Crystal Bridges Museum of American Art: Eye Candy, Arkansas Times

Huff Post on CBM's Judd

Leslie Newell Peacock — Tue, 18 Jun 2013 13:35:00 -0500

Crystal Bridges Museum president Don Bacigalupi has written a come-hither piece about the Donald Judd work that has been installed on the grounds of the Bentonville museum in the Huffington Post. Bacigalupi says the work at CBM, "Untitled, 1989 (Bernstein 89 24), is what Judd called a "specific object."

Judd called these mature works "specific objects" rather than sculptures or works of art, to indicate their distance from traditional ways of making sculptural art. These were "specific" because the artist carefully orchestrated their shape, scale, proportions, and materiality. And they were "objects" because they were fabricated — rather than sculpted — by the artist.

The Judd was acquired along with Andy Warhol's "Hammer and Sickle" at an auction at Sotheby's.

Here's a link to the Judd Foundation website, where you can learn more about the "specific objects."

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Rockwell show total: 121,000

Leslie Newell Peacock — Tue, 04 Jun 2013 15:49:00 -0500

Arkansans love Norman Rockwell. (I especially love the Rockwell in the image above.)

During its 11-week run, the exhibit "American Chronicles: The Art of Norman Rockwell" drew more than 121,000 people to Crystal Bridges Museum of American Art in Bentonville, the museum said today — more than any other visitors at any of the 12 museums it traveled to before coming to Arkansas. (Around 100 of them traveled to the show on the Arkansas Times' artbuses.)

Next up: "Angels & Tomboys: Girlhood in 19th Century American Art," 72 masterworks from the Newark Museum, and "Surveying George Washington," historical documents, both June 29-Sept. 30.

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"Genre Painting and Everyday Life," "Genre Scenes on Paper" open Saturday

Leslie Newell Peacock — Wed, 08 May 2013 12:52:45 -0500

Crystal Bridges opens two new exhibits Saturday, May 11: "American Encounters: Genre Painting and Everyday Life," which I wrote about here in April, and "American Experience: Genre Scenes on Paper from Crystal Bridges’ Permanent Collection."

The museum will also extend Saturday viewing hours for its exhibit "American Chronicles: The Art of Norman Rockwell" to 7:30 p.m. on May 11, 18 and 25.

The "Genre Painting and Everyday Life" features two paintings from the Louvre Museum by European painters who influenced American artists, an Eastman Johnson from the High Museum in Atlanta, a George Caleb Bingham from the Terra Foundation for American Art and a painting by Arthur Fitzwilliam Tait from CBM's own collection.

"Genre Scenes on Paper" includes watercolors and drawings by William Anderson Coffin, Winslow Homer, John Lewis Krimmel, Luke Robins and Thomas Waterman Wood from CBM's collection.

Peter John Brownlee, associate curator for the Terra Foundation and curator of the "American Encounters" exhibition, will give a talk on the evolution of American genre painting at 3 p.m. May 19 at the museum.

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Keith Haring sculpture debuts at Crystal Bridges

Leslie Newell Peacock — Wed, 24 Apr 2013 13:17:14 -0500

Keith Haring, the cartoon artist who became famous first for his graffiti drawings in the subway tunnels of New York, purposely made his affordable for the public (opening the "Pop Shop") after his success in the art world pushed his gallery prices into the stratosphere. Everybody has seen Haring's simply outlined cartoon figures in some form or another, from T-shirts to posters to paintings. That he died of AIDS at the age of 31 in 1990 is also part of his legend, as he was one of the earliest activists to speak about the illness.

Crystal Bridges Museum of American Art announced today the installation of Haring's 1986 "Two-Headed Figure," a red aluminum figure that features a baby's head on one end with a dog's on the other, ~~on the grounds~~ at Walker's Landing, the terrace on the east side of the pooled spring.

The sculpture was bought at auction at Sotheby's in New York last November for $578,500. The museum press release said its acquisition "was made possible by Sybil Robson Orr and Matthew Orr." Sybil Robson Orr is museum founder Alice Walton's first cousin and a film producer.

In a press release, Crystal Bridges President Don Bacigalupi said the sculpture is a "rarity."

The work features two of his signature creatures, here as dual heads on a singular body, leaning over their respective shoulders to engage one another in dialogue. It’s pure delight and whimsy with an invitation to join the conversation.

An exhibition of Haring's early work is now on display at the Musee d’Art Moderne in Paris in an exhibition titled "Keith Haring: the Political Line." His work is included in the collections of The Museum of Modern Art, New York; the Whitney Museum of American Art, New York; Art Institute of Chicago; National Gallery of Canada, Ottawa; Centre Pompidou Paris; the Museum of Modern Art, Rio de Janeiro; and Museum of Modern and Contemporary Art, Geneva.

Photo credit:
Keith Haring (1958-1990)
Two-Headed Figure, 1986
Polyurethane paint on aluminum
96 x 82 x 56 in. (243.8 x 208.3 x 142.2 cm)
Made possible by Sybil Robson Orr and Matthew Orr

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Two from the Louvre at CBM

Leslie Newell Peacock — Mon, 15 Apr 2013 14:39:00 -0500

Two paintings from the collection of the Louvre Museum in Paris will be on exhibit at Crystal Bridges Museum of American Art when the collaborative exhibition "American Encounters: Genre Painting and Everyday Life" opens May 11.

Dutchmaster Jan Steen's humorous "Festive Family Meal" (painted in 1674) and Irish painter William Mulready's sentimental "Train Up a Child" (1841/1853) will be shown along with the Hudson River School painter Eastman Johnson's "Negro Life at the South" (1870) from the High Museum of Art in Atlanta and American frontier painter George Caleb Bingham's "The Jolly Flatboatmen" from the Terra Foundation. Crystal Bridges' "The Life of the Hunter: A Tight Fix" by Arthur Fitzwilliam Tait returns to the museum from the Louvre as part of the exhibition.

The inclusion of the Dutch and Irish works are meant to give viewers an idea of the art that American genre painters had studied. The exhibition runs through Aug. 12, when it will travel to the High.

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Villareal's "Buckyball" on loan to Crystal Bridges

Leslie Newell Peacock — Thu, 04 Apr 2013 10:51:00 -0500

On May 2, Crystal Bridges Museum of American Art will install its first temporary sculpture, Leo Villareal's "Buckyball," on loan from the Madison Square Park Conservancy, Gering and Lopez Gallery and Villareal.

