-
Title
-
1973 PAFA Press Release
-
Format
-
PDF
-
Rights
-
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.
-
Publisher
-
The Pennsylvania Academy of the Fine Arts' Archives
-
Language
-
English
-
extracted text
-
)113
FOR RELEASE:
R~WS release
PENN SY L V ANI A
A CA D E M Y
O F
T HE
FIN E
ARTS' B ROA D
A N D
CH E R R Y
S TR E E T S ,
PHIL ADE LPHI A , P A .
19102' ( 215) 564-0219
PENNSY'LVJI...NIA ACADEHY TO EXHIBIT THE \JORKS
OF SUSAN j'''IACno\.JELL EAT{ I NS, SPRING 1973
The Pennsylvania Academy of the Fine Arts is searching
for works and correspondence relating to Susan Nacdowell Eak ins,
'i;vife of Thomas Eakins, the great Philadelphia artist of the late
19th century.
The Pe nnsylvania Academy of the Fine Arts has
scheduled an exhibition of her works in the s pring of 1973.
The Academy exhibition will be the first shmv ever held reco gnizing the artistic achie vements of Susan Eakins (1851-1938) , a
student at the Academy in 1876 and from 188 0 to 1882 when she
studied \.vith Eakins whom she married in 1884 .
This exhibition \vill be the first of a series honoring
former Academy students who have not been presented i;vith comprehensive exhibitions.
The Academy is fortunate to have Seymour
Adelman, well kno-wnauthority on Thomas Eakins, as its honorary
curator in organizing the show and writing the catalogue.
Any
information in the \.vay of memorabilia, photographs, letters,
newspaper a rticles, pa inting and drmvings concerning the late
Hrs. Ea kins \vill be gratefully received.
For further information cont act John N. Alexander, Director
of Publi c Rel ations, a t area code 215 LO 4 - 02 19 ·
/
,
IMMEDIATELY
PENNSYLVANIA ACADEMY OF THE FINE ARTS TO SHOW
PIONEERS OF MODERN PAINTING FILM SERIES
Pioneers of Modern Painting, the new six-part film
series written and narrated by Kenneth Clark will have its
first showing for the Philadelphia community beginning January
10th at 12:15 p.m. in the Academy school auditoriunl located
at Broad and Cherry Streets.
A second shm:'I7ing for the Pennsylvania
Academy's student body will be held on that same date at 4:30
p.m.
Admission to the 12:15 public showing in the Academy
auditorium is free.
The nevol series which co ntinues for six consecutive
\rJednesdays covers the life and works of six leading artists
of the late 19th century and the early 20th centur ies: Edouard
Manet (January 10th), Paul Cezanne (January 17th), Claude
Monet (January 24th), Georges Seurat (January 31st), Henri
Rousseau (February 7th), and Edvard Munch (February 14th).
A
45 minute color film has been devoted to each of the six artists
whom Lord Clark considers to b e "the pioneers of what we still
call modern painting . "
Hith the exception of the series on Edvard Nun.ch . .vhich
was photographed in Norway, most of the series was filmed in
(more)
,~
.J
-2-
France.
Although many of the paintings treated in the films
can be found in the artists' own country, many are hanging
in museums and private collections allover the world:
Edouard Manet (1832-1883) is the first of the series.
As Lo:rd Clark explains, 'Imodern painting has been a revolutionary movemen-t, a breals.a"\vay, and Manet, strange as it
seems to us,
v;TaS
considered the first revolutionary.
There
have been rebels before but they had ahvays found some form
of official support.
Manet was the first artist to be po si-
ti',7ely persecuted by the Establishment." In this film, Lord
Clark also fully explores Hanet's relationship with Claude
Monet and other impressionists.
In the second film on Paul Cezanne (1839-1906) a concerted
effort has been made to reveal the true essence of this
artist's greatness.
Clark manages to take the viewer on a
fascinating tour through the life of Cezanne.
One of the founders of the impressionist school of painting is the subject of the third film in the series, Claude
Monet
(18L~O-1926).
The rivalry between Honet and Manet is
covered, but is only a small portion of the many aspects of
the narrative.
This film is . a delight of color and light, as
Lord Clark explores Monet's representations of nature.
Unlike the other painters in this series, little is known
about the character and private life of pointillist Georges
Seurat (1859-1891), the subject of the fourth film.
(more)
His life
-3-
was short and he left little to reveal his private nature,
except for his paintings,
The film's principal concentration
lies in Seurat's method of work, subject matter, s cientific
approach to painting, and relationship to his cultural background and era.
In the fifth film, Henri Rousseau (1844-1901), Lord
Clark takes up a slightly different point of view than the
other films in the series.
Rousseau had no professional
training and did not begin painting until he was 41 years old.
He has been included in the series because of the importance
of his imagination and sense of color as opposed to his skill
of hand alone·;·,
Rousseau was able to retain a simplicity of
bold design and natural harmonious color.
In Edvard Munch (1863-1944·), the film explores the works
of one of the early leaders of the movement known as expressionism.
}1unch's paintings and drawings reveal the emotions which
surrounded his life - sickness and death.
He \vent through
periods when he worked in the impressionist style, but from
1892 until his death his work concentrated on the search for
visual symbols of ideas or states of mind.
Munch's pictorial
achievements in this emotional approach to painting established
him as one of the pioneers of modern painting.
The Academy
will receive the six Pioneers of Modern Painting films on loan
(more)
-4-
from the National Gallery of Art in vJashington, through their
Gallery' s Extension Service.
The distribution of Pioneers of Modern Painting has been
made possib le by a grant from the Natio nal Endowment for the
Humanities.
Admi ssion to the Pennsylvania Academy of the Fine Art s Museum
is free.
Hours are 10:00 to 5: 00 Tuesday through Saturday,
1:00 to 5:00 on Sunday.
1/10/73
12:15 Edouard Manet
1/17/73
12:15 Paul Cezanne
1/24/73
12:15 Claude Monet
1/31/73
12:15 Georges Seurat
2/7/73
12:15 Henri Rousseau
2/14/73
12/15 Edvard Munch
For additional information please contact John Alexander,
Director, Public Relations at 215-564-0219.
XXX ·
January 3, 1973
j"iI,
Il'1l1EDIATELY
FOR RELEASE:
7~ ll'I]
news release
PENNSYLVANIA ACADEM Y
OF THE
F
INE
A B C
RTS·
ROAD AND
HERRY STR EETS,
PHILADELPHIA, P A •
19102' (21 5) 564-0219
THOl·IL\S POLLOCK ' ANSHUTZ
An exhibition of
~'lod~s
by Tho mas Pollock Anshutz
(18 51-1 912) , an artist nmv conside red an ir:lportant 1inl:
bet~'Jeen
nineteenth and tl,v entieth century realism in A"!1erican painting,
opens to the public on J anuary 17th at the Pennsylvania AcadeE1Y
of the FiDe Arts, Broad and Cherry Streets.
conti nues
thro~gh
The exhibition
February 18.
Organized by the il.cademy' s Curato:!:, Frank H . Goodyear, Jr.,
the exhibition includes over 60 objects - ,oils, Hatercolors,
pastels and charcoal dravJings, photographs , plaster casts and
archival material - related to Anshutz I s life and ~von(.
l'Irs.
has generously
Ed';'Jatd R. Anshutz ,
lent several ~.yorks to the Academy 's exhibition.
The majori ty
of the material on v i evv is from the Academy 's permanent collect:Lons.
The focal point of the exhibi-tion is Anshutz I s master 'H ork,
Iro_ll~~_rkers:
'_ Noontt_me, pai nted ca. 1830 - 82 .
. -,
...,
'"'t.,.
h 2S recencLY recel V8n vvor LQv,710e accen Llon.
'1
of men stripped to the
of
B.D
~'Ja i s t
••
.......
•
It depicts a group
clustered outside -t h e g rim limlls
irOi.l founc1ry in 1.,Jh-2 21ing , t'lest: ";Jirg inia.
r
in its day was a decided departure from
sensibilities, aod was a
School artis ts.
The painting
~recursor
The painting
conse ~v et iv e
of the
wo~k
of t he Ash
The exhibitions in clu des two small
(mo:;:e)
Victorian
C2~
sketchboo~:s
-2Hith preparatory fi gure studies and studies of the factory
compl ex , photographic s 'L udies of the factory and more advanced
oil studies for the f i nished painting.
Thomas P . Anshutz ,,,as born in Nel'.7 port, Kentucky on
October, 5, 1851.
He displayed an early talent for painting.
In 1872 he enrolled in .t he art classes at Nei'l Yorlc r s National
Academy of Design.
By the fall of 1876 he 'das a student under
Christian Schussele at the Pennsylvania Academy.
L·Jhen Schussele
died in 1879, Anshutz continued his study a 't the Academy with
Thomas Eakins. - He served as Eakins
I
assistant, demonstrator
in anatomy in 1879 and replaced Eakins as the principal school
instructorln painting and draHing in 1886.
Except for time
spent during several trips abroad, the first in 1892 for over
a year ~"henhe studied at the Academie Julian in Paris under
Bouguereau and Doucet, Anshu-tz t aught continuously at the
Academy until 1911.
In 1909 Anshutz replaced l\li11iam Herritt
Chase as Director of the Academy school.
In the same year he
"(vas a'\\78.r ded the Academy I s Gold }Iedal of Honor for his long
years of valued service.
The exhibition is documented
~Yith
an illustrated cata-
logue ,-,hose text \-las prepared by Sandra Denney Heard.
This is
the fi rst exhibition 'Hhich attempts to detel.wine Anshutz r s contribution to A.T'0.erican art.
His impor 't ance cannot be deDied.
As Frank Goodyear stated: IIAnshutz devot ed his entire professional
(more)
li£e to the advancement of
~A.mericaLl
ar t.
As an a r ti st his
achievements were significant; as a teacher he was a crucial
figure in the development of many early t;;'l entieth century
IllTIerican artists.
\;Je are pleased to be the first to begin the
evaluation of his role as a painter and teacher .11
For additional information and/or pho-tographs please
c ontact John N. Alexander, J r., Director, Public Relations
at 215-564- 0219.
30
J anuary 9, 1973
9/) J7 . II; r'?3
FOR RELEASE:
L'
I Mr'1 E0 I ATE L Y
news release
PENNS Y LVANI A
ACADEM Y
O F
TH E
FIN E
ART S ·BRO A D
AND
CHERR Y
STREETS,
PHI LA DELPHIA, P A .
19102° (215) 564-0219
HOBSON PITTMAN
The World of Hobson Pi t tman, a memorial retrospective exhibition, that includes over 150 works from all periods of the
artistls adult life, will open to the public on January 20th
at the Pennsylvania Academy of the Fine Arts, Broad and Cherry
Streets.
The exhibition which continues through February 18
\'1ill include a large number of works from the Pittman bequest
tot he Acad e my .
In addition a special e x hibition organized by the Academy's
~irector,
Tom Armstrong, will feature works by the following
fifteen of pittmanls students at the Pennsylvania Academy:
Joseph
Am a ratico, Murray Dessner, Tom Ewing, John Formicola, James
Havard, Barkley Hendricks, Ben Kamihira, Noel Mahaffey, Gloria
Mil g rom, Dan Mille r ,
~~ ill
i am 0 mI'J a k e , Eli z abe thO s b 0 r ne, Tom my
Dale Palmore, Bruce Samuelson and Ma rtha Zelt.
Hobson Pittman was born on a plantation in Epworth, North
Carolina on January 14, 1900.
His first instruction in art was
at a private school in Tarboro, North Carolina.
He later studied
at Pennsylvania State University, the Carnegie Institute of
Technology in Pittsburgh, Col umbia Unive r sity and in Europe.
There is a strong influence of Pitt man's young life in the
South in his work.
t hi n gs
0
"I have a l wa y s been interested in painting
f the pas t ... t h i n gs I fee 1 I un de r s tan d .
(mo r e)
II
Th r 0 ugh 0 u t
-2-
his life, he relied on reminiscences in his work.
Pittman had the first of his eight one-man shows in 1928.
The last during his lifetime was at David David Gallery in
Philadelphia in 1972.
