Wendell Vyse Exhibition Timeline

Fran admired and collected other artist’s work for her home, but also as part of her trove of infinite objects that often made their way into her art. From the mad jumble of countless boxes and bags in her studio came often playful “bricolage” works of beauty, humor and imagination. She taught for many years at the New Jersey Center for the Visual Arts, the Newark Museum and was actively teaching until just weeks before her death last year. An award-winning artist, she exhibited at the Museum of Modern Art, the Smithsonian, Victoria and Albert Museum, and in galleries throughout New Jersey. She began her eight-decade career as a fashion designer before moving into painting, printmaking, found art sculpture, book and paper making, and other multi-media arts. Fran studied art at the American School of Fine Arts, Newark School of Fine Arts, and Fairleigh Dickinson University. The works in this exhibition were generously donated by Fran’s family to The 1978 Maplewood Arts Center. Proceeds from all sales will benefit the center as well as public art in the

Martin Robertson and Mary Beard’s manuscript, Adopting an Approach, focuses on the study of Athenian pottery. The manuscript begins, by describing Sir John Beazley and his revolutionary method of studying Greek vases. The Beazley Method focuses on the technical conventions of Greek Vases such as naming the artist, dating the pieces and then grouping them based off of similar characteristics. Beazley “provided for the first time a comprehensive framework of analysis for Athenian painting, and a way of dating and classifying.” (Pg. 16) However, what Beard’s main argument suggests is that it is not the artists that help us understand the importance of the vases because even if a vase is assigned to a specific time period or artist, there is

His indentures required him to study at evening classes under the noted sculptor Albert Toft (1862-1949) at Camberwell School of Art. At evening class, Toft taught Harradine design, life drawing, and modelling. Nominated for election to the Royal Academy of Arts (1906-1920); Albert Toft unfortunately, was destined to remain an unsuccessful candidate. Harradine was influenced by Mark Villers Marshall (1843-1912), George Tinworth (1843 - 1913), and John Broad (1858-1910) who were the leading modellers of the day. These last two modellers were employed at Doulton’s Lambeth pottery. Of all these artists, Harradine perhaps owes more to Broad, and whose style he is thought to emulate. Harradine was self-assured, with a broad outlook on life and a warm humanity. Out of his indentures at the Doulton studio, his former instructors accepted him as their equal. At times, he could also be rebelliously outspoken by the constraints of the factory

As you arrive into the reception area of the Cleveland Museum of Art, you are greeted with silence. The clomping of shoes and whispers of fellow museum goers about what the “true meaning” behind the piece is fills the air. The first floor of the museum is dedicated to historical artifacts and artwork dating in the time period called Before Common Era (B.C.E.). Each piece is accompanied by a placard on the wall courtesy of the museum. The pieces are approximately dated, described, and an explanation of how each piece was used is given in the short paragraph.

Kleiner, Fred S. Gardner's Art through the Ages: A Global History, Fourteenth Edition, Volume II.

The view from Victorians concerning the artwork was that they were obtained from” brutal and unruly savages from Benin” (The Times, 25th September 1897, p12) but it was also thought that the quality and workmanship of the pieces was exceptional.

However, the result of the Vyses concentration expended on the production of the stoneware vessels and attendant ash-glazes culminated in the re-working of the figure group Morning Ride. Even so, it is difficult to understand the reasoning why Vyse found it expedient to remodel this figure rather than devising an additional composition, and Marsh, in his Walker’s article, does not mention it. Indeed, this present model is occasionally mistaken for the 1925 original (Fig. 62). Furthermore, the 1929 model should not be viewed as a previous model bearing a similar title. In sculptural terms, this edition is a pointed up version of the original. Doubtless, Vyse expended much the same industry in the as he had done when modelling the smaller 1925 version. The present version, thought by collectors to be the suitable of the two, and possibly justification for the time

The visual elements in a work of art can be made up of various different types of elements. “Composition, harmony, proportion, light, color, line, texture, mass, and motion are all part of the vocabulary of sight. We tap this vocabulary, and the patterns that go with it, when we compose or frame images”. The visual elements that are portrayed in the engraving of “Ullysses at the Table of Circe” by Flaxman consists of lines, shape, space, texture, and color. “Viewers bring to the act of seeing individual sets of conscious and unconscious reactions that affect their response to the visual stimulus put before them. This is the beauty of images, even in their most minimal form— such as a single line”. The lines that are used in this work of art are

In this selection of the book, Gitlin discusses a seventeenth-century Dutch painter by the name of Vermeer. Vermeer was known for being able to”fr[ee]ze instants, but instants that spoke of the relative constancy of the world in which his subjects lived” (Gitlin 558). People collected Vermeer’s paintings for display throughout their homes. Gitlin sees Vermeer as the seventeenth-century version of the media. In that time, the images painted were relative to the people’s era and private world. In today’s world Vermeer would be the equivalent to a celebrity photographer or movie director. If Vermeer, or any other artist of his time, were to see today’s households, they would find that the once private space inside the home is now much more dominated by images of the outside world than what would have been possible in the 1600’s.

With works in every known medium, from every part of the world, throughout all points in history, exploring the vast collection of the Museum of Modern Art was an overwhelming experience. The objects in the Department of European Sculpture and Decorative Arts are an important historical collection, reflecting the development of a number of art forms in Western Europe. The department's holdings covered sculpture in many sizes, woodwork and furniture, ceramics and glass, jewelry, and tapestries. The gallery attracted my appreciation of the realistic qualities of the human body often portrayed in sculpture.

Louis Comfort Tiffany, an American artist, and designer, was born in New York City in 1843. Tiffany, the son of Charles, who was the founder of the jewelry firm “Tiffany and Co.,” began his career as a painter and then expanded to design and direct his studios in order to “produce lead-glass windows, mosaics, lighting, glass, pottery, metalwork, enamels, glass, pottery, jewelry, and interiors” (“Louis Comfort Tiffany Stained Glass Art”; Frelinghuysen and Obniski). Beginning in the late 1870’s the decorative arts and interiors caught Tiffany’s eyes and he began exploring and trialing with stained glass (Frelinghuysen and Obniski). As years passed he introduced blown-glass vases and bowls called “Favrile.” The

From 1920, Vyse and Parr consistently showed their work at the Royal Academy. Parr organised one or two Christmas shows at his studio, but most of his work he sold through James Connell of Bond Street. His figures retailed at 25 guineas with Parr receiving his just portion of the selling price. Unlike Vyse, who by

Controversial and shameful was the words that first described the Mademoiselle Pogany II. Apparently, this piece of art was an innovation for its generation. Where it is housed today, the story of its beginnings, and the specifics of it, comprises the history and entity of the Mademoiselle Pogany II.

Artists at the Early Modern Courts: This research paper will particularly focus on three paintings of François Boucher, namely The Toilet of Venus, The Bridge, and Putti With Birds, and carefully analysis their visual features to understand their significance during that period.

When one considers the term “Art Nouveau,” what comes to mind most immediately is “images of a European-wide invasion [characterized] by the restless dynamism of organic form”(Silverman 1). For me it is usually the work of Alphonse Mucha– his mysterious women surrounded by the beauties of nature. Often my Art Nouveau fantasies take shape in the odd fungal-shaped stained-glass lamps of Tiffany. Or sometimes they surface as the romantic Parisian posters I’ve seen at Pier One, advertising champagne or cats noir or bicycles or the like. But no matter what ones notion may be of what Art Nouveau looks like, there is a feeling that accompanies it that is at the heart of the style’s appeal. It is difficult to define or describe what