1 15 5 https://omeka.wilkes.edu/omeka/files/original/3f72f35de5f410f025f3d7b121c6ead1.pdf 913bbe8f11dd497b4f2aaf3590789ccb PDF Text Text ������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1973 November 25 George Catlin: Painter of the Indians of the Americas Creator An entity primarily responsible for making the resource George Catlin Date A point or period of time associated with an event in the lifecycle of the resource 1973 November 25 - 1974 January 5 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This show is a survey of painter George Catlin's work on the Native Americans of the region. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Native American Art George Catlin Source A related resource from which the described resource is derived The National Collection of Fine Arts Smithsonian Institution and The National Gallery of Art Rights Information about rights held in and over the resource The Smithsonian Institution likely retains the rights to this work. https://omeka.wilkes.edu/omeka/files/original/d5833961e9798459a9fecda2f5da448a.pdf 3aa365d3207f495075e7f4dc4e6d101e PDF Text Text ������������������������������� https://omeka.wilkes.edu/omeka/files/original/d0f34edb51a7224320313fcd100fa2f8.pdf d9446ebeeceb5b4821160d136cf1323c PDF Text Text he- i 1< K ND237 C35G89 �GEORGE CATLIN PAINTER OF THE INDIANS OF THE AMERICAS Introduction and Catalogue by Vivian Varney Guyler OPENING EXHIBITION SORDONI ART GALLERY WILKES COLLEGE WILKES-BARRE, PENNSYLVANIA E.s. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA _ Paintings on loan from THE NATIONAL COLLECTION OF FINE ARTS SMITHSONIAN INSTITUTION and THE NATIONAL GALLERY OF ART �archives Th* •hi! v we**•’ ** ** ° ,n a* ’ that P^;.' O'1 Acknowledgements Special appreciation is extended to staff of the National Collection of Fine Arts, Smithsonian Institution and the National Callery of Art for making this Catlin Exhibition and the publication of this catalogue possible. in S’ n3ti'e tor Mr. Joshua C. Taylor, Director, National Collection of Fine Arts Mr. William H. Truettner, Associate Curator of Eighteenth and Nineteenth Century- Painting and Sculpture, National Collection of Fine Arts nd all -;ave " Hethen Pot-’ ht C’ self-tadght. c; Mr. Lowell A. Kenyon, Photographer, National Collection of Fine Arts Mr. J. Carter Brown, Director, National Gallery of Art Mr. Jack C. Spinx, Chief of Exhibitions and Loans, The National Callery of Art Mr. William P. Campbell, Assistant Curator, The National Gallery of Art Ms. Kathleen Kissane, Coordinator of Photography, The National Callery of Art t turning pO‘nt The important.then the Pi*'n* from the "Far ' As Catlin himsek put <tmv m/ndwa>connnua//vr< to demote a whole lde-we of and digniiied-lookmg Indian city, arrayed and equipped tn , tunic and manteau. — ■ nted a< and stoic dignity. the>e lords o in their pictured robes, with th the gaze and admiration or all a people, preserved by pictor man. and nothing short ot the try. and of becoming their hisb ••■•ith the determination or rest ot North America, and of bring on hmenLa"d women {^m e; P/eteToZ/ecToTo/X^'5'0^ Vo™3°i«e" „ ar,iv«r in St. lo c°nvincec| q, to the for the "as iinj Cathn aCcc;T barter. ln to fo ac ar,ersandn °UbtM ar°und hj^ .Mlssir - £311^, duB,-,r" lh" �t.—LM v- • GEORGE CATLIN 1796-1872 bn of Fine Arts, Smithsonian khibition and the publication Arts Pd Nineteenth Century Fine Arts nal Gallery of Art allery of Art tional Gallery of Art The opening of the Sordoni Art Gallery comes at a time when interest in the history of the American Indian as well as in the history' of American painting is very high. It is appropriate therefore, that paintings by George Catlin, born in Wilkes-Barre, July 26, 1796 should comprise the opening exhibition. Catlin’s earliest years were spent in the Wyoming Valley where his in­ troduction to Indians came as a boy listening to his mother tell of her capture in the Wyoming Massacre of 1778. Many years later, in his writings, he commented on the sad tale of the Indian in his "native valley." Catlin practiced law for three years in Luzerne, Pennsylvania, but then sold his law library and "all save my rifle and fishing tackle" and converted the proceeds into "brushes and paint pots. He then went to Philadelphia determined to make painting his life's profession. Entirely self-taught, Catlin developed skill both as a miniature painter in watercolors and as a portrait painter in oils. In 1824 he was elected an academician of the Pennsylvania Academy of Fine Arts, a select group of artists of the day. The important turning point in Catlin's painting career came when a group of Indians from the Far West" ithen the Plains) passed through Philadelphia on their way to Washington. .As Catlin himself put it: ... my mind was continually reaching for some branch or enterprise of the art, on which to devote awhole life-time of enthusiasm; then a delegation of some ten or fifteen noble and digniiled-looking Indians, from the wilds of the "Far West," suddenly arrived in the city. arrayed and equipped in all their classic beauty, — with shield and helmet, — with tunic and manteau, — tinted and tasselled off, exactly for the painter's palette! In silent and stoic dignity, these lords of the forest strutted about the city for a few days, wrapped in their pictured robes, with their brows plumed with quills of the war-eagle, attracting the gaze and admiration of all who beheld them . . . And the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life, shall prevent me from visiting their coun­ try. and of becoming their historian . . . I set out on my arduous and perilous undertaking with the determination of reaching, ultimately, every tribe of Indians of the Continent of F.'orth America, and of bringing home faithful portraits of their principal personages, both men and women from each tribe; views of their villages, games, etc., and full notes on their character and history. I designed, also, to procure their costumes, and a com­ plete collection of their manufacturers and weapons, and to perpetuate them in a "Callery unique," for the use and instruction of future ages. In 1830 Catiin arrived in St. Louis with a portfolio of his paintings of the Iroquois Indians of New York State. He convinced General William Clark, who with Meriwether Lewis had made the famous expedition to the Pacific Ocean from 1804 to 1806 and who was then Superinten­ dent of Indian Affairs for the Western tribes, that he was worthy of the permission necessary to pursue his goal. Clark was undoubtedly impressed by Catlin as he was allowed to set up his easel in Clark's headquarters and paint the Indians who visited on tribal business. He also allowed Catiin