACADEMY HONORS HELEN FA.RR SLOAN
-2-
( Phil adelphia) , dr s. Samuel R . Shipley III (Devon), and r·lrs .
Robert Thomas (Haverford).
The Sloan Dinner committee has chosen a distinctive
cover illustration for the dinner invitation adapted from
a ticket for a performance of IiTwillbe" (from George de Maurier !s
HTrilby") at a student party at the Pennsylvania Academy , De cember 29th, 1894.
Sloan designed ' the invitation vJhen he wa s an
Academy student.
The 4000 invitations to this Black-tie affair will be
hand stamped "'lith the John Sloan commemorative sta.'1lP , cornmissioned by the United States postal service and first issued
on August 2nd, 1971 , centennial of Sloan 's birth, at the a-tist's
birthplace Lock Haven, Pennsylvania.
Guests at the dinner
~vill
be privileged to meet and share
many personal reminicenses \'vith Mr . Bruce St. John, Director
of the Delaware Ar t riuseum (location of the John Sloan Ivlemorial
Library) and Mi ss An toinette Kraushaar of Kraushaar Galleries,
New York City, "'lhich has represented Sloan :since 1916 .
lvfr . St .
John will s peal' on JvIr s. Sloan's organization of the John Sloan
J:vlemorial Library and archives . •Hiss Kraushaar will comment
(more)
.'
;
ACADEMY HONORS HELEN FARll. SLOAN
- 3-
upon Sloan and his association with her family. :Gl.lests will
also rec eive the comprehens ive John Sloan exhibition catalogue of the major exhibition Tv'J hich began at the National
.
TJ
h·
vas_lngton,
G-al- 1 ery or,.. AI t lQ
D. C. on September 18, 1971 .
For additional information and photographs contact
John Alexander, Director , Public r elations at (215) -5 64- 0219 .
August 8, 1972
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ACiillEl:·IY HONORS HELE:,l FJ~_R SLOAYf
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Robe~t
S1 0c111 Dil1rl2r COli.1ID.ittee
illus t~ a tion
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bc r 29th , 1894· .
11.2..s chos :::! i.l a di stinctive
for th e dinner i nv it at ion ada·o te d from
~
a ticket for a per£o:r."r[1.aL1ce of
liT~'7illberr
..,.
•
( froD Ge orge de Haur i er r s
Sloail desi gn ed 't he iiJ . . ri t 2:.tio n
B lctcl~-tie
The 4 000 invit3.tions to this
h&nc1
,
Thomas (Haverford).
'Tlle
cover
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O.L08.ql COElIilemorat J.v2 \
•
stp mp, c omrnlS -
sioncd by the Unit e:;d States postal se:;J::vice cmd first issue d
on August 2nd, 1971,
cei1te~l:J ial
ofSloa.n r s birth,
at
t he:; art ist T s
birthplace Lock Haven, Pe nnsy lvan ia.
,
sn2.re
many personal r emlOlceose s wi t h Mr. Bruce St. J ohn , Dire ctor
of
-.
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.
•
~oca'Clon
r
OL
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~D e
-,
Jonn ,.; ..LO ElO I·lemorlal
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.i\CADS·IY HONORS HELEN FP..RR SLOAn
;::;loan
,..., -
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anG DlS
association with her
also recelve the comprehensive John 310an exhibition catar
1~06L1e OJ:
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For additional iClfol.---ruation and photosraphs contac-i:
John Alexander, Director, Public TI.elations at (215)-564-0219 .
...... :
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u,
1972
NEV\/S BULLETli'J
PENNSYLVANIA. ACADEMY OF THE FINE ARTS
Broad & Cherry Streets
Telephone:
LO 4-0219
Philadelphia, Pa. 19102
and
Peale House Gall eries
1811 Chestnut Street
Philadelphia, Pa. 19103
Pennsylvania Academy of the Fine Arts
Broad and Cherry Streets
J.QE..N SLO.AN H ·J PHIbADELPHIA EX:-BIBITION
September 16 - October 22, 1972
A major exhibition honoring the \·q ork of one of the leaders of
early 20th centur y P.merican painting in portraiture, genre, city
life and landscape painting. The shQiv covers the artist's Hork
in Philadelphia, NeH York City, Gloucester and Santa Fe and includes extensive graphic art, contemporary photographs , correspondence and personal memorabilia . Spec i al galleries of Sloan's
Philadelphia period (1876-1904) along ,.,rith a gallery of liThe Eightil
Acoustiguide tours $1.00; scheduled group tours by qualified docents available upon re quest. Admission is Free.
BIE1J.STADT (183 0·-190 2)
:Noveril.ber 16, 1972 - January 3 , 1973
One of the foremost landscape painters of late 19th century
P.mcrica, Bierstadt's tremendous production of romantic landscapes,
especially Hestern l'illtericaJ provide a valuable reference to the
artist's respo nse to t he grand spectacles of nature. Bierstadt1s
oils range from quiet Ne;;·., England scenery to the majestic panoramas of Yosemite Valley in California. A man of enormously di verse talents, Bierstadt commanded an international follmv i ng in
his day. Scheduled group tours conducted by specially trained
doc ents provide additional i nsi.ght to the man and h i s ".rork a nd
are available upon request. Admission is Free.