Using a framework of 180 LED-lit tubes, "Buckyball" is a representation of spherical carbon 60 molecules named for Buckminster Fuller, the inventor of the geodesic dome. The 30-foot sculpture, which nests one molecule inside another, was programmed by Villareal to change colors. Commissioned by the Madison Square Park Conservancy, it was first exhibited by Mad. Sq. Art, the contemporary art program of the Madison Square Park Conservancy, from Oct. 25, 2012, to Feb. 15, 2013.

From a Crystal Bridges news release:

For more than a decade, Villareal has been a pioneer in the merging of art and innovative light technology. Recently, the debut of the artist’s installation, The Bay Lights, on the San Francisco Bay Bridge received world-wide attention and acclaim. Villareal’s work often reduces forms to basic components — such as pixels or the ones and zeros found in binary code — to better understand their underlying structures and how they function. He then builds these fundamental elements into interactive light installations that move, change and grow into complex compositions in order to explore them on a larger scale.

Reclining couches (which Villareal calls "zero-gravity" benches) will surround the sculpture. Villareal will discuss his work at a public lecture from 6 p.m. to 7 p.m. May 1 in the Great Hall. Register at the museum website.

Villareal's work is also included in the permanent collections of the Museum of Modern Art in New York; Naoshima Contemporary Art Museum in Kagawa, Japan; and the Albright-Knox Art Gallery in Buffalo, N.Y.

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A little bit more on Warhol, etc.

Leslie Newell Peacock — Tue, 26 Mar 2013 18:29:00 -0500

Eye Candy has been swamped with other duties at the Times and so is a bit late posting this news about the five acquisitions Crystal Bridges Museum of American Art recently announced. I posted the news about the Warhol ("Hammer and Sickle") and the Judd ("Untitled, 1989 (Bernstein 89 24)" but not about three other paintings from the first half of the 20th century: Max Weber's "Burlesque No. 1," an oil on canvas dated 1909, Agnes Pelton's "Sand Storm," oil, 1932; and Marvin Dorwart Cone's "Stone City Landscape," 1936, oil on canvas.

The Weber was purchased for $506,500 last November at Christie's auction house and the Cone for $752,500 last November at Sotheby's. "Sand Storm" was apparently purchased from Hirschl and Adler Galleries.

The Crystal Bridges press release on the works is on the jump.

FOR IMMEDIATE RELEASE

03-21-2013

BENTONVILLE, AR — Exploring the unfolding story of America by actively collecting and exhibiting outstanding works by American artists is central to the mission of Crystal Bridges Museum of American Art. Recently, several works were acquired that complement the museum’s 20th-century holdings, and enhance focuses within the collection. Among those acquisitions are an iconic Pop image by Andy Warhol from the Cold War era, and an important and grand-scale Minimalist sculpture by Donald Judd.

These works will debut in the museum’s 20th-Century Art Gallery this month as part of a scheduled rotation of works on exhibit. The update will include the reinstallation of Mark Rothko’s No. 210/No. 211 (Orange), as well as the debut of Miriam Schapiro’s A Mayan Garden and Theodore Roszak’s 42nd Steet (Times Square), both acquired in 2012.

Andy Warhol, Hammer and Sickle, 1977, acrylic and silkscreen ink on canvas

“Hammer and Sickle is a great example of how art can engage American history,” said Crystal Bridges Curator of American Art Kevin Murphy. “Warhol is acting as a provocateur here in playing with ideas of art, culture and society.” A part of the Hammer and Sickle series, the 6 x 7-foot work was completed by Warhol after a 1976 trip to Italy, where he saw the hammer and sickle frequently repeated in graffiti. Though the symbol is usually associated with the Communist party, in Italy—a democratic country since the end of WWII—Warhol felt the graffiti symbol was more Pop than political. “He treats it as a still life,” said Murphy, “and while he may not have been making a political statement, it’s evocative of the tensions during the Cold War period.”

Donald Judd, Untitled 1989 (Bernstein 89-24), 1989, copper and red Plexiglas

Rising nearly 19 vertical feet when installed, this sculpture features 10 copper and red Plexiglas box-like elements. “Donald Judd was a pioneering artist in the art movement that came to be known as Minimalism, in which artists reduced their sculptural forms to the most fundamental geometric shapes,” said Crystal Bridges President Don Bacigalupi. “These ‘primary structures’ were considered the most modern approach to sculpture in the 1960s, and had considerable influence on art thereafter. Our newly acquired Judd sculpture is both an extraordinary example of the artist’s pure geometric Minimalist forms, but also a dazzling and seductively beautiful work, with its brilliant red and bright shiny copper surfaces. Towering to 19 feet high, the work expands our notion of what sculpture can be and how we encounter it.”

Additional Acquisitions

Other recent acquisitions will add depth to the museum’s strong holdings of art from the first half of the 20th century. A stellar example by one of the leading female Modernists of her day (Agnes Pelton), another of the earliest American Modernists’ experiments with Cubism (Max Weber) and a first acquisition by an unsung hero of the Regionalist movement of the 1930s (Marvin Cone) all complement and augment existing works on view.

Max Weber, Burlesque #1, 1909, oil on canvas

This early Modern-period painting is a precursor to Burlesque #2, which is already in Crystal Bridges’ collection. On the back of Burlesque #1, Weber has sketched ideas for Burlesque #2, and curator Kevin Murphy noted that “this Cubist work is an excellent addition alongside the museum’s similar holdings, including paintings by Marsden Hartley and Stuart Davis.”

Agnes Pelton, Sand Storm, 1932, oil on canvas

“Pelton, like her contemporary, Georgia O’Keeffe, sought the seclusion of the desert to produce abstractions of the natural world,” said Murphy. “Her refined technique almost appears to be airbrushed, which helps carry her message of light as spiritual metaphor.” Crystal Bridges also holds another of Pelton’s works: Divinity Lotus, 1929, oil on canvas.

Marvin Dorwart Cone, Stone City Landscape, 1936, oil on canvas

This mid 1930s work depicting Stone City, Iowa, is in the Regionalist tradition. Cone was a contemporary and friend of Grant Wood, whose work is also included in Crystal Bridges’ collection. “This landscape furthers our offerings from that time period,” added Murphy, “which includes works by Thomas Hart Benton and John Steuart Curry.”