Among his many awards of distinction
we r e' the Sc h e i d t Me m0 ria 1 Pr i z e
0
f the Pen ns y 1 van i a Acad e my
0
f
the Fine Arts, a commission by Life Magazine in 1946 to paint
interiors of well-known houses in Charleston, South Carolina,
Third Prize, Painting in the United States, Carnegie Institute
(1949), Second Clark Prize, Corcoran Gallery of Art, Washington,
D.C. (1953), First Prize, Butler Institute of Art, Youngstown,
Ohio (1955), Recipient of the Guggenheim Fellowship Grant in
1956 and elected honorary International
In~titute
of Arts and
Letters 1960.
Lenders to the exhibition, originally prepared by Penn
State University and installed at the Academy by Tom Armstrong
include:
Mr. and
~~rs.
Harry L. Dalton, North Carolina Museum
of Art, Mr. Henry W. Lewis, Mr. and Mrs. Ralph P. Hanes, Sr., and
the Hobson Pittman Estate.
A film of Hobson Pittman prepared by Marjorie Margolis for
Channel 12 - TV will be shown at 12:00 and 3:30 p.m. during the
course of the exhibition.
For additional information and/or photographs, please
contact John Alexander, Director, Public Relations at 215-564-0219.
30
January 11, 1973
IMMEDIATELY
\"'"-l<';'
I
..
,
/
~
"
I
ACADEMY PROVIDES SERVICES
The Pennsylvania Academy of the Fine Arts, located at
Broad and Cherry Streets, welcomes all parents and children gffected by the current school strike to take advantage of its additional free educational services which will last for the duration of the strike.
On Tuesday, January 23rd, the Academy's Volunteer Guides
will begin offering scheduled and unscheduled tours of the
Academy's permanent collection and current exhibitions which offer
insight into American history through outstanding examples of
18th, 19th and 20th century American art.
Paintings in the collection and on exhibition such as the
Interior of a Smithy by Bass Otis and Ironworkers: Noontime by
Thomas Anshutz reflect the development of industry in America.
The latter painting is part of a special exhibition which includes the artist's original drawings and his early oil sketches.
Philadelphia's history is expressed in landscape views of the
waterworks in Fairmount Park by Thomas Birch, Fourth of July
in Center Square by John Krimmel and the monumental self-portrait
Artist in his Museum by Charles Willson Peale.
The leaders who build the nation and the events of their
lives are represented in such masterworks as the portrait of
George Washington at Princeton by Charles Willson Peale, William
(more)
,
.
-2Penn's Treaty with the Indians by Benjamin West and Perry's
Victory on Lake Erie by Thomas Birch.
Landscapes of the new Western frontier, religious
and allegorical scenes, historic portraits and depictions
of events in the history of America teach the lessons of
literature, history, science and art to both adults and
children .
The Academy building designed by Frank Furness
which opened in 1876 offers many lessons in the history of
American architecture.
Furness was one of the first
designers to incorporate organic forms of nature into his
designs and to express openly the structural materials of
his buildings.
The Academy is the best example of his work
and the elements contained therein are precursors of the
architectural designs of Louis Sullivan, Frank Lloyd
v~ight
and Louis Kahn.
For scheduled tours of the Academy building call
Ms. Christine Huber at 564-0219.
Unscheduled tours may
be arranged by coming to the Academy and asking for the
guides who will be located at the top of the Academy's
grand stairway.
The Academy is opened Tuesday through
Saturday 10:00 to 5:00, Sunday 1:00 to 5:00.
-301/19/73
FOR RELEASE:
IH]ViEDIATEL Y
news release
PENN SY L VAN I A
ACADEM Y
OF THE
F
IN E
A B C
RTS·
ROAD AN D
HERRY STREETS,
PHIL ADEL PHIA , P A .
19102· (215) 564-0219
ROBIN FREDENTHAL
Philadelphia, Pennsylvania - The Peale House Galleries
of the Pennsylvania Academy of the Fine Arts will present the
firs tone-man exhibition of the
~oJOrk
of the Philadelphia
sculptor, Robin Fredenthal, from Februa:ry 8 to March 18, 1972.
Frendenthal was born i n 1940 in Claremont, Ne"';v Hampshire and
received his Bachelor of arts and Bachelor of Architecture
degrees from the University of Pennsylvania.
Frendenthal works with geometric shapes.
has a monumen tal aspect of apparent simplicity.
His sculpture
Complex concepts
are employed and the execution is extremely technical.
In his
creative process, Fredenthal combines elements in series of
seemingly limitless variations.
His sketchbooks are crarrnned
""<lith designs for works not yet executed.
The cou.l.iteraction of
his sculpture and its surrounding space is an intrinsic element
of the experience of Fredenthal's sculpture.
The exhibition combines photographic blow-ups of
pages from his sketchbook, over one-hundred feet of shelving
with small models, two four foot
pl ~7ood
mock - ups commissioned
by John Bower and the Pennsylvania Academy of the Fine Arts and
a s e ries of . five photomontages prepared by the firm of Harris ,Davis, Inc., Philadelphia, which places Fredenthal's sculpture
in f amiliar local settings.
It is the object of the exhibition
(more)
-2-
to illustrate the steps in the creative process from the sketch
to the actual realization of a monumental \vork.
The photomontages
present the viewer with the experience of living with
Fredentha1 sculpture in Philadelphia.
The Academy is pleased to be the first to announce
that Fredentha1 has been awarded a commission by the Philadelphia
National Bank for a sculpture to be placed in the garden adjacent
to their new building under construction at 5th and Market Streets.
The building is designed by the architectural firm of Ewing, Cole,
Erdman and Eubank, Philadelphia.
For additional information and/or photographs please
contact Mrs. Marcela de Keyser at 215-564-0219.
-30-
February 2, 1973
FOR RELEASE:
news release
PENNSYLVANIA ACADEMY
OF THE
FI NE
ARTS' BROAD AND CHERRY STREETS,
PH I L AD ELPHIA, PA.
19102' (215) 564-0219
To celebrate Ge or ge Wa shing ton's birthday, the Pe nns y lvania Aca d emy o f the
F ine Arts will offer special
~ 31 le r y
talks op some of the Qost f amou s portraits
o f Washin g ton from the Academy coll e ction.
The tours will last about thirty
minutes and wi ll give the vis itor an in-depth look a t such works a s Charles
\.i i llson Pea l e 's "Geor ge ,Jashington at Princeton," Gilbert .Stuart' s Lansdo,me
por tr a it, and the towerin g bronze statue by Wi lli am Rush .
The public is invited
to attend at 12 noon, Tuesd a y , Fe bruary 20th through Fri day , February 23rd.
Srye cial free tours for g roups are also available.
Both the Aca demy and the Pea l e House Galleries are clos e d on Monday, February 1 9th .
For further information or to ar ra n Ge a special tour, p lease c all Ns. Christine Huber,
LO 4-0219.
Feb ruary 13, 1 9 73
FOR RELEASE:
"
Hll1EDIATELY
news release
PENNS Y LVANIA ACADEM Y
OF THE
FI NE ARTS' BRO A D
AND
CHERRY STREETS,
PH I LADELPHIA, PA.
19102 · ( 215) 564-0219
TWO NE"T EXHIBITIONS TO OPEN AT THE PENNSYLVANIA
ACADEMY OF THE FINE ARTS ON MARCH 9th
PHILADELPHIA, PA. - - Two long-awaited and widely interesting
exhibitions l;vill open at the Pennsylvania Academy of the Fine
Arts, Broad and Cherry Streets, on Friday, March 9th.
Although
vastly different in content, the two exhibits are both "firsts"
among their kind.
"PENNSYLVANIA ACADEMICIANS", which comprises over seventy
l;I7orks of painting and sculpture, represents the first examination into the history and function of a group of painters, scu lptors ,
engravers and architects who were allied to the Pennsylvania
Academy of the Fine Arts during the nineteenth century.
Frank
H. Goodyear, Jr., the curator who researched and assembled
the exhibition, w.cites in the catalogue, "few, if any,Americ.an
museums have done as much as the Pennsylvania Academy of the
Fine Arts in Philadelphia to promote and support the cultivation of American Art," and this exhibition provides a
rare
and interesting proof to that statement.
The association of Pennsylvania Academicians was instituted by the Academy's Board of Directors in 1812, seven years
after the founding of the Academy.
Among its membership, l;vhich
never exceeded forty artists, were such distinguished artists
as William Rush, Thomas Sully, Charles Willson Peale, James
Peale, Thomas Birch (the Academy's first Curator), Gilbert
(more)
-2Stuart, Washington Allston, John Vanderlyn, Charles Bird
King, Benj amin l;.J"est, William Trost Richards and Thomas - Doughty
(the latter two artists will be given major retrospectives at
the Academy next fall).
The duties of . these men, and those
who followed them, involved an active role in the Academy's
museum and school on both advisory and administrative levels.
It was their job, for example, to assemble the Annual exhibitions
and administer the classes of the Academy school.
It was also intended that the Academicians should share
some of the responsibility for building up the Academy's
already impressive collection of fine arts.
It was resolved
that 'every Academician shall be expected to deposit as the
property of the Pennsylvania Academy a specimen of his talents ... "
Alas, most artists never acceded to this decree and thus there
"are ' some Academicians who are not represented in the Academy's
permanent collection.
Thomas Sully's "Tribute . Money" in the
current e x hibition was given in conformity to that resolution
to the Academy in 1814 by the artist as a 'specimen' of his
- talents.
Of the forty-one artists whose work has been chosen for
the exhibition, some are quite
reno~med,
cluded for their historical interest.
while others are in-
Thus, the visitor will
be able to enjoy such well-knm'm favorites as Thomas Birch's
"Battle of Lake Erie," and Charles Willson Peale's "The Artist
in his Museum," and at the same time, will discover many lesser
(more)
-3-
know works of no small artistic achievement.
Some of the
latter works which Mr. Goodyear has carefully selected are
George Conarroe's handsome portrait of "James Hamilton" and
Peter Frederick Rothermel's historic "State House on the
Day of the Battle of Germantown."
The quality of the exhibition is a fitting tribute both
to an institution which has always had a close link to
practising artists and to those men who devoted so much of
their energies to supporting its ideals.
"THREE CENTURIES OF CHIAROSCURO PRINTS" is the second
in an annual series of exhibitions prepared by the Print Department of the Philadelphia Museum of Art for the Pennsylvania
Academy.
These exhibitions are assembled from the vast collection
-of prints belonging to the Pennsylvania Academy of the Fine Arts
on deposit at the Museum.
The current exhibition will be an
educational experience for those who are not Hell versed in
the history of chiaroscuro print making, and a highly satisfying
aesthetic experience for those who are already interested in
prints and collecting.
Over one hundred works by German, Italian,
English, French, Flemish, Dutch, and Czechoslovakian artists
have been assembled and installed by Miss Ellen Jacobowitz,
Curatorial Assistant for prints under the direction of Mr.
Kneeland McNulty, the Museum's Curator of Prints and Dra"l;vings.
The works date from the 16th through the 18th century.
The term chiaroscuro woodcut ("a chiaro et scuro," Italian
(more)
-4for " in light and dark") refers to a woodcut which is printed
from several blocks, each being cut and inked in a different
shade of a single hue, starting with the palest.
Generally
the picture was built up in three stages of higliights, middle
tones and darks.
The dark block, applied last, is called
the "key block" though one of the single blocks will make a
coherent image when separated from the assembled whole.
The
effect achieved by this method of careful oveilaying of flat
color planes is remarkably similar to the modeling which a
painter can express by laying flat tints over one another with
a brush.
The oldest prints in the exhibitbn are by the early 16th
century German artists Lucas Cranach and Albrecht Durer.
In
the late 15th century, color printing was originally used in
Germany solely as a means to avoid the process of hand painting
in printed books, but these two artists began refining the
technique as an end in itself in an attempt to imitate contemporary
color drawings.
It was an Italian, nevertheless, Ugo da Carpi,
who popularized the chiaroscuro woodcut and even went so far
as to ask the Venetian Senate in 1516 for a privilege or patent
for i t . d a Carpi was such a master at the technique that he
was able to imitate paintings by such artists as II Parmigianino
and Raphael.
Hany of da Carpi's woodcuts and those of his
contemporaries will be included in this exhibition.
These prints
sat isfi ed the Italian love of color and design to such an extent
(more)
-5-
that artists such as Andreani, Coriolano, and Zanetti carried
the technique to near perfection, and color "l:voodcuts continued
to be made in Italy centuries after the Germans had abandoned
them to pursue linear black and white.
Italy could not claim complete domination in the field,
however.