to accompany him during treaty-making sessions at Prairie du Chien and Fort Crawford on the upper Mississippi River. The artist used every opportunity available to paint the Indians around him His "Gallery" had begun. < . t �sla' ! Catlin spent the years 1830-1836 among the Indians of the Plains, the Woodlands and the Great Lakes. By IB 17 his "Callery" c onsisted of 494 paintings - ■ portraits, landscapes, hunts, tri­ bal dances, religious ceremonies and episodes depicting animal life. There were also a number of artifacts spears, drums, pipes, bows, robes and even a Crow tepee twenty-five feet high and large enough to hold forty men. These he set up as "Catlin's Indian Callery' which he opened in New York's Clinton Hall on September 23, 1837. He charged fifty cents admission and was often present to lecture, describing and explaining the paintings and artifacts. In 1838 Catlin took his "Gallery" to Washington, then to Baltimore, Philadelphia and Boston. Catlin's dream was to have the United States Government buy his "Gallery" both for the financial remuneration and for the picture it would preserve for posterity of the fast vanishing American Indian. When there was no action by the U. S. Congress on his resolution for the pur­ chase of his paintings, Catlin, in desperation, announced that he would take his "Gallery" to Europe; perhaps there he would find a buyer. Catlin's "Gallery of North American Indians" opened on February 1, 1840 in Egyptian Hall, London. The crowds were at first enthusiastic, and at times Catlin had real Indians to show them, a group of Ojibwas and then lowas having been brought to London to perform dances and other entertainment. The English who attended witnessed one of the earliest live "Wild West" shows. Even Queen Victoria and Prince Albert invited Catlin, his wife and the Ojibwas to Buckingham Palace. When interest waned in England, Catlin took his "Gallery to Paris and on June 3rd, 1845 he opened his exhibition to the public with the same early success he had re­ ceived in London. Fora time it was shown in the Louvre for the royal family at the request of the King, Louis Philippe. Catlin's personal and financial situations began to take a turn for the worse in Paris. His wife and young three-year old son both died of pneumonia and the loans made in anticipation that the U. S. Congress would pass a bill to purchase his paintings had to be repaid when the bill was defeated. His creditors moved in to take possession of his "Gallery." Fortunately a wealthy American, Joseph Harrison, owner of the Harrison Boiler Works in Philadelphia the largest locomotive building concern in the world at the time, came to his aid and paid off his creditors. Harrison hurriedly crated Catlin's paintings and artifacts and shipped them off to Philadelphia to save them from any new claims. After Catlin's and Harrison's deaths, the collec­ tion which included four hundred and forty-five paintings and many artifacts was given by Har­ rison's widow to the Smithsonian Institution. For many years they had been stored improperly in the boiler works factory and had suffered from water, fire and moths. Many of the objects had to be discarded, but the paintings were restored. Twenty paintings from Catlin's original "Gallery" are part of the Sordoni Art Gallery's opening exhibition. These are on loan from the National Collection of Fine Arts, the Smithsonian Institution. In his late fifties, Catlin spent part of his time in the reading room of the Bibliotheque Imperial in Paris. There he met another frequenter of the library who had delved into old Span­ ish volumes describing lost gold mines in the Crystal Mountains of Brazil. Catlin decided to go in search of lost gold. When the search proved futile and his miner's tools were lost and broken he began to travel and paint Indians. He proposed to do with the South Xmerican Indians w hat he had done with the North American Indians. He traveled up the Amazon crossing the entire jungle interior of Brazil visiting thirty of the tribes which inhabit the rivei's shores He then - rossed the high Andes to the Pacific coast of Peru, traveled across the pampas of Argentina and thim to the southern end of South America, Tierra del Fuego. and completely a.ound the coast o •uufh America. atlm probably visited more of South America's pr.mitiye tribes than any " ht,s ,,v“r Witl> his companion, a Negro named Caesar Holla who had J;°South A"lehv fX>i’ th$ ytex^ his t<? $ee number ,^'^rth ^hundred ■' ’* -Gallen ne on ■ with of LJ Sa anne earlier to of Paint'n®he 1670'' <rlon d rep< Fran7,! bought bvWe ln 1830 when Catlin began h jacob Astor's powerful A-ric-Fu Fortified trading posts had be and plans were being formulated fo ited many of these forts and was oftc his painting and collecting enterprise the effects of their presence on the li Not only did Catlin forsee the man himself, he also predicted that to New York and other Eastern marl the great herds, the principal means the white man brought cheap trinke at the inflated price of twenty and th ^ater" often led to overindulgence ; ■ ie man brought his diseases c°nbnua//v arn ? u™uspGctj r hc muzzle e 2m-r'be aUe‘ haVen°'vav tX /ethI'?nfo reel ln awfu 'vho-'esa/eUavS their vengear o!1;:'’p'oud«<i,S,bv‘vl’is^ <■ " ■"""’ins ■ �1e Plains th , ‘Z< h, e dlso ; IWe'->tv-five,afnur^ber ie ch lnd'an r _Gal|Qry" ' , feet high a nlh<lrged fifty cents adm <ission h,ladelPhia and artifacts 1,1 1838 Boston. ■nt buy his or , ;r?lings and ess on his beSon would a^ich g; take his "r . epur'S Gailery"t0 >n February i -io1ri ■ ‘s Catlin had realfndi'" EgYptian to London to S:XtOHSh^ Catlin °h lhefearlieSt 'ive ''™ld . t'u? ?V'te and the Oiibwas 1 took his 'Gallery" to Paris and the same early success he had reie royal family at the request of a turn for the worse in Paris. His d the loans made in anticipation ings had to be repaid when the of his "Callery." Fortunately a riler Works in Philadelphia, the came to his aid and paid off his tifacts and shipped them off to ind Harrison's deaths, the collecmany artifacts was given by Harthey had been stored improperlv and moths. Many of the objects - paintings from Cftl,n'S °r'8The ion. These are on loan trom >adi h8 h°a°dmdelvedeinBtoboldlpan- ■■ —5 vvhst habit ross thepamPf the entire He then i ano d the coast c than anv and compete > -.erica's Pr'^esar Bolla Sv ho had >gro named Cae escaped from slavery in Havana, he then traveled up the Pacific Coast along the entire West Coast of North America, to the Aleutian Islands and across the Bering Sea to Siberia. Returning to South America, they crossed the Rocky Mountains from Southern California to the Gulf of Mexico, then by boat to the Yucatan of Mexico