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Notes on CBMAA: Warhol, Judd acquisitions

Leslie Newell Peacock — Thu, 21 Mar 2013 11:07:00 -0500

The Art Newspaper's Judith Dobrzynski today revealed two new acquisitions by Crystal Bridges Museum of American Art, including an Andy Warhol serigraph on canvas, "Hammer and Sickle." The symbol of Communism cost $3.4 million. Funny.

The museum has also acquired Donald Judd’s copper and plexiglas "Untitled, 1989 (Bernstein 89 24)," Dobrzynski says, for $10.2 million. Both were bought at auction at Sotheby's last November.

Yesterday, a New York Times story published March 20 writes, "Rivaling earlier American moguls who built elaborate edifices to house their art collections, magnates of the 21st century are pouring their fortunes into founding their own ambitious museums," and one of those magnates is, of course, Walton, 8th richest person in the United States. (Hard to image there are seven even more wealthy folk, isn't it? Two are her brother Jim and sister-in-law Christy, of course.)

The article runs in the New York Times' special museums section. It notes the "grandeur" of Crystal Bridges:

The museum, which has an annual operating budget of $18 million, employs more than 125 people. In its first year, 2012, it had more than 600,000 visitors. Ms. Walton, whose $21 billion net worth makes her the eighth-richest person in the United States, according to 2012 Forbes calculations, has collected American art for more than two decades and chose her home area to provide a cultural institution in an area without one, she has said.

“At Crystal Bridges we share the story of America through outstanding artworks, in a setting that highlights the beauty of our region,” she said. Her focus is to make the museum “accessible to everyone,” she added, so admission is free and school field trips, including buses and lunch, are paid for.

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Hamilton portrait donated to Crystal Bridges

Leslie Newell Peacock — Thu, 14 Mar 2013 16:31:00 -0500

John Trumbull's 1792 portrait of Alexander Hamilton, which has been on loan to Crystal Bridges since its opening in 2011, has been donated jointly to the museum and the Metropolitan Museum of Art by owner investment bank Credit Suisse. The Hamilton painting will travel to the Metropolitan this summer and return to Crystal Bridges next year. Each museum plans to exhibit the painting for two-year periods.

The portrait hangs next to Charles Wilson Peale's portrait of George Washington, a painting that was a gift to Hamilton, Washington's secretary of the treasury, I learned last weekend at the museum from gracious and knowledgeable curator Manuela Well-Off-Man. Both are beautiful, striking larger-than-life portraits (~~the image above is quite dark and does not do justice to the painting~~ Crystal Bridges provided the new image above) that will change your mind if you think that old paintings of American statesmen might be a bore. If you've reserved a seat on the Arkansas Times' art bus to Crystal Bridges April 6 or plan to go with the Times in May you'll see what I mean.

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Staff change at Crystal Bridges rumored UPDATE

Leslie Newell Peacock — Tue, 22 Jan 2013 12:58:01 -0600

Rumor has it that David Houston, director of the curatorial department at Crystal Bridges Museum of American Art, is leaving. The museum is closed on Tuesdays and so I couldn't confirm, though an announcement is in the works.

Houston was hired at CBM in 2011; he had previously been director and chief curator at the Ogden Museum of Southern Art in New Orleans.

UPDATE: Houston emailed to confirm that he is leaving; he is headed for Columbus State University in Georgia, where he will open a new arts facility — his fourth.

UPDATE 2: Press release from Crystal Bridges on the jump.

UPDATE 3: An article from artdaily.org on Houston's move to Georgia, about which he says, 'I can't get there soon enough.”

January 23, 2013
FOR IMMEDIATE RELEASE
BENTONVILLE, AR —David Houston, Crystal Bridges Museum of American Art Director of Curatorial, will leave his post Jan. 31 to become the executive director of the newly created Bo Bartlett Center at Columbus State University, Columbus, Ga.

Houston began his tenure at Crystal Bridges in 2011, leading a curatorial team charged with curating installations and exhibitions. He contributed to the museum’s successful opening, including the installation and premiere of the permanent collection, Celebrating the American Spirit. In its first year of operation, the museum launched eleven distinct exhibitions ranging in size and scope and held in various galleries. Houston served as lead curator for several, including Declaration: Birth of America; Edward S. Curtis and the Oklahoma Indian Tribes; Moshe Safdie: The Path to Crystal Bridges; and See the Light: The Luminist Tradition in American Art.

Houston has nearly 30 years of experience as a curator, professor and public art administrator. He came to Crystal Bridges from the Ogden Museum of Southern Art in New Orleans, where he served as chief curator from 2001-2010, and co-director in 2011.

“David came to us as a highly regarded professional with a long and distinguished career in the museum field,” said Crystal Bridges’ Executive Director Don Bacigalupi. “As an early member of our team, he brought invaluable expertise as we opened the museum, launched an exhibitions program and continued making acquisitions. He has had a significant role in our planning, which will advance our institutional vision into the future. His contributions and service will be part of our founding history and we appreciate all that he has contributed.”

A national search will begin immediately for a new chief curator/director of curatorial, who will report to the museum’s executive director and work collaboratively with the other Art & Education branch directors: Niki Stewart, director of education and exhibitions; Catherine Petersen, director of the library; and Elizabeth Weinman, registrar.

The Bo Bartlett Center was established in 2012 when artist Bo Bartlett donated his archives—paintings, drawings, sketchbooks and journals—to Columbus State University. The Center will feature an 18,425-square-foot interactive gallery space. The red brick, former textile warehouse turned gallery space, designed by AIA award-winning architect, Tom Kundig, sits on the banks of the Chattahoochee River in Bartlett’s hometown, Columbus, Ga. As a cornerstone of the College of the Arts’ Corn Center for Visual Arts, The Bo Bartlett Center will be a pivotal element in the continued emergence of a national and international presence originally established by the College’s Schwob School of Music and its Legacy Hall. Complementing exhibitions in the CSU Department of Art’s acclaimed Norman Shannon and Emmy Lou P. Illges Gallery, The Bo Bartlett Center will serve as an experiential learning center and cultural hub for the visual arts while affording visitors a broad range of arts experiences offered within the College’s arts district.

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New works at Crystal Bridges: Schapiro, Hopper, Benton, etc.

