Art Lovers discussion

62 views
Art Museum Forum > The Wadsworth Atheneum Museum of Art

Comments Showing 1-33 of 33 (33 new)    post a comment »
dateDown arrow    newest »

message 1: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments American Moderns on Paper:
Masterworks from the Wadsworth Atheneum Museum of Art, 1910-1960
October 2, 2010- January 17, 2011

This exhibition will be the first in-depth examination and presentation of the Atheneum’s American modernist works on paper. The Wadsworth Atheneum has great strength in the area of American works on paper, ranging from the mid-eighteenth-century to the early twenty-first century; its greatest strength, both in quality and depth, lies in the body of works on paper by America’s leading modern artists.

The exhibition of 85 works on paper will begin with sections on the Ashcan school, including works by John Sloan and William Glackens, and then traces the emergence of American modernism and the circle of Alfred Steiglitz. The American modernism section will feature works by Charles Burchfield (1893-1967), Stuart Davis (1894-1964), Arthur Dove (1880-1946), Edward Hopper (1882-1967), and John Marin (1870-1953), where there is tremendous depth in the collection. The Atheneum’s collection also includes Social realism, represented by Reginald Marsh and Ben Shahn; Regionalism by Thomas Hart Benton and Jacob Lawrence; rich examples of Surrealism and Neoromanticism, highlighted by Salvador Dalí and Pavel Tchelitchew, and drawings by modernist sculptors such as Alexander Calder, Gaston Lachaise, and Theodore Roszak. The exhibition will conclude with strong examples of postwar realism and abstraction as seen in works by Ellsworth Kelly and Andrew Wyeth.

This is just a small sampling of artwork images that I could find tonight. I wish I could have found others especially Burchfield, Dali, Calder and ten gorgeous works of Tchelitchew. I am very excited about the exhibit, the works on paper are so beautiful and outstanding. If you're in CT on Sunday, Oct. 3rd, stop by -- I will be giving a tour at 2:30!

[image error]
Edward Hopper (United States, 1882-1967), Captain Strout’s House, Portland Head, 1927, watercolor on paper, 14 x 20 inches. Wadsworth Atheneum Museum of Art, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1928.3.

[image error]
Edward Hopper (United States, 1882-1967), Marshall’s House, 1932, watercolor on paper, 14 x 20 inches. Wadsworth Atheneum Museum of Art, Purchased through the gift of Henry and Walter Keney, 1933.93.

[image error]
Edward Hopper (United States, 1882-1967), Custom House, Portland, 1927, watercolor on paper, 14 x 20 inches. Wadsworth Atheneum Museum of Art, Gift of Robert W. Huntingon, 1946.232.

[image error]
Edward Hopper (United States, 1882-1967), Methodist Church, Provincetown, 1930, watercolor on paper, 25 x 19 3/4 inches. Wadsworth Atheneum Museum of Art, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1951.19.

[image error]
John Marin (United States, 1870-1953), Big Wood Island, 1914, opaque and transparent watercolor over graphite drawing on ivory paper, 14 1/4 x 16 3/8 inches. Wadsworth Atheneum Museum of Art, The Schnakenberg Fund. 1951.275.

[image error]
John Marin (United States, 1870-1953), From the Bridge, N.Y.C., 1933, opaque and transparent watercolor and charcoal, collage pieces on ivory paper, 21 7/8 x 26 3/4 inches. Wadsworth Atheneum Museum of Art, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1948.479.

[image error]
John Marin (United States, 1870-1953), Green Sea, Cape Split, Maine, 1941, opaque and transparent watercolor, graphite drawing on ivory paper, 15 1/2 x 22 1/2 inches. Wadsworth Atheneum Museum of Art, Bequest of Arthur P. Day, 1952.405.

[image error]
Georgia O’Keeffe (United States, 1887-1986), Slightly Open Clam Shell, 1926, pastel on white ground on pressed artist’s board, 18 1/2 x 13 inches. Wadsworth Atheneum Museum of Art, The Douglas Tracy Smith and Dorothy Potter Smith Fund, 2009.1.1.

