Pub Date : 1919-01-01DOI: 10.1086/BULLDETMUSART41935084
G. Booth, C. Binns
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Pub Date : 1919-01-01DOI: 10.1086/bulldetmusart41935085
C. C.
The George G. Booth Loan Collection contains four choice examples of pottery made by Professor Charles F. Binns, of Alfred, New York, whose stoneware is regarded as superior to anything produced in America and is comparable to the best periods of the artist potters of Europe. It is particularly distinguished by the interesting surface texture and the refined quality of its low toned glazes, in which neutral gray greens and rich blue blacks predominate. The production of stoneware was begun in Flanders in the 16th century, and towards the end of the 19th century some artist potters in France took up the development of the ware, naming it Grès. The original glazing by salt was not entirely abandoned but was supplemented by colored and matt glazes. Stoneware clays are more elemental than those used for porcelain. The raw material is not purified and only the ordinary manipulations are employed in mixing. Thus stoneware possesses the masculine characteristics, strength and virility, while porcelain displays those of the feminine delicacy and grace. Stoneware and porcelain are produced by the same essential processes; the ware is once-fired, that is, both body and glaze are matured at one time and the same burning, the temperature from 1350 to 1400 degrees Centigrade. Professor Charles F. Binns, Director of the New York State School of Clayworking and Ceramics, at Alfred, New York, began the study of this type of ware about 1903, as a matter of personal interest. Every piece is made and finished throughout by Professor Binns himself, and none is duplicated.
George G. Booth Loan Collection收藏乔治G. Booth Loan Collection收藏了四件由纽约阿尔弗雷德的Charles F. Binns教授制作的精选陶器，这些陶器被认为是优于美国生产的任何陶器，并可与欧洲艺术陶艺家的最佳时期相媲美。它特别突出的是有趣的表面纹理和低色调釉的精致品质，其中中性的灰色绿色和丰富的蓝黑色占主导地位。16世纪，佛兰德斯开始生产石器，19世纪末，法国的一些陶艺家开始开发这种陶器，并将其命名为gr。最初的盐釉并没有被完全抛弃，而是被彩色和哑光釉所补充。石器粘土比用于瓷器的粘土更具元素性。原料没有提纯，混合时只使用普通的操作方法。因此，石器具有男性的特征，力量和男子气概，而瓷器则表现出女性的精致和优雅。石器和瓷器是由同样的基本工艺生产的;瓷器是一次烧制的，即体和釉都是一次成熟的，同一次烧制，温度从1350℃到1400℃。查尔斯·f·宾斯教授是纽约州艾尔弗雷德州立陶艺学院的院长，他大约在1903年开始研究这种陶器，当时只是出于个人兴趣。每件作品都是由宾斯教授亲自制作完成的，没有一件是复制的。
{"title":"COLONIAL ROOM","authors":"C. C.","doi":"10.1086/bulldetmusart41935085","DOIUrl":"https://doi.org/10.1086/bulldetmusart41935085","url":null,"abstract":"The George G. Booth Loan Collection contains four choice examples of pottery made by Professor Charles F. Binns, of Alfred, New York, whose stoneware is regarded as superior to anything produced in America and is comparable to the best periods of the artist potters of Europe. It is particularly distinguished by the interesting surface texture and the refined quality of its low toned glazes, in which neutral gray greens and rich blue blacks predominate. The production of stoneware was begun in Flanders in the 16th century, and towards the end of the 19th century some artist potters in France took up the development of the ware, naming it Grès. The original glazing by salt was not entirely abandoned but was supplemented by colored and matt glazes. Stoneware clays are more elemental than those used for porcelain. The raw material is not purified and only the ordinary manipulations are employed in mixing. Thus stoneware possesses the masculine characteristics, strength and virility, while porcelain displays those of the feminine delicacy and grace. Stoneware and porcelain are produced by the same essential processes; the ware is once-fired, that is, both body and glaze are matured at one time and the same burning, the temperature from 1350 to 1400 degrees Centigrade. Professor Charles F. Binns, Director of the New York State School of Clayworking and Ceramics, at Alfred, New York, began the study of this type of ware about 1903, as a matter of personal interest. Every piece is made and finished throughout by Professor Binns himself, and none is duplicated.","PeriodicalId":446326,"journal":{"name":"Bulletin of the Detroit Museum of Art","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1919-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129776547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1919-01-01DOI: 10.1086/BULLDETMUSART41935086