Leslie Newell Peacock — Tue, 04 Dec 2012 13:54:54 -0600

Though Judith Dobryzinski beat them to it, Crystal Bridges Museum of American Art has made public a few more works acquired this year, including an 1835 folk art painting, "Woman in a Black Ruffled Dress" by Ammi Phillips (once described as a "gem" by New York arts writer Grace Glueck), and a 1984 fabric collage, "A Mayan Garden" by Miriam Schapiro. Created in between those years: William Wetmore Story's marble "Sappho" (1867), Thomas Hart Benton's "Tobacco Sorters" (1942-44) and an enormous collection of prints from a private collection, an assemblage of work made between 1925 and 1945 that includes drypoint, etching, engraving, lithography, screenprint, woodcut and wood engraving by such artists as Charles Scheeler, Reginald Marsh, Edward Hopper and Benton. Women artists Ida Albelman, Minna Citron, Mable Dwight, Jolan Gross-Bettelheim, Riva Helfond and Bernarda Bryson Shahn feature prominently. A selection of the 468 prints will be exhibited in a show called "Art Under Pressure: Early Twentieth Century American Prints" to run Dec. 21 through April 22.

Curator Kevin Murphy on the prints:

“There are a number of prints that deal with the Depression head on and take an approach that looks at people hard at work and trying to improve their circumstances,” said Murphy. “These are printmakers who themselves were often living at the margins and could really understand their fellow blue-collar workers. The collection represents a moment where the American artist and the American people were in sync in a way that we haven’t seen since the Hudson River School painters, and we don’t see again for another generation.”

For some reason, the release does not mention the museum's acquisition of Theodore Roszak's "42nd Street (Times Square)" (1936), which Dobryzinski wrote about in September. Nor does the release mention that "Sappho" was in the collection of the Museum of Fine Arts Boston and has apparently been deacquisitioned. UPDATE: Crystal Bridges "Sappho" is the second version created by Story; the MFA Boston's sculpture predates Crystal Bridges by several years.

There is more information on the works in the press release on the jump.

Crystal Bridges Announces Acquisitions and an Upcoming Exhibition

12-04-2012

FOR IMMEDIATE RELEASE

BENTONVILLE, AR — Crystal Bridges Museum of American Art’s inaugural exhibition of its collection featured more than 450 works of art, representing nearly half of its entire holdings at the time of the museum’s opening on Nov. 11, 2011. Now, one year later, the museum’s collection has grown to include a total of 2,040 artworks. Acquisitions over the past year have included five sculptures, eight paintings, one mixed media work, and 504 works on paper, which includes drawings, photographs, watercolors, and a collection of 468 prints made by American artists between 1925 and 1945.

Crystal Bridges has an active acquisition program, guided by Executive Director Don Bacigalupi, museum curators and board leadership. Central to the consideration of any acquisition is the museum’s mission to tell the story of America through its great works of art, which include works by artists with household names as well as remarkable works by significant but lesser-known artists.

“The Crystal Bridges collection will continue to grow as extraordinary works become available to us,” said Bacigalupi. “We have a strategic acquisitions plan that guides our choices, but as a young institution, we also have the ability to be flexible as opportunities arise. When we are presented with a great work of art that tells an important part of the American story, we can take action fairly quickly. We were fortunate in our inaugural year to add such a number of significant artworks to our collection. We look forward to presenting them to our guests in the year and years ahead.”

Acquisition highlights

The museum has already hosted a public unveiling of one of the super-stars of the recent acquisitions — a large, luminous painting by the Abstract Expressionist artist Mark Rothko, which is now on view as part of the museum’s temporary exhibition See the Light: the Luminist Tradition in American Art. This exhibition also features a recently acquired early work by glass artist Dale Chihuly. The Rothko will be re-located to the museum’s Twentieth-Century Art Gallery following the close of See the Light in late January. In addition, there are several other show-stoppers among the museum’s inaugural year acquisitions that visitors may look forward to seeing in the galleries in the months ahead.

Ammi Phillips (1788-1865), Woman in Black Ruffled Dress, ca. 1835. Oil on canvas.

Among the recent acquisitions is an iconic portrait by American folk artist Ammi Phillips titled Woman in Black Ruffled Dress, painted ca. 1835. Phillips was born in Connecticut and though he was a prolific artist, with more than 400 paintings now attributed to him, it was not until 1968 that he was positively identified as the artist. Phillips’s earlier works used a soft pastel palette. Later works, such as Crystal Bridges’ new acquisition, used much bolder hues and darker backgrounds. “A self-taught New England portrait painter, Phillips is considered one of the most important folk artists of his era,” said Curator of American Art Kevin Murphy, “which is an area in which we’ve been looking to broaden our offerings.”

Phillips’s Woman in Black Ruffled Dress has recently been installed in Crystal Bridges’ Colonial to Early Nineteenth-Century Art Gallery.

William Wetmore Story (1819-1895), Sappho, 1867. Marble.

Adding a neoclassical presence to Crystal Bridges’ offerings is a nearly five-foot-tall white marble sculpture of the Greek poet Sappho by William Wetmore Story. The poet is seated in a chair with her arms crossed along the chair’s back, her lyre at her side and a pensive expression on her face. Her robe, necklace, and the rose that graces her lyre are rendered in classical detail. This sculpture is scheduled to receive conservation work in the year ahead, as well as a new base, before it will make its public debut.

Miriam Schapiro (b. 1923), A Mayan Garden, 1984. Fabric and acrylic on canvas collage.

Miriam Schapiro is a contemporary artist who lives and works in California. Her shaped-canvas mixed-media work A Mayan Garden has also been added to the Crystal Bridges collection. Schapiro is known as one of the country’s prominent feminist artists. She, along with fellow artist Judy Chicago, was one of the founders of the Feminist Art Program at California Institute of the Arts. A Mayan Garden is one of Schapiro’s “femmages” — mixed-media collage works that draw on techniques traditionally perceived as being the domain of women, such as appliqué and decoupage — and will debut at Crystal Bridges during 2013.

Thomas Hart Benton (1889 — 1975), Tobacco Sorters, 1942/1944. Tempera and oil on panel.

Missouri-native artist Thomas Hart Benton is a well-known regional favorite. Tobacco Sorters was originally commissioned by the American Tobacco Company, which wanted to connect its consumers to the farmers who grew their product. The work is currently displayed as a key component in the museum’s Early Twentieth-Century Art Gallery.

“A larger work than the other Bentons we have in our collection, this immediately filled a niche in our early twentieth-century area,” says Murphy. “It had been in a private collection, and it was important to the owners that it be shared with a larger audience.”