[image error]
Maurice Prendergast (United States, 1859-1924), The Amusement Park, circa 1902, reworked in 1915, pastel over opaque and transparent watercolor over graphite, drawing on wove paper, 18 1/4 x 15 3/4 inches. Wadsworth Atheneum Museum of Art, Bequest of George A. Gay, 1941.172.

[image error]
Andrew Wyeth (United States 1917-2009), Granddaughter, 1956, dry brush, watercolor on paper, 16 1/2 x 23 1/2 inches. Wadsworth Atheneum Museum of Art, Gift of Mrs. Robert Montgomery, 1991.79.

[image error]
Stuart Davis (United States, 1894-1964), Gas Pumps, 1935, gouache, graphite, pen and ink on illustration board, 16 5/6 x 15 inches. Wadsworth Atheneum Museum of Art, Gift of Henry E. Schnakenberg, 1952.388.

[image error]
Stuart Davis (United States, 1894-1964), Yellow Truck, 1939, Opaque watercolor and black ink with traces of pencil on wove paper. Wadsworth Atheneum Museum of Art, Gift of Mrs. James Laughlin, 1981.61.

[image error]
Arthur Dove (United States, 1880-1946), Sunrise, 1937, opaque and transparent watercolor, pen and ink on ivory wove watercolor paper, 5 x 7 inches. Wadsworth Atheneum Museum of Art, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1955.265.

[image error]
Max Weber (United States, 1881-1961), Three Figures, 1910, watercolor on paper, 20 x 25 3/4 inches. Wadsworth Atheneum Museum of Art, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1963.457.

[image error]
Rockwell Kent (United States, 1882-1971), Illustration for Moby Dick, chapter CXXXV, circa 1929, pen and ink on paper, 10 x 7 inches. Wadsworth Atheneum Museum of Art, Gift of E. Weyhe, 1955.398.

[image error]
Jacob Lawrence, rain,


[image error]
Ellsworth Kelly (United States, born 1923), Corn #11, 1959, watercolor wash on paper, 22 11/16 x 23 5/8 inches. Wadsworth Atheneum Museum of Art, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1975.57.


http://www.wfaa.com/news/entertainmen...
video from another museum


message 2: by Ruth (new)

Ruth | 1948 comments Thanks for posting these, Carol. I really enjoyed all of them.


message 3: by Heather (new)

Heather | 4 comments Those are incredible, Carol! Thank you for sharing the wonderful paintings. How exciting to be in the midst of such talent!


message 4: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments Connections Gallery: Pepón Osorio
August 7, 2010 - January 9, 2011

En la barbería no se llora (No Crying Allowed in the Barbershop), 1994

[image error]
Pepón Osorio
En la barbería no se llora (No Crying Allowed in the Barbershop), 1994, Mixed Media

In 1994, Pepón Osorio transformed a vacant store into an installation based on the traditional Latino barber shop. The project was located on Park Street, in Hartford's Latino community, and was organized by Real Art Ways. Hundreds of images and assembled objects were combined with video screens and music to create an exuberant tribute to Latino aesthetics. This chair is one of five featured in the installation. Symbols of masculinity like the male torso silkscreened on the red velvet cushions are contrasted by the silent video of men crying. For Osorio, the world of the barbería represents an institutionalized version of Latino machismo.

Visitors to 481 Park Street entered a familiar yet unexpected space. Photos of Latino men—athletes, politicians and entertainers—hung on the walls from floor to ceiling on a background of floral wallpaper. Potency powder was "for sale" at the front counter. Five red velvet barber chairs were covered with objects representing pastimes like baseball, fishing and horse racing. The wallpaper on the ceiling showed images of giant sperm. Videos in the stall mirrors showed men flexing their muscles, but monitors in the head of each barber chair showed men silently crying. A fish tank held a scene from the Last Supper and a life-sized Saint Lazarus, considered a healer of physical and spiritual pain, watched over the front door.