C. H. B.
manner in which the Rowlandson drawings are reproduced. Mrs. Soper's collection of this series is very nearly complete. The Wilkie series was made from plates taken by Clews of a set of comic pictures made by Sir David Wilkie, an English artist of the early nineteenth century. They are very beautiful in color and decorative in design. Mrs. Sidney J. Corbett, Jr., advised with the Director both with reference to the color scheme of the room, and the selection of the exhibits, and the success of the ensemble is largely due to lier guidance. The arrangement of the dark furniture against a Colonial buff wall brings the exhibits into a singular harmony, characteristic of x the period. A case containing the pewter and silver, against a blue gray velvet background, forms the central feature of the room. This touch of blue, together with the more striking dark blue of the Staffordshire china, gives an additional note of color to the room. The Museum would like tó obtain by gift or loan, samplers, prints or other small objects of handicraft suitable for exhibition in this room. Any one in possession of material of the Colonial period who would be willing to donate or loan their possessions, will greatly assist the Museum's endeavor if they will call or write the director regarding such objects. C. C. EXHIBITIONS FOR
罗兰森绘画的复制方式。索珀夫人的这个系列的收藏几乎全部完成了。威尔基系列是由Clews从19世纪早期英国艺术家大卫·威尔基爵士(Sir David Wilkie)制作的一组漫画照片中拍摄的。它们的颜色和图案都很漂亮。小西德尼·j·科比特夫人就展厅的配色方案和展品的选择向馆长提出了建议，而整个展览的成功很大程度上要归功于她的指导。深色家具与殖民时期的浅黄色墙壁的搭配，使展览进入了一种独特的和谐，这是那个时期的特点。一个包含锡和银的盒子，在蓝灰色天鹅绒的背景下，形成了房间的中心特征。这一抹蓝色，加上斯塔福德郡瓷器中更引人注目的深蓝色，给房间增添了色彩。博物馆希望tó以礼品或租借的方式获得样品、印刷品或其他适合在本展厅展出的小工艺品。任何拥有殖民时期物品的人如果愿意捐赠或出借他们的物品，如果他们打电话或写信给馆长，将极大地帮助博物馆的努力。C.展览
{"title":"EXHIBITIONS FOR JANUARY","authors":"C. H. B.","doi":"10.1086/BULLDETMUSART41935086","DOIUrl":"https://doi.org/10.1086/BULLDETMUSART41935086","url":null,"abstract":"manner in which the Rowlandson drawings are reproduced. Mrs. Soper's collection of this series is very nearly complete. The Wilkie series was made from plates taken by Clews of a set of comic pictures made by Sir David Wilkie, an English artist of the early nineteenth century. They are very beautiful in color and decorative in design. Mrs. Sidney J. Corbett, Jr., advised with the Director both with reference to the color scheme of the room, and the selection of the exhibits, and the success of the ensemble is largely due to lier guidance. The arrangement of the dark furniture against a Colonial buff wall brings the exhibits into a singular harmony, characteristic of x the period. A case containing the pewter and silver, against a blue gray velvet background, forms the central feature of the room. This touch of blue, together with the more striking dark blue of the Staffordshire china, gives an additional note of color to the room. The Museum would like tó obtain by gift or loan, samplers, prints or other small objects of handicraft suitable for exhibition in this room. Any one in possession of material of the Colonial period who would be willing to donate or loan their possessions, will greatly assist the Museum's endeavor if they will call or write the director regarding such objects. C. C. EXHIBITIONS FOR","PeriodicalId":446326,"journal":{"name":"Bulletin of the Detroit Museum of Art","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1919-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126694000","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1918-12-01DOI: 10.1086/bulldetmusart41934819
F. Brangwyn, C. R. W. Nevinson, C. Ricketts, Maurice Griffen
fitting their rank. The background represents a pastoral scene in which a flock of sheep is being driven towards two women who are shearing. A medallion in the sky represents a shepherdess holding a sheep in her lap and surrounded by clouds. In the coloring of this tapestry the Gothic red with high lights in yellow is conspicuous in the garments; green and dark blue are also used; and these colors have all been wonderfully blended by the process of hatching, a method of shading for which Flanders was particularly famous at that period. The borders are a bewildering confusion of children, satyrs, fruits and flowers. The color scheme of the tapestry is faithfully carried out in the variegated flowers and fruits.