Peale House Galleries
1811 Chestnut Street
.~
JIN PHILLIFS and ·~ ELS~ORlH AU§ BY
September 14 - October 22, 1972
Vibrant and colorfully abstracted forms are dominant in the 1:JOrks
of t hese young Ne;;·J Yo r k artists.
ELAINE GALEN and ST E7iJ;lQ...£USUI:-ic,\NO
November 1 - December 1 0 ) 1 972
l'le tal body sculpture combined i.'lith painting by Galen.
century P~erican romantic paintings by CUSlliuano.
Gallery Hours: 10 A.M. to 5 P . M. Tuesdays through Saturday s
1 P.M. to 5 P.M. Sundays and some Holidcys
Adm i ssion Free
Closed Mondays
T'lven tieth
FOR RELEASE:
IMMEDIATELY
news release
Pennsylvania Academy of the Fine Arts • Broad & Cherry Streets, Phiiadelphia, Pa. 19102 • LO 4 -0219
NEW IMAGE AT THE PEALE HOUSE
The 1972-73 exhibition season at the Peale House Galleries will
present a program of six exhibitions chosen by a committee selected
especially to find new talent to introduce in Philadelphia.
The com-
mittee organized and administered by Academy Director Tom Armstrong includes Anne d'Harnoncourt, Curator, Philadelphia Museum of Art, Murray
Dessner, Philadelphia painter, Paul Keene, Chairman, The Art Division,
Bucks County Community College, Daniel Dietrich, Academy Board member,
Edna Andrade, Philadelphia painter, Will Barnet, instructor at the
Pennsylvania Academy and three Academy students, Glenna Hartmann, Sam
Kabatt, and Charles Searles.
For many of the artists the committee has chosen, their Peale House
Exhibition will be their first one-man show.
Works by some of these
artists are not suited to exhibition in commerical galleries and several
of the artists are too experimental for conservative large-scale museum
exhibitions .
It is hoped that the Peale House Galleries can become a
unique showcase in Philadelphia.
Paintings by Ellsworth Ausby and James Phillips, two black artists
from New York will hang in the East and West Galleries of the Peale House
from September 14th through October 22nd, 1972.
(more)
-2-
Ellsworth Ausby, born in Portsmouth, Virginia in 1942, comes from a
working class family who encouraged his interest in art.
was at Erasmus Ha ll High School in Portsmouth.
to move to New York City to develop his talent.
His early education
At the age of 18, he decided
He attended the Schoo l of
Visual Arts, Pratt Institute and the American Art School as a scholarship
student.
As a student Ausby made his living as a portrait painter in Greenwich
Village and he learned "to perceive the character of the person in
his
face .... to get through the mask in order to see the pe rson."
At 30, Ausby has had works displayed in numerous group shows at
Princeton and Columbia Universities, the Brooklyn Museum , the Reading Museum
and the Museum of the Fine Ar ts, Boston.
Art Show at the Whitney in 1970-71.
His work was included in the Black
His sense of direction is we ll defined
in three specific "period ": figurative, totemic and symbolic.
James Phillips, a native of Brooklyn, New York was first introduced
to art by A. B. Spellman, Sr. who according to the artist "first opened my
mind to the beauty of the black experience in America."
Most of Phillips'
artistic training has been acquired in Philadelphia at Fleisher Art Memorial,
Philadelphia College of Art and the Lee Cultural Center.
He has also studied
at the Weusi Nymba Ya Snaa Academy of the Arts and Studies in New York City.
Phillips was the recipient of the Creative Art Service Grant in 1 9 7 2 and
has been an artist in residence at the Studio Museum in New York since 1971.
Phillips has exhibited in three one-man shows and several group shows,
all in the New York area.
His work was included in the exhibition mounted
as a rebuttal to the 1971 Whitney show.
His works (one of which measure
20 x 8') are "inspired by the tradition of masked dancers handed down from
generation to generation from the Pigmy to the Baluba to the Pharoahs of
ancient Egypt to the "blood" one sees in most any Harlem street.
(more)
-3-
For additional information and photographs please contact John N.
Alexander, Director, Public Relations at (215) 564-0219.
Visit the Academy's main building located at Broad and Cherry Streets
via the Cultural Loop bus.
in Philadelphia
The first 25 people who ride to the John Sloan
exhibition via the Loop bus and pre sent their ticket, will
receive a free John Sloan in Philadelphia poster.
The Academy ' s Museum Shop at the Broad and Cherry Street location offers
a variety of art books, posters, prints and fine gifts.
Hours are 10:00 to
4:00 p.m.
#
The Pennsylvania Academy of the Fine Arts, a privately supported public
institution, established in 1805, is the nation's oldest museum and art
school. The presen t school and museum building, completed in 1876, was
one of the first commissions for the then unknown thirty-two year old
architect, Frank Furness. When the Academy opened in the year of the
Nation's Centennial Ce l ebration , it established new concepts in architectural
design and construction and launched one of the great American architectural
talents.