Originally commissioned as a RAW Specifics public art project organized by Real Art Ways.
http://www.realartways.org/archive/os...

Art 21 (1:25)
http://www.youtube.com/watch?v=zzKenn...

[image error]
Docent Memorial Lecture: "Artist Talk" by Pepón Osorio
October 28, 2010 6pm
FREE and open to the public

Born in Santurce, Puerto Rico, Pepón Osorio is one of the most significant artists working in the United States today. Osorio’s pieces, influenced by his experience as a social worker, usually evolve from an interaction with the neighborhoods and people among whom he is working. “My principal commitment as an artist is to return art to the community,” he says. Osorio’s works are in the collections of the Whitney Museum of American Art, the Walker Art Center, Museo de Arte de Puerto Rico, and the Wadsworth Atheneum, and his many awards include the prestigious John D. and Catherine T. MacArthur Fellowship. He will speak about the trajectory of his art with focus on his public art project on Hartford's Park Street organized by Real Art Ways in 1994.


message 5: by Lobstergirl (new)

Lobstergirl I love all those Hoppers, and I think I like Dove's watercolor better than his oils. That Ellsworth Kelly is beautiful. I didn't know he'd produced anything like that. The Rockwell Kent illustration is great. I'd like to have that edition of Moby Dick.


message 6: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments The curator chose Ellsworth Kelly's Corn #11 as the last piece in the show because he was the first artist to exhibit in our MATRIX program. (He is now 87 yrs old.)

MATRIX, was just another of the Wadsworth's "first." It began in 1975 and it was a first of its kind as a contemporary art program featuring emerging artists from around the world in a series of single-artist exhibitions. MATRIX has since inspired more than fifty programs across the country.


message 7: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments And I forgot the Demuth --
[image error]
Charles H. Demuth (1883–1935)
Still Life with Eggplant and Summer Squash, 1927
Opaque and transparent watercolor over graphite on wove paper,
Courtesy Demuth Museum, Lancaster, PA
Wadsworth Atheneum Museum of Art, Hartford, CT; The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1928.40

We had a walk through this am and I found out that there is a website with all info, comments & film footage of the Paper Ball where Calder designed and made costumes out of paper. Check it out--

http://americanmoderns.org/


message 8: by Heather (last edited Oct 01, 2010 06:00PM) (new)

Heather | 4 comments That's a really interesting site, Carol. I find that I can appreciate most of the artists, I find that I have trouble with the works of Alexander Calder, though. I liked the Paper Ball, really intriguing. But in his other works, I just don't get the 'big picture' specifically the 'strip tease'. Can anyone further enlighten me with their thoughts about his work? Maybe I'm missing something...


message 9: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments According to the catalogue, Calder, on many occasions, made these types of collages for friends. Calder dedicated this collage to Chick Austin's assistant "Nellie" (Eleanor Bunce -- I know nothing of her), and followed up with a different collage for Chick containing a humorous plea to be included in Chick's next "adventure."

'A Strip tease" is Calder's version of automatic writing (of the Surrealists) using collage as his medium. The word "Tradition" came from the literary magazine that published Dada and Surrealist manifestos and imagery in the 1920/30s; the sexual reference to "Klymax" clothes line (in red newspaper), and the animals reference the night of the Paper Ball (who knows what happened that night and what those animals represent here.)

His intention was to allow the provocative juxtaposition of unrelated images by using unsettling randomness characteristic of many Surrealist collages. But I'm not sure that Calder achieved what he intended. To me, it seems that the "playfulness" of Calder's circus animals (which remind me of his wire sculptures and early circus) are more dominate in the collage than his Surrealist intention. (That's just my opinion, does that make any sense?)


message 10: by Heather (new)

Heather | 4 comments Thank you, Carol. They seem more like just collages, I don't really see the 'surrealism' in them.


message 11: by Monica (last edited Oct 02, 2010 01:15PM) (new)

Monica | 909 comments I don't know how I missed it, but don't you just love Ellsworth Kelly? (Wadsworth collection post #1). Another artist whose work I've loved since the late 60s.