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Pub Date : 1918-12-01DOI: 10.1086/bulldetmusart41934818
Myron Barlow, J. Gies, Frank Scott, F. S. Clark
The exhibition for Michigan Artists under the auspices of the Scarab Club, containing one hundred and forty-one works by fifty-seven artists, will be on view until December 31st. The jury consisting of Robert Reid, of New York, George W. Stevens, Director of the Toledo Museum of Art and Myron Barlow, rejected over half of the works submitted. Considering that this has been a year when everyone has been engrossed in war projects, the activity on the part of the art workers of this locality is gratifying. That this annual exhibition is an incentive and a stimulant to production is seen in the growth of the number of exhibitors. The first exhibition in 1910 contained less than a dozen names. The number has steadily increased from year to year. The prize awards for 1918 are as follows: The Scarab Club Gold Medal to Mr. Joseph W. Gies for his " Portrait of Frank Scott Clark"; the Detroit Museum of Art First Prize to Herman Gabriel for his " Landscape Decoration ;" the Detroit Museum of Art Second Prize to Arthur Marschner for his "October Day;99 the Detroit Museum of Art Third Prize to Miss A. L. Thorn for her " Study of a Girl;" the Hopkin Memorial First Prize to Charles Waltensperger for his " Old Mission Church ;" the Hopkin Memorial Second Prize to Berthold Seiffert for his " Evening , Elkhart Lake;" the Frank Scott Clark Prize for the best painting of a head in oil will be awarded by vote of the Scarab Club members.
由圣甲虫俱乐部主办的密歇根艺术家展览将展出57位艺术家的141件作品，展览将持续到12月31日。由纽约的罗伯特·里德、托莱多艺术博物馆馆长乔治·w·史蒂文斯和迈伦·巴洛组成的评审团拒绝了一半以上的作品。考虑到这是大家都在忙于战争工程的一年，这个地方的美术工作者的活动是令人欣慰的。从参展商数量的增长可以看出，这个一年一度的展会对生产是一种激励和刺激。1910年的第一次展览只有不到十几个名字。这个数字每年都在稳步增长。1918年的奖项如下:圣甲虫俱乐部金奖授予约瑟夫·w·吉斯先生，以表彰他的《弗兰克·斯科特·克拉克的肖像》;底特律艺术博物馆一等奖颁给Herman Gabriel的《景观装饰》;底特律艺术博物馆二等奖颁给Arthur Marschner的《十月之日》;1999年底特律艺术博物馆三等奖颁给a . L. Thorn小姐的《一个女孩的研究》;霍普金斯纪念一等奖颁给Charles Waltensperger的《老教会》;弗兰克·斯科特·克拉克奖的最佳油彩人头画将由圣甲虫俱乐部成员投票选出。
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Pub Date : 1918-10-01DOI: 10.1086/bulldetmusart41934822
{"title":"PAINTING BY MYRON BARLOW","authors":"","doi":"10.1086/bulldetmusart41934822","DOIUrl":"https://doi.org/10.1086/bulldetmusart41934822","url":null,"abstract":"","PeriodicalId":446326,"journal":{"name":"Bulletin of the Detroit Museum of Art","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1918-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115742036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1918-05-01DOI: 10.1086/bulldetmusart41935092
{"title":"OTHER IMPORTANT LOANS","authors":"","doi":"10.1086/bulldetmusart41935092","DOIUrl":"https://doi.org/10.1086/bulldetmusart41935092","url":null,"abstract":"","PeriodicalId":446326,"journal":{"name":"Bulletin of the Detroit Museum of Art","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1918-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121212635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1918-05-01DOI: 10.1086/BULLDETMUSART41935090
{"title":"\"REVERIE,\" by ELIE NADELMAN","authors":"","doi":"10.1086/BULLDETMUSART41935090","DOIUrl":"https://doi.org/10.1086/BULLDETMUSART41935090","url":null,"abstract":"","PeriodicalId":446326,"journal":{"name":"Bulletin of the Detroit Museum of Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1918-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131262979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1918-05-01DOI: 10.1086/bulldetmusart41935093