where they parted, Catlin returning to Europe to see his old friend, Baron von Humboldt in Germany. Before finally returning to the United States in 1870, then almost deaf, Catlin spent a number of years in Brussels somewhat of a recluse. He repainted a number of his original "Gallery" of North American subjects and wrote more books. When he did return he brought with him more than one hundred and fifty paintings: a group made in South America, a series of paintings of La Salle's voyage on the Mississippi which the French explorer had claimed for France in the 1670's (done earlier for King Louis Phillipe but never paid for), and most of the original "Gallery" which he had repainted. He called these "Catlin's Indian Cartoons." This col­ lection was bought by the American Museum of Natural History from Catlin's surviving daughter Elizabeth. It was later bought by Mr. Paul Mellon and three hundred and fifty-one of them given to the National Gallery of Art. Sixteen of these are on loan and others are part of the Sordoni Art Gallery's opening exhibition. George Catlin died on December 23, 1872 without realizing that his works would someday belong to the public for which he had painted them. In 1830 when Catlin began his mission, the influence of the white fur traders and John Jacob Astor's powerful American Fur Company on the lives of the Indians had already been felt. Fortified trading posts had been erected along the entire Mississippi, Missouri and Platte Rivers and plans were being formulated for spreading the trade over the whole Northwest. Catlin vis­ ited many of these forts and was often helped considerably by the white agents and traders in his painting and collecting enterprise. He was at the same time very outspoken in his criticism of the effects of their presence on the lives of the Indians. Not only did Catlin forsee the greed of these traders bringing a gradual end to the red man himself, he also predicted that the incredible number of buffalo robes being carried away to New York and other Eastern markets to be sold at great prices would soon mark the end of the great herds, the principal means of subsistence for the Indians of the Plains. With the trade the white man brought cheap trinkets and whiskey, the latter sold to the Indians, often diluted, at the inflated price of twenty and thirty dollars per gallon. The Indian's exposure to this "fire­ water" often led to overindulgence and a state where the Indian became a "beggar for whiskey ... lying drunk as long as he can raise the means to pay for it." With the trinkets and whiskey the white man brought his diseases — small-pox, "the dread destroyer of the Indian race" and his firearms. On this state of affairs Catlin wrote: These traders, in addition to the terror, and sometimes death, that they carry into these remote realms, at the muzzles of their guns, as well as by whiskey and the small-pox, are continually arming tribe after tribe with firearms; who are able thereby, to bring their unsuspecting enemies into unequal combats, where they are slain by thousands, and who have no way to heal the awful wound but by arming themselves in turn; and in a similar manner reeking their vengeance upon "their" defenseless enemies on the West. In this wholesale way, and by whiskey and disease, tribe after tribe sink their heads and lose their better, proudest half, before the next and succeeding waves of civilization flow on, to see or learn anything definite of them. Catlin conceived for himself, in addition to an educational mission, a social and even po­ litical one. He would be a spokesman for the red man in the white man's world. During his exhi­ bitions, his lectures were sprinkled with comments, often biting, on the role the white man and his government were playing in the destruction of this red man he held in such high regard. He �lh^had^'^ Minid"eS ^h/intendto mrticularlv critical of the role the United States government was playing in the removal of Indi ns from their home territories to lands farther west where their whole mode of living had to be changed to adapt to the new geography and the new climate. Cathn pleaded: SSSd It is for these inoffensive and unoffending people, yet unvisited by the vices of civilized society, that I would proclaim to the world, that it is time, for the honour of our country — for the honour of every citizen of the republic —and for the sake of humanity, that our government should raise her strong arm to save the remainder of them from the pesti­ lence which is rapidly advancing upon them. We have gotten from them territory enough, and the country which they now inhabit is most of it too barren of timber for the use of civilized man; it affords them, however, the means and luxuries of savage life; and it is to be hoped that our government will not acquiesce in the continued willful destruction tume. with head-dre>s d and whom / /y allbut the head-dress;j able togetquidsanderi him, however, for the ,1 head-dress, untilhe at / it; the bargain was InstJ five dollars each and th of these happy people. It is important to note that Catlin, who was so critical of fur traders and white civilization and its effects on the Indians, was often looked upon as an intruder by the Indians whose faces, landscapes, ceremonies, living habits and artifacts he wished to preserve. His painting was to many Indians a ’'medicine," a mystery, unaccepted by them. His "medicine" even led to death and intertribal rivalry. He was not opposed to using his own type of trickery or inducements to encourage an unwilling chief to pose for him. He appealed to the Indian's vanity and in South America, finding the Indians less friendly to him than in North America, he used an opera glass, ’the best of all traveling companions" and often stayed out of sight painting under the little can­ opy which shaded the boat's deck while his companion Caesar fired his revolver or played on his fiddle to distract the Indians' attention. One South American Indian medicine man in condemn­ ing Catlin's work said: These things are great mystery; but there you are, my friends, with your eyes open all night — they are never shut; this is all wrong, and you are foolish to allow it. You never will be happy afterwards if you allow these things to be always awake in the night. My friends, this is only a cunning way this man has to get your skins; and be placed amongst the skins of the wild beasts and birds and snakes! Don't hurt this man — that is my advice; but he is a "bug-catcher and a monkey-skinner!" _ Ca(|jn t Ramb(es The medicine man was referring by "bug-catcher" and "monkey-skinner" to the group of Eu­ ropean and American zoologists, ornithologists, entomologists and