April 1, 2016 | by Gregory Cerio
The Private Office of George William Childs at the Philadelphia Public Ledger, Philadelphia by George Bacon Wood Jr. (1832–1910), 1877. Oil on canvas, 27 by 38 inches. Private collection; all photographs courtesy of the Schwarz Gallery, Philadelphia.
Specializing in American and European paintings of the eighteenth through twentieth centuries and best known for its expertise in Philadelphia artists, the Schwarz Gallery on Chestnut Street is one of the city’s most esteemed art galleries. The success of the family-owned and family-run firm is all the more remarkable for the fact that its history has been so marked by contingency. Consider, for example, that not one of the members of the three generations of Schwarzes to operate the gallery actually planned to become a dealer. “My grandfather Frank Schwarz, who founded the company, had been studying to be a lawyer; and my dad was a pre-med student,” says Robert D. Schwarz Jr., who manages the gallery wit…» More
December 18, 2015 |
Making It Modern: The Folk Art Collection of Elie and Viola Nadelman by Margaret K. Hofer and Roberta J. M. Olson (New-York Historical Society in association with D. Giles). 376 pp., color and b/w illus.
There’s nowt so queer as folk,” according to the venerable English comment on the vagaries of human personality. Indeed, when the Polish-born American sculptor Elie Nadelman and his wife Viola Flannery married in 1919, the exceptional variety of objects that we now categorize as folk art were only beginning to be recognized as worthy of serious collecting in America.
Though the Nadelmans referred to their ac quisitions as “folk art” from the beginning of their collecting activities in 1920, the term itself didn’t enter widespread use until the next decade.
The Nadlemans had considerable money to spend because Viola had been left a sizeable estate by her first husband, and they started their collection by purchasing objects to furnish their houses. Among their first signif…» More
December 7, 2015 | It would be tempting to wiggle into this one, introduce the issue with some high minded talk about the past not being another country and so forth, go on to mention our wonderful articles about Julia Margaret Cameron, etc., but more about all of that in a minute…The fact is we have something here requiring immediate comment—Paul Kossey’s discovery of a set of drawings done in 1945 quite probably by Schenley High School in Pittsburgh’s most famous graduate, Andy Warhol. Let’s begin with Mr. Kossey, whose sleuthing has appeared in these pages before (“George Caleb Bingham’s Rocky Mountains, a landscape discovery,” November/December 2014). He could have gone elsewhere with his big find but he trusts us to see something like this through in a careful manner. And I think we have.
This is hot. Or it’s not. Some people will take a shot at it. The experts consulted have been encouraging, but no one will risk authenticating any work by Warhol now for all the well-publicized legal reaso…» More
December 4, 2015 | Although the American Folk Art Museum’s exhibition space has contracted since it moved to 2 Lincoln Square from the now-demolished Tod Williams and Billie Tsien building on West Fifty-Third Street, it continues to expand thematically. Following its recent exhibition of self-taught performance artists, When the Curtain Never Comes Down, which stretched from Japan to Brazil, the museum is now mounting Art Brut in America: The Incursion of Jean Dubuffet. The two hundred works are drawn from Dubuffet’s vast collection in the Collection de l’Art Brut in Lausanne, Switzerland. The exhibition is in some ways a reprise of a ten-year-long display of twelve hundred works from his collection that was held in the East Hampton, Long Island, home of the artist Alfonso Ossorio between 1952 and 1962. This time around the works brought here will have a public venue, and what visitors will see amounts to a staging of Dubuffet’s great moment of impact on American art and artists. That some of the…» More
December 4, 2015 | The once famous career of the musical prodigy Thomas “Blind Tom” Wiggins, born a slave and raised to entertain audiences here and abroad with uncanny feats of musical mastery, tainted virtually everyone who touched it. Wiggins’s owners exploited him and profited hugely from his earnings (his concerts and sheet music yielded an astonishing $20,000 in 1879); critics and reporters wrote about him in gaudily racist language; African-American intellectuals kept him at arm’s length dismayed by his stage antics. Yet Wiggins’s gifts were indeed awesome: he was composing music at age five and went on to master the works of Bach, Beethoven, and other composers, often in a single afternoon. He also leaped about the stage, clapped for himself, and used the racial slurs his managers had taught him though he could not have understood their import. Today he would be classified as autistic.
“Blind Tom” Wiggins (1849–1908) in a photograph of 1865 by W.L. Germon’s Temple of Art, Philadelphia.…» More
[Compiled by Bill Stern, Executive Director at the Museum of California Design, Los Angeles. Originally published in "Curator's Eye" in Modern Magazi» View All