-.
FOR RELEASE :
IMMEDIATELY
news release
Pennsylvania Academy of the Fine Arts· Broad & Cherry Streets, Philadelphia, Pa. 19102 • LO 4-0219
"JOHN SLOAN IN PHILADELPHIA"
The Pennsylvania Academy of the Fine Arts has launched a major exhibition
marking the commencement of its Fall program with the opening of the John Sloan
in Philadelphia
show beginning September 16th through October 22nd at the
Academy's Broad and Cherry Street location.
The paintings and prints by Sloan
have been associated with works by his friends and teachers at the Academy
and memorabilia from the Academy archives, the John Sloan Trust in Wilmington,
Delaware and the collection of Mrs. Helen Farr Sloan, widow of this great
American realist.
John Sloan was born in the lumbering town of Lock Haven, Pennsylvania
on August 2nd, 1851.
His family moved to Philadelphia in 1876, year of the
Centennial celebration which also marked the opening of the present Academy
buildlng.
When his father's cabinet-making business failed~ Sloan was forced
to drop out of Central High School where he had met Albert C. Barnes and
Will iam Glackens.
novelty cards.
He worked in several fancy goods stores as a designer of
By 1892 he had secured full time employment at the Philadelphia
Inquirer as an artist-reporter.
Sloan's work at the Inquirer and later at the
now defunct Philadelphia Press in 1895, concentrated on designing illustrations
for the special supplement sections.
It was during this period that Sloan
established himse lf as the originator of art nouveau designs for newspaper
illustration.
It was also in 1892 that Sloan enrolled as a student at the Pennsylvania
Academy under Thomas Anshutz and met a man who greatly influenced his
artistic career - Robert Henri.
Sloan's period at the Academy (1892-1893) was
(more)
.
,
-2his only formal training besides the instruction he had received at the
Spring Garden Institute in 1890.
At the Academy Sloan established lasting
friendships with George Luks, Everett Shinn and William Glackens who were
also employed as artist-reporters at different times.
As Sloan's work in the poster style gained recognition, he seriously
began to paint portraits in 1897.
A year later between trips to New York
and the beginnings of his Philadelphia city scenes, Sloan met Anna M.
Wall whom he married two years later.
(Dolly)
The Sloans moved to New York with
the rest of the 'Philadelphia Gang' and began a very important series of Ne w
York city-life e tchings which are included in the show.
In March of 1 908,
just one month after its historic showing at Macbe th's Gallery in New York ,
an exhibition entitled THE EIGHT opened at the Pennsylvania Academy.
Over
14,000 people paid to see the works of a group of 'revolutionary' artists
labeled by critics "The Ashcan School" for their glorification of city life
deemed at that time as unfit to paint.
For Sloan, Henri, Luks, Glackens
and Shinn, it was an exciting home-coming.
The Academy exhibition John Sloan in Philadelphia pays special attention
to Sloan's Philadelphia years with a series of exhibits that stress the origins
of the late 19th century tradition - Eakins, his teachers and students - and
its continuation - Henri, his teachers and students.
A hall of paintings and
archival panels of Sloan's friends at the Academy reveals the work and direction
of some of America's major talents, painters and sculptors alike: William
Merritt Chase, Robert Vonnoh, Cecilia Beaux, Charles Grafly and Alexander
Stirling Calder.
The exhibition contains a wide assortment of his paintings from 1907-1912
and a series of drawings he did for the Socialist magazine, The Masses.
(more)
-3Sloan summered in Gloucester, Massachusetts from 1 914 -191 9.
Influenced
by the li ght airy seaside atmosphere of Gloucester and what he had witnessed
of modern European painting in the 1913 Armory Show , Sloan's palette opens
up into a wider range of colors and brighter tones.
He became more interested
in the strictly formal arrangement of his compositions reinforced by geometric
b l ocks of co lor.
Red Rock and Quiet Sea painted 1n Glou ces t er in 1 91 6
1 S powerful in its formal simp licity .
In 1919 Sloan made his first trip to Santa Fe, New Mex ico, launch ing a
lifelong association.
John Sloan in Philadelphia reveals thirty years of
Sloan' s New Mexico work, colorful landscapes and striking Indian-life paintings ,
celebrating the ritualistic life and traditional ties the Indians had to their
land.
Sloan was deeply impresse d by Indian Life .
While d evelop ing the New Mexican paintings, Sloan continued to paint
New York c ity life scenes - The City from Greenwich Village, 1 922 , whi le he
increasingly delved into the problems of painting nudes.
It is this group of
paintings, especially of the later period - Nude with Red Mirror, 1 950 in wh ich
Sloan employed colored crosshatching over forms built up by monochromatic
under painting and glazing, wh ich are still not generally acceptable.
John Sloan in Philadelphia is attended by an impressive array of suppor ting
events: a sUbscription preview dinner honoring Helen Farr Sloan on Thursday
night, September 14th; a three part lecture series by eminent scholars in the
field and numerous appearances by Mrs. Sloan to speak to local groups.