Prints for the People

A large portion of the year’s acquisitions comprise a collection of 468 early twentieth-century prints amassed by a private collector. The collection features artists working in styles that range from Benton’s Regionalism to Charles Sheeler’s Precisionism, as well as all of the major printmaking media: drypoint, etching, engraving, lithography, screenprint, woodcut, and wood engraving. The collection contains artists best known for their work in other media, such as Benton and Sheeler, but also those who chose to express themselves almost exclusively through prints, including Martin Lewis and Benton Spruance. Female artists are prominent, with Ida Abelman, Minna Citron, Mabel Dwight, Jolan Gross-Bettelheim, Riva Helfond, and Bernarda Bryson Shahn represented through at least one, but often multiple, works.

“This acquisition dramatically expands Crystal Bridges’ holdings of prints, opening new avenues for the museum’s ability to interpret the rich history of American art,” said Murphy, who has curated an exhibition from the new collection.

Selected Prints to be featured in Exhibition

A selection of these recently acquired prints will be on view at Crystal Bridges from December 21 through April 22 in a temporary exhibition titled Art Under Pressure: Early Twentieth Century American Prints. These works were created between 1925 and 1945, a time of great social change and hardship for the American people. Printmaking came into its own during the Depression and World War II era as a fine-art medium. Artists who worked primarily in other media often used prints as a means of experimentation or to work out ideas. Other artists whose primary medium was printmaking began to experiment with technique, expanding the limits of the medium to create original artworks that could be inexpensively produced in multiples and distributed. Mail-order art dealers worked with artists to produce limited edition prints and promote them in catalog format from which consumers could purchase a print for a few dollars. It was the first time original artwork was within the financial means of average Americans.

“There are a number of prints that deal with the Depression head on and take an approach that looks at people hard at work and trying to improve their circumstances,” said Murphy. “These are printmakers who themselves were often living at the margins and could really understand their fellow blue-collar workers. The collection represents a moment where the American artist and the American people were in sync in a way that we haven’t seen since the Hudson River School painters, and we don’t see again for another generation.”

Crystal Bridges Museum of American Art is located in Bentonville, Ark. Additional information about the museum is available online at http://crystalbridges.org

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A Rothko for Crystal Bridges

Leslie Newell Peacock — Mon, 24 Sep 2012 15:05:00 -0500

The headline on a story in artinfo about Crystal Bridges announcement over the weekend that a 1960 Rothko has been acquired was this:

"Crystal Bridges Acquires Major Rothko Painting in Response to Criticisms of Post-War Holdings"

The Wall Street Journal took the same tack in its story, "A Rothko Fills a Museum's Breach."

Here's one way of looking at those headlines: that the art world, which once ridiculed the notion that a first-rate museum could be located in Arkansas, then produced accolades about the collection, now demands Crystal Bridges be even better. I'm not sure I remember the museum being criticized for whatever it lacks in color field and New York School works, though the baby steps into the post-war work in the collection was noted.

At any rate, I don't think Alice Walton bought a Rothko in response to art reviews. I think she was waiting, as was director Don Bacigalupi, until she decided upon which Rothko to buy from what was available. When she buys a large Frankenthaler, it won't be because I wrote here that the museum's 20th century collection is frail without it.

Enough of that. The Rothko is the unidentified major work of art that was announced last month in a press release about the exhibition "See the Light: The Luminist Tradition in American Art," which runs Oct. 13-Jan. 28. Eye Candy previously speculated that Alice Walton could have purchased a Jackson Pollock that had been sold and had the same characteristics as the Rothko: Both had been in private hands and not exhibited for many years. Oh, well.

Crystal Bridges has not disclosed the purchase price, but it's worth noting that at Christie's May auction of American art a similar Rothko ( “Orange, Red, Yellow,” painted in 1961) went for "just under $87 million," according to the New York Times. However, the Wall Street Journal said Pace Gallery president Marc Glimcher "pegged it at about $25 million." It was bought from a private Swiss collection.

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Tyson $5 million gift creates scholar program

Leslie Newell Peacock — Wed, 19 Sep 2012 11:56:34 -0500

The creation of the Tyson Scholars for American Art program at the Crystal Bridges Museum of American Art was announced this morning in Bentonville. The Tyson family and Tyson Foods together contributed $5 million to the creation of the scholars program, which, according to a press release will be a "groundbreaking, collaborative program with national reach and regional initiatives regarding the study of American art."

John Tyson, chairman of Tyson Foods Inc., which is growing its art collection, joined Crystal Bridges Director Don Bacigalupi, museum curator of American Art Kevin Murphy, and University of Arkansas art history professor Leo Mazow.

More information to come.

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New in Bentonville: Curtis portfolio, Sperber installation

Leslie Newell Peacock — Thu, 16 Aug 2012 12:06:57 -0500

A second work by Devorah Sperber, creator of the "Last Supper" installation in the Wonder World exhibition last winter at Crystal Bridges Museum of American Art, is now in the 20th century gallery: "After Grant Wood." Like "Last Supper," the Grant Wood painting ("American Gothic") has been recreated out of spools of thread and flipped on its head so that it can be seen through a prism installed in front of the work.

Also re-installed in the 20th century gallery are Nick Cave's "Soundsuit," Evan Penny's "Old Self: Portrait of the Artist as He Will (Not) Be, Variation No. 2," and Tom Uttech's "Enassamishhinjijweian."

Coming Aug. 29: A collection of photogravures made by Edward Curtis during his 1926 visit to Oklahoma. It appears to be the exhibit, "Gathering Fragments: Edward S. Curtis in Oklahoma," shown in 2009 at the Fred Jones Jr. Museum of Art of the University of Oklahoma in Norman. A description of that show said the work, from Curtis' "North American Portfolio," includes 75 photos of multiple tribes, including the Comanche, Cheyenne, Otoe and Wichita.

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In defense of art sharing

Leslie Newell Peacock — Thu, 16 Aug 2012 09:18:36 -0500

Lee Rosenbaum's culturegrrl column today includes a defense of the art sharing arrangement that Fisk University in Nashville entered into with Crystal Bridges Museum of American Art. Such shares have been criticized by the Association of Art Museum Directors because they don't take into account the expectations of donors — in this case, Georgia O'Keeffe, who gave works owned by her husband, Alfred Stieglitz, to Fisk for keeping in perpetuity.