In Holland,Hendrik Goltzius at Haarlem was a virtuoso
who virtually ruled the art of engraving.
A childhood accident
had permanently closed the fingers of his right hand, and by
using the large muscles of his arm and shoulder he achieved a
powerful sv-ling of line that brought a refreshing exuberance
into his work with color v-70odcuts.
Several of his own 1and-
scape designs are included in the exhibition as well as some
he did in imitation of contemporary paintings.
,John Baptist Jackson, who worked in England in the 18th
century, is another artist who attained impressive results in
the chiaroscuro woodcut.
His triptych after Tintoretto's
"Crucifixion" is one of the most important pieces in the exhibition.
Miss Jacobowitz has also included four different
proofs of Jackson's "Algernon Sidney" to show the progressive
states of the work as it "I:,yas printed.
For anyone who has ever
been even slightly fascinated by the lure of prints, this exhibi tion will prove a re'w arding experience.
For further information and photographs, please contact Mrs.
Happy Shipley at LO 4-0219.
3/2/73
xxx
FOR RELEASE:
D lt1EDIi'\.TELY
news release
PENNSYLVANIA ACADEMY
OF THE
FINE ARTS ·BROAD AND CHERRY
STREETS,
PHILADELPHIA, PA.
19102-(215) 564-0219
Philadelphia, Pao - Torn Armstrong~ Director of the Pennsylvania
Academy of the .Fine Arts, ann ounced today that the National
· Endowment for the Arts has granted the Academy $12~OOO for
a survey of climate control and storage needs" The grant
\vi11 be matched by privately-donated gifts in the same amount
It is expected that a study ",Jill be completed ~v ithin four
months
0
0
"This is the first F r~deral grant to the Pennsylvania
Academy of the Fine Art s o · A~ evidence of the increasing
recognition of the importance of the na ·t ion r s cultural
institutions , we are very grateful to the National Endmvment
for the Arts for this great assistance as we seek t o
revitalize the .Academy to pr<Qsent our programs in the best
pqssible manner :;. 1 1 Tom Armstrong observed o
Mr o Armstrong indicated that the Federally-assisted
climate and storage studies are the first steps in the renovation and r esto ration o f the Academy building designed by
Frank Furness at Broad and Cherry Streets , Philadelphia o
The building, which opened as part of the Cente nnial celebration in 1876, is the center of the Academy's t hree
functions of school, col lection and exhibit io Ho Founded
i n l805~ the Academy is the oldest art i ns titution in the
country , and this, itls third building , is in need of
complete . renovation to provide the best environment for its
school and great collection of A~erican arto The collection
and archives of the Academy are a unique record of the
cultural heritage of Philadelphia Hud history of American
art ~vhich ~vVe re built upon and encouraged by the Academy
s c hool and exhibition activitieso
The 1876 Academy building by Furnes s is listed as
a certified histo ric building with the Philadelph ia Historical
Commission, a s a Pennsylvania landmark ,vith the Pennsylvania
His t oric a l and Huseum Comrnissio n, as an historic building
with the Historic al American Building Survey c.nd as a registered bu ilding with the National Registe r of Histor ic Pl aces
of the United States Department of the Interior o
-2-
In a recent message to Congress, President Nixon
stated:1 lIAs our Bicentennial approaches, the cultural
activities of AE1.erica \'lill take on even grea"ter importar1c;:e o "
Citing this message, Nancy Hanks, Chair~_an of the
National Endovrnent for the Arts, remarked, lIAs our nation IS
museums prepare to meet the cha llenge implied in the
Presidentrs statement, the greatest single problem facing
them is the preservation of the American heritage o
Responding to this need, the National Council on the Arts
last Hay approved programs to assist America's mt!seUTIlS in
conservation and renovation for preservation purposes o "
Hiss Hanks' observation accompanied an announcement
of 90 grants totaling $2,152,784 to museums and related
institutions in 30 states and the District of Co1umbia o
For further information and photographs, please contact
Hro Tom Armstrong at LO 4-02190
vv
< £'J">.
X
3/8/73
FOR RELEASE:
D1i"lEDIATELY
news release
PENNSYLVANIA ACADEMY
OF THE
FINE ARTS' BROAD AND
CHERRY STREETS,
PHIL A DE "LPHIA, PA.
19102· (215) 564-0219
FIVE NEW HEMBERS NAl'1ED TO BOARD OF PENNSYLVAl\lIA ACADEHY
Philadelphia, Pa . -- Hr. John Griebel, 2nd, president of the
Board of Directors of the Pennsylvaaia Academy of the Fine Arts,
has announced the election of five members to the board.
The
ne~l
members elected [or five year terms are:
Walter G. Arader, Sec:retary of COITlJIlerce of Pennsylvania,
boal.-d memb j r of Philadelphia 76, Inc., and president of "';;,Tal ter
G.Arader and Associates, Inc., a firm of financial and
management consultants.
David Gwinn, past chairman of Pennbrook Hilk Company, and
a member of the Academy's board from 1952 to 1971 and advisory
board in 1972.
l ,ouis 1. Kahn, one of the v70rld I s greatest architec"ts and
the recipient of innumerable honors including first prizes in
the annual drawing competitions for Philadelphia high school
students from 1916 through 1920, held at the Pennsylvania Academy
of the Fine Arts and the Philadelphia Award for outstanding
public service presented at the Academy in 1971.
Charles E. Hather, III, chairman of Hather & Company,
'president of the Print Club, and a member of its advisory board
for Prints in Progress.
Grahame Wood, president of Mi llville Hanufacturing Company and
chief executive officer of WaT.va Dairy Farms and Wawa Food Market s_
For further information please contact Happy'
3/12/73
Shipley at LO 4-0219.
FOR RELEASE:
I MrtIED lATELY
news release
P EN N SY LV A NI A
A CA D EMY OF TH E
FIN E
ART S ' B ROAD A N D
CH E RR Y
STRE E TS,
PH I L A DELPHI A, P A .
19102' (215) 564- 0219
FIVE NEW MEMBERS NAMED TO BOARD OF · PENNSYLVANTA ACADE:tvrt
Philadelphia, Pa. -- Mr. John Gribbe1, 2nd, president of the
Board of Directors of the Penns ylvania Academy of the Fine Arts,
has announced the election of five members to the board.
The new members elected for five year terms are:
Walter G. Arader, Secretary of Commerce of Pennsylvania,
board member of Philadelphia 76, Inc., and president of
~-Ja1ter
G. Arader and Associates, Inc., a firm of financial and
management consultants.
David G"v-inn, past chairman of Pennbrook l1i1k Company, and
a member of the Academy's board from 1952 to 1971 and advisory
board in 1972.
Louis 1. Kahn, one of the world's greatest architects and
the recipient of innumerable honors including first prizes in
the annual drawing competitions for Philadelphia high sch ool
students from 1916 through 1920, held at the Pennsylvania Academy
of the Fine Arts and the Philadelphia Award for outstanding
public service presented at the Academy in 1971.
Charles E. Mather, III, chairman of Mather & Company,
president of the Print Club, · and a member of its advisory board
for Prints in Progre ss.
Grahame Wood, president of Millville Manufac -t uring Company and
chief e xe cutive officer of Wawa Dairy Farms and Wawa Food Markets.
For further informa tion ple a se conta ct Happy
3/12/73
xxx
Shipley at LO 4- 02 19.
IHt'1EDIATELY
FOR RELEASE:
news release
PENNS Y LVANI A
ACADEM Y
OF THE
FI N E
ARTS' BROAD A ND
CHERRY STRE E TS ,
PHI LADELPHIA, P A.
19102· (215) 564-0219
CfLt\RLES FAHLEN
The young Philadelphia artist, Charles Fahlen, will exhibit
prints and sculpture at the Peale House Galleries from March
29th through May 6, 1973.
This is Fahlen's first one-man show in
Philadelphia where he is an assistant professor at Moore College
of Art.
Born in San Francisco in 1939, he
~7aS
educated at San
Francisco State College where he received a Bachelor of Arts in
1962 and at the Otis Art Institute in Los Angeles where he received a Master of Fine Arts degree in 1965.
Before coming to
Philadelphia in 1967, he received advanced education at Stanley
Hayt'e r's "Atelier 17" in Paris, at the Jan Van Eyck Akademie r
Maastricht, Holland and at the Slade School, University College in
London.
In 1966, he received the United States Government's
Fulbright Grant for study in England.
Fahlen has had one-man
exhibitions at the Gallerie Passepartout in Copenhagen, Denmark,
in 1966, at the DeJong-Bergers Tentoonstelligen., Maastricht, Holland,
1967, and at the Richard Feigen Gallery in New York City in 1971.
He has been in many group shows including a
~he
dra~7ing
exhibition at
Paula Cooper Gallery in New York City, a recent acquisition
show at the Museum of Modern Art, and in the Bienniel of Cont emporary American Painting and Sculpture at the Hhitney MuseQ1TI.
in 1973.
Of his mm -.;vork, Fahlen says "Obj ects as art without
(more)
-2-
utility in the work sense or having decorative ?-ppeal, can compete
with objects confronted in everyday experience in terms of
strength, interest and integrity."
liMy fantasies are spawned by visual and tactile experience
with crab traps, tinker toys, Woolworths, unfinished furniture,
Creative Playthings, Barbarella, the Monitor and the Merrimac,
tract houses, wood engravings, artifacts dug up from the earth
or covered with vines, and trophies ..... they are bound by things
I would like to buy but can't find, so I build them myself."
"Choosing materials and the process of combining and manipulating them is determined by how harmonious they are in realizing
a particular vision.
Materials are those that are readily ob-
tainable and anonymous, easily ",,'lorked and can be minimally
modified.
Attachments,
connections and joinings have to do with
directness in holding materials together.
The processes used
in manipulating materials dictates the outcome of shapes and
.surfaces.
For example: certain materials fold-sag in a
particular way when treated with laytex or resin, certain types
of wires bend toa particular kind of curve."
The Director of the Academy, Tom Armstrong, has commented
"Fahlen is one of the most interesting artists working in
Philadelphia.
His works are highly refined statements and e x -
pressions of his sense of the possibilities of materials and the
e x tremely personal response he has to combinations of these
(more)
------ -
-3mater i al s.
The re is an elegance and formal quality to his
work which gives it a h igh degree of finish.
ceived
F ahlen has re-
considerable recognition outside of Philadelphia and
we are pleased to be the first in the City to make a strong
commitment to his work.
II
Fahlen was chosen to exhibit at the Peale House Galleries
by the Peale House Exhibitions Committee which consists of Miss
Edna Andrade, Mr. Will Barnet, Mr. Daniel Dietrich, Ms. Anne
d'Harnoncourt, Mr. Paul Keene, Mr. Murray Dessner and three
current students at the Academy, Stanley Merz, Dorie Saylor and
Vaughn Stubbs.
For further information and photographs please contact Ms .
Marcela de Keyser at LO 4-0219.
xxx
March 26, 1973
FOR RELEASE:
IMMEDIATELY
news release
PENNSYLVANIA ACADEMY
OF THE
FINE ARTS· BROAD AND CHERRY STREETS,
ACADE~N
PHILADELPHIA, PA.
19102· (215) 564-0219
FURNESS EXHIBITION
On Sunday, April 15th, "THE RESTORATION OF THE
PENNSYLVANIA ACADETvIY - THE FIRST LOOK" will open at the
Pennsylvania Academy of the Fine Arts.
The exhibition has
been prepared by George Thomas, lecturer in architecture,
Drexel University, and is in conjunction with the exhibition
the ARCHITECTURE OF FRANK FURNESS at the Philadelphia Museum
of Art, catalogued and prepared by Dr. James 0' Gorman, visiting
associate professor of Fine Arts, Boston University and Mr.
Thomas.
"The First Look" includes documents and other
material associated with the beginning effort to restore
the Pennsylvania Academy's building designed by the Philadelphia
architecture firm of Furness and He;;-Titt.
Furness and Hewitt was awarded the commission for
the Pennsylvania Academy on November 1, 1872 and the building
was constructed during the next four years in time to open
as a sensation of the Centennial celebratio~ in 1876.
Docu-
:mentary photographs of the building as it appeared in 1876 and
at later p eriods, original architectural plans of the building,
reproductions of original til e floors and other architectural
features are presented to give an impression of the brilliant
colors and textures of the bui lding in its original condition.