The
exhibition will open to the public on Saturday, September 16th, and closes
Sunday, October 22nd.
Admission free.
Comp rehen s ive catalogues of the
exhibition are available at the Academy Museum shop for $6.50.
A specially
prepared Acoustiguide tour with the Academy's Director, Thomas Armstrong is
available upon request.
Price is $1.00. Special group tours are available
(more)
...
-4-
by calling Ms. Christine Huber at LO 4-0219.
For additional information and photographs please contact John Alexander,
Director, Public Rela tion s at (215)-564-0219.
#
The Pennsylvania Academy of the Fine Arts, a privately supported public
institution, established in 1805, is the nation's oldest museum and art
school. The present school and museum building, completed in 1 876, was
one of the first commissions for the then unknown thirty-two year old
archi te ct, Frank Furness.
When the Academy opened in the year of the
Nation's Centennial Celebration , it established new concepts in architectural design and construction and launched one of the great American
architectural talents.
.' .
FOR RELEASE:
news release
Pennsylvania Academy of the Fine Arts • Broad & Cherry Streets , Philadelphia, Pa. 19102 • LO 4 -0219
SPECIAL DESSERT LECTURE SERIES
The Pennsylvania Ac ademy of' the Fine Art s will pI'esent a
special Dessert Lecture Series consist ing oi' three l ec tures in
conjuncti on -v.rith the John Slo an in Philadelphia exhibi t ion which
opens to t he public on September 16th throug..'rJ. Oc tober 22nd ..
These time ly le ctures v-lill
greatly enhance the appreciation
and i...mders tanding of' the lif'e and times of' JorHl Sloan!l the man
descri bed by Thomas Eakins as !! the greatest re ::d i st of' them a1111;1
:for both the general publi c and
scholars ~
. The Dessert Lectures a re scheduled for September
October
1 9th~
3 and October 17th at the Academyis main building at Broad
and Cherry Streets beginning at
and coffee a t 7 Peon!.
8 pem .. to be preceded by d essert
Subscriptions to the series ($5 .. 00 per persoil ;8
$ 2 ,, 50 for students 1dth I .. D .. cards) may be obtained by contacting
TJfs ~ Deborah Stempen at the Academy i n person o r
by phone .-
(215 -564~0 219) *
Those attending the l e ctures can enjoy the exhibition from 7 to
lOp~m"
SCHEDULE FOR THE SPECIAL DESSERT LECTURE SERIES
September 19 - Hrso Helen Farr Sloan - flReminiscences of' J01111 Slormll~
He l en Farr Sloan, painter and scholar, is the wido'1-1 of Jolo..n Sloan ..
She has greatly ass isted scholars in interpre t ing he r late husbandts
Hork and h is contrib ution to the development o f'. Ameri c an art .)
Through her ef'forts the Jo'b..n Sl o a n Nemor ial Library was founded at
the Delallare Art Euseum in 1961 ..
(more )
,-
.
SPECIAL DESSERT LECTURE SERIES
-2~
She is an alumnus of the Art Students League and has taught
for over twenty years in the Art Departments or several New York
schools o
She has lectured at
D artmouth~
Colgate s
Syracuse~
the
National Gallery and has written numerous publications including
the introductions for Bennard Perlman's rne Lmmortal Eight ,
Jo~
Sloan's New Y:ork Scene and the catalogue for the current exhibition..
She also recorded and edit ed for
teaching
book ~
publication~
John Sloan's
Gist of Art.
October 3 - Bennard Bet Perlman - "John Sloan and THE EIGHT" "
T1rc Perlman holds a BFA in painting and design from Carnegie Tech
and an 11.1\. in art histol"Y from the Uni versi ty of Pittsburgh ..
r.tr> .. Perlman is presently chairman of the Art Department at the
Commtmi ty College in Baltimore and is the auth02' of The Immortal
~ight:
American Painting from Eakins to the Armory Show 2 1870-1939 ..
Continuing his career as a painter; he has had 39 one-man shows
over t he past two
decades~
his Horks having been seen in such
institutions as the Baltimore
Muse~~
of Art, Gallery of Fine Art-
in Fredericksbm'g" (Va.) II the Corcoran;> Pennsylvania Academy, the
Contemporary JI.rtS and Kennedy Galleries in New York"
Oc tober 17 - E.. Joh..n Bullard -
II
John Sloan and the Philadelphia
School of Illustrators"e
Mr. Bullard received his BA and
the University of
~ffi
degrees in art history from
Los ft..ngeles" his thesis was John
California~
Sloan and the Philadelphia Realists as
Curatorial Assis tant at the J
0
Ill~stratorse
Paul Getty Huseu.in in
(more)
The former
Y.Lalibu~
.
'
.
-3-
SPECIAL DESSERT LECTURE SERIES
Ca1if'ornia,
~as
been Hith the National Gallery of Art in Ha shingtonll
DoC .. since 1968 as a Kress FelloH and as Huseum Curator (Jtrnerican
Art; Exhibitions), Assistant to the Director and Curator of
Special Projects respectivelYe
Among the several outstanding
exhibi tions organized by Bullard are I!J1ary Cassatt 1844-1926" ~
and
I~Jorill
Sloan 1871-1951" both at the National Gallery..
