The Magazine Antiques - Most Recent Articles The most recent articles from The Magazine Antiques. Thu, 11 Feb 2016 05:41:54 +0100 FeedCreator 1.7.2 Ahead of the curve: The Newark Museum now and then <p>In a better world we would all be thronging the doors of the Newark Museum; in the best of worlds Ulysses Grant Dietz would be there to meet us, taking us through the galleries with fellow curators Christa Clarke and Katherine Anne Paul</p> By Ulysses Grant Dietz Mon, 20 Jan 5012 00:00:00 +0100 Getting the blues: Transfer ware translated by three contemporary artists <p>Y ou can only imagine what the china connoisseur in Edward Lamson Henry's 1889 A Lover of Old China might think upon encoun-tering a plate made by one of the three contemporary artists shown here. We, on the other hand, might be equally disconcerted by the notion that there could be anything contemporary or even modern about a transfer-ware plate. In fact, when modern ceramics come to mind we are bound to envision a simple functional shape, obviously created by hand, coated in a glaze of a rich but subtle hue. That is the legacy of the studio pottery movement that began in Britain in the early twentieth century with ceramists such as Bernard Leach, Lucy Rie, and others. And yet the three artists profiled here are making us take a second look at a medium that has grown stale with familiarity over the last hundred years.</p> By Shax Riegler Wed, 10 Feb 2016 00:00:00 +0100 What we talk about when we talk about naive art <p>Late in the 1970s, sailing in the Grenadines, my wife Brigitte and I stopped at the small island of Bequia&mdash;an Arawak name meaning &ldquo;is&shy;land of the clouds.&rdquo; It has now become a tourist stop. Port Elizabeth, its principal town, today advertises a &ldquo;charming wa&shy;terfront; take a stroll from the vegetable market, follow &lsquo;front street&rsquo; with its many shops, boutiques and restaurants, keep going along the beach walkway, maybe stop for a drink at the Frangipani or Gingerbread.&rdquo; Passing time has not erased the memory of walking that waterfront, stopping in the manner of meandering tourists at a stationer&rsquo;s shop and coming upon, piled in a bin, a small stack of paintings by Canute Caliste, six dollars apiece. We bought them all.</p> <p>&nbsp;</p> By Bliss Carnochan Thu, 21 Jan 2016 00:00:00 +0100 OMG Indeed! <p><span>It was quiet in the galleries last September as I took a final walk through the Wadsworth Atheneum before the grand unveiling of our eight-year project to bring back its glories.&nbsp;I wondered how our members, patrons, the press, and the public would respond to all that we have done here. It has been a long haul,&nbsp;full of ups and downs in the&nbsp;</span><span>economically stressed city of Hartford, Connecticut, as we renovated and upgraded the museum&rsquo;s aged buildings so that its world-class collections could be reinstalled.</span></p> <p><!--[if gte mso 9]><xml> <o:DocumentProperties> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>77</o:Words> <o:Characters>431</o:Characters> <o:Company>Brant Publications</o:Company> <o:Lines>15</o:Lines> <o:Paragraphs>12</o:Paragraphs> <o:CharactersWithSpaces>496</o:CharactersWithSpaces> <o:Version>14.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG ></o> </o:OfficeDocumentSettings> </x By Susan L. Talbott Thu, 21 Jan 2016 00:00:00 +0100 New Worlds, New Art <p>Landscape painting in all the Americas, a touring exhibition and an inquiry</p> <p>Artistic representation of human interaction with the land has a long history in the Americas. It spans more than thirty thousand years, from the earthworks and pictographs of ancient indigenous cultures to the land art of the 1960s and 1970s to contemporary photographs of the terrible beauty of environmental destruction. It was during the early years of the nineteenth century, as emerging settler nations across the hemisphere gained and asserted their independence, that landscape painting began to forge a broader vision of the Americas. Artists seeking to respond to and depict distinctive topographies and natural wonders produced unique pictorial representations that nonetheless shared an ideological and aesthetic orientation to the land, as well as artistic techniques for depicting it.