(more)
-2-
The Pennsylvania Academy is attempting to obtain
public and private financing to restore the Academy's great
centennial building in time for the celebration of the nation's
Bicentennial .
It is hoped that the neli] interest in Furness
will bring attention to the Academy, his greatest remaining
building , which is desperately in need of renovation and
restoration.
For further information and photogra phs please contact Hs.
Marcela de Keyser at LO 4-0219
April 11, 1973
FOR RELEASE:
IHME DIATELY
news release
PENNS YLVAN I A
ACADEMY OF THE
FINE ARTS' BROAD AND CHERRY STREETS,
PHIL AD ELPHIA, PA.
19102' ( 215) 564-0219
A videotaped visit with the int e l...uationall y· fc.:=ed 3 culp tor
t~e
Louise Nevelson in her Hanhattan studio will re:::::"a.c:=
~.r~y
tional keynote address at Cresson Day ceremonies on
tradi2 in the
Pennsylvania Academy of the Fine Arts, Broad ane CheLLY Streets.
Frequently cited as the greatest living Ameri can scul?tor ,
Hiss Nevelson, 74, had planned to deliver a
tal~;:
in person at
the 92nd a\vards ceremonies that mark the end of the school year
for the Academy's 400 day and 200 night
.
,
stude~t~ _
"-
_""'_ CO:o::!Il.l L -
ment abroad, however, dictated a change of plan .
Instead, a group of this year's student prize -;,Tln::.e:cs whose
~he
works have been judged the best produced during
will travel to Manhattan on April 27 to take
pa~t
school year
in an in-
formal conversational eX'c hange that will be taped f or iJi e\ving
on Cresson Day at the award presentations.
During the ceremonies, more than $34, 000 in EiJ.=ODe:=.n traveling
scholarships will be awarded to students on the basis of their
~'fo re
vvork in painting, drawing, sculpture and graph ics.
than
1,000 such awards have been made .
The Cresson mvards are made possible through
of the wil ls of Emlen and Priscilla Cresson
2.S
their son, \H lliam, v>1ho was an Academy stude:::.t:
1 860 's.
;:~O\/-:'sions
2.
----
Income from the fund cr ea ted in 19 02 i3
me=or lal to
-
-.. ..-,
'-- - ~
a~,~ a::-ded
an-
-2-
nually to students of outstanding artistic me rit
travel and study in Europe and tuition at the Acac.=::.::::y
~:::hcol
for t'C'lO terms immediately following.
Eight Cressons, each
~'lOrth
$2700, will be
a~'7 ar=-2=-
-=--=-:"'5
y ear.
Other prizes also awarded during the day \vill 22 fc:rr J .
Henry Scheidt Nemoria1 Traveling Scholarships ,:wrt", $17 00 each,
and one Lew"is S. 'lTare Traveling Scholarship 'North
~vo:rks
S~7C J .
submitted by students · for t he Cresson an:: o tI:.aT
. competitions wi ll be exhibited to the public
star::~~g
Y::o.y 4 .
Most of the works will be for sale through Academy
Ethel Ashton, who can be reached at LO 4-0219.
For additona1 information please contact Thon2.s
~~e~2r >
public relations director, Pennsylvania AcadeQy o£ ::ha Fine
Arts at LO 4-0219.
April 23, 1973
FOR RELEASE:
I r-ll:-1EDIATELY
news release
PENNSYLVANIA ACADEMY
OF THE
FINE ARTS· BROAD AND
The first comprehensive
CHERR Y
STREETS,
eJu~ibition
PHILADELPHIA, PA.
19102· (215) 564-0219
of the works of Susan
Macdowell Eakins will open May 5 at the Pennsylvania Academy
of the Fine Arts, Broad and Cherry Streets, Philadelphia .
The
exhibition, which includes over 50 oils and -.;.;atercolors most of
which have never been on public view before, closes on June 10.
Organized by the Academy's Curator, Frank Goodyear, the exhibition catalogue '!;vas prepared by Seymour Adelman, a close friend
of the artist, and Susan P. Casteras of Yale University.
Many
of the paintings in the exhibition are on loan for the first
time from the private collections of the MacdoiNell family of
Roanoke, Virginia, descendants of the artist.
Susan Ma cdowell was born in Philadelphia on September
21, 1851, the fifth of eight children of William and Hannah
Macdowell.
William H. Mac dm,- lel 1 , a prominent Phila delphia en-
graver, was a good friend of Benjamin Eakins, his future son-inlaw ' s father.
She studied at the Pennsylvania Academy from
1876-1882 wider Christian Schussele and her future husband,Thomas
Eakins, whom s h e married in 1884.
The Academy exhibition, which
commemorate s the 35th anniversary of h e r de a t h , rev e a ls her
strengths as a portrait, genre and still life painter in the
Eakins tradition .
Thomas Eakin s considered her one o f the best
female portrait p a inters in P..m.erica.
Though Susan Nacdm-le ll Eakins proudly asserted throughout
(mo re)
-2her life that her husband I s art
'iT2S
always her first concern:
Mrs. Eakins was an accomplished artist in her
remained an artist her entire life , although
o~vn
~vith
right.
She
her husband's
death in 1916 she was able in her later years to concentrate
more exclusively on her
o~
for p a inting, Susan Eakins
avid reader.
painting.
",laS
In addition to her love
an accomplished pianis t and.
She was also a constant supporter of young painters,
giving encouragement and advice to the feeblist creative efforts .
Her art plumbed the intensely private vlOrld o f her life:
intimate family portraits and genre scenes as we ll as portraits
of close friends and neighbors.
As early as the l870s, she
dabbled in photography and sometimes p aint ed from photographs
when she could not
~vo rk
from real life.
Her portraits reveal
sensitive characterizations of her sitters , solidly modelled in
rich, earthy colors.
Susan Hacdowell Eakins died in 1938 in the 87th year of
her life.
She painted up to the time of her death , and her in-
terest in 'good painting' never flagged.
The Pennsylvania
Academy is proud to Ire-discover' the talents of this remarkable
artist
~vhose
lasting images remain vivid to this day.
For further information and p hotographs contact Thomas Werner,
pub lic r e l ations director , Penns y lvania Academy of the Fine Arts
at LO 4-0219.
Ap ril 25, 1973
'"(1
1/ I
;,>
Student winners of some $4,400 in prizes and awards marking
the end of the school year have been' announced by the Pennsylvania
Academy of the Fine Arts, Broad and Cherry Streets, oldest
museum and art school in the United States founded in 1805.
A $700 scholarship to the , Skowhegan Summer School;, Skowhe;gan
Me., went to DOllald L. Shore, Cheltenham, Pa .
The $500 Lambert
and Emma Wallace Cadwalader Prize for Landscape was awarded to
Walter L. Hewes, Newtown Square, Pa. Second prize of $100 went
to Gail R. Fox, Philadelphia, and Robert M. Bender, Moorestown,
New Jersey, was given honorable mention.
Other prize winners:
The Alexander Prize ($300) to Pheoris West, Philadelphia.
Christine Biddle Scull Memorial Prize ($250) to David R.
Rothermel, Sunbury, Pa . ; honorable mentions to Anthony J. Ciambella,
(more)
;
-2Michael D. Conaway, Cynthia A. Dorsey, Vaughn D. Stubbs, all of
Philadelphia; Jay B. Miller, Encino, California . , and Sherwin
B. Harris, Pelham Manor, New York .
Quaker Storage Company Award ($250) to Peter A. Grosbeck,
Milwaukee, Wisc .
Consolidated
Drake Press Award ($200) to John H. Suess,
Bethlehem, Pa. Honorable mention to James D. Mahoney, Philadelphia .
Catharine Grant Memorial Prize ($200) to Kristina Kutkus,
Birmingham, Mich .
Louis S. Fine Purchase Prize ($150) to Wayne Bystrom,
Newtown Square , Pa .
Thomas Eakins Memorial Prize ($100) to Joseph J.
Donovan, Turnersville, N.J. Honorable mention to Thomas F.
Mallon, Philadelphia .
Eleanor S . Gray Prize ($100) to Deryl D. Mackie, Philadelphia.
Edna Pennypacker Stauffer Memorial Prize ( $100) to Susan
Headley Van Campen, Philadelphia and Freehold, N.J . Honorable
mention to Laura Benjamin Ewing, Philadelphia.
George Sklar Memorial Prize ($100) to Nava Goldman Waxman ,
White Plains, N. Y. , and Philadelphia .
Woodrow Prize ($100) to Stuart J . Shapiro, Philadelphia.
Charles R. Weiner Prize ($100) to Robin Roantree , Mt.
Clemens, Mich .
Edmund Stewardson Prize ($100) to Craig E. Blak e, Philadelphia .
Honorable mentions to Glenn M. Hines , Philadelphia , and Robin
B. Roantree.
(more)
-3Emma Burnsham Stimson Prize ($100) to Barbara A. Genovese,
Plymouth Meeting, Pa.
Honorable mention to Catherine P.
Hopkins, Philadelphia and Morristown, N.J.
Frances D. Bergman Memorial Prize ($100) to Richard W.
Proctor, Philadelphia and Silver Springs, Md.
Honorable mentions
to Gail R. Fox and Susan Headley Van Campen.
Gimbel Prize ($50) to Sonya A. Pollack, Narberth, Pa.
Benjamin Lanard Memorial Prize ($50) to Tatiana Krizova,
of Philadelphia and Bratislava, Czechoslovakia.
Wanamaker Prize ($50) to Clarence B. Morgan, Philadelphia.
John R. Conner Memorial Prize ($50) to Andrij Maday,
Philadelphia.
Packard Prize ($50) to Cynthia Herbert, Winston Salem
N.C. Second prize ($25) to Terry Kreuzer, Cheyenne, Wyo.
Henry C. Pratt Memorial Prize ($50) to Basil A. Constantino,
Camden, N.J.
Thouron Prize ($50) by vote of the students to Thomas F.
Mallon, Philadelphia.
Faculty members awarded $100 Thouron prizes
to Clifford W. Lamoree, Havertown, Pa., and Jeffrey M. Lipton,
Broomall, Pa., witha$50 Thouron prize to Lydia Hamilton, Westmont, N.J.
Martha Zelt Stanton Prize ($50) to Douglas T. Kelly,
Glendora, N.J.
Sylvia G. Wexler Memorial Award ($50) to George M. Kelly,
Philadelphia.
Ramborger Prize ($35) to Katherine E. Bennett, St. Louis, Mo.
Mindel Caplan Kleinbard Award ($25) to Patricia N. Kelly,
Woodstown, N.J.
Philadelphia Print Club Prize, Nadine F. Secarea, Norristown, Pa.
FOR
IMMEDIATELY
RELEASE:
news·release
PENNSY L VANIA ACADEMY OF THE
FINE ARTS' BROAD AND CHERRY STREETS,
PHILADELPHIA, P A .
19102. (215) 564-0219
The 13 student winners of more than $30,000 in scholarships
and a number of other awards were announced Wednesday during
ceremonies marking the end of the school year at the Pennsylvania
Academy of the Fine Arts, Broad and Cherry Streets.
Students and guests at the afternoon ceremonies watched
a videotaped· interview with Academy students by sculptor Louise
Nevelson instead of the usual address by a visiting personage.
The interview was held last week in Miss Nevelson's Manhattan
studio because an unexpected trip to Europe precluded her announced
visit to the ceremonies.
school administrator.
Ceremonies were hosted by Henry Hotz.
Prize winners were announced by Tom
Armstrong. Director.
The awards announceddliring the day included the William
Emlen Cresson Memorial Traveling Scholarships, the J. Henry
Scheidt Memorial Traveling Scholarships and the Lewis S. Ware
Traveling Scholarship.
The most generous of the awards were eight Cresson scholarships, each worth $2,700, in memory of a student of the Academy
who died in 1868.
The award was established by his parents and
first presented in 1903.
Since then, 1,035 students have been
winners of the award which includes tuition for the next year.
(more)
-2-
The Scheidt awards are given to those who will not be
returning to the Academy.
First awarded in 1949, . 90 students have
won these scholarships worth $1,700 each.
The Ware Scholarship has been awarded to 31 students so
far and is worth $1,700 this year.
Winners of the Cresson scholarships were Robert Bender,
237 W. Second St., Moorestown, N.J.; George Kelly, 476 Gerhard St.,
Philadelphia; Peter Groesbeck, 2009 Mt. Vernon St . , Philadelphia;
James D. Mahoney, 3000 Woodhaven Rd., Philadelphia; Stanley R.