He h?-s
contributed various publications to Art of the Americans Bulletin 9
Smi thsonian r1agaz ine and American Artist"
of the
A~erican
Association of
~fuseums,
¥Lr.
Bullard is a member
Archives of American Art
and the National Trust for Hi storic PreservationG
For additional information and photographs please contact John
No Alexander, Director of Public Relations,
at C2l5-56h-02l9)
..
.
.
'.
T'ne Pennsylvania Academy of the Fine Arts J a privately supported
public institution, established in 1805, is the nation's oldest
museum and art
school ~
The present school and museum bqilding,
completea in 1876, was one of the f'irst
co~missions
for the then
unknm'Hl thirty-two year old architect, Frank Furness..
Academy opened in the year of the Nation's Centennial
~'rhen
the
Celebratio~ ,
it established ne1f concepts in architectural design and construction
and launched one of the great American archi tec.tural talents ..
"#
1f; if/I
IVo V.
! cZ.:
/ 0'""'"
<.(
FOR RELEASE:
news release
PENN SY L VAN I A
A CADEMY
OF TH E
FI N E
A RTS · B ROAD AND CH ERRY S TREETS,
ALBERT
P H IL ADELPH I A, P A . 19102· ( 215)
BIERST~JT
The most compr ehensive retrospective exhibi tion yet
assembled of lvorks by the late 19th. c entury landscape p a inter,
Albert Bierstadt (1830-1902) Hill be pres e nted by the
PennsylVania Academy of th e Fine Arts from November 17th
through January 3rd, 1973.
Proponents of the ecology move-
ment Hill be especially ple2sed lvith Bierstadt lvhose '\AlOrk v-las
repres .2 ntative of a 19th century movement \'l hich glorified the
majestic and often allegorical vievvs of the \'Jest - the Rocky
Hountains, Yosemite 'lalley · and the vast Pne rican
lvild (~rness.
TJ.1e exhibition ,.which is SUDDortea by a grant from the
/
L
~
~
National Endmvment for the Arts, consists of 110 pain-t ings
tog ether 1i!ith dralvings and memorabil ia.
•
11
..Logue "\;ntu
co_or
reprOQUct:lOnS nas
An illustrated
cata~
-b een
prepared by Hr . Gordon
Hendridcs \'Jho organized the exhibition.
He ndricks is current-
.,
0
-
'
,
ly preparing a biography of Bierstadt to be published next
Spring
0
The exhibition ·wi11 be installed by the ikademy
Cur ator, Frank Goodyear.
Little documentat io n exists on the early life of l\.lbert
Bierstadt vjho came to A.meri c a ivith his parents from Germany
(more)
564-
0219
'.
-2~vhen
he "t·ms t i-oJO years old.
The family settled in the \,vhaling
center of New Bedford, Nassachusetts and it seems likely th a t
because of Bierstadt1s early display of artistic talent, he
kne\v t-\VO of Ne\V' Bedford's established artists, Albert Van
Beest and Hillia.'TI. Bradford.
By 1853, young Bierstadt through his teaching of monochromatic painting and exhibiting locally, had inspired his
family and others to send him to Dusseldorf, Germany .
This
Eu ropean art center had recently given new emphasis to landscape
painting as opposed to painting from plaster cast& During
this four year period in Europe he completed D1...Lrnerous landscapes and sent them immediately to
s -t udy for
II
P~erica
for sale.
The
Sunshine and Shadm·.,l1 'V-7as completed at the time;
ho-wever, it was seven years later (1862) before it became
one of BierstadtTs e a rly successes.
In 1859 , Bierstadt made the first of four trips into
the P.merican
~\7est
duri ng I<vhich time he "I;./as so completely mved
by its beauty and majesty that he dedicated the res -t of his
life to capturing it on canvas.
His formal European train-
ing was nm-7 applied to h-uerican landscape painting and his
worl-<: in some re s pe cts resembled those of painters of the
Hudson Ri ver school - Thomas Cole and later Asher B. Durand.
(more)
-------3In order to facilitate a better und e rstanding of
Bierstadt's life and times, a mini-exhibition of landscapes
by such greats as Hi lliam Sidney Hount, (llLandscape '\;vith
Figures " ), Hilliam Trost Richards (IIFebruary'l) and Thomas
Birch C'Fainnount Hater I'Torks ll ), has been installed by IvIr.
Goodyear.
By the late l860s Albert Bierstadt had reached the
height of his career, circulating in society and intermit-ten tly travelling and painting in the American '\;vilderness.
During -t hese years he received a record $30, 000 for a huge
canvas entitled "Domes of the Yosemite l' , nmv O\vned by the
St. Johnsbury
AthenaeTh~.
It is interesting to note that some
of his patrons Here the same industrialists Vlhose development of the ..American wilderness "vere the very acts against
\vhich Bierstadt' s unspoiled landscapes \vere diTected.