other scientists from the great universities who were in the nineteenth century combing South America for specimens, some to be killed and stuffed and placed in museums. Among (he Mandans living then along the Missouri River, Catlin at one time caused deep resentment. A number of squaws having seen paintings of two of their chiefs painted by Catlin raised strong opposition to him. They commenced a "mournful and doleful chant" against him, crying and weeping bitterly through the village," proclaiming him "a most dangerous man. one wio cou ma e iying persons by looking at them, and at the same time, could, as a mat­ er o course, estroy i e in the same way." In this case, Catlin tried to convince the men of his nvT tuUrn/ni^\ a? trUe *ntentl0ns ar,d then appealed to the Indian male's avowed superiority ot.Lu ktatlnS-tla* in the country where I lived, brave men never allowed their squaws to frighten them with their foolish whims and stories." In addition to Catlin's employing many means to both paint and preserve his art, he was not opposed to the many kinds of persuasion r,e< necessary to secure the costumes and artifacts he envisioned as part of his "Gallery." He often had —d to pay dead) for a certain object. Catlin wrote while living with the Mandans: tch. Jni .h Catlin Itis clear that althougl verity," there'' customs to post while in f Plete. Catlin i. Peale ha Willson Charles I.. war heroes, display olutionary I torial background su^’ skeletons. The idea ot Cat Catlin's task of paintin one in the nineteenth century was however in a sense a man dition to being a man who co words. Catlin wrote several vc attitudes supplement his pain paintings, being replete with describing the clay bluffsalon The whole country hel as if some giant masoi noble at,'c and !t « fort P°sterity’- js -and shall ec* c°r>tir �h'ay;^ ,tr. . , 1 '8 had ' have had abundant opportunities of learning the great value which these people some­ times attach to such articles of dress and ornament, as I have been purchasing a great many, which I intend to exhibit in my Callery of Indian Painting, that the world may ex­ amine them for themselves, and thereby be enabled to judge of the fidelity of my works, and the ingenuity of Indian manufactures. ’c sake r,;, der ?' h }7 them ■fOfn then?, )rr?n of r te Ur,es Df f°- the and l t js '5,r^tion ■' Wckwv o?X'i'0? ’L ' lnd,an's vanitv and ; *rica, he used an opera\y painting under the lytle c/-'. Ihts revolver or played on h\ n medicine man in condemn ids, with your eyes open a oolish to allow it. You new vays awake in the r. kins; and he placed amors; this man — that my ad. dinner to the group v -nd other scientists trem )Uth America for spec It is clear that although Catlin said "I travel, not to trade but to herald the Indian and his dying customs to posterity/' there was a good deal of trading he had to do to make his "Gallery" com­ plete. Catlin while in Philadelphia had visited the museum which the painter and naturalist Charles Willson Peale had set up in Independence Hall. It consisted of Peale's paintings of Rev­ olutionary war heroes, displays of stuffed animals and birds each in a compartment with a pic­ torial background suggestive of its natural habitat, waxwork dummies of mankind and several skeletons. The idea of Catlin's own "Gallery" may have originated at that time. Catlin's task of painting and documenting the Indians of the Americas was not an easy one in the nineteenth century; there was much personal sacrifice and personal risk involved. He was however in a sense a man possessed, a man of strong will and determination. Happily in ad­ dition to being a man who could wield a brush to create visual images, he also was a man of words. Catlin wrote several volumes and letters where his own descriptions, experiences and attitudes supplement his paintings, drawings and prints. Catlin's writing is often as visual as his paintings, being replete with descriptions and images as vivid as the colors of his palette. In describing the clay bluffs along the Missouri while riding along in his canoe: trous The whole country behind us seemed to have been dug and thrown up into huge piles, as if some giant mason had been there mixing his mortar and paints, and throwing to­ gether his rude models for some sublime structure of a colossal city; — with its walls — its domes — its ramparts — its huge porticos and galleries — its castles — its fosses and ditches; — and in the midst of his progress, he had abandoned his works to the destroy­ ing hand of time, which had already done much to tumble them down, and deface their noble structure; by jostling them together, with all their vivid colours, into an unsystem­ atic and unintelligible mass of sublime ruins. Id.*’ the men It is fortunate for all that Catlin did succeed in having at least part of his "Gallery" saved and that "posterity" is and shall continue to be the beneficiary of all his efforts. —-sed ta­ atlin at one time inted by Cr " heir chiefs pan— jnstbtfr . . same time, In these purchases I have often been surprised at the prices demanded by them; and per­ haps I could not recite a belter instance of the kind, than one which occurred here a few days since: — One of the chiefs, whom I had painted at full length, in a beautiful cos­ tume, with head-dress of war-eagles' quills and ermine, extending quite down to his feet; and whom I was soliciting for the purchase of his dress complete, was willing to sell to me all but the head-dress: saying, that "he could not part with that, as he would never be able to get quills and ermine of so good a quality to make another like it." I agreed with him, however, for the rest of the dress, and importuned him, from day to day, for the head-dress, until he at length replied, that, if I must have it, he must have two horses for it; the bargain was instantly struck — the horses were procured of the Traders, at twentyfive dollars each, and the head-dress secured for my Collection. Vivian Varney Cuyler Assistant Professor of Fine Arts Director, Sordoni Art Callery it and Pr£> ■tu^’the co^,rt3in a cei Catlin ■ ■; :.rtrj ' j’'.-’J ui. . ' it vr/.'.-f- inch'.acd is Men from Catlin'*. /.<*ne« and Notcy on the Manners, Customs, td ( c.’-djSi,,n r.i tf-r- ;!-,rth Ame rican Indian',, 2 70I5 ., tondon 1811 �«r 1 List of Paintings in Exhibition -K> , 0$ 1. He Who Takes Away, War,, and Mink-chesk, three distinguished young men (Osage), 1834 10. Dance of the chiefs, mouth of Teton RFiver, 1832 (?!^’ 1/ Oil on canvas, 22% " x 27 %" Oil on canvas, 29" x 24" National Collection of Fine Arts, Smithsonian Institution buffalo bull 2. White wolves attacking a Oil on canvas, 19?