February 3, 2010 | An "artist turned photographer of artists," Edwin Scott Bennett (1847-1915) is the subject of a forthcoming article.
Edwin Scott Bennett lived and worked in New York in the late nineteenth century. Bennett initially studied landscape painting under William De Haas and figure painting under William Morgan, and then later took up photography. He took photographs of prominent American painters and sculptors including George Inness, John George Brown, Eastman Johnson, William Merritt Chase, Daniel Chester French, John Henry Twachtman, and Childe Hassam. During the early to mid-1890s, Bennett exhibited many of his photographs of artists at the annual exhibitions of the Society of Amateur Photographers of New York. Later in that decade, he took photographs to accompany many articles by the American writer Theodore Dreiser. At the time of his death, Bennett lived at 51 West 10th Street, the Tenth Street Studio building, where many artists whose photographs had been taken by him had maintained studios over the years.
February 1, 2010 | The Oxford Symposium on Food and Cookery, the annual conference on food history, is seeking papers on the topic "Cured, Fermented and Smoked Foods," to be held at Saint Antony's College in Oxford, England, on July 9 - 11, 2010. For further information on the conference visit the Web site, www.oxfordsymposium.org.uk.
From antiquity to modern times, mankind has developed methods for preserving food, often out of necessity but also for taste alone. Suggested topics are the story behind cured, fermented, or smoked products; examine the chemical actions of curing; or investigate the health benefits and risks of food preservation. If accepted, a final paper of no more than 5,000 words will be due on May 1st.
October 8, 2009 | The versatile jewelry designer and metalsmith Marie Zimmermann (1879-1972) is the subject of a forthcoming monograph sponsored by the American Decorative Art 1900 Foundation.
Born in Brooklyn, New York, in 1879, Zimmermann's training in the arts began with courses in drawing, painting, and modeling at the Art Students League in New York likely followed by courses in art metalwork at Brooklyn's Pratt Institute, 1901-1903. Zimmermann joined the National Arts Club in New York in 1901, and subsequently established a studio within its premises at 15 Gramercy Park. Zimmermann participated in exhibitions of arts and crafts and contemporary art nationwide throughout her career, beginning with entries in the "First Annual Exhibition of Original Designs for Decorations and Examples of Art Crafts" at the Art Institute of Chicago in 1902-03. She showed at the National Arts Club as well as at commercial galleries in New York City, and organized a one-person retrospective of her work at the…» More
September 21, 2009 | Portrait miniatures, dressed fashion plates, and fabric pictures have been found in France, Italy, and England with eighteenth- and nineteenth-century examples also appearing in the United States. Dressed prints—the embellishment of fashion illustrations with fabrics to make them appear dressed—have been dated to the 1690s.
The American artist Mary Way specialized in creating dressed portrait miniatures in the late eighteenth and early nineteenth century. She was born in New London in 1769 and first advertised in the Connecticut Gazette in 1809 that she had opened a school where lessons in painting, embroidery, lacework, and tambour along with reading and writing were available. Two years later she was in New York City where she offered her services as a portrait and miniature painter in the Columbian, a New York newspaper. Examples documented and attributed to Mary Way show that she cutout paper profiles, attached them to fabric backgrounds, rendered the facial features in w…» More
June 1, 2009 | Elizabeth Lahikainen and Associates specializes in the conservation and restoration of the upholstery of objects in museums and private collections, and since 1990 has been affiliated with the Peabody Essex Museum in Salem, Massachusetts. Her firm concentrates on interpreting the historical evidence presented by a piece of upholstered furniture and then selecting accurate fabrics for its restoration. In some cases most of the original materials survive on the frame, as was the case with the settees in the east parlor of the Museum's Peirce-Nichols House. Very often there is but scant information. For example, only fragments of the original fabric remained on the sofa shown in the detail at the right, but Lahikainen was able to determine that it was a wool moreen that had been installed in a sideways fashion called railroaded.» More
by Émile Jacques Ruhlmann (1879-1933), 1926. Macassar ebony, amaranth, and ivory. Metropolitan Museum of Art. By Cynthia Drayton» View All