I'm here looking for Calder's "Strip Tease" so ... yes, Heather it is surreal because of the montage, rather collage, design that combines photography, drawing and writing with bits and pieces of printed paper. Think of Cornell's collections, only assembled on a flat surface. I like it. Goodreads doesn't have a "like" feature, and since this image is on Flash player, I'm unable to open it in a separate page or link to share with everyone. Thanks, Carol. Your post (9) is more analytical but it looks surrealist to me. Calder looks like a lusty old soul, doesn't he? Sorry again, Flash prevents me from grabbing his picture over in the archive section. (Maybe someone else will do the honors.)


message 12: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments Here's a few I found of "crazy Sandy!"

[image error]
Don't you love that his signature is on the car?!

[image error]


message 13: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments Monica wrote: "I don't know how I missed it, but don't you just love Ellsworth Kelly?"

[image error]
Sculpture for a Large Wall, 1957. Anodized aluminum, 104 panels, MoMA
[image error]

I prefer his sculpture, like the one above.

I do like his watercolor entitled Corn (11) that's in the exhibit. It was apart of his Matrix exhibit here (our first MATRIX exhibit) where he had 10 works on paper based on his "cornstalk series" --where he was growing corn on the roof of his NYC apt. His Matrix exhibit was the first time they were exhibited publicly. We purchased it back in 1975. It is the only work from the series in a public collection-- Ellsworth and private patrons own the others.


message 14: by Robin (new)

Robin (goodreadscomtriviagoddessl) that is some sculpture.


message 15: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments MATRIX 160: Kim Schoenstadt
ODD LOTS SERIES: HARTFORD/FICTION
Drawings in Pen and Acrylic Paint on Wall, Floor and Ceiling with vinyl

[image error]
The Wadsworth Atheneum Museum of Art will present a two-part project with Los Angeles-based conceptual artist Kim Schoenstadt as part of the museum’s ongoing MATRIX contemporary art series. In the first part, entitled Odd Lots Series: Hartford/Fiction, Schoenstadt will create a new site-specific wall drawing that intertwines real and fictional architecture in a fantastical yet familiar urban landscape.

Schoenstadt’s Odd Lots wall drawing was inspired by a site visit to Hartford last fall. She explored the city, photographed numerous buildings, and conducted research about Hartford’s history and industry. The drawing will take the important and unusual architecture of Hartford as its starting point and fuse those recognizable local landmarks in combination with fictional counterparts from pop-cultural sources such as Alfred Hitchcock’s “North by Northwest,” “The Jetsons,” and “The Incredibles,” to explore the relationship between fantasy and reality.

[image error]

[image error]
“Whether fictional or real—seen in two dimensions on the big screen or in three dimensions in downtown Hartford—both types of architecture begin with a drawing,” said Patricia Hickson, the museum’s Emily Hall Tremaine Curator of Contemporary Art. “Schoenstadt levels the playing field by fusing the two familiar architectures together equally, asking the visitor to question the notion of what is real.”

[image error]
“I have always been fascinated with how artworks interact with their environs, both geographically and socially,” Schoenstadt said.

[image error]



CAN CONTROL
[image error]

The second part of Schoenstadt’s MATRIX show is the creation of a collaborative graffiti-based artwork which includes input from the community as part of the creative process. The project is called Can Control: Hartford, and involves the active spray painting of a six-by-twelve-foot canvas by following written directions submitted by museum supporters to depict certain colors, forms, and words. After the canvas is completely covered, vinyl tape is removed revealing an architectural line drawing from beneath. Can Control: Hartford is part of the Wadsworth’s ongoing Community Engagement Initiative, which seeks to make the museum more welcoming and accessible through community based projects.