/a" x 27%" National Collection of Fine Arts, Smithsonian Institution 3. An Osage Indian pursuing a Comanche, 1836 Oil on cardboard, I8V2" x 24W The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon 4. Dance to the Berdashe (Sauk and Fox), 1834 Oil on canvas, 19’/2" x 2 7 Ya" National Collection of Fine Arts, Smithsonian Institution 5. She-de-a, Wild Sage, a Wichita woman,1834 Oil on canvas, 29" x 24" National Collection of Fine Arts, Smithsonian Institution National Collection of Fine Arts. Smith- -nun Institution Oil on canvas, 29" x 24" Oil on canvas, 29" x 24" dr^^.rT pent -and' National Collection of Fine Art* Smithsonian lr.;1ru> -,n 12. Wife of Bear-catcher (Kansas), 1831 2h Oil on canvas, 29" x 24" National Collection of Fine Arts Smithsonian Institution 13. Mah-to-he-hah, The Old Bear, a medicine man (Mandan), 1832 Oil on canvas, 29" x 24" wih-chee' 1 oPl 183-1 (0*8el' nq-x s- 0,1 one.”-1-; II I 22. A small Ore/on village (Upper Amaze Oil on cardboanI, 78’ 2 ” x2412 " The Vjtional Gallen rior->-r Mr < National Collection of Fine Arts, Smithsonian Institution 23. Pont de Palmier; and tiger shooting 'Trombutas River, Northern Brazil) 14. Back view of Mandan village, showing cemetery, 1832 Oil on canvas, 11 %" x 14%" National Collection of Fine Arts, Smithsonian Inst tut.on 6. Duhk-pits-a-ho-shee, the red bear (Crow warrior), 1832 ka-ding f 11. Seet-se-be-a, The Mid-day Sun, a pretty girl (Hidatsa), 1832 15. Rainmaking among the Mandan. 1832 Oil on canvas, 19’5" x 27%" National Collection of Fine Arts, Smithsonian Institution I Oil on cardboard, 18’;" \ 24'2 " Tw'.lt.owtrultrnofArt Collru.onotMr >. m,. | 24. An alligator s nest (lagoon of the Am Oil on cardboard. LT •" x24'.-* National Collection of Fine Arts, Smithsonian Institution p .r.raM.G 7. Weapons and appearance of the grizzly bear 16. Wee-ta-ra-sha-ro, head chief of the tribe (Wichita), 1834 Oil on canvas, 26’/z" x 32% " Oil on canvas, 29" x 24" National Collection of Tine Arts, Smithsonian Institution National Collection of Fine Arts Smith-nn-an Institu' cn 25. Turtle hunt by torchlight ilrombutas Oil on cardboard. 18’ z" x 24' i OtI Art C '.'Ml cftOt 'Ar 8. Prairie meadows burning, 1832 Oil on canvas, 11 Vij" x 143/ii" National Collection of Fine Arts, Smithsonian Institution 17. Lay-law-she-kaw, He Who Goes Up The River, an aged chief (Shawnee', 1831 Oil on canvas, 29" x 24" 26. Medicine man, performing his mysU over a dying man 'Blackfoot i, 1832 Oil on cardboard 18%’ x tv " National Collection ot Fine Art<. Smith- n an In-Mu! on 9. Foot war party on the march, Upper Missouri Oil on canvas, 11%" x 14%" National Collection of Fine Arts, Smithsonian Institution 18. Flathead Indians Oil on cardboard, 18’ a" \ 24' The N itional tia'l.ux •' A . Mfi Fl '• 1H- - a �List of Paintings in Exhibition 19. Woman and child, showing how heads of children are flattened Chinook, band of the Flathead family) ,n'apre‘tygi.i 28. Clatsop Indians (band of the Flatheads) Oil on cardboard, W’m" x 241'2" The National Gallery ot Art, Collection of Mr. & Mrs. Paul Mellon Oil on canvas. 29’ x 24’ Nui.e-M Collection ct f.neArts. Smithsonian Inst.tut.on 20. Tcha-aes-ka-ding, grandson of Buffalo Bull's Back Fat ’.Blackfoot), 1832 29. The great ant-eater, visiting Catlin's camp (Yucayali River, Peru) Oil on cardboard, 18'/a" x 24'Zt" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon Oil on canvas. 29" x 24" 1831 Netic'r.’l Co-wCion of Fine Aris. Smithsonian instilui on 30. The handsome Dane-Goo-a Give, 1852 21. Wah-chee-te, wife of Clermont, and child Osage-’. 1834 a medici Oil on cardboard, 18’/’" x 24’/2" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon OH on canvas, 29’x 24’ Nzzz.nil' Co: edict: of Fine Arts. Sm.’.lhssrrzn Institution 31. An Indian village —shoreofthe Amazon Oil on cardboard, I8V2" x 2414 " 22. A small Orejon village .Upper Amazon) The National Gallery of Art. Collection of Mr. & Mrs. Paul Mellon Oii on cardboard, IS -2x 24 li" show inc The Ns: or.3* Gel’s.-. Art Cr. ecu ~r M-. A. Mrs. Paul Mellon 23. Pont de Palmiersand tiger shooting Trombutas River, Northern Brazil' 32. Spearing by moonlight— Chaco Indians (Paraguay River, Argentina) Oil on cardboard, 18‘Za" x 241/z" The National Gallery oi Art, Collection of Mr. & Mrs. Paul Mellon Oil on cardboard, 18yi" x24'z'7 Tre N<r.:sna‘Gal en-bAr. Co ’ : — z-. cr -Mr. i Mrs. Paul Mellon an,1832 24. An alligator's nest Jagpon of the Amazon) O.'- cn cardboard, 18’2"x 24-if-’ The -r.il Galfe-v Art. Cc:l£Z’.-“r L Mrs. Piul .Mellon 33. Maue Encampment, looking ashore from the steamer (below the River Negro, lower Amazon) Oil on cardboard, 18'/’" x 24'Zr" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon of the tribe 25. Iurtle hunt by torchlight ■ J rombutas River) GJ cn cardboard, 13:2" x 24’2 ” TheCz c'AT.Cz 1 :..:j Piuj MeTon 34. Grand Lavoir, Pampa del Sacramento (Peru) Oil on cardboard, IS’/z" x 24’/2" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon >es Up The 0,1831 26. Medicine man. performing his mysteries over a dying man (Blackfoot , 1832 Oil on ca'cboard, Id' i* x 24'.a’ 35. Mouth of the Rio Purus (Upper Amazon) Oil on cardboard, I8V2" x 241Zz" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon 36. Spearing by torchlight on the Amazon Oil on cardboard, I8V2" x 24 V2" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon �3. An Osage Indian pursuing a Comanche National Collection of Fine Arts, Smithsonian Institution 2. White Wolves attacking a buffalo bull "During my travels in these regions, I have several times come across a gang of these animals surrounding an old or a wounded bull, where it would seem, from appearances, that they had been for several days in attendance, and at in­ tervals desperately engaged in the effort to take his life. But a short time since, as one of my hunting companions and myself were returning to our encampment with our horses loaded with meat, we discovered at a distance, a huge bull, encircled with a gang of white wolves; we rode up as near as we could without driving them away, and being within pistol shot, we had a remarkably good view, where I sat for a few moments and made a sketch in my note-book; alter which we rode up and gave the signal for them to disperse, which they instantly did, withdrawing themselves to the distance of fifty or sixty rods, when we found, to our great surprise, that the animal had made desperate resistance, until his eyes were entirely eaten out of his head — the grizzle of his nose was mostly gone — his tongue was half eaten off, and the skin and flesh of his legs torn almost literally into strings ... I rode nearer to the pitiable object as he stood bleeding and trembling before me, and said to him, "Now is your time, old fellow, and you had better be off. Though