Merz, Jr., 8630 Midland Ave., Philadelphia;
Stephen Senter, 5214
Schuyler St., Philadelphia; Susan Headley Van Campen, 2325 Spruce
St., Philadelphia, and Pheoris West, 441 W. Hansberry St., Philadelphia.
Winners of the Scheidt awards were John Gray, 5127 Parrish
St., Philadelphia; Clifford Lamoree, 507 Wales Rd., Havertown;
Krist'i na Kutkus ,. 659 N. 22nd St., Philadelphia; and Lydia Hamil ton,
59 Potter St., Haddonfield, N.J.
David Rothermel, 659 N. 22nd St., Philadelphia, was awarded
the Ware scholarship.
Honorable mentions, worth free tuition for the next school
year, were J. William Blanco, Alden Park Apartments, Philadelphia;
Eiko Fan, 113 S. 20th St., Philadelphia; and Patti
Kell~
Point
Airy Rd., Woodstown, N.J.
Two new prizes, established to honor two faculty members
who died in the past year, were also announced.
They were the
$200 Hobson Pittman Award for experimental painting to Kristina
Kutkus, 31122 Old Stage Rd., Birmingham, Mich., and two $800
(more)
-3-
Franklin Watkins'Awards to Patti Kelly and Russell Lanzilotta,
. of the Parkway Apartments, Cherry Hill, N.J.
The Watkins' awards are made to provide students with money
for expenses other than tuition and will be paid in eight monthly
increments of $100 during the school year.
These ceremonies were attended by some 300 persons and held
in the Academy galleries which presented the Annual Student
Exhibition and Sale.
For further information contact Thomas Werner, public relations
director, Pennsylvania Academy of the Fine Arts at LO 4-0219
X
May 2, 1973
X
X
.-:; ... /(' ~
,
FOR RELEASE:
f
,J
IMHEDIATELY
news release
PE NNSY L VAN I A
A CA DE MY OF THE
FINE ARTS· BR OAD A ND
CHERR Y
ST R E E T S,
PHI LA DEL P HI A,
P A .
19102. ( 215) 564-0219
Philadelphia, Pa. -- The election of three members to the
board of directoISof the Pennsylvania Academy of the Fine Arts,
Broad and Cherry Streets, has been announced by John Gribbel 2nd,
board president.
The thr.ee members are Mrs. John Wintersteen, Villanova,
Pa.; Donald E. Meads, Philadelphia, and Robert K. Scarborough,
Cherry Hill, N.J.
Mrs. Wintersteen served as president of the Philadelphia
Huseum of Art from 1964 to 1968 and has been on the boards of
the Print Club and the Moore College of Art.
She is a former
vice chairman of the Pennsylvania Council on the Arts and a
former member of the Philadelphia Art Commission.
She is cur-
rently a member of the board of the Athenaeum of Philadelphia.
Meads is executive vice president and a member of the
board of the Insurance Company of North America.
He is currently
serving on the boards of the Old Philadelphia Corporation and
the Philadelphia Industrial Development Corporation.
He is a
trustee of International House, Philadelphia.
Scarborough is president of Scarborough Corporation, Cherry
Hill, N.J., a residential construction firm.
He has served for
several years as a divisional chairman for the United Fund of
Southern New Jersey and is a national director of the National
Association of Homebuilders.
(more)
;
-2-
The three newest members join five others whose recent
elections to the board were also listed.
The five are Walter G. Arader, secretary of commerce for
Pennsylvania and a board member of Philadelphia 76, Inc.;
David Gwinn, past chairman of the Pennbrook Milk Company and a
member of the Academy's board from 1952 to 1971; Louis I. Kahn,
':o7Orld renowned architect and recipient of the Philadelphia
A\'lard in 197.1; Charles E. Mather III, chairman of Mather & Co.
and president of the Print Club, and Grahame Wood, president of
the Millville Manufacturing Company and chief executive officer
for Wawa Dairy Farms and Wawa Food Markets.
For further information, please contact Tom Werner, director of
public relations, Pennsylvania Academy of the Fine Arts, Broad
and Cherry Streets, Philadelphia.
Hay 9, 1973
Telephone LO 4-0219.
IMMEDIATELY
r)
/.
i' I
'/
FOR RELEASE:
news release
PEN NSY L VANIA A CA DEMY OF THE
FINE ARTS-BRO AD AND CHERR Y
STREETS ,
PHIL A DELPHI A, P A .
19102- (215) 564-0219
An exhibition of 30 paintings and seven pieces of
sculpture selected from among more than 1500 objectsin the
Pennsylvania Academy's permanent collection by Philip Pearlstein,
leading American exponent of the Nevl Realism school of painting,
v'Jill- -be held from May 18 to June 24 in the Peale House Galleries
of the
Penn~ylvania
Academy of the Fine Arts, 1811 Chestnut Street.
Titled "A Contemporary View of Past Accomplishments,"
the exhibition is comprised of works chosen March 29, when
Pearlstein made his selections by combing through the Academy
vaults.
Pearlstein later explained the reasons for his selections
for the exhibition to a group of Academy students and friends.
Generally, the exhibition reflects Pearlstein's
own talents for painting subjects as they are seen at the moment
he is painting them.
His studies of nudes - often reaching
real-life dimensions of 5 feet by 6 feet - reveal realistic
depictions of models who are strained and tired after hours of
posing.
Pearlstein's career as an artist started early; he
made his first public appearance at 17 with two full-colored
reproductions in Life as a winner of the 1941 Scholastic Magazine
high school art contest.
Wylie Avenue Barber Shop -
The two works - Merry-Go-Round and
reveal him as a precocious social realist .
Subsequently, Pearlstein spent a few years in the
(more)
-2-
Army, a few more years studying painting and design at Carnegie
Tech. and then moved to New York along with Pittsburgh classmate
Andy Warhol.
In New York, he made his living by working on in-
dustrial catalogues by day and painting by night.
Pearlstein's first significant appearance on the New
York art scene occurred in 1954, when a painting was reproduced in
Art Digest.
His first one-man show was held in 1955, with works
that reflected the influence of Abstract Expressionism.
Pe~rlstein's
landscape.
first achievements lay in the realm of
A major change took place in his style when he went
to Italy on a Fulbright scholarship in 1958-59.
In 1961, he
showed large oil landscapes, some of them 8 feet across.
In
1961-62, he began his first large oil paintings of nude couples.
At this point, Pearlstein took the really critical
step in his career: he began painting directly from the model.
Within six months, there was a radical change and the hallmarks
of a style that has gained him international renown became evident:
the merciless recording of models as a human fact, an extremely
close vantage point for viewing the model, large-scale canvasses
that gave him space for the recording of detail revealed by close
confrontation under merciless artificial light.
The selection of sculpture and paintings from the
Academy vaults reflect his own artistic stance: clearly defined
figures, sharply delineated, and with little romanticism and
sentimentality.
(more)
-3-
"The temptation was to select every thing I liked,"
Pearlstein explained to students who were looking as he justified
his selections.
"Then I realized there's a difference between
liking and respecting and you can start getting prejudiced."
"I eliminated anything that was Impressionistic, except for one
work, and anything that was Cezannesque.
Not because I don't
like Cezanne - I think he's tremendous - but his handwriting
shows up too easily.
"Something derived from Cezanne looks like something
derived froni Cezanne," Pearlstein said.
In selecting one of the works for the exhibition,
Letter and his Ecol by Stuart Davis, Pearlstein noted that Davis
"was close enough to the original impact of the cubist ideas to
be working with those in a creative way."
Of another selection, . Pearlstein said "it looks like
a Japanese print, and I like Japanese prints.
It's holding a
picture plane, although I feel the artist wanted to break the
picture plane.
So, there's tension going on."
Among artists whose works will be exhibited in"A
Contemporary View of Past Accomplishments"are Thomas Eakins,
Benjamin West, Marianna Sloan, Edward Hopper, Arthur DaCosta,
James Peale, Rembrandt Peale, Thomas Sully, Joseph Eichholtz,
Gustave Courbet and Richard Diebenkorn.
For further information, please contact Torn Werner, director of
public relations, Pennsylvania Academy of the Fine Arts, Broad
and Cherry Streets, Philadelphia.
May 11, 1973
1ft
11
1ft
Telephone LO 4-0219
11
FOR RELEASE:
IMMEDIATELY
news release
Pennsylvania Academy of the Fine Arts • Broad & Cherry Streets, Phi l adelphia, Pa. 19102 • LO 4-0219
STUDENI' EXHIBITION ]lJID SALE
PHILADELPHIA, PA. -- The Pennsylvania Academy of the Fine Arts marks the closing of the
school year with the announcement of the William Emlen Cresson, J. Henry Scheidt and
Lewis S. Ware Memorial European Traveling Scholarships on Wednesday, May 3rd at
The Cresson Day Ceremonies have been held annually for the past
seven~y
4 p.m.
years and will
be presided over this year by School Administrator, Henry Hotz.
Mr. Hotz, a former Academy student and recipient of a 1937 Cresson, will announce
the winners of these and several other distinguished prizes in Painting, Drawing,
Sculpture and Graphics.
Guest, speaker at the Ceremonies is world famous Philadelphia
architect, Louis Kahn.
Kahn, 1971 winner of the Philadelphia Award, who has influenced
a generation of architects will receive the Royal Gold Medal for Architecture on June 13th
in England.
The Cresson Awards are made possible by the provisions of the wills of Emlen
Prescilla Cresson.
Emlen Cresson.
&~d
They created a Fund in 1902 as a memorial to their son, William
Income from the Fund is awarded annually to students of outstanding
artistic merit for a summer of travel and study in Europe and tuition at the Academy
school for two terms immediately following.
More
since the first Cresson Ceremonies in 1903.
Eight Cresson, each totalling ' $2,600, will
th~D
1,020 awards have been made
be awarded on Wednesday.
Over eight hundred works submitted by students for the Cresson and other competitions
will be exhibited to the public in the Academy's landmark building at Broad and CherlJ(
Streets starting May 8th through 28th.
Most of the works will be for sale through
Academy Librarian, Ethel Ashton.
NOTE:
Winners of the Cresson, Scheidt and Ware Traveling Scholarships may be photographed
at the Academy at 2:00 p.m. on V~ 3rd. For Additional infol~tion, please contact
Jol1..n Alexander, Director, Public Relations at LO 4-0219.
IMMEDIATELY
FOR RELEASE:
news release
P ENNSYLVAN I A
A CA DE MY
O F
THE
FI N E
ARTS· BR OA D
AN D
CH E RR Y
S T RE E T S,
PHIL AD ELPHI A , P A,
19102· ( 215) 564-0219
A visual record of the tradition of generosity and
scholarship maintained by seven generations of its directors.
faculty. students and patrons will go on display starting June
23 at the Pennsylvania Academy of the Fine Arts, Broad and Cherry
Streets.
Titled "Held in Trust," the exhibition will comprise
more than 260 works selected from gifts presented to the Academy
since its founding as the country's first art school and museum
in 1805.
The exhibition will continue through August 26, along
with a simultaneous photographic essay, "The Pennsylvania Academy
of the Fine Arts," a personal impression of the architecture,
school, museum and associated activities of the Academy by
Philadelphia photographer George Krause.
The Academy's unique position as the nation's oldest
art institution will be reflected in works ranging from a
Benjamin West portrait of Mary McCall, painted about 1741, to
James Havard's Stumickuosucks, painted earlier this year.
Scenes
of Philadelphia across the centuries will be evident through
works ranging from West's Penn's Treaty With The Indians, created
in' 1771, and Thomas Birch ' s 1821 rendering of the Fairmount Water
Works, showing the first grouping of neoclassical structures
built in this country, to a c ont emp orar y si dewa l k scene , Gi r ls
On The Stoop, by the Philadelphia artist Edith Neff.
(more)
-2Through the generations, the city's outstanding art
collectors have made bequests to the Academy.
The earliest gift
was a collection of impressions of sculptured gems and medals
presented by Joseph Allen Smith in 1807 and examples of these
are in the exhibition.
Three great collections were bequeathed to the Academy
at the end of the 19th century .
The three were the Joseph and
Sarah Harrison Collection , received in 1878; the Henry C. Carey
Collection , received in 1879, and the collection of Henry C.