In the 1880s his reputation as a leading landscape
artist began
to come under sharD• criticism because of the
<.:,
enormous size of his canvasses.
"l'f ount \-m itnei l , an oil
on canvas measuring 68 11 x 116 11 serves as a prime example .
A
large, complex 'l;vork included in the Shovl) lIThe last of the
Buffalo ll , painted in 1888 and rejected by the Committee for
Selection for the .A..merican exhibit at the Paris Exp osition
in 1889 \Vas Bierst2.dt r S Ilendeavor to shmV' the Buffalo in all
(more)
-4-
its aspects and depict the cool slaughter of the noble
animal
nO\·J
almost extinct ,"
\..Jhy the artist chose to depict
the .t'\merican Indian as the perpetrator of these deeds is un-
Bierstadt claimed to be unaffected by the rejecti6n
of his
~·JOrk
but i ·t can be assumed that he began to question
·his ovvn creative abilities as they came more frequently under
attack.
His last huge painting was completed in preparation
for t he Columbian exposition of 1893 - "Landing of COlliL'TIbus",
is also in ·t his shaH.
He exhibited less and less frequently
and continued to drift into obscurity with the passage of
time; hOHever, his works remain today as an important link in
the deve10pment of .America I s first art frschool"
- that of the
landscape painters.
The Academy has prepared a guided tour of the Albert
Bierstadt exhibi·t ion Hith its Director, Tom .ALrTIlstrong, available on tape c assette for
$l ~OO.
Group tours also available
through the Academy volunteer guide program.
The catalogue
accompaniDg this show is available at the Academy for $3.00.
For additional information aDd photographs contact John
Alexander, Director, Public
~e lations
(mor e )
at 215-564-0219.
-5;:-'!ote: Order your Pennsylvania Academy of the Fine LITts
1973 Calendar before November 15th for $4.00; $5.0 0 after
november 15th. 1'his is the first fully illustrated publication on the Academy in 167 years; fifty-t,vo pages, seventytHO illustrations printed in duotone blacl~. It makes an
excellent holiday gift. Liluited edition.
The Pennsylvania Academy of the Fine ::-'\.rts, a privately supported public institution, established in 1805, is the nationts
oldest museu.'1l and art school. The present school and museum
building, completed in 1876, v-las one of the first commissions
for the then unknOim thirty-t,\,;o year old architect, Frank
Furness. I·men the Academy opened in the year of the Nation t s
Centennial Celebration, it es tablished n e,'] concepts in architectural des ig n and construction and launched one of the great
Pffcerican architectural talents.
No 1/ .
1"772
FOR RELEASE:
news release
PENN SY LVANIA ACADEM Y
OF THE
FIN E
ARTS' BROAD AND CHERR Y
STR E ETS,
P H IL A DELPHI A,
P A .
19102' ( 215) 564-0219
PEALE HOUSE COr-iMITTEE PRESENTS 2 ND EXI-IIBITION
Separate exhibitions of the 1;vorks of Elaine Galen and
Stefano Cusumano will open at the Peale Galleries of the
Pennsylvania Academy of the Fine Arts, 1811 Chestnut Street, on
November 2 and Hill continue through December lOt[i, 1972.
The exhibitions, to be installed by Registrar Christine
Huber and her assistant Elizabeth Bailey , Hil l hang, in the - east
and Hest galleries.
Galen's "'7 orks are a combination of paintings
and Hood and metal sculpture.
CusUI."1lano I s painting s and draT/lings
concentrate on the develo pment of contour dra1;ving s of forms .
Born in Tampa, Florida in 1912, Cusumano moved v.7ith his
family to Nev.! York 'tvhen he \'7as eight.
There he received his art
education at ·t he Cooper Union School and later at the 1'1etropolitan Art School.
The first of his 21 one-man ex-1"ibitions was
held at the Nontross Gallery in New York in 1942.
Cusumano
has had his 1;vorks exhibited at the Nuseu..rn of l"'lodern Art, \mitney
}'I useum of American Art, Carneg ie Institute and other national
museums.
His most notable mqarcis include the Ford Foundation
Purchase A"'(.vard from the \Ilhi tney and the Childe Ba ssam A\vard
from the American Institute of Arts and Letters (1968 and 1971).
(more)
-2Cusamano e x pounds no artistic theory but seeks to teach
through his \A
70rk the application of plastic values because
"they represent the very essence of drawing and because today
they tend to be submerged and forgotten in the proliferation of
non-plastic ideas ll •
Cusumano's ''larks are included in the collections of many
major American museums including the National Gallery, Metropolitan Huseum and the 'VJhitney l1tiseum of American Art.
Born in NeW' York City, Niss Galen has a degree in art and
art history from the University of Pennsylvania.
She continued
her education at the Institute of Fine Arts, He\'l York University
\'lhere she studied ''lith Karl Lehman in classical art and received
her master's degree.
Miss Galen's awards and distinctions in-
clude the Lm'le and Chataque a'iVards for painting, selection as
a Fulbright finalist and the Ne\V Jersey State Exhibition award
for painting and sculpture.