blind and nearly destroyed, there seemed evidently to be a recognition of a friend in me, as he straightened up, and trembling with excitement, dashed off at full speed upon the prairie, in a straight line. We turned our horses and resumed our march, and when we had advanced a mile or more, we looked back, and on our left, where we saw aga n the ill-fated animal surrounded by his tormentors, to whose insatiable voracity he unquestionabh soon fell a victim." •he ■ s g<\c_ 4- Da eB ar ' hr- » , ,hr-$ :rn a- -nr'^IK ■l a ' £an. d 'h-s d, -Ko, n f, rU *»» h �- ■■ Mb The National Callery of Art, Mr. and Mrs. Paul Mellon Collection An Osage Indian pursuing a Comanche, 1836 mHhsoman Institution landing an old or ndance, and at mg companions and ,tance. a huge bull, and being within y note-book - after themselves to the .perate resistance, gue was half eaten .able object as he had better be oft ,e straightened up. e-d our horses and here we saw aga oon fellavtcttm National Collection of Fine Arts, Smithsonian Institution 4. Dance to the Berdashe (Sauk and Fox), 1834 “Dance to the Berdashe" is a funny and amusing scene, which happens once a year or oftener, as they choose, when a feast is given to the “Berdashe," as he is called in French, (or l-coo-coo-a, in their own language), who is a man dressed in woman's clothes, as he is known to be all his life, and for extraordinary' privileges which he is known to possess, he is driven to the most servile and degrading duties, which he is not allowed to escape; and he being the only one of the tribe submitting to this disgraceful degradation, is looked upon as “medicine" and sacred, and a feast is given to him annually .. �5. She-de-a, Wild Sage, Wichita woman, 1834 “Amongst the women of this tribe, there were mam. ?r at expression, though their skins are very dark. �i - National Collection of Fine Arts, Smithsonian Institution 6. Duhk-pits-a-ho-shee, the red bear (Crow warrior), 1832 �I I 1 I I i Foot war pa 7. Weapons and appearance of the grizzly bear Nation.).’ CoHect on of f.-M .Arb, yn 8. Prairie meadows burning, 1832 ��Nat onal Colson of F-«e w 11. Seet-se-be-a, f The Mid-day Sun, a pretty girl (Hidatsa), 1832 "dressed ■-'l in a beautiful costume of the mountain-sheep skin, handsomelv garnished ,v. h P This girl was almost compelled to stand for her picture by her relatives who urged her o wdined, offering as her excuse that she was not pretty enough, and that her picture woul mode**** 12. Hif( �I I I I national r oller lion r,l Fine Aris. Smithsonian Institution 12. Wife of Bear-catcher (Kansas), 1831 u,ib ■^O'b e '• �>' " ...ped4*’’* . »»d *S» cn the >hn. /«,<• tike ”g Irhtixxh. jtvi •i h.de* from tK •1 xjter fr!l tfj ! n-th thonK bjnd^ed .itnm Uy the’body <>1 tor tg tbjnhuJ \naia'e-’"ek,'"\ ^.-^^,,,-h.gherfhbixins K inc" pUj reach k „>amr; -n th. CU'Mtf' KrttK .. undJ ”b thffg folds prostrated upon the ground *<- ''i/tK hroken fries and IjmenMton* lot the m.st Im-.o and doing other penance to appease I When the scjftnld' on which the bodies rest.I nt the honrs, lake the skulls, whn h are j more on the prairie - pl,u cd al equal drstanl rage, which has hem pullt-d and pUced tindJ h’j-hand or her child, whs h lies in this groj ^^icookedloodthathf^,^, af.,J K * J National Collection of Fine Arts. Smithsonian ln..t,tut on •7 13. Mah-to-he-hah, The Old Bear, a medicine man (Mandan), 1832 “■ . . 'the chiefs . . . they have all been many days in this medicine-house, and they all know me well, and the . have not asked me to come in and be made alive with paints' ... I prepared my canvas and palette and wh st ■ ■■• the time until twelve o'clock, before Ire made his appearance: having used the whole of the lore-part oi the das at h > toilette, arranging his dress and ornamenting his body for his picture. At that hour then, bedaubed and streaked with paints of various colours, with bear's grease and cha'roal w.th medi­ cine-pipes in his hands and foxes tails attached to his heels, entered Mah-to-he-hah (the old b. ?’• '••- n ■* ‘,J n h" own profession, who seated themselves around him; and also a number of boy- whom it was re ]u< -•-.’J shoukf re­ the nwstenes main with him, and whom I supposed it possible might have been pupils, whom he was instre.t.ng or materia medica and hoca poca. He took his position in the middle of the loom, waving was me he cal .met, •" -■»<*’ his eagle calumet, I" ' a,nd sms'ng hiS medicine-son8 Which he sings over his dving patient looking mm the last untU I CO* pie ed h,s picture, which I painted at full length. His vanity has been completch gratified m th. operation he °8e er, ay alter day, in my room, in front of his picture gazing intensely upon it. .. Mim �Whenever a person dies in the Mandan village, and the customary honours and condolence are paid to his re­ mains, and the body dressed in its best attire, painted, oiled, feasted, and supplied with bow and quiver, shield, pipe and tobacco - knife, flint and steel, and provisions enough to last him a few days on the journey which he is to perform: a fresh buffalo's skin just taken from the ani­ mal’s back, is wtapped around the body and tightlv bound and wound with thongs of raw hide from head to foot. Then other robes are soaked in water, till thev are quite soft and elastic. which are also bandaged around the body n the same manner, and tied fast with thongs, which are wound with great care and exactness, so as to exclude the action of the air from al! parts of the body . There is then a separate scaffold erected for it. constructed of four upright posts, a little higher than human hands can National Collection of Fine Arts, Smithsonian Institution reach . . . Some hundreds of these bodies may be seen 14. Back view of Mandan village, ■epcsing in this manner in this curious place, which the showing cemetery, 1832 Indians call "the village of the dead "... Fathers, mothers, wives, and children max be seen lying under these scaf­ folds, prostrated upon the ground, with their faces in the dirt, howling forth incessantly the most piteous and heartsrcxen cnesand .amentat.cns tor the mtstcrtunes or their kindred; tearing their hair - cutting their flesh with their knnes. and doing other penance to appease the spirits of the dead. . . v.