</p> By Valéria Piccoli & Georgiana Uhlyarik, Peter John Brownlee Tue, 05 Jan 2016 00:00:00 +0100 A Rich and Beautiful Sadness <p>In one of his most famous works, the esteemed art historian Sir Nikolaus Pevsner sought to define &ldquo;The Englishness of English Art.&rdquo; If anyone were to under take a comparable inquiry into the Danishness of Danish art, the painter Vilhelm Hammersh&oslash;i could well stand as the palmary embodiment of the thing in question. His small, reticent, manically controlled paintings achieve that prim order, that almost morbid inwardness, that foreigners, at least, are apt to associate with the land of Hamlet and Kierkegaard.</p> By James Gardner Fri, 18 Dec 2015 00:00:00 +0100 Still Startling, Still Electric <p>Julia Margaret Cameron was almost twenty-four when Louis-Jacques-Mond&eacute; Daguerre announced the invention of photography at the Acad&eacute;mie des Sciences in Paris in 1839. But it wasn&rsquo;t until she was forty-eight&mdash;another lifetime later&mdash;that she would fully take up the medium herself. The catalyst was a Christmas gift from her daughter Julia and Julia&rsquo;s husband in 1863.</p> By Phillip Prodger Mon, 07 Dec 2015 00:00:00 +0100 Andy Warhol's Pittsburgh <p>Collecting and researching American art have been avocations of mine since my student days at the University of Pittsburgh in the 1950s, when I commuted to school through the neighborhoods of the Hill District and past the belching steel mills on both sides of the Monongahela River. Those are fond memories still&mdash;fifty years after leaving Pittsburgh for New England&mdash;so when a group of ten drawings of those neighborhoods and mills surfaced on eBay, with inscriptions dating to March 1945 by a student at the city's Schenley High School, I acquired them. My reasons were initially nostalgic, but I also wondered if research might show that the "Andy" on the first sketch could possibly be Andy Warhol, who graduated from Schenley High in 1945.</p> By Paul Kossey Mon, 16 Nov 2015 00:00:00 +0100 The Whitney After All <p>Some things just aren't meant to fit in. The Whitney Museum of American Art certainly sounds like an august institution. But it was born on a scruffy back street in Greenwich Village at a time when "bohemian" meant "disreputable," and during its six decades uptown-most of them at Madison Avenue and Seventy-Fifth Street, in the moneyed precincts of the Upper East Side-it never really outgrew its origins. It did, however, outgrow its starkly modernist home, Marcel Breuer's inverted ziggurat from 1966. In addition to the usual curatorial squabbles and courting of benefactors and some epic board disputes, the Whitney spent decades trying to assuage its neighbors while somehow finding a way to expand.&nbsp;The task was hopeless. So it was with a feeling not just of relief but of joy that last spring, having renounced its<br />uptown location, the museum opened the doors to an expansive new building in the part of downtown Manhattan that until a few years ago was a reeking abattoir. Home, sweet home.</p> By Frank Rose Fri, 13 Nov 2015 00:00:00 +0100 The Seductions of Budapest <p>It is easy to succumb to the beauty of Budapest,&nbsp;Hungary's capital city, which straddles the legendary&nbsp;Danube River flowing down from Germany out to&nbsp;the Black Sea. High on a hill on the Buda side stands the&nbsp;Buda Castle, erected on the ruins of former royal palaces&nbsp;going back to the thirteenth century. It is answered across&nbsp;the river in Pest by the Hungarian Houses of Parliament,&nbsp;an immense Gothic pile of pinnacles modeled after London's&nbsp;Palace of Westminster (Fig. 2). Hungary's Parliament&nbsp;is just one of the grand architectural monuments built&nbsp;during Budapest's heyday at the end of the nineteenth and&nbsp;beginning of the twentieth centuries&mdash;a period of peace and economic prosperity after centuries of foreign rule.</p> By Rosalind Pepall Mon, 02 Nov 2015 00:00:00 +0100 “As seen through the work of women”: The New Hall Art Collection at Cambridge University <p>Art pilgrims intent on making Cambridge, England, their destination should extend their journey beyond the university's majestic Fitzwilliam Museum and its old masters and Kettle's Yard, the fey modernist cenacle of British art between the wars, to include the New Hall Art Collection at Murray Edwards College, one of three exclusively women's colleges at the University of Cambridge. Unknown to many Cambridge students and faculty, and a substantial number of British art historians and critics, the college has collected and exhibits more than four hundred works of art by women. It is the most significant collection of its kind in Europe, and the second largest public collection of women's art in existence, surpassed only by the National Museum of Women in the Arts in Washington, D.C., which houses some forty-five hundred objects.