In a letter to Fisk, the AAMD wrote:

Treating art as a fungible asset and using collections to pay for daily expenses will also
significantly undermine future fundraising for operations. If a museum or university can meet
its operating needs by selling art, why bother giving money when there are so many other
non profits facing severe financial challenges? Selling art to support operations is not viable as a
long-term financial strategy; it is the equivalent of spending down endowment principal.
Neither addresses the long-term sustainability of an institution. In the case of a college or
university, doing so irreversibly sacrifices incomparable learning opportunities for future
generations.

In effect, Fisk sold half its interest in the collection to Crystal Bridges for $30 million, money the historically black university needs. The agreement means that the works, which include important American and French paintings, will be shown at Crystal Bridges for a time, then return to Fisk. Crystal Bridges' first exhibition of the work will be in 2013.

The defense of the agreement comes from former CBMAA curator Chris Crosman, who left at the end of 2011. Crosman says, "If all of this sends a chill down the spines of potential donors of art work, so be it." Here's the link to the column and Crosman's convincing argument in favor of such arrangements.

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Could it be a Pollock?

Leslie Newell Peacock — Wed, 08 Aug 2012 11:38:55 -0500

Crystal Bridges Museum of American Art announced yesterday that it plans to unveil in October a "breathtaking new acquisition to Crystal Bridges’ permanent collection," a work by a "mid-century artist" that was acquired in a private sale and hasn't been exhibited in more than 40 years.

The work will be part of "See the Light: The Luminist Tradition in American Art" exhibition that will include work from the permanent collection and works on loan. Bookending the show will be nineteenth century paintings by Martin Johnson Heade (his hummingbirds define luminous) and 20th century light installation artist Dan Flavin.

OK. Light, mid-century artist, privately owned, publicly seen 40 years ago. Could it be Jackson Pollock's "No. 5, 1948"?

The Pollock — a drip painting that covers the canvas with color without sacrificing light — was sold in 2006 for a record $140 million to a private buyer. At the time, it was speculated that billionaire David Martinez was the buyer, but he denied it.

The brown, yellow and burnt umber "No 5" was painted on an 8-by-4-foot sheet of fiberboard. I probably have a one in a million chance of being right, but what's to lose in guessing?

The "See the Light" exhibit runs Oct. 13 through Jan. 28; museum members will get to see the new work at a preview Oct. 12.

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Stieglitz Collection to Crystal Bridges in fall 2013: UPDATE

Leslie Newell Peacock — Fri, 03 Aug 2012 09:49:05 -0500

That's what Culturegrrl, aka Lee Rosenbaum, reported on her blog yesterday. She spoke to Fisk University's lawyer, C. Michael Norton, about the final ruling in the long-running lawsuit over Fisk University's decision to sell a half share of its Alfred Stieglitz Art Collection to Crystal Bridges Museum of American Art for $30 million, money Fisk desperately needs to stay in business. Georgia O'Keeffe donated her late husband's collection to Fisk in 1949.

Rosebaum quotes Norton, thusly:

As for the sharing schedule, the joint agreement stipulates that the Collection will remain at Fisk [in Nashville] until the Fall of 2013, then spend two years at Crystal Bridges and then return to Fisk. The contemplation is for a two-year rotation, but the oversight committee can set another schedule, so long as the exhibition time at each location is equal.

The Association of Art Museum Directors is unhappy about the Fisk decision; it issued this statement Dec. 8, 2011:

AAMD believes that art collections owned by colleges and universities are an irreplaceable component of academic and community life and that they should not be treated as disposable financial assets. Art museums and galleries — standing alone or operated as part of a college or university — fundamentally compromise the field’s core principles and negatively impact the entire art museum community when they sell art to support operations.

Here's a question that I'd like someone to answer: If the struggling black university had to close, what would happen to the artwork? Would it go on the auction block? Or would it have gone to the O'Keeffe Museum in Santa Fe? A Tennessee appeals court ruled in 2009 that the collection was not part of O'Keeffe's estate and the museum had no claims on it. It's impossible to know, of course, what O'Keeffe would have made of the sharing plan. She and
Alice Walton, who created Crystal Bridges, might have hit it off.

The collection includes O'Keeffe's "Radiator Building," which the O'Keeffe museum sought to buy for $7 million, and French impressionist work along with important American paintings, including Marsden Hartley's "Painting No. 3."

For a list of work in the collection, go here.

UPDATE: Crystal Bridges has issued a press release about the art-sharing agreement. (It does not include the "detail" mentioned in paragraph 7 about Fisk's plan to use the money; Crystal Bridges spokesman Dianne Carroll provided me a link to the missing information.

Stieglitz Collection Art-Sharing Agreement Finalized
Arrangement for Half-interest Between Crystal Bridges and Fisk Complete

BENTONVILLE — An important art collection will remain intact and be viewed, appreciated, and studied by a wide public audience now that a long-term collection-sharing relationship is finalized between Crystal Bridges Museum of American Art and Fisk University in Nashville.

The agreement for sharing the Stieglitz Art Collection, bequeathed in 1949 by artist Georgia O’Keeffe to Fisk University in Nashville, Tenn., was finalized by the Chancery Court and the Tennessee Attorney General on June 13 and filed by the Davidson County Chancery Court on July 31. Crystal Bridges Museum of American Art and Fisk University each now own a 50 percent interest in the collection, which will be exhibited at both institutions at rotating two-year intervals. The agreement will allow the works to remain on display at Fisk for two uninterrupted years out of every four, thus allowing every Fisk student the opportunity to view or study the artwork for a period during the student’s academic career.

The Stieglitz Collection will be available for view and study by a wide audience at Crystal Bridges during its alternating two-year stay in Bentonville, Ark. Once planning and coordination between Fisk University and Crystal Bridges has been completed, a debut exhibition schedule will be announced. Crystal Bridges has welcomed nearly 500,000 visitors since opening to the public on 11-11-11.

The sharing agreement will enable Crystal Bridges and Fisk to co-administer the ongoing care and maintenance of the works of art, advance the educational scope of the collection for study and public appreciation, and to expand the artistic legacy of the artists whose works are included in the collection.

“We are looking forward to working with Fisk University as we begin this partnership and eventually present the Stieglitz Collection to the very large—and growing—Crystal Bridges audience,” said Don Bacigalupi, executive director, Crystal Bridges.

“It’s been many years and we are grateful for the time, effort and final court decision that will enable Crystal Bridges to enhance public access to this important collection. We’re feeling great about the future of the Stieglitz Collection. The Fisk-Crystal Bridges partnership keeps the collection intact and ensures its long-term preservation and access,” said Alice Walton, Crystal Bridges’ board chair.