-hen the scaffolds on which the bodies rest, decay and fall to the ground, the nearest relations having buried the rest the bones, take me skuus, wnlch are perfectly bleached and purified, and place them in circles of a hundred or :ore on the prairie - p.aced at equa: distances apart. . . Each one of these skulls is placed upon a bunch of wild sage, wnich nas been pu .ed and placed under it. The wife knows (by some mark or resemblance) the skull of her naseand or her chile wf- ch lies n tin s group- and there seldom passes a day that she does not visit it, with a dish of me best cooked food that her w.g.vam affords, which she sets before the skull at night . . ." j thev have istled away ? dav at his with meditrain ol his siaoukf > mystef** e-s >n each nt.l I ton1; he ’uf Coller./ion ;t /t." AHi. ‘.mitfi'.uman Institution �<* o' *--• • -» ■/ 16. Wee-ta-ra-sha-ro, head chief of the tribe (Wichita), 1834 �National Collection ol Uno Arts. Smithsonian institution 17. Lay-law-she-kaw, He Who Goes Up The River, an aged chief (Shawnee) 1831 I �The National Callery of Art. Mr and Mrs Paul Mellon Oh": 18. Flathead Indians Hoogst-ah-a, chief of a band, wrapped in his blanket; Lee-le, bis wife, with her infant in its crib (or cradle under;.?.'.• the process of flattening the head; a Flathead boy (left background), taking salmon with his harpoon arrows. "The Flathead tribe, so called from their singular practice of flattening the head, is one of the mo>l numerous ht not the most numerous) west of the Rocky Mountains, occupying the whole country about the lower Columbia • ing the island of Vancouver. . . The strange and unaccountable custom of flattening the head in this tribe is confined mostly to the women and amongst them it is by no means general, and ornamentation, singular as it may seem, appears to be the -o<c ubicU of it . . . The infant, at its birth, is placed in its cradle, dug out of a solid log of wood, and fastened down v, . a ban­ dages, so that it cannot move, and the frontal process is pressed down by an elastic lever, which is t.ghtened di • by strings fastened to the side of the cradle. The bones of that part of the head, at that period, being can a; are easily pressed into that unnatural form, and after two or three months of this pressure the required shape * ob­ tained, which lasts through life. By pressing the frontal region back, the head is pressed out on the >-.de$ to an u natural extent. If this were a natural deformity, stultilily would undoubtedly be the result: but as it is an artificial deformation, such result is produced, or need it be looked for, as it is only a change in the form and portion or the me • gans, without interfering with their natural functions. The evidence of this is that tho^c v. th then head' Matter are found to be quite as intelligent as the others in the tribe: and it would be a nion^trou- *uppox •K n 10 that the fathers of families and chiefs would subject their infants to a process that was to stultih them �e ^ie obiec’ e* i5 jn * n*nU . <Utl«'rK National Collection of Fine Arts, Smith-ri'nzn Institui-'an 19. Woman and child, showing how heads of children are flattened (Chinook, band of the Flathead family) �■ / 4 I ! O' 20. Tcha-aes-ka-ding, grandson of Buffalo Bull's Back Fat (Blackfoot), 1832 "a boy of six years of age, and to<» young as yet to have acquired a name. ha- stood forth hire a toed m have painted him at full length. The history Of this child is sorrw ..hat cui • i ' i interesting; I in case of the death of the chief. . . he becomes hereditary chn-t of the tribe This be • h ■. ’• the Crows by ingenious stratagems, and twice r.-captured by th? Bla' -t' e‘ «on present he is lodged with Mr. McKenzie, for safe keeping and protec:.on unt:' : " - • arr take the office to which he is to succeed, and able to protect himself. �I I 1 National Collodion of Fine Arts, Smithsonian Institution oot)J832, ind 1 and a dead. A bv ’ * ' or fd'e' and •>' age 'O 21. Wah-chee-te, wife of Clermont, and child (Osage), 1834 I "She was richly dressed in costly cloths of civilized manufacture, which is almost a solitary instance amongst the Osages, who so studiously reject every luxury and every custom of civilized people: and amongst those, the use of whiskey, which is on all sides tendered to them — but almost uniformly rejected! ‘ ________ �34. An alligator's nei i he National Callery at ,\r(, Mr an J Mrs fj-.' 33. Pont de Palmiers and tiger shooting (Trombutas River, Northern Brazil) * h. * tor. �4 The National Callery of Art. Mr. and Mrs. Paul Mellon Collection 34. An alligator's nest (lagoon of the Amazon) I |;>rt brn 35. Turtle hunt by torchlight (Trombutas River) The Indians having turned the turtles on their backs, the women approach with torches to do the butchering. �The National Ca’!er\ o/ A'f Mr t V' = r>>. 36. Medicine main, performing his mysteries over a dying man (Blackfoot), 1832 �I 4 ■ �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1973 November 25 George Catlin: Painter of the Indians of the Americas Creator An entity primarily responsible for making the resource George Catlin Date A point or period of time associated with an event in the lifecycle of the resource 1973 November 25 - 1974 January 5 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This show is a survey of painter George Catlin's work on the Native Americans of the region. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Native American Art George Catlin Source A related resource from which the described resource is derived The National Collection of Fine Arts Smithsonian Institution and The National Gallery of Art Rights Information about rights held in and over the resource The Smithsonian Institution likely retains the rights to this work. https://omeka.wilkes.edu/omeka/files/original/7ab8b93c58afbd6e0628fbafd7985698.pdf d013dc04478ee196cd2ee112c3387cd4 PDF Text Text ��� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1991 November 10 Current American Printmake: SAGA Creator An entity primarily responsible for making the resource Linda Adato Michael Arike Kathleen Caraccio Susan Caster-Carter Michael DiCebro Gail Cohen Edelman Liz Exler Kathleen Gallagher Stanley Kaplan Shi-Ping Liao Martin Lenine Richard Pantell Merle Perlmutter ShellyThorstensen Emily Trueblood Steven Yamin Date A point or period of time associated with an event in the lifecycle of the resource 1991 November 10- December 8 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Current American Printmaking: SAGA is a survey of the state of American printmaking at the end of 1991 Type The nature or genre of the resource Exhibition program Subject The topic of the resource printmaking rints SAGA American printmkaing https://omeka.wilkes.edu/omeka/files/original/a365907fe0a84c4d1e5f3a965ee6fff6.pdf 132df941c4969453ac360e2c10cb5241 PDF Text Text ������������������ https://omeka.wilkes.edu/omeka/files/original/c405abaa984850e21b9a32355c6980ea.pdf 8297898b07a8e247aec9fbc44a142001 PDF Text Text CONTEMPORARY REALIST ART FROM THE COLLECTION OF MELLON BANK ■ . SORD GA N6512.5 F5G73 1997 ..... �CONTEMPORARY REALIST ART FROM THE COLLECTION OF ------ MELLON BANK �I CONTEMPORAR FROM THE O - -------- -..... — I ! - Essay by Stanley I Grand August 25 to September 28,1997 1 Vija Celmins Ocean Surface i, 1982 drypoint Sordoni Art Gallery Wilkes Univers �CONTEMPORARY REALIST ART FROM THE COLLECTION OF MELLON BANK Essay by Stanley I Grand i-ARLEY LIBRARY V i_KES UNIVERSITY KPS-BARRE, pa August 25 to September 28,1997 Sordoni Art Gallery Wilkes University Wilkes-Barre, Pennsylvania �Vit'li!’