[image error]
Kim Schoenstadt

About Kim Schoenstadt
Kim Schoenstadt was born in Chicago and lives and works in Venice, California. She received her BFA from Pitzer College. Her solo and two-person exhibitions and projects have been featured at the Van Abbemuseum, Eindhoven, The Netherlands, and the Santa Monica Museum of Art in California. She has been in group exhibitions at the Museum of Contemporary Art, Chicago; Sprueth/Magers Gallery, Munich, Germany; Sabine Knust Gallery, Munich, Germany; San Jose Institute of Contemporary Art, San Jose, California; Prague Biennale, Czech Republic; Poland Biennale, Lodz, Poland; International Print Center, New York; The Getty Center, Los Angeles; the Museum of Contemporary Art, Los Angeles; and Institute of Contemporary Art, London.


message 16: by Robin (new)

Robin (goodreadscomtriviagoddessl) Very nice artwork, Thanks again Carol.


message 17: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments Evolution: Five Decades of Printmaking by David Driskell 

Part I, 1952—1999 through March 6, 2011

Part II, 2000—2007 March 19, 2011 - August 7, 2011
presented by The Amistad Center for Art & Culture

A selection of over 75 fine art prints created by David C. Driskell, Professor Emeritus of Art at the University of Maryland, artist, educator, and curator of African American art and culture. The exhibition will be presented in two-parts based on the chronology of his artistic process and development. Exclusive to the Amistad venue are African artworks from his private collection. The exhibition is organized by the David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the Africa Diaspora at the University of Maryland, College Park and is curated by Dr. Adrienne L. Childs, Curator-in-Residence (2007-2009).


Jonah in the Whale, 1967, linocut and collagraph, 16 x 12 in., © David Driskell


Eve and the Apple II, 1968, ca. Woodcut, 18.25" x 12.75".


Spirits Watching, 1986, Hand-colored Offset Lithograph, Edition of 100, 21.50" x 29.75", Collection of Tuliza Fleming.

[image error]
Spirits Watching, 1986, hand colored offset lithograph, 21 1/2 x 30 in., Brandywine Workshop. Collection of Tuliza Fleming.


David C. Driskell, Reclining Nude, 2000
, woodcut, 9.25 x 11 in., collection of the artist


African Women, Windows, 2004. Color Monoprint and Woodcut, 19.00" x 24.75".

[image error]
David Driskell

Bio: http://www.howard.edu/newsroom/DavidD...


message 18: by Chrissie (new)

Chrissie Carol, I really loved David Driskell's Jonah in the Whale! That's my favorite. Thank you again.


message 19: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments That's also one of my favorites.


message 20: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments Monet's Water Lilies: An Artist's Obsession
February 17 - June 12, 2011

[image error]
Water Lilies, c. 1914, oil on canvas, Fine Arts Museum 
of San Francisco

In 1883 the painter Claude Monet rented a house in the town of Giverny, about 50 miles west of Paris, and with his increasing success he was able to purchase the property in 1890. In 1893 he bought an adjoining plot of land across from his house and began to transform an existing small pond into a water garden with water lilies and a Japanese style bridge at the north end from which he could observe the flowers.

Monet devoted a great deal of time, energy, and money to his garden projects and ultimately employed six gardeners at Giverny. He began to paint scenes of the water garden and Japanese bridge in the late 1890s and these eventually became obsessive themes for the rest of his life. From age 74-86 (from 1899-1926) Monet produced more than 300 paintings of these watery floral subjects. They can be seen as the final flowering of Impressionist concerns with atmosphere and nature.

The exhibition will include nine paintings lent by public and private collections from around America, including a rare loan of The Museum of Modern Art’s enormous Water Lilies painting (1914-26), which is 20 feet wide and 7 feet high and has been described as “shimmering vision of paradise.” These paintings will provide an overview of Monet’s development during his final years at Giverny and reveal the range of approaches he adopted for his favorite subject.