Gibson received in 1892.
comprise an
Together, the three collections will
Academy exhibition next January.
The Harrison collection, though small, contains some
highly significant American paintings including John Vanderlyn's
Ariadne Asleep On The Island Of Naxos, the first neoclassical
nuedby an American
artist painted 1812-1814, and Charles Willson
Peale's Artist In His Museum , painted when Peale's museum was
housed on the second floor of Independence Hall.
Also included
from this collection is a little known American masterpiece, The
Attack on Fort Fisher, by the Philadelphia painter and Academy
student Xanthus Smith .
The Carey Collection reflects sophisticated mid-19th
century tastes with such American paintings as James G. C1onney's
Militia Training (1841), William S . Mount ' s Painter ' s Triumph
(1838), Emanuel Leutze's Poet's Dream, and the sculpture Shell
Girl (1840) by Carl Steinhauser .
The Gibson Collection of more than 100 pieces has a
(more)
-3-
European emphasis. noted in this exhibition through such works
as Alexander Cabanel' s Birth of Venus. Thomas Coutoure' s Thorney
Path. Eugene L. Boudin's Coast Scene. Henri Fantin-Latour's
Vase Of Flowers and James Jaques Tissot's Reverie.
The tradition of Academy teachers training students
who subsequently became Academy instructors is highlighted in
this exhibition.
After he completed his student requirements.
Thomas Eakins became an instructor.
who became an
Eakins taught Thomas Anshutz.
Academy instructor and taught Charles Grafly.
who joined the faculty and was a teacher of Albert Laessle.
Works by all four are exhibited.
Artists and their families have often turned to the
Academy to preserve and maintain their \vorks.
Besides those
mentioned. several works by former Academy instructor Daniel
Garber. including his highly regarded 1933 portrait Mother and Son.
will be included in the exhibition.
Three bronze sculptures by
Charles Grafly. presented to the Academy by his daughter, Dorothy,
are also included.
They are Symbol of Life. The Oarsman and a
bust of Edward H. Coates, an - Academy benefactor.
There are a number of paintings of unusual historical,
as well as artistic significance in the Academy collections.
Among these are
Joh~ N~ag~e'sPat
by. the subject in 1829.
Lyon At The Forge, commissioned
A successful and respected citizen,
Lyon disdained the finery and formal pose concomitant to portraits
of that day.
blacksmith.
He appears as he started in business life -- a
Visible in the background is the tower of the Walnut
(more)
-4-
Street Jail, where Lyon had been falsely imprisoned on charges
of bank robbery until proven innocent.
The simultaneous exhibition by Krause will consist of
approximately 40 photographs.
A native Philadelphian, Krause
has exhibited at New York City's l1useum of Modern Art, the
Philadelphia Museum of Art, the Smithsonian Institution, Yale
University Art Gallery, the Philadelphia Art Alliance and the
Philadelphia College of Art.
The outstanding group of photographs forming the exhibition was taken over the past year and is a personal view of
the many aspects of the Academy.
This is his first one-man
show in Philadelphia since the publishing of his book, George
Krause I, in 1972.
He joins the faculty of the Bucks County
Community College in the fall .
F.or further information and photographs contact Thomas Werner,
Public Relations Director, Pennsylvania Academy of the Fine Arts
at LO 4-0219.
June 19, 1973
__._---- - - -
.
FOR RELEASE:
1G)73
IMMEDIATELY
news release
PE N N SY L VA NI A
A CA DE MY O ,F
TH E
FIN E
ARTS' BRO A D
A ND
CHERRY STRE E TS,
PHIL A DELPHI A,
P A .
19102· (215) 564-0219
Philadelphia, Pa. -- An exhibition of European paintings
\
from the permanent collection of the Pennsylvania Academy of the
Fine Arts entitled "The Continent Revisited" will be exhibited
from July 7 through August 26 in the Academy's Peale House Galleries,
1811 Chestnut Street.
The show documents the taste of collectors
in the late nineteenth cen tury and the types of European paintings
acquired by museums at that time .
The Academy now devotes its
acquisition program entirely to American art .
Featured among the 39 works are landscapes, genre scenes,
still lifes and portraits.
Most of the paintings date from the
19th, century but several earlier works are included.
The oldest
painting exhibited is Virgin by Raibolini, known as II Francia,
which was painted during the late 16th century _
French, Italian, Spanish , German, Flemish and English painters
'are represented in the exhibition .
Twenty-two of the paintings
are among those acquired by the Academy in 1896 through the bequest
of the Philadelphia connoisseur Henry C. Gibson.
Also included
are several paintings that were particularly popular as part of
a similar exhibition, "Continental Pleasures," heldlast summer
at t he Peale House Galler ies.
(more)
-2Among the 19th century French painters whose works are included in the exhibition are Jean Baptiste Corot, Maria Rosa
Bonheur, Charles Francis Daubigny, Gustave Courbet and Constant
Troyon.
Continental vistas include View of the Seine, by Daubigny;
Ca1me, Le Maas, a Dutch seascape by Paul Jean Clays; Market Street:
Antwerp, by Petrus Van Schendel, and A La Campagne, a Belgian
landscape by Alfred Emile Leopold Stevens.
Two interior scenes
by Heinrich Hansen, Interior: Copenhagen and Interior of a Doge's
Palace, provide views of two dissimilar 19th century interiors.
For the first time, the Peale House Galleries as well as the
Academy Galleries at Broad and Cherry . Streets, will remain open
to the public throughout the summer.
Previously, the galleries
had been closed for the month of August .
Exhibition hours are
from 10 A.M. to 5 P.M., Tuesday through Saturday, and 1 P.M.
until 5 P.M. on Sunday.
The galleries are closed on Monday.
##1NNI=
For further information, contact Tom Werner, director of public
relations for the Academy of the Fine Arts, at LO 4-0219
FOR REL EASE:
IMMEDIATELY
news release
PENNS Y LVANI A
A CA DEM Y
OF
THE
FINE ARTS· BROAD A ND CHERR Y
STREETS ,
PHIL A DELPHI A, PA.
19102· (215) 564-02 19
The National Endowment for the Arts has announced
a $10,000 grant to the Pennsylvania Academy of the Fine Arts,
Broad and Cherry Streets, to be used for the purchase of two
or more works of living American artists.
The grant must be matched on a dollar-for-dollar
basis from newly raised funds.
According to Academy
business manager Robert Stubbs, halfof the needed matching funds -- $5,000 -- has been provided by the Academy ' s
Women's Committee.
The grant was one of 46 totalling $405,000 to
museum$ in 25 states and Puerto Rico recently announced
by Nancy Hanks, NEA chairman.
The new grants are part of
the endowment's Museum Purchase Plan launched in 1968 to
assist living American artists, and place contemporary
works in American museums.
July 3, 1973
IMMEDIATELY
FOR RELEASE:
PENNSYLVANIA ACADEMY OF THE:
FI NE ARTS· BROAD AND CHERRY STREETS,
PHILADELPHIA, PA.
19102· (215) 564-0219
Day and Zimmerman Associates, architects, have been
appointed to undertake renovation and restoration of the Pennsylvania
Academy of the Fine Arts building, Broad and Cherry Streets,
Philadelphia.
John Gribbel II, President of the Academy's Board of
Directors, announced the selection, stating "we shall restore
the remarkable 1876 features of the building in -the galleries
and in the studios, and without visual intrusion upon the architect's
original concepts, we will modernize the lighting, security
aspects, and climate control."
"Renovation of the Academy has been intensively studied
for the past 18 months.
Scholarly research relative to appearance
and function reveal the genius of the Academy's architect, Frank
Furness" observed Gribbel.
~odious
"Students are inspired in the com-
studios, and the galleries are ideal for exhibition of
our great American art treasures.
We want Bicentennial guests
in Philadelphia to be able to share our great collections as they
did in the Centennial year.
We would like, as well, to continue
to serve our community in the coming centuries."
"Our Board feels that Day and Zimmerman, through their
restoration architects, Hyman Myers and Marc-Antoine Lombardini,
present a viable potential for complete and distinguished service.
We are immensely pleased to secure the talent of the Furness
scholar/architect, Hyman Myers."
(more)
-2-
The Academy building is a rare and successful example
of American Victorian architecture, encompassing
~as
relief and
incised floral motif stonework, brick. steel, mansard roof,
Moorish arcades, Gothic columns and polychrome tiles of terracotta and glass.
John Coolidge, Harvard University Professor of Fine Arts,
recently stated
"Th~
Pennsylvania Academy of the Fine Arts, like
its peers, the Paris Opera, the vast Galleria of Milan or St.
Pancras Station, is one of the rare masterpieces of high nineteenth century architecture."
Main elements in the renovation plan include climate control.
lighting. security systems. storage vaults, administrative offices,
increased public areas, roof repairs and restoration of , the many
decorative elements that have suffered weather and other damage.
The present building is the third to house the Academy,
founded in 1805.
A fire in 1845 destroyed the original structure.
A second building raised on the same site proved too small, and
construction of the current Furness building began in 1872.
The
Academy's permanent collections now number some 2,600 paintings
and sculptures and related materials, an unmatched and priceless
legacy.
The Academy school, located in the present building,
annually enrolls about 400 students in a fine arts curriculum that
'has trained many of the nation's greatest artists since 1805.
tflNflNNNNI=
For further information contact Frank Goodyear, Jr.,
Curato~
Torn Werner, Director of Public Relations, at LO 4-0219
7/13/73
or
Ju II I to,
;-173
IMMEDIATELY
FOR RELEASE:
news release
PENNS Y LVANIA ACADEM Y
OF THE
FI NE
ARTS· BROAD AND CHERRY STREETS,
PHILADELPHI A, P A .
19102· (215) 564-0219
Richard J. Boyle, currently curator of painting at the
Cincinnati Art MUS2lIIIl, has been named Director of the Pennsylvania
Academy of the Fine Arts, Broad and Cherry Streets, the nation's
first art institution.
Boyle will assume his duties at the Academy on September
4, replacing Tom Armstrong, who will become Director of the
Whitney Museum of American Art, New York City, after a year
as Associate Director.
The announcement
~vas
made Monday by Arthur C. Kaufmann.
chairman of the Academy's Search Committee .
.Boy1e, married and currently living in Cincinnati, Ohio,
was born in 1932 in New York City.
He graduated in 1954 from
Adelphi University, Garden City, New York, and from 1956 to 1959
attended Oxford University , England, where he received -the
· Certificate of Fine Arts.
Prior to attending Oxford, he was in the Army Medical Corps
and served in Germany from 1954 to 1956.
Upon completing studies
at Oxford, Boyle studied painting with Will Barnet
at The Art
Students League, New York City, from 1959 until 1961.
Before joining the staff of the Cincinnati Art Museum, Boyle
was Director of the Middletown Fine Arts Center, Middletown,
Ohio.
In Cincinnati, he organized the John Henry Twachtman
Retrospective in 1966 and the exhibition " Laser Light, A New
Visual Art" in 1969.
(more)
,
----------
..
-2-
He was the design consultant for the Frank Duveneck Memorial
Gallery in Covington, Kentucky, and "l;vas a contributor to the
catalogue for the exhibition,"French Impressionists' Influence
Upon American Impressionists",held at the Lowe Art Museum,
Coral Gables, Florida.
In 1970, he contributed the critical
essay to the catalogue for the exhibition "Will Barnet
in the
60's" at the Pennsylvania Academy.
Recently, he assisted the National Gallery of Art, Washington,
D.C., in the preparation of its current exhibition of American
Impressionists.
He is a collaborator on a book on American
painting for the British audience titled "The Genius of American
Painting." The volume will be published this fall by Weidenfeld
and Micolson.
Among the co-authors with Boyle are Peter Mooz,
John Wilmerding, Irma Jaffe and Dore Ashton.
Founded in 1805, the Academy is the oldest art school and
museum in the U.s.
It has one of the most valuable collections
of American 17th, 18th and 19th century art in the country.
Its director is in charge of both the museum and school at
Broad and Cherry Streets and the Peale House Galleries at
1819 Chestnut Street.
=INN!=lNNN! =INNN! =If
For further information please contact Tom Werner, Director of
Public Relations, at LO 4-0219
7/16/73
--
------
..-
Sepf .
H1MEDIATELY
FOR RELEASE:
news release
PENNS YL VANIA ACADEMY OF THE
FINE ARTS· BROAD AND CHERRY STREETS,
PHILADELPHIA, PA.