</p> By By Avis Berman Thu, 15 Oct 2015 00:00:00 +0100 Speaking Through Wood <p>"The Civil War has left its mark on two important pieces of vernacular furniture acquired by the Wadsworth Atheneum"</p> By Alyce Perry Englund Fri, 25 Sep 2015 00:00:00 +0100 One Off <p>"There has never been another artist like George Caleb Bingham"</p> By James Gardner Thu, 24 Sep 2015 00:00:00 +0100 Bringing back the WAM! <p><em>The exhibition of an important&nbsp;collection of folk art at the Worcester&nbsp;Art Museum this summer gives&nbsp;us the opportunity to draw&nbsp;attention to the renaissance of&nbsp;a great museum in a city that is&nbsp;also busily being reborn.</em></p> By Matthias Waschek Thu, 03 Sep 2015 00:00:00 +0100 Disturbers of the Peace <p>One sign of an important exhibition may be its ability to move us into unfamiliar territory. By that measure, as by others, the recent show at the American Folk Art Museum, <em>When the Curtain Never Comes Down</em>, has claimed our attention. Its twenty-seven self-taught/outsider artists are represented by both permanent works&mdash; assemblages, garments, instruments, drawings, and the like&mdash;but more significantly by their actions in movement, song, and other forms of evanescent self-display. In the current art climate it is a relief to encounter art that for the most part cannot be bought or sold. But surely we are drawn to these evangelists of the self for other, deeper reasons</p> Thu, 30 Jul 2015 00:00:00 +0100 High tops and low <p>Among the contents of the Allen Ginsberg Papers in Stanford University&rsquo;s Green Library is a pair of worn and dirty tennis shoes. In the thousand linear feet of correspondence, photographs, manuscripts and notes, reel-to-reel recordings, performance posters, and broadsides, the beat-up sneakers hold their own. Purchased during his 1965 visit to Czechoslovakia, it is reasonable to surmise that Ginsberg wore the nondescript white canvas shoes to march in Prague&rsquo;s May Day parade, to address a throng of students in the city square, and to cross the tarmac to an outbound plane when he was expelled from the Communist country a few days later</p> By Jenny Florence Thu, 30 Jul 2015 00:00:00 +0100 George Washington's brush with immortality: The hair relics of a sainted hero <p>The eighteenth century had no pollsters to assess what voters really thought about their politicians, but even without such data, the eulogistic editorials that announced George Washington&rsquo;s death in December 1799 make clear that the country&rsquo;s first president had assumed a status as close to sainthood as anyone has ever done in the United States. John James Barralet&rsquo;s print <em>The Apotheosis of Washington</em> and a spate of similarly grandiloquent depictions of the deceased leader rising into heaven speak volumes about the god-like reputation Washington assumed in the decades following the American Revolution.</p> By Robert McCracken Peck Thu, 30 Jul 2015 00:00:00 +0100 On stage in the garden: The roots of Frida Kahlo’s art at the New York Botanical Garden <p>After decades of lionization, what more could there be to say about Frida Kahlo? A great deal, as a visit to <em>Frida Kahlo: Art, Garden, Life</em>, the new exhibition at the New York Botanical Garden, proves. All it took was a fresh perspective and a unique team of talents.</p> By Tom Christopher Wed, 15 Jul 2015 00:00:00 +0100 Black dolls <p><span style="color: #800000;"><span style="color: #003366;"><span style="color: #800000;">Margo Jefferson</span></span> </span>| Miniature trains and boats; animals and picture books; balls that bounce and tops that spin: these toys belong to non-human worlds. Dolls are the only toys made in our image, the only human-like creatures children are given dominion over</p> Tue, 14 Jul 2015 00:00:00 +0100 A charmed life <p>English inspiration, American creativity, and a bit of historical luck are joined in the author&rsquo;s house and gardens</p> By William Nathaniel Banks; Photography by Paul Rocheleau Wed, 01 Jul 2015 00:00:00 +0100