I. W.
{"title":"ACCESSIONS TO THE LIBRARY","authors":"I. W.","doi":"10.1086/bulldetmusart41935093","DOIUrl":"https://doi.org/10.1086/bulldetmusart41935093","url":null,"abstract":"","PeriodicalId":446326,"journal":{"name":"Bulletin of the Detroit Museum of Art","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1918-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123865306","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1918-05-01DOI: 10.1086/bulldetmusart41935091
H. A. Harmon
Through the income of the William C. Yawkey, Octavia W. Bates and Henry A. Harmon Funds, a marble sculpture by Elie Nadelman has been added to the permanent collection, and has been installed in Gallery III. It is the head of a woman entitled "Reverie," and the tranquility of introspection is well expressed in the mysterious smile of the thoughtful, refined woman a smile inspired from within. The modelling is simplified to the greatest degree, yet retains the essentials of good construction, and in his departure from realism, and in the employment of rhythmical curves in carrying out his ideas, the sculptor has brought forth a singular repose and a delightful ideality in his creation. In an age when artists too often turn to brutal and exact representation of interesting phenomena, depending largely upon spirited evidences of handiwork for success, it is refreshing to find a sculptor who seeks to create pure beauty by known laws of rythm. Mr. Nadelman still further controverts his age and further augments the ideality of his figure by giving the marble a highly polished finish, sacrificing the obvious evidence of his skill as a modeller, for the completeness of his aesthetic impulse. Elie Nadelman is a native of Poland, having been born at Warsaw in 1885. After studying his art at home, he went to Paris, where he sought inspiration rather than instruction. His marked individuality is in a great measure due to the fact that he is self taught. An exhibition of his work was held in New York in the winter of 1916-17, consisting of figures, heads and animal subjects and his departure from the style of his time at once brought him into prominence. He has enjoyed a substantial success in this country.
通过William C. Yawkey, Octavia W. Bates和Henry a . Harmon基金的收入，Elie Nadelman的大理石雕塑被添加到永久收藏中，并被安装在三号画廊。这是一个名为“遐想”的女人的头，内省的宁静很好地体现在这位深思熟虑、优雅的女人神秘的微笑中——一种发自内心的微笑。造型被简化到最大程度，但保留了良好的结构的基本要素，在他离开现实主义，并在执行他的想法有节奏的曲线的使用，雕塑家带来了一个独特的休息和令人愉快的理想在他的创作。在这个时代，艺术家们往往倾向于对有趣的现象进行残酷而精确的表现，在很大程度上依赖于成功的手工作品的精神证据，发现一位雕塑家试图根据已知的节奏规律创造纯粹的美，这令人耳目一新。纳德尔曼先生还进一步质疑了他的年龄，并通过给大理石抛光，进一步增强了他的理想身材，牺牲了他作为一个模型师的技能的明显证据，以实现他的审美冲动的完整性。Elie Nadelman是波兰人，1885年出生于华沙。在家里学习艺术之后，他去了巴黎，在那里他寻求灵感而不是指导。他显著的个性在很大程度上是由于他是自学成才的。1916年至1917年冬天，他的作品在纽约举行了一次展览，包括人物、头像和动物主题，他与当时风格的背离立即使他声名鹊起。他在这个国家取得了巨大的成功。
{"title":"GEORGE G. BOOTH LOAN COLLECTION","authors":"H. A. Harmon","doi":"10.1086/bulldetmusart41935091","DOIUrl":"https://doi.org/10.1086/bulldetmusart41935091","url":null,"abstract":"Through the income of the William C. Yawkey, Octavia W. Bates and Henry A. Harmon Funds, a marble sculpture by Elie Nadelman has been added to the permanent collection, and has been installed in Gallery III. It is the head of a woman entitled \"Reverie,\" and the tranquility of introspection is well expressed in the mysterious smile of the thoughtful, refined woman a smile inspired from within. The modelling is simplified to the greatest degree, yet retains the essentials of good construction, and in his departure from realism, and in the employment of rhythmical curves in carrying out his ideas, the sculptor has brought forth a singular repose and a delightful ideality in his creation. In an age when artists too often turn to brutal and exact representation of interesting phenomena, depending largely upon spirited evidences of handiwork for success, it is refreshing to find a sculptor who seeks to create pure beauty by known laws of rythm. Mr. Nadelman still further controverts his age and further augments the ideality of his figure by giving the marble a highly polished finish, sacrificing the obvious evidence of his skill as a modeller, for the completeness of his aesthetic impulse. Elie Nadelman is a native of Poland, having been born at Warsaw in 1885. After studying his art at home, he went to Paris, where he sought inspiration rather than instruction. His marked individuality is in a great measure due to the fact that he is self taught. An exhibition of his work was held in New York in the winter of 1916-17, consisting of figures, heads and animal subjects and his departure from the style of his time at once brought him into prominence. He has enjoyed a substantial success in this country.","PeriodicalId":446326,"journal":{"name":"Bulletin of the Detroit Museum of Art","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1918-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125660312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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