19102· (215) 564-0219
Since the mid-nineteenth century, .the Pennsylvania
Academy of the Fine Arts has recognized the work of the American
landscape and marine painter William Trost Richards (1833-1905).
A student at the Academy in the 1850's, Richards was elected
a Pennsylvania Academician in 1863.
In 1885 he was awarded the
Academy's Temple Silver Medal for his painting, Old Ocean's
Gray and Melancholy Waste now in the Academy's collection.
In
1905, several months before his death, Richards received the
Academy's highest award, its Gold Medal of Honor.
Fifty years
after his death, the Academy organized a small exhibition of
Richards' work.
It is thus with a history of continuing support
that the Pennsylvania Academy presents in 1973
the
most comprehen-
sive exhibition of Richards' work to date.
Richards, born in Philadelphia on November 14, 1833, was
forced to cut short his formal education at Central High School
in Philadelphia in 1847 in order to support a fatherless family.
For a short time he worked as a designer of ornamental metal work
for the firm of Archer, Warner and Miskey, manufacturers of gas
fix·c ures.
By 1850 he was studying painting with the German portrait
and landscape painter, Paul Weber, who had settled in Philadelphia.
It was probably Weber "l;vho persuaded Richards to study abroad
between 1855-1856, first in Italy and later at the Dusseldorf
Academy where Richards "l;vas further grounded in the "mechanical",
(more)
---------
-2draftsmanly style of the German Academy.
During his life Richards
made frequent trips abroad that took him throughout Europe and
to England, Ireland, Scotland, the Isle of Hight, the Orkneys and
Guernsey Islands.
The wild, picturesque scenery of the British
Isles, especially its rocky coastlines, became a favorite subject
of Richards' on these later trips.
Richards returned to Philadelphia in 1856.
The following
year he sketched along the Hudson River, expanding his territory
later to include trips to Atlantic City, and into the Catskills
and Adirondacks.
one of his early
eastern America.
In the Adirondack Mountains, painted in 1857, is
triumphsindepictin~
the majestic scenery of
It, along with such paintings as Conservatory
(1860), a still life of almost surrealistic quality, and his
marine views painted around Newport, Rhode Island and the English
channel islands reveal the
s~rprising
range and variety of
Richards' work.
In 1871 Richards spent part of the summer in Newport, Rhode
Island.
Four years later Richards bought a summer house in Newport .
-- where hesubsequeiltly spent hissurrrrners, returning to \vinter in
Germantown, Pennsylvania.
In 1884 he exchanged his Germantown house
for a farm in Chester County, near Coatesville, Pennsylvania.
It
was there that Richards painted February (1887), one of his
largest and most successful landscapes.
During the later years of his
life, Richards concentrated primarily on painting large melancholic,
sometimes monotonous, depicitions of the sea.
Often in the past
his work has been judged solely on these late marine views.
(more)
-3-
Richards, like so many artists of the 19th century in
America, lived to see his style lose currency in the face of
new styles and attitudes.
He died on November 8, 1905 after a
-
.- i
career · that spanned over half a century.
The William Trost Richards exhibition, organized by Linda
Ferber of The Brooklyn Museum, is accompanied by a comprehensive,
illustrated catalogue written by Ms. Ferber that has quickly
become the authorative reference on the artists' life.
available for sale at $5.50.
It is
The William Trost Richards ex-
hibition will be shown at the Pennsylvania Academy from September
13 to October 21.
For additional information and publicity photographs please
contact Tom Werner, Director of Public Relations, Pennsylvania
Academy of the Fine Arts, 215-L04-02l9.
IMMEDIATELY
FOR RELEASE:
news release
PE NN S Y LV AN I A
A CA DE MY O F
THE
FI N E
ARTS· BROAD A ND CHERR Y
STREETS ,
PHILADELPHI A, P A .
19102· (215) 564-0219
Professor Theodore E. Stebbins, Jr., curator of American
painting and sculpture at the Yale University Art Gallery, will
open the fall lecture series on 19th century American landscape
painting at 8 P.M., September 18 in the Pennsylvania Academy of
the Fine Arts, Broad and Cherry Streets.
Currently at work on a book commissioned by the Drawing
Society, "Two Hundred Years of American Drawings and Watercolors , "
Professor Stebbins' topic at the Academy will be "The Discovery
of Light: 19th Century American Landscape Painting ."
The four-part lecture series is being presented i n conjunction with the e xhibitions of works by William Trost Richards ,
currently on view at the Academy's Broad and Cherry Streets
building , and Thomas Doughty, whose works will be given their
first full scale exhibition opening
O~tober
18.
Professor Stebbins did his undergraduate work at Yale
University and received a Ph.D. in art history from Harvard
University.
His book "Life and Work of Martin J. Reade" is
scheduled for publication later this year, and he has written
many articles on American landscape painting of the 19th century .
Other lectures and guest speakers, all scheduled for the
Academy's Broad and Cherry Streets building, 'tv-ill include:
October 11: LindaS . Ferber, Assistant Curator of the
Brooklyn Museum who organized the William Trost Richards exhi bition,
on "William Trost Richards -- American Landscape and Marine Painter,
(more)
-2-
1833-1905."
November 1: John Wilmerding, Chairman of the Department
of Fine Arts at Dartmouth College, on "American Landscapes in the
M. and M. Karolik Collection, Museum of Fine Arts, Boston."
November 15: Frank H. Goodyear, Jr., Curator of the
Acad~y,
on "Thomas Doughty: An American Pioneer in Landscape
Painting, 1793-1856."
9/14/73
IM11EDIATELY
FOR RELEASE:
news release
PENNSYLVANIA ACADEMY OF THE
FI NE ARTS' BROAD AND CHERRY STREETS,
PHILADELPHIA, PA.
19102' (215) 564-0219
Recent l;yorks of two Philadelphia area photographers,
one reflecting a vanishing rural environment and the other a
changing urban neighborhood, will be exhibited starting September
20th in the Peale House Galleries of the Pennsylvania Academy
of the Fine Arts 1811 Chestnut Street.
The exhibition will comprise 106 photographs by Hill
Brown, commercial free lance photographer who studied at the Academy
school, and 75 photos by Bruce Katsiff, chairman of the Fine
Arts Department of the Bucks County Community College.
Under the collective title "Lumberville,"
Katsiff's
photos dwell on his neighbors and surroundings ih that . Bucks
County village of 162 inhabitants located on the Delaware River,
seven miles north of New Hope.
Brown's photos reflect his own
neighbors and the area around his dwelling on Catharine Street
near 5th in South Philadelphia.
All photographs are in black
and white.
"I have made a personal, subjective evaluation of
Lumberville," said Katsiff in describing his works.
I started photographing my neighbors in a casual way.
"In 1971,
My casual
approach soon became serious and I began to study and record my
invironment.
(more)
-2-
"I live in a small. 'Rip Van Winkle' town that is an
anachronism, rich with subject matter -- an island in the sea of
the surrounding world with a much different atmosphere," Katsiff
explained.
On the other hand, Brown's photographs show "a neighborhood,
neither unique nor unusual, touched by the problems of our times."
"The photographs are mostly taken from the area in
which I live," said Brown.
"It has its developers and speculators,
its aging and marginal merchants whose children have forgotten
them, its crime, its own impulse toward redevelopment, its
threatening and promising new highways.
"It seems that we're all busy putting our mark on our own
corner of the world -- just for the sake of doing it.
Some do it
politely, conformably, in socially acceptable ways; some, simply
destructively.
I didn't plan to illustrate the point: it's the
way the work turned out," Brown said.
A graduate of Gettysburg College and the University of
Pennsylvania, Brown studied at the school of the Pennsylvania
Academy of the Fine Arts from 1963 to 1967 where he was awarded
a scholarship for further study at the Skowhegan (Me.) School
of Painting and Sculpture.
He also received a fellowship to the
University of Pennsylvania Graduate School of Fine Arts for 1971-1972.
Katsiff studied at Pennsylvania State University,
Philadelphia College of Art and holds degrees from the Rochester
Institute of Technology and the Pratt Institute.
He was named
chairman of the Fine Arts Department at the Bucks County Community
College in 1973 and had been an instructor in photography since 1968.
Brown was an instructor in filmmaking at the University
(more)
-3-
of Pennsylvania from 1966 to 1967 and taught photography and
filmaking at Swarthmore College from 1966 to 1971.
Among shows in which Brown's works have been exhibited
have been the l64th annual Printmaking and Drmving Show in 1969 of
the Pennsylvania Academy of the Fine Arts; the 1969 -American Federation of the Arts traveling show, "Painterly Realism", and a one-man
show at Swarthmore College in 1971.
Katsiff's works have appeared in the show Photography As
Printmaking at the New York Museum of Modern Art in 1968; the
164th annual Printmaking and Drawing Show of the Pennsylvania
Academy of the Fine Arts; the 1969 show Vision and Expression at
the George Eastman House, Rochester, N.Y. and the Riverside
Gallery, Rochester, New York, in 1967.
His works have also been
exhibited by the Philadelphia Art Alliance, the Under Ground
Gallery in New York City, and the American Arts Documentation
Center, Exeter, England .
The exhibition will continue at the Peale House Galleries
until October 28.
The galleries are open from 10 A.M. to 5 P.M.
Tuesday through Saturday, 1 to 5 P.M. on Sunday.
The galleries are
closed on Monday.
While exhibitions at the Academy's Furness building at
Broad and Cherry Streets maintain the institution's .t radition as a
showcase for earlier American art, the Peale House Galleries are
devoted to the display of works by contemporary artists whose
reputations are in the formative stages.
(more)
-4The Peale House Galleries have been used by the Academy
to create an atmosphere of support for developing artists, young
and old.
Many of the artists displaying their work at the Peale
House Galleries hold their first one-man shows there.
The exhibition schedule at Peale House is chosen by a
special committee including three Academy students and experts
from other art institutions in the area.
Founded in 1805, the Academy is the oldest art school
and museum in the United States.
It has one of the most valuable
collections of American 18th and 19th century art in the country.
Its director is in charge of both the museum and school at
Broad and Cherry Streets and the Peale House Galleries.
For further information please contact Tom Werner, Director
of Public Relations, at LO 4-0219.
##########
9/10/73
FOR
RELEASE:
news release
P ENNSYLVAN I A
A CADEMY
OF T HE
FI N E
ART S · B ROAD AN D
C HERRY STREET S,
P
HILADELPHIA,
P A • 19102 ( 215 ) 564-0219
0
The paintings of Thomas Doughty, an artist whose works were
first encouraged through exhibition at the Pennsylvania Academy
more than 150 years ago, well be exhibited from October 19 to
December 2 in the Pennsylvania Academy of the Fine Arts, Broad
and Cherry Streets.
Comprising 53 pictures, the exhibition is the largest collection of Doughty landscapes ever assembled, and is the result of
research by Frank H. Goodyear, Jr., Academy Curator, who began
his study in 1967 as a fellowship student in the Winterthur Program in Early American Culture.
'Upon closing at the Academy, the e xhibition will be shown at
the Corcoran Gallery of Art, Washington, D.C., from December 14 to
January 27, 1974 , and at the Albany (N.Y.) Institute of History
and Art from February 14 to April 7, 1974.
Doughtywas a pioneer in the development of a native American
landscape painting tradition when his peers were concentrating on
painting portrait and historical subjects.
Throughout his life,
he exhibited landscapes at the Academy where he certainly must
have attended the early Annual Exhibitions as an aspiring young
artist growing up in Philadelphia.
In 1824, at the age of 27, and after only four years as a
serious artist, he was elected a Pennsylvania Academician, an
(more)
-2-
honor conferred by the Academy's Directors on artists who had
"distinguished themselves by the merit of their
During the 1820's Doughty and the
Ph~ladelphia
Thomas Sully made frequent outings along
sketch its picturesque scenery.
O~"'Ll
~he
ori g inal works."
portraitist
Schuy l k ill River to
Later in his C2reer, Doughty made many
sketching trips into the Adirondacks, Cat3kills, along the northern
coast of Massachusetts, through Maine and N e\ol Hampshire.
The taste of the timern11ed for
real~stic
landscapes and
Doughty's predilection to detailed observations of nature soon
found public favor.
A resident of Phi1ad=lph ia during the first
eight years of his career, his landscapes during the period 1822 to
1830 are considered his most successful, showing the greatest
variety of treatment .