Elaine Galen '\Yorks W'ith combinations of flat painted surfaces
and sculptured forms.
Paintings and metal sculptures I'lhich com-
plirrrent : each other l'1ill be displayed together in her Peale
Gallery exhibition.
Her interest in the bended metal forms
whi.ch she calls body sculpture gre"tv out of her interest in armour.
These pieces can either be vie'ved conventionally or \Vorn as an .
extension of the response of touching and seeing.
(more)
-3-
Miss Galen's works are included in the Philadelphia
~1useum of Art and several collections in France among them the
i\l
/
J.'~usee
D'
J.\'~gau
d.
Recent publications by :Hiss Galen include 'Imao-es
o
from the Hind' and
r In
Forms.'
Inclusive checklists of the works of both artists are
available at the exhibition, and many of the sculptures, drawings
and paintings may be purchased.
Additional information and/or photographs available throuo-h
o
the Department of Public Relations.
Call area code 215 LO 4-0219.
The Pennsylvania Academy of the Fine pxts, a privately supported
public institution, established in 1805, is the nation's oldest
museum and art school.
The present school and
museQ~
building,
completed in 1876, Has one of the first commissions for the then
unknov.m thirty-two year old architect, Frank Furness.
1'men the
Academy opened in the year of the Nation's Centennial Celebration,
it established neW' concepts in architectural design and construction
and launched one of the great
p~erican
.lL-!J. _.L,L
71TrTl
architectural talents .
FOR RELEASE:
n1MEDIATELY
news release
Pennsylvania Academy of the Fine Arts • Broad & Cherry Streets, Philadelphia, Pa. 19102 • LO 4 -0219
INFOR1\1ATION SHEET ON THE CHRISTHAS SURPRISE PARTY AT
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
DATE:
Saturday, December 18th I c1'7~
TIME:
1 - 3 p.m.
PLACE:
Broad abd Cherry Stree ts
ADMISSION:
GUESTS:
FREE
Members and thei r children
Children of the bommunity (open to all)
Children fnom the following organi zations:
The Benson School, 27th and Wharton Streets
Catholic Social Services, 222 N. 17th Street
Tpe Print Club Workshop, 1923 Brandywine Street
Social Service for Philadelphia Housing
Women's Christian Alliance, 1612 N. Broad Street
Wi s sahickon Boys Club, Pulaski Avenue and Coulter Street
HOSTS AND HOSTESSES:
ACTIVITIES:
The Staff, Students, and Docents of the Academy
Creative Art Workshop in the studios (patnting, dr awing , clay modeling )
Scavenger Hunt to introduce children to the museum
Performance by I~Jimmy Ray and Pa tti II (trained doves and dog)
Santa Claus with arti supplies instead of toys
Christmas music sung by the Glee Club of the Little Flower Catholic
High School for Girls
Color films by Cal ifornia ar tist Charles Eames: "Tops " and Tocatta for
Toy Trai. ns"
Sculptural Environment by Nancy Grossman, Remo Saraceni, Italo Scanga, Sidney
Simon, and Carlo Travaglia
FOR RELEASE:
HIt'fED IAT ELY
news release
PENNS YLVANIA AC A D EMY
..'
OF THE
FI NE A B C
RTS'
ROAD AND
HERRY
S TREETS,
P
19102' ( 215) 564-0219
HILADELPHIA, P A.
ACADENY CELEBRATES lODth Al'iNIVERSARY OF CORNEl"{STONE LAYING
The Pennsylvania Academy of the Fine Arts marks the
lOOth Anniversary of the layi ng of the cornerstone for its
present building at Broad and Cherry Streets on December 7th.
On that date one hundred years ago, members of the Academy,
invited guests aDd a great number of spectators gathered for
the event.
A platform
abov~
the iron girders of >;vhat became
the first story of the building v'7as ass8.c'ilbled for honored
guests.
Subs equent to a mnnber of prepared speeches, several
memorial items >;'Jere placed in the cornerstone cavity and sealed
>;vith an engraved slab of polished black marble.
Included >;'7ere
a history of the Academy from its foundation in 1805 and a copy
of the old parchment on >;vhich Ivere wTitten th e original rLlles
adopted in Independence Hall establishing the oldest a rt institution in
F~erica.
A l arge block of dressed stone
~as
then moved into position over the cornerstone, the cement being applied with the same silver trowel used by General
Washington on similaF occasions.
The lot of the building was purchased in 1870 and in
1871 an
Academy sponsored competition for a
de~igD ' for
the
structure >;vas a'darded to the architectural fir:m of Furness
(more)
-2-
and Hewitt.
·It is generally agreed that Frank Furness
. (1839-1912) Has responsible for the design.
HHJitt left
the firm before the Academy was completed.
A young native Philadelphian, Frank Furness was an unknown architect when he received his commission.
His career
had begun in the New York firm of Richard Norris Hunt.
The
tragic fire of 1846 which decimated the Academy1s first museum
at 10th and Chestnut Streets no doubt weighed heavily upon the
administra:tors' decision favoring Furness's design.
