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New England is chockablock with exceptional academic art museums, from the Yale University Art Gallery to those at Colby and Bowdoin Colleges in Maine. A lesser-known gem that has recently taken on new sparkle is the Davis Museum at Wellesley College, designed by Pritzker Prize–winning architect Rafael Moneo in 1993, where a nearly three-year reinstallation of the collection has just been completed.
The zigzag angles, the break in the line of a chair leg, or the dark stained wood immediately attract your attention to Czech cubist furniture. Each wooden element is beveled into the planes of a prism, resulting in the unique designs produced during a few brief years before World War I in what is now the Czech Republic.
Alice Ravenel Huger Smith wrote in her Reminiscences that Middleton Place, the family seat of her Middleton ancestors, reminded her of ‘a jewel thrown down in the green woods.”
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MARCH March 9 – 11 Exton, PA. CHESTER COUNTY ANTIQUES SHOW. Please join The Chester County Historical Society (CCHS) on Saturday, March 10th and Sunday, March 11th, 2018 for the 36th ANNUAL CHESTERCOUNTY ANTIQUES SHOW presented by PECO. The Show features fabulous finds from 44 antiques dealers and will be held at Church Farm School, located on 1001 East Lincoln …
The term “old school” could almost have been invented to describe the Vose Galleries, that venerable Boston art institution now celebrating its 175th year in business. In honor of that almost unprecedented milestone for an art gallery, the two owners, Abbot “Bill” and Marcia Vose, who have been married for forty-four years, have decided to put on display a selection of their private collection of American impressionists, assembled over the past four decades, as part of an exhibition titled Crosscurrents: The Colonies, Clubs & Schools That Established Impressionism in America.
Electra Havemeyer Webb, the founder of the Shelburne Museum, was a collector of astonishingly wideranging interests. Her diversity of tastes is reflected in holdings that include carriages, decoys, weather vanes, and antique bedcoverings, as well as paintings by Manet, Courbet, and Monet, and the steamboat Ticonderoga. Yet with its pastoral Vermont setting and a campus dotted with examples of vernacular New England architecture, the museum is primarily associated by many with its outstanding collection of folk art and Americana.
Artists and writers in eighteenth-century America, eager to craft a democratic culture distinct from that of Europe, but nonetheless notable for its refinement, elevated the idea of “taste” as an index of character and national virtue. This was not a populist project, but it reached into everyday life through the efforts of the people Catherine Kelly calls “aesthetic entrepreneurs,” who painted portraits, disseminated prints, opened museums, and produced banners and memorabilia to draw the multitudes into a patriotic festival of right-minded taste.
A rather depressing article appeared recently in the New York Times concerning a steep and sudden decline in the market for old master paintings. “At a time when contemporary art is all the rage among collectors, viewers, and donors,” Robin Pogrebin wrote, “many experts are questioning whether old master artwork—once the most coveted—can stay relevant at auction houses, galleries, and museums.” There can be a no more thunderous rebuttal to the notion that old masters are irrelevant than the new exhibition of Valentin de Boulogne at the Metropolitan Museum of Art.
Clara Peeters was among the first and most accomplished painters to specialize in food-laden still lifes, replete with cheese and delicate biscuits, candy, and nuts as well as ornate vessels and floral bouquets. Revered especially for her playful use of light and reflection—for example her own distorted portrait shown on the polished surface of a gilded covered cup—the artist nevertheless remains a mysterious figure.