The Tenth Street Studio Building: Artist-Entrepreneurs from the Hudson River School to the American Impressionists

The Tenth Street Studio Building: Artist-Entrepreneurs from the Hudson River School to the American Impressionists

Annette Blaugrund

Language: English

Pages: 143

ISBN: 0295976357

Format: PDF / Kindle (mobi) / ePub

New York's Tenth Street Studio Building (1857-1956), designed by Richard Morris Hunt, housed some of the most important artists in the United States, notably Frederic E. Church, Albert Bierstadt, Winslow Homer, John La Farge, and William Merritt Chase. The tenants worked, taught, exhibited, promoted, and sold their work from their studios and the gallery. This book examines not only the architecture and functions of the building, illustrating a number of the studios, but also the marketing of art in the 19th century. Excerpts from diaries, letters, and autobiographies provide a sense of the congeniality and collaboration among the tenants. A roster of tenants from 1857 to 1895 is included.

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F. Weir Papers, Sterling Memorial Library, Vale American Art. University, microfilm roll 531, frame 196-97, Archives of 2. Theodore Sixer, ed., Recollections of John Ferguson and the Associates of Fine Art 3. at (New Weir New York York: Historical Society Yale University, 1957), p. 52. Address by McLntee, Gifford Memorial Meeting New ( York: Century Association, November 19, 1880), p. 41. 4. Garnett Mc( Inmates in lay, "Visits, Parties, Garnett McCoy, 5. ed. "Jcrvis

Ibid. McEntee, Whittredge, and Hubbard expressed similar sentiments. 37. Ibid., February 13, 1878. 38. " Notes," Art Journal 6 (1880), 39. McEntee 40. American Art Review 2 41. New p. 96. Diary, February, 26, 1881, unpublished typescript. 1 ( 88 p. 1 ), 253. York Times, March 5, 1882. November 42. Harper's Weekly, 43. In conversation November 15, 1882. 12, 1996, with David Dearinger, curator of the National Academy of Design. 44. McCoy, ed. "Jervis 45. Instead of

were involved in promoting an international aesthetic, and the Studio Building once again was at the center of art activities. Always the teacher, Chase used the Pedestal Fund own Exhibition to forward his decorative arts. He ideas about maintained his European painting and the until December at auction. Although Tenth Street studio 1895, when he moved out and sold the contents crowds of people attended the auction, the prices paid were modest, some of them selling for less

who wrote soon It is style 14 evidently after the Studio Building opened: becoming the fashion of elegance and taste that for the artist to receive his guests in a should always characterize the man who is bv . profession cultivator a understood artist of those excellent exhibit his works, mk\ he studio the tanvst in is own room that his who way ^.\n is h qualities, is high time that the most fitting place in which induce people ol refinement to to be

74 x Berry Hill Galleries, in. The National Portrait Gallery, Washington, on canvas; 10 Oil of the Sidvvay, Buffalo, by 1962; Orchid (Ly caste Dcppci) (William) Gilbert Gaul Oil 7 on canvas; 25 /t National l -York Historical Society, Gift of Donald Anderson, 1954.1 11. Provenance: William 1. Evans, by 1889. '/;• 1994.12. Interior with Portraits, William Stanley Haseltine in. 22 of American Art, Chicago, Thomas Le Clear (1818-1882 1855-1919) 1882 the Battery, on canvas; 36

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