Practical-
ly devoid of wooden construction, the architects' bold use of
iron, pink granite, brownstone and brick
he~ald
the history of architecture in Philadelphia.
a new era in
It indirectly
influenced 20th century trends, for in 1873 Louis Sullivan,
age
17, was a draftsman in Furness I firm an Ulldoubtedly ex-
perienced his creative genuis.
Plans for the Academy building
were still in progress during this time.
The Academy
~vas
opened
\ 'las
opened as part of the Centennial
Exposition in Philadelphia on April 22, 1876.
Aside from its
exotic and colorful decorations designed by Furness, the
Academy building is ackno'tvledged as a truly functional building
with its functions expressed in the design.
It successfully
combined art school and museum, offices and studios and boasted
a glass roof thus allmving for the most pleasing of environments
to study and enjoy art - that of natural light.
(more)
It was also
-3-
among the first buildings in Philadelphia to employ
electricity as a major source of light.
.
;.
Today, the Pennsylvania Academy ..of the Fine . pxts
I
,
Board of Directors and staff have pledged themselves to the
renovation and restoration of this rare masterpiece of high
nineteenth century architecture to open on the occasion of
the Bicentennial celebration of the United States.
For additional information and photographs contact John
Alexander, Director, Public Relations at 215-564-0219.
Decemb e r 7, 1972
FOR RELEASE:
HtNEDIATE LY
news release
PENN SY LVANIA A CADEMY
OF THE
FI N E
ART S · B ROAD
AND
CH ERRY
PRIMITIVE ART AT
ST REETS,
T~lli
PHI LADELPH I A,
P A .
19102· ( 215) 564-0219
PEALE HOUSE
The Peale House Galleries of the Pennsylvania
Academy of the Fine Arts, 1811 Chestnut Stree t, 'iv-ill pre s ent
the 'ivo rks o f t'i"lO untrained art ists, both over eighty years
old, who respond to their worlds and celebrate the events
of th eir lives in very personal forms of e x pression.
Elijah Pierce's polychrome reliefs and Justin HcCarthy's
paintings will hang in the Galleries from December 21st
through January 28th.
Born on a Mississippi farm in 1892, Elijah Pierce
c ame from a very reli g ious background.
He displayed an
early interest in carving but eventua lly earned his living
as a barber.
Settling in Columbus, Ohio in the mid-thirties,
he established his trade and c arved in his sp a re time.
Today, he continues to run his barber shop on East Long
Street in Columbus, Ohio.
It was during the thirties that Pierce began por trayin g stori es from th e Old Testament and more contempor ary
pictures of folk rel igion in his work .
-2-
During each summer vacation, with his car loaded
with carvings, Pierce travelled from state to state sellin g
his works at very moderate rates at logal county fairs and
markets.
Often he vJOuld preach informally to his audience
using his carvings as pictorial representations of his
message.
Pierce gave up painting a fe\\T years ago, but \Vas
strongly encouraged to continue by a local sculptor in
Columbus, Boris Gruemvald.
Gruenwald was instrumental in
initiating the first public exhibition of Pierce's work
at Ohio State University last year.
Pierce's previous exhibitions have been at the
Krannert Art Huseum at the University of Illinois, the
Huseum of Hodern Art and the Danenberg Galleries in
NeH York City.
Justin HcCarthy \vas born in Heatherly, Pennsylvania
over eighty years ago.
After attending the University of
Pennsylvania Lmv School, he failed -to pass the Bar examination.
l'lcCarthy experimented "with various schemes to earn
his living.
He has sold fresh vegetables and fruits for
many years.
Without ' a formal art education, he began
painti~g
earnestly at the age of 28, his interest having
been greatly spurred on by a visit to the Louvre in Paris
in 1907.
-3-
For nearly forty years McCarthy's work went
unnoticed.
It wa s nrit until 1960 when McCarthy f irst
met Dorothy and Sterling S t rauser of S.troudsburg, Pennsylvania
that his work received public attention.
The Strausers
inspired McCarthy to launch a professional career.
Since
that time his worr k has been included in e xhibitions in
New York and throughout the Hiddle Atlantic States.
His
winning of First Prize at the Hyckoff Art ShOH in Stroudsburg
in 1966 resulted in immediate recognition as an outstanding
talent in the field of Ame rican p r imitive art.
McCarthy's choice of bright colors enhance to an
even greater degree his Purple and Orange Mummers or Babes
in Toyland (Ice Capades , 1963).
the shmv.
There are 82 pieces in
The paintings themselves ".Jere selected by
Academy Direc·tor, Tom Arms trong, and Philadelphia Museum
0
f
Art Curator of 20th Century Paintings, Anne d'Harnoncourt.
The e xhibition was installed by Tom Armstrong and Christine
Huber, Academy Registrar.
Separate checklists for each artist's "..J ork have
been prepared and '<viII be available at the Peale Galleries.
For additiona l in f orma tio n and photog raphs please contact
J ohn N. Alexa nde r , Jr., Director , Public Relations at
215- 564-0 2190
12/15/ 72
:~ o