Water Lilies, oil on canvas, 6' 6 1/2" x 19' 7 1/2", The Museum of Modern Art


Water Lilies, 1908, oil on canvas, Dallas Museum of Art


message 21: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments MATRIX 161: Rashaad Newsome
February 3 - May 1, 2010

[image error]

A self-labeled “composer,” New York artist Rashaad Newsome moves beyond the typical music-making associations of the word and instead uses video, performance, sculpture, photography, drawing and paper collage to create new art forms. His work samples various media, time periods, and class levels, pulling heavily from American hip-hop, black youth and Pop culture as much as medieval heraldry, the Renaissance and early modern architecture. Newsome combines these cross-cultural elements of high and low art in an effort to level the social and political playing field on a universal scale.

His MATRIX project will comprise four parts: framed collages, two video spaces, a community-based performance project, and an education gallery.

[image error]
Sun King, 2010. Collage on paper in customized frame, 55 x 46 x 5 inches. Courtesy Ramis Barquet Gallery, New York.


message 22: by Monica (new)

Monica | 909 comments Carol, The Monet Show is at the Atheneum? Lucky, lucky you!


message 23: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments Hi Monica!
It is a small exhibit but I am amazed that MoMA has lent us their huge water lilies painting. I am thrilled that it will reside here. I can't wait for it to open.


message 24: by Monica (new)

Monica | 909 comments jesus con croce...we need to talk!


message 25: by Lorie (new)

Lorie (lorie_mccown) | 57 comments Carol wrote: "Monet's Water Lilies: An Artist's Obsession
February 17 - June 12, 2011


Water Lilies, c. 1914, oil on canvas, Fine Arts Museum 
of San Francisco

In 1883 the painter Claude Monet rented a house i..."


How fortunate you are to see this! It is amazing that MoMA lent it. Enjoy! And thanks for posting all the wonderful pictures and information.


message 26: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments I'm going in tonight -- not sure if they are putting up the Monet paintings yet. (Last time I was in, they were building the walls in that gallery.)


message 27: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments Talked with someone tonight who said that the MoMA painting arrived -- it's here!


message 28: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments Morgan Great Hall Reinstalled with Contemporary Art

The Morgan Great Hall reopened to the public on May 7, 2011 after a year-long closure, marking the completion of the first phase of a comprehensive renovation project across all five of the museum’s buildings. In a radical rethinking of the museum’s most recognizable space, the Morgan Great Hall—previously home to the Wadsworth’s collection of American and European history paintings displayed salon-style— was reinstalled for the first time with large-scale works from the museum’s Contemporary art collection. The installation includes both abstract and figurative works and a range of well known artists, such as; Nick Cave, Willem de Kooning, Helen Frankenthaler, Andreas Gursky, Elizabeth Murray, Robert Rauschenberg, Sean Scully, Frank Stella, Bob Thompson and Andy Warhol, among others.

Announced last year, the museum’s renovation will result in the addition of 8,000 square feet of reclaimed gallery space, a 14% increase, and the complete reinstallation of the museum’s permanent collection. The entire renovation project is slated for completion in 2013.

“Promoting contemporary art has always been an important expression of the museum’s mission, from founder Daniel Wadsworth’s support of the fledgling Hudson River School to the ongoing MATRIX program, which has presented solo shows for emerging artists since 1975,” said Susan L. Talbott, Director, Wadsworth Atheneum Museum of Art. “The reinstallation of the Morgan Great Hall with gems from our Contemporary art collection stays true to that mission, while bringing new life to the museum’s historic spaces and enabling the public to experience our familiar galleries in new ways.”

http://www.facebook.com/photo.php?fbi...


Postcard of the Wadsworth Atheneum, Morgan Memorial and Municipal Building
Designed in 1907 by Beaux-Arts architect Benjamin Wistar Morris, the Morgan Memorial building was built by J. Pierpont Morgan between 1908 and 1915 in memory of his father, Junius Spencer Morgan. In addition to the reinstallation of the Morgan Great Hall and renovation of all of the Morgan building galleries, another major component of the restoration project is the re-opening of the skylights, which will bring natural light into the upper galleries.


Junius Spencer Morgan (1813–1890), father of Pierpont Morgan, ca. 1885, The Morgan Library & Museum.

