American and Western American
The notable strengths of the American collection are American modernism, art of the American West, and prints. It features work dating from the late 18th century to the midth century. The development of American artistic traditions can be traced from portraiture in the late eighteenth century, to the rise in prominence of landscape painting in the 19th century, the popularity of genre scenes, as well as the academic figurative traditions of history and large-scale society paintings. The collection reflects the influence in naturalism stemming from European artistic traditions. Represented artists include: Winslow Homer, Sanford Robinson Gifford, Gilbert Stuart, John Singleton Copley, Fitz Henry Lane, George Inness, Eastman Johnson, William Merritt Chase, Robert Henri, and others.
American art of the southwest includes the Taos School from the first quarter of the twentieth century, early Western modernism from New Mexico, and depictions of the present-day &#;New West.&#; A newly defined area emphasizes the cultural history of Arizona and the greater Southwest. Represented artists include Albert Bierstadt, Thomas Moran, Frederic Remington, Eanger I
Rosa Lewis in an undated photo, presumably from the end of the Edwardian period.
Photo linked from Wikipedia.
While with the Comte's household, she was tutored in the art of French and Continental cuisine, which was becoming increasingly fashionable in the s. The Duc D'Orleans took her into his household in as Head Cook; he soon began to hire her out to cook in the houses of society's leading families, and it was while working at one of these private engagements (for Lady Randolph Churchill, mother of Winston Churchill) that
The Weather Gamut
The weather has long been a muse for artists. For Louisa McElwain (), an American painter based in the southwest, summer storms were particularly special.
According to Evoke Contemporary, the gallery that represents her estate, McElwain was drawn to “the way the light changes and the clouds dance across the horizon ahead of the rain.” While visiting the Phoenix Art Museum recently, I came across her piece, Desert Rain God.
This large-scale oil on canvas painting captures a storm in the New Mexico desert just as a dramatic downpour is starting. These storms, largely associated with Monsoon Season in the southwest, are a vital source of moisture in the arid region.
Working outdoors, using the bed of her pick-up truck as sort of mobile studio, McElwain’s paintings aimed to capture her experience of nature. In a statement, she described her approach to painting as a “dance made to the tempo of the evolving day”. Working quickly to depict the changing effects of the atmosphere, she often used palette knives and masonry trowels to apply paint to the canvas. These tools allowed her to avoid being overly descriptive and to create an impasto effect. Most of h
McElwain, Louisa,
Date:[ca ]
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Description:Album relating to the McElwain, Otway, and Whiteley families. Half of the album is filled with unidentified family photographs. Included with these are photographs of orchestal groups and choirs. These are the Auckland Orchestral Society, the Wesley Orchestral Society, the band and orchestra of the Auckland Infantry Regiment , what is probably the Pitt Street Methodist Church choir, and the 1ZR Auckland Broadcasting Choir. Other photographs relate to the Pitt Street Methodist Church. As well as interior views of the building there are photographs relating to the Sunday school, the bible class, and the organ and organist. There are photographs of the memorial erected in at Pukearuhe, to commemorate the Methodist missionary, Reverend John Whiteley. The second half of the album contains newspaper clippings relating to Reverend John Whiteley, and documents in the form of marriage certificates, church membership tickets, death notices, letters, music programms and other items relating to the McElwain, and Otley families. The music programms relate to the Wesley Orchestral Society from to , and the Auckland Harmonic Orchestr
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