In a release issued by Fisk University, Hazel O’Leary, President of Fisk, said, “We are, obviously, very pleased that this case was resolved in a manner that will ensure the future financial security of Fisk with most of the funds being used to strengthen Fisk’s endowment. We are also gratified to have Crystal Bridges as our partner in the ownership and care of the Collection. Crystal Bridges is rapidly becoming one of the finest art museums in the country, if not the world. Our sharing arrangement broadens the access to the collection.” More detail about the use of the funds received by Fisk is set out below.

President O’Leary added, “‘Fisk Forever!’ has been the popular rallying cry of Fisk for decades. Today it has become a reality. Fisk will remain as Nashville’s oldest university, which has and will continue to provide a nationally recognized educational experience for its students and also to make an important contribution to Nashville’s culture and history. The Stieglitz Collection is not lost to Nashville, but is saved to be exhibited here for two of every four years. Fisk will, probably for the first time, have the financial ability and professional expertise available at Crystal Bridges to do everything necessary and appropriate to care for and exhibit the Collection.”

Victor Simmons, Director and Curator of the Fisk University Galleries, said, “Alfred Stieglitz spent much of his life advocating and supporting American art, including the support of American artists such as Georgia O’Keeffe, Marsden Hartley, Arthur Dove, John Marin and Charles Demuth, among many others. I can think of no better place for the art to be exhibited, while away from Fisk, than in a museum of such quality and as dedicated to American Art as is Crystal Bridges.”

About the Stieglitz Collection
In 1949, Georgia O'Keeffe donated to Fisk University The Alfred Stieglitz Collection of Modern American and European Art. Consisting of 101 objects, 97 of which come from her late husband’s art collection and four that were owned by O'Keeffe, The Stieglitz Collection contains a survey of modern art from the late nineteenth to mid-twentieth century, including those by such masters as Paul Cezanne, Pierre-Auguste Renoir, Pablo Picasso, and Diego Rivera, who were revered by modern American artists such as Marsden Hartley, Arthur Dove, and Charles Demuth, who are also represented in the collection. Additionally, the collection includes the iconic painting by Georgia O’Keeffe, The Radiator Building.

About Crystal Bridges
The mission of Crystal Bridges Museum of American Art is to welcome all to celebrate the American spirit in a setting that unites the power of art with the beauty of landscape. We explore the unfolding story of America by actively collecting, exhibiting, interpreting, and preserving outstanding works that illuminate our heritage and artistic possibilities.

Opened to the public on 11-11-11, Crystal Bridges was founded in 2005 by Alice Walton, who chairs the Museum's board of directors. CrystalBridges.org

Fisk University

Founded in 1866, Fisk University is Nashville’s first institution of higher education and it currently ranks in the top 10 percent of all liberal arts institutions in the nation, according to Washington Monthly. Fisk is one of six Historically Black Colleges and Universities (HBCU) listed in Forbes magazine’s 2011 edition of “America’s Best Colleges” and has been ranked in The Princeton Review’s “Best 373 Colleges” publication for twenty consecutive years. U.S. News and World Report ranks Fisk #144 in the elite Tier One group of 246 liberal arts institutions selected for the distinction among the 1,400 colleges and universities in the nation and Fisk is one of only three HBCUs ranked in Tier One. Fisk has earned three R & D 100 Awards for work in the creation of radiation detectors developed in collaboration with several national laboratories and corporations. No other HBCU has earned an R & D 100 Award. According to the National Science Foundation, Fisk produces more African-Americans who go on to earn doctoral degrees in the natural sciences than any school in the nation. For more information on Fisk University, please visit www.fisk.edu

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Women in art: Sargent, Whistler, Bellows

Leslie Newell Peacock — Wed, 27 Jun 2012 14:51:37 -0500

Three portraits of women by James McNeill Whistler, John Singer Sargent and George Bellows are on loan from the National Gallery of Art at Crystal Bridges for the next 12 months, grouped with portraits from Crystal Bridges' own collection. The ensemble represents portraiture of the turn of the 20th century: ladies in lovely clothing rendered, in the case of Whistler and Sargent, in quick, competent and lush brushstrokes.

A review of a Bellows retrospective at the National Gallery in the New Yorker magazine (subscription required to read the whole piece, but not to see a slideshow or an abstract of Peter Schjeldahl's review) says Bellows, in his portraiture, was struggling to find his artistic voice and would "lavish attention attention on settings and clothes, at the expense of vital presence." If you go to Crystal Bridges, look at Bellows' portrait of Florence Davey, with the National Gallery apparently decided it could spare from its Bellows show, and see if you agree. Sargent's portrait of Mary Crowninshield Endicott Chamberlain and Whistler's "Mother of Pearl and Silver: The Andalusian" predate the Bellows portrait by a decade or more and employ the brushy "wet on wet" style Bellows used to such good effect in his earlier boxing scenes.

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Declaration of Independence, at CBMAA

Leslie Newell Peacock — Thu, 07 Jun 2012 13:03:12 -0500

"Declaration: Birth of America," coming to Crystal Bridges Museum of American Art June 30, will put on display one of only 26 (according to Wikipedia) known surviving broadsides printed of the Declaration of Independence to spread the word of independence throughout the colonies and the Continental Army.

A press release from Crystal Bridges says that an estimated 200 copies of the so-called Dunlap Broadside were printed the evening of July 4, 1776, in John Dunlap's print shop in Philadelphia. Curatorial director David Houston likened the broadside to "the radio or internet ... It was the fastest, most technologically advanced method available of disseminating information during colonial times. Broadsides were sent to each of the colonies, and read aloud in public along the way for everyone to hear. It was the closest thing they had to mass communication."

The broadside and other American documents to be on display are on loan to Crystal Bridges by a private collector, the museum's press release says. Of the 26 Dunlap copies, 20 are in American public institutions, three in British institutions, and three are in private hands, according to Wikipedia. (The Crystal Bridges press release said there are 25 extant copies; not sure who is right.) One copy is owned by Norman Lear, who with David Hayden paid $8.14 million for a broadside that had been found in the back of a framed picture that sold for $4 at a Philadelphia yard sale. Another copy was sold by the New-York Historical Society in the 1990s. It's possible Alice Walton is the owner of the broadside and the other documents and has loaned them to the museum she created, but who knows?