Bio: Junius Spencer Morgan was born on April 14, 1813 in Holyoke, MA. The Morgan name is traced to Carmarthen, Wales, and the first known Morgan family ancestral is Bleddri, third son of Demetae chieftain Cadivor-fawr and his wife Elen. Miles Morgan, son of William and Mary Morgan and ancestor to the Morgan family in America, emigrated from Bristol, England to Boston in 1636.

Morgan began his business career in 1829 by entering the employ of Alfred Welles of Boston. He had inherited wealth from his father, Joseph Morgan and showed great business ability. He was soon invited to become a partner in the house of J. M. Beebe & Co., one of the largest retail stores in Boston and one of the largest dry goods importing and jobbing house in the country. From about 1836 to 1853, he was in the Dry goods business. A few years later he met George Peabody, the well-known London banker. Shortly after the meeting, Morgan entered Peabody's prosperous firm, George Peabody & Co. as a partner. Ten years later, in 1864, Morgan succeeded Peabody as head of the firm and changed its name to J. S. Morgan & Co. During the American Civil War the firm was appointed the financial representatives in England of the United States government.

In 1836, Morgan married Juliet Pierpont (1816–1884). He contributed money to Trinity College, Hartford. At his death, in 1890, he left a fortune estimated at about $10,000,000. He passed away on April 8, 1890. He left behind one son, J.P. Morgan.


message 29: by Monica (new)

Monica | 909 comments So dad didn't do badly either. I love their museum, especially lunch in the original dining room, in NYC!


message 30: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments Matrix 162 / Shaun Gladwell
June 2 -- September 18, 2011

http://www.thewadsworth.org/matrix-162/
Shaun Gladwell Interview from Wadsworth Atheneum on Vimeo.

ON GRAVITY AND LEVITY: The body is subject to the forces of gravity. But the soul is ruled by levity, pure. —Saul Bellow

Ominous and dreamlike, a black car silently crawls along a red dirt road that bisects the wide open plain of a scrubby desert landscape. A vast blue sky completes the symmetrical composition. The vehicle, viewed from behind at a constant distance, raises dust from its tires in slow motion as the car drives endlessly, but goes nowhere. From a car window, an anonymous dark-helmeted figure emerges. The form, clad in black leather, methodically climbs atop the roof of the moving car and stands, back to the viewer, in quiet reverence to the infinite grandeur of nature. So begins Shaun Gladwell’s entrancing video work titled Interceptor Surf Sequence (2009).


message 31: by Konrad (new)

Konrad R (krad) Carol wrote: "Matrix 162 / Shaun Gladwell
June 2 -- September 18, 2011

http://www.thewadsworth.org/matrix-162/
Shaun Gladwell Interview from Wadsworth Atheneum on Vimeo.

ON GRAVITY AND LEVITY: The body is subj..."


As they said in the 60's , Heavy man, H E A V Y !


message 32: by Konrad (last edited Jun 22, 2011 09:11AM) (new)

Konrad R (krad) When Surrealism & beauty meet, what phantoms release?
~ proximity


message 33: by Carol (new)

Carol (goodreadscomcarolann) | 1140 comments Patti Smith: Camera Solo
October 21, 2011 – February 19, 2012

photos -- http://www.courant.com/entertainment/...

The pioneering artist, musician, and poet, Patti Smith has made her mark on the American cultural landscape throughout her 40-year career, from her earliest explorations of artistic expression with friend and vanguard photographer Robert Mapplethorpe (http://www.postmodern.com/~fi/pattipi...)
in the 1960s and 70s to her profound influence on the nascent punk rock scene in the late 1970s and 80s. Patti Smith: Camera Solo will be the first exhibition of her photography in the United States. The exhibition will include seventy photographs, one multi-media installation and one video work.

This Friday Patti Smith will be at The Wadsworth Atheneum for book signings, etc.

Her new book: Just Kids -- http://www.goodreads.com/book/show/77...


back to top