. Doughty's early
vie~lS
of gentleman's COlli""ltry seats and important
public buildings like the Fairmount Water \·lorks i'T ere highly prized
landscape portraits.
Painted in a rea1is:ic mann er, they celebrated
the growth of the new American Republic.
An important figure in the development of Hudson River school
of landscape painting,
Doughty's
sylv~n
compo si bons portraying
the American scene introduced and helped ?opularized the genre of
landscape painting in this country.
His c.oI!12.in Has pastoral
American and during his lifetime he becam= kno'lm as the "Painter
of Nature."
Doughty died in 1856 in Ne;;'7 '.:ork City.
In support of the showing of Dought y's Ho r k , there I;vill be a
simultaneous exhibition of Hudson River school painters from the
Academy's permanent collection.
This parallel exhibition will
(more)
-3-
comprise 14 paintin;s, including a large canva s by Albert Bierstadt,
Hount
~Thi tney.,
the Rockwell
loa:-:es
to the Academy by Robert Rocbvell through
Founda~ion.
~"hose
Other artists
school exhibition
a~e
paintings are included in ' the Hudson River
Jasper Cropsey, Asher B. Durand,
Tryon, George Innes 3, T.'l.omas Birch, Isaac L.
~·lilliams,
~light
W.
William ' '."" ..
Sydney Hount, Joshu2. ShaH, George Loring BrOl·;n, Jacob Eichholtz,
Russell Smith and Cnarles H. Knapp .
. In conjunction ;;,rith the educational programs associated with
·the exhibitions, the
\'lill hold tHO ' lectures during the
_.'\~cademy
Doughty show devote e ::0 19th Century American Landscape
The lectures will be
~eld
'. '..
Painting ~
~. -,,'
on November 1 and IS in the Academy
galleries at 8 P. M.
On November 1, Joh."11 \-Jilmerding, Chairman of the Department
of Fine Arts, Dartmcu ::h College, will speak on "American Landscapes
in the M. and M. Ka:colik Collection, Huseum of Fine Arts, Boston.
II
On November 15, ?rank H. Goodyear will s?eak on "Thomas
Doughty:
An
Americ2.n Pioneer in Landscape Painting, 1793-1856."
On each of those evenings, the Academy will be open from
7 to 10 P .N., in addition to its regular dail y hours.
Founded in 1805, the Academy is the oldest art school and
museum in the United States.
It has one of the most valuable col-
lections of AmericaL 17th, 18th and 19th century art in the country.
Its Director is in cjarge of both the museum and school at Broad
and Cherry Streets 2.:-:d the Peale House Galleries at 1811 Chestnut St.
1/
:!~:!HL.JI-JUI-.Jf-.JU ' Jf-
'IF 1/
For further
informa~io n
1/
1r 1r1r ,r1t1r1F1r
please contact Tom Werner, Director of
Public relations, aL LO 4-0219·
10/11/73
.. ,
Nov-
19"'13
II-MEDIATELY
FOR RELEASE:
neWs release
PENNSYLVANIA ACADEMY OF THE
FINE ARTS·
BROAD AND CHERRY STREETS, PHILADELPHIA, P A •
19102· (215) 564-0219
Oil paintings and watercolors completed within the past
. two years by John Moore
~---------~
~vill
be exhibited from November 8 to
.
December 16 in the Peale House Galleries of the Pennsylvania
Academy of the Fine Arts, 1811 Chestnut Street.
The exhibition will comprise ten oil paintings and eight
untitled watercolors.
It will be Moore's first one-man show
in the Philadelphia area.
A native of St. Louis, Missouri, Moore is currently an
instructor of drawing and painting at Temple University's Tyler
School of Fine Arts.
He holds a Master of Fine Arts degree
from Yale University and was artist-in-residence at the Yale
University Summer School in 1968 and 1969.
He received a 1966
grant from the National Foundation of the Arts and Humanities,
a 1968 John F. Milliken Foreign Travel Fellowship and the 1968
Ely Harwood SchIess Memorial Prize from Yale University.
"The work represents an involvement with painting dependent
on direct observation," said Moore of the works to be displayed
at the Peale House Galleries.
"It has nothing to do with photo-
graphs or other second hand visual information, but rather attempts
a precise analysis of relationships of forms in space with appropriate considerations of, or concessions to, picture plane and
other two dimensional realities.
II
. Among the nine oils to be displayed is Summer, a 90 x 75
inch interior still life in the Pennsylvania Academy's permanent
(more)
-2-
collection, completed last year.
All of the oil paintings in-
cluded in the exhibition are large canvasses, the smallest being
54 x 66 inches arid the largest being 75 x 90 inches.
Among the
paintings are The Black Tray, loaned by Theodore Pillsbury and
Tiger Lillies, loaned by Marilyn Cole Fischbach and A. Aladar
Marburger.
Fischbach GalleIJ in New York acts as Moore's agent.
Thus far this year, Moore's paintings have been shown in
the Akron (Ohio) Art Institute's Collector's Choice show, the
Alpha Gallery in Boston under the title New Talent and a one-man
show that closed last month in the Fischbach Gallery.
The Peale House Galleries are used by the Academy as a
forTh~
for contemporary talent.
Many artists exhibiting there
are given their first area exposure in an atmosphere designed to
encourage new and experimental works.
The galleries are open from 10 a.m. to 5 p.m. from Tuesday
through Saturday and from 1 p.m. to 5 p.m. on Sunday. Galleries
are closed on Monday.
1NNNNNNI=
For further information please contact Tom
Public Relations, at Lo 4-0219
~lerner,
Director of
JI-:n-73
The birth and rise of American art owes a great deal to
Charles Willson Peale, a gifted and energetic man whose activities
included the first excavation and mounting of a mastodon and the
invention of porcelain false teeth.
Born in 1741, Peale was, for a time, one of a very few
portrait painters in the American colonies and went on to organize
the first museum in the country.
Founded in 1784 in his home at
3rd and Lombard Streets, the museum eventually moved to the second
floor of Independence Hall - the setting for his last important
pain.tJ.iTI.g. ~
) The Artist in His Museum.
Peale dreamed of making his museum a national museum,
an idea 50 years ahead of its time.
He collected and mounted
his own animals - the reason for the taxidermist tools in the
foreground of the painting - and behind each specimen painted
a background so that the creature and its setting formed a kind
of habitat group - another idea far ahead of its time.
The Artist in His Museum, painted by Peale when he was 83,
shows him as an aged, but by no means decrepit old man lifting a
large curtain to reveal his museum through which, in the distance,
stroll visitors.
Various birds are ranged along the shelves
of the cases, topped by a row of portraits of prominerit citizens
of that day.
The turkey seen in the lower left corner was a favorite
of Peale1s, who campaigned to have that bird, instead of the bald
(more)
-2eagle, adopted as an American symbol.
The huge bones to the artist's
left are parts of the mastodon he discovered.
One of the most
heralded events of his day was a dinner Peale gave inside the
skeleton of the fossil.
The pose in the painting shows Peale in a noble and
commanding stance, but dressed in plain, almost austere garb.
Almost Quaker-like in itssimp1icity, the pose revealed Peale's
distaste for affectation and ceremony.
In addition to being a work of art, the painting is a
document of great interest.
It shows a seldom recorded view of the
interior of Independence Hall, of which there are few other records,
and emphasizes Peale's interest in the scientific cataloguing of
nature.
A sadd1emaker, silversmith and skilled craftsman, Peale
came to painting at 21 when, during a trip to purchase leather
in Norfolk, Virginia, he saw some landscapes and portraits by an
amateur painter.
The idea of making pictures took hold of his mind and he
bought some brushes and a book and began painting.
Accordingly,
he believed that anyone could paint, that art was only a matter
of training and taking pains.
It was this belief that eventually
led him to establish his museum and to become a founder of the
Pennsylvania Academy.
Some of Peale's most meaningful paintings are on view at
the Pennsylvania Academy of the Fine Arts, Broad and Cherry Streets,
(more)
-3-
just one block from City Hall in Center City Philadelphia,
The
Academy galleries are open from 10 A.M. to 5 P.M. from Tuesday
through Saturday; from 1 P.M. to 5 P.M. on Sunday.
are closed on Monday.
November 27, 1973
The galleries
IVov. 2~ / ~ 73
FOR RELEASE:
news release
PENNSYLVANIA ACADEMY OF THE
FINE ARTS·
BROAD AND CHERRY STREETS, PHILADELPHIA, P A •
19102· (215) 564-0219
The Museum Shop ' of the Pennsylvania Academy of the Fine Arts
has ' atmounced an inventory-of holiday gift items ranging from
children~s
puzzles to original works by the Academy faculty and
students.
The Museum Shop is located in the Academy's Furness
building, , Broad and ' Cherry Streets, and is open to visitors from
10 a.m. to Sp.m. on Tuesday through Saturday; from 1 to 5 p.m.
on Sunday, and closed on Monday.
The shop mails to anywhere in
the world.
Among the gift items offered by the shop this year is
the Academy's 1974 calendar, which features 148 illustrations on
60 pages and is an informative document on the Academy's history
as a museum and school, together with a selection of paintings
from the permanent collection.
The calendar costs $5.
One hundred masterpieces from the Academy's collection
are available on 2" X
2" 35mm. color slides at 75 cents each, or
$12.50 for any group of 20.
The slides are individually labelled
by artist and title for easy identification.
Posters, silk screens and lithographs from famous museums
the world over and by famous artists are available framed and
unframed at prices ranging from $5 to $50.
Among the artists whose
works are represented in these items are Vasarely, Calder, Miro,
Braque, Picasso, Rothko, Warhol, Matisse and Duchamp.
(more)
-2-
"at $3.50 each . .
L
.)
a t '.)
$" .
••
t.:{"'J
..1
ea
.The JIletal:: ~sec.:tion.~:;.
. .:::.:~,
.L-"-~.
,., L,: 'J
-::t.c f.r.aIiles.;;~
)dev.e.ldperl £or the: :Museum 6f, Modern Art, come in
;,"!.):~ s ilver .c. and~-: ac ~y: !l ;Lc l,.co lorRuin
frames . :: .· de."J
s iz es.\C-ranging,. up .,. to ,c?!-D~ :x . ..40incnes3jatblldL Cincii.i
rC::-3.T:.i2 $17 a for ~. the larges .t frame _cavail able.
~: clipframe ~
,:gni.d ~t.,,~
<
Eubank frames, ' a ..met~a ·L : I ::.? l ·hL fc"~ ·'__ Lf.le
sui table ~' for : framing poster art, are adjustable to
' fit sizes from 16 to 40 inches at $6.
The shop offers a selection of art books emphasizing
American art and available in hard and soft cover on individual
artists (old masters and modern), and on varying periods and
trends.
Prices range up to $5 for soft cover and up to $27 for
hard cover books . with a selection of drastically reduced "bargain
books" from top publishers, many of them profusely illustrated
with color plate reproductions of art works.
Catalogues from previous Academy exhibitions, all with
illustrations and with texts by authorities in the field, are
available at prices ranging up to $6.
Artists represented in these
catalogues include Wyeth, Doughty, W.T. Richards, Eakins and many
others.
The dozens of children's items available include hand-made
wooden toys at $3 . each, paper mobiles and magnetic jigsaw puzzles;
coloring books featuring Indian designs, stained glass windows,
(more)
·1
-3-
f~:!Jrl":"; j.},.} tlAlice in .~tWohder:land ;,:c i'1 1uininated·.1 alphahets,
·sce.n:es l~£t:otn. : ·the·. " . ! LL;i::-o-2.' D:-;. .TIT,:.
t. l\Xj::'+ . :~; ;" (;Mid,dle cAges . aild[' Artc~ ent : Gneece ' at $1.50 an'd $2 ';" and'1,a 'Variety ,.rh.J.df.,c d'.'~f~~~
lift::: i::-' ::::l.. ·~\: ~(F LL:fSC:~O.the1f ,,!gifts
i nciude '.. UNICEF.:..calendars
at
' $2~ ,ana $3, : ,A dvent ~.~ ~ Ut.l.?
:~:l .... ;·b! " ~,(,,·.cale.nqar s , frqm":Europe at .$l . and . $l ! 50; mobiles frbiIfl D'enm:ark, ' ' : C,4J.f!~1·:;n;~,.
.L
~_
'..: :,':'
: at resonable prices .
xxxxxxxx
November 28, 1973
£