The other documents to be displayed are two printed newspaper accounts from 1776, a hand-written letter from King George III to his generals, a printed edition of the Virginia Bill of Rights, an American broadside description of the Battle of Bunker Hill, and the Franklin printing of the Treaty of Paris, which ended fighting between England and the United States of America. The exhibit runs through Sept. 17; members will be able to get a free preview from 9 a.m. to 9 p.m. June 29. There will be no charge to see the exhibit.

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New exhibit at CBMAA: The Hudson River School

Leslie Newell Peacock — Fri, 04 May 2012 11:50:09 -0500

A New-York Historical Society exhibit on tour brings 45 Hudson River School paintings to Crystal Bridges Museum of Art starting Saturday, May 5. The paintings compliment CBMAA's own strong 19th century collection, the highlight of which is Asher Durand's "Kindred Spirits." The Durand was purchased by museum founder Alice Walton from the New York Public Library.

"The Hudson River School: Nature and the American Vision" includes works by all five paintings in Thomas Cole's allegorical series "The Course of Empire," as well as works by Albert Bierstadt, Frederick Church, Jasper Cropsey, Durand, Martin Johnson Heade and John Frederick Kensett.

The exhibit runs through Sept. 4. Reserved, timed tickets are required. They are $5 for non-members and free to members. Click here to reserve.

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Ruling on Fisk: Share with CBMAA OK

Leslie Newell Peacock — Tue, 24 Apr 2012 09:24:26 -0500

Just read a Los Angeles Times report that the Tennessee Supreme Court has rejected an attempt to keep Fisk University from sharing its Stieglitz Collection of Modern American and European Art with Crystal Bridges Museum of American Art.

Barring any further legal action, that means the Bentonville museum will have a 50 percent share in the collection, which includes Georgia O'Keeffe's famed "Radiator Building — Night, New York 1927" and works by American modernists Charles Demuth, Arthur Dove, Marsden Hartley, Stanton McDonald-Wright, John Marin, Charles Sheeler, Alfred Stieglitz and others, as well as Cezanne, Picasso, Toulouse-Lautrec and other Europeans.

The state of Tennessee tried to stop the deal, under which CBMAA pays the Nashville school $30 million. Fisk will go back to lower courts to work out administrative details.

O'Keeffe donated the collection to Fisk in 1949. Some who follow museum business have objected to the deal, as a violation of O'Keeffe's intention in offering the school the collection. The school, however, has had financial difficulty and saw Alice Walton's offer as a way to improve its facility and its curation of the collection.

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Art puts Alice in top 100

Leslie Newell Peacock — Thu, 19 Apr 2012 16:39:09 -0500

Time Magazine has named Alice Walton one of the 100 most influential people in America, thanks to her creation of Crystal Bridges Museum of American Art. She stands in line with Republican Sen. Marco Rubio (essay by Jeb Bush); Tim Tebow (essay by Jeremy Lin); Catherine, Duchess of Windsor, and her sister Pippa Middleton (essay by Catherine Mayer); "Today" show host Matt Lauer (essay by Howard Stern), and the singer Adele (essay by Pink) among many others.

The museum's press office released a couple of quotes. From Walton: “I am sincerely honored to be selected for this recognition. Most humbling, however, is the overwhelming response from our guests who have been inspired by the Crystal Bridges experience.” And from Don Bacigalupi: “The impact of Crystal Bridges has just begun to be felt in Arkansas and in our nation. It is wonderful and appropriate that Alice Walton receive this mention in recognition of her vision and ability to transform our views of American art, culture and history.”

Time's Richard Lacayo writes:

With Crystal Bridges Museum of American Art, she has placed a daring bet that a small town can become a big art-world destination. We're betting she's right.

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Alice for Alice?

Leslie Newell Peacock — Tue, 10 Apr 2012 15:55:38 -0500

OK, at Sotheby's American paintings auction last week, someone paid about 5 times the estimate for an egg tempera and gouache storybook scene. Why think Alice Walton? A, someone paid about 5 times the estimate ... and B, the name of the piece: "Alice in Wonderland," by Ayres Houghtelling. Sotheby's information on the piece is that it was painted in 1947 as the first in a series of children's literary classics for Collier's Magazine.

Sotheby's expected the 22-by-28 inch painting to sell for between $10,000 and $15,000. The hammer price with buyer's premium was $53,125.

More likely, the piece was bought by an "Alice in Wonderland" fanatic or a Carroll collector. But it's amusing to imagine that Alice might have decided to buy a painting telling the whole story of Alice in Wonderland (presented clockwise in the work) for children who visit her museum.

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A good fit in Bentonville

Leslie Newell Peacock — Tue, 27 Mar 2012 16:49:24 -0500

The New York Times has a super story on how Crystal Bridges Museum of American Art Director Don Bacigalupi, his partner Dan Feder and their son Guston have become part of the Bentonville community and about the very modern house that suits their decision to live openly in what outsiders might guess is a closed-minded town.

The story reports that when she offered the job to Bacigalupi, Alice Walton was concerned for the family's happiness in her home town:

Still, even Alice Walton, the Walmart scion who grew up in Bentonville, wasn’t sure the couple would be happy raising their child there. After offering Bacigalupi the job of director of her Crystal Bridges Museum, in 2009, Walton insisted he get to know people in the Ozarks town before deciding. She even went ahead and found potential friends for the two men, via a gay employees group at Walmart. “After knowing that Don was the right fit for us,” Walton wrote in an e-mail, “I wanted to be certain the community was the right fit for him and his family. That was my No. 1 priority.”

Great photographs accompany the story, which you can read here. Here's our own picture of Bacigalupi and Guston at the November opening of the museum.

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New: Arthur Davies, George Inness and more

Leslie Newell Peacock — Wed, 22 Feb 2012 13:39:41 -0600

To give some of its watercolors a rest from gallery lighting, Crystal Bridges Museum of American Art has replaced them with new works, all but one from the late 19th century and none previously announced as being part of the collection.

Installed are a 13 1/2 x 9 3/4 in. watercolor of people on a beach by post-impressionist Maurice Prendergast (above), painted circa 1896-1897; a 16 3/8 x 23 3/4 in. bronze by Augustus Saint Gaudens of Gertrude Vanderbilt at the age of 7 (below), 1882; a 30 x 25 in. painting by James Earl, "Lady Mary Beauclerk, Daughter of Lord Aubrey and Lady Jane Beauclerk (1793-1794)"; a figurative watercolor by Arthur Bowen Davies (1895) and watercolor landscapes by George Inness, John La Farge and George Henry Smillie, all created between 1880 and 1900.

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