. ■ T A TEAREPLEA^’T°1O1N the Bordoni Art Gahe l/\/ ing "Contemporary Realist Art from the Coll T V Mellon Bank." The corporate art collection ol was established to enhance the workplace for the enjoy employees and customers, while bringing an importan educational asset to those areas we serve. By lending u museums and galleries, our intention is to increase an ; the visual arts and their place in our cultural—and cor heritage. This exhibition includes a selection of contemporary paintings and prints from Mellon Bank's collection. Th which initially consisted of a small body of nineteenth paintings, was carefully supplemented in the early 19f British and American works of the same period. The o works were added to bring the collection into the twei and to reinforce the connection between Mellon Bank innovative ways of doing business. "Contemporary Ri the Collection of Mellon Bank" enables us to share an of our collection with the community and to celebrate ments of a distinguished group of artists. We are grateful to art consultant Jane Richards for her to selecting works of the highest quality’. Her efforts cont key role in the development and use of this collection All of us at Mellon Bank take great pride in sharing our collection and hope that you find pleasure, insigh standing in this exhibition. Copyright © 1997 Sordoni Art Gallery AH rights reserved 1600 copies were printed by Llewellyn & McKane Inc. Catalogue design by John Beck Set in Adobe Palatino (designed in 1952 by Hermann Zapf) ISBN 0-942945-11-5 —Frank V Cah Chairman, Pres Chief Executive Mellon Bank C �■ FOREWORD T A 7"e are pleased to join the Sordoni Art Gallery in presentl/\/ mg "Contemporary Realist Art from the Collection of V V Mellon Bank." The corporate art collection of Mellon Bank was established to enhance the workplace for the enjoyment of our employees and customers, while bringing an important cultural and educational asset to those areas we serve. By lending works of art to museums and galleries, our intention is to increase an awareness of the visual arts and their place in our cultural—and corporate— heritage. This exhibition includes a selection of contemporary American paintings and prints from Mellon Bank's collection. The collection, which initially consisted of a small body of nineteenth-century paintings, was carefully supplemented in the early 1980s with British and American works of the same period. The contemporary works were added to bring the collection into the twentieth century and to reinforce the connection between Mellon Bank and modem, innovative ways of doing business. "Contemporary Realist Art from the Collection of Mellon Bank" enables us to share an important part of our collection with the community and to celebrate the achieve­ ments of a distinguished group of artists. We are grateful to art consultant Jane Richards for her commitment to selecting works of the highest quality. Her efforts continue to play a key role in the development and use of this collection. All of us at Mellon Bank take great pride in sharing this portion of our collection and hope that you find pleasure, insight, and under­ standing in this exhibition. —Frank V. Cahouet Chairman, President, and Chief Executive Officer Mellon Bank Corporation J• ijJE j : �■: '■ • • . . e 100 beginning in 191 Bank a., - . ; ■ a corporate art cotie present contains approximately 3,000 works. 1 preexisting holdings of nineteenth-century American Bank expanded its collection or traditional paintings an prints, while simultaneously moving into other collectii Mellon family's long?landing interest in British art poin another collecting direction: British paintings, watercok drawings from the eighteenth, nineteenth, and early tw ries. Reflecting the Bank's strong position in the interna sector, the collection increasingly assumed a global asp particular, being well represented. Finallv, the Bank pin porary art. primarily works on paper, from which the c is drawn. Several considerations contributed to and influences development of Mellon s art collection, which coincide cant expansion of its consumer base and a concurrent i physical facilities. Obviously, the collection fulfilled int external needs, but it also reflects certain ideas current in which it was created. Specifically, these factors indu trend of corporate collecting, the art market during the since this exhibition deals with representational art-—tl acceptance of "New Realism" during the 1980s Intemallv. the collection was utilized as a means of workplace by creating a "pleasant and stimulating em employees and customers." Not only did art add "col the work spaces." it also demonstrated management's employees: Unlike most corporate collections, which senior management Mellon Bank designed its prograj a highly democratic manner [which! demonstrates t that the Corporation cares about their work environ collection was to serve as an informal educational using a 2 Jennifer Bartlett In the Garden #118,1982 silkscreen >. The quotations in thi^ and the following paragraph art document entitled Mellon Bank C orparate Art Collection I �1 I "X URING a seven-year period beginning in 1980, Mellon I Bank actively developed a corporate art collection, which at present contains approximately 3,000 works. Building on its preexisting holdings of nineteenth-century American paintings, the Bank expanded its collection of traditional paintings and historic prints, while simultaneously moving into other collecting areas. The Mellon family's longstanding interest in British art pointed toward another collecting direction: British paintings, watercolours, and drawings from the eighteenth, nineteenth, and early twentieth centu­ ries. Reflecting the Bank's strong position in the international business sector, the collection increasingly assumed a global aspect—textiles, in particular, being well represented. Finally, the Bank purchased contem­ porary art, primarily works on paper, from which the current exhibition is drawn. Several considerations contributed to and influenced the growth and development of Mellon's art collection, which coincided with a signifi­ cant expansion of its consumer base and a concurrent increase in its physical facilities. Obviously, the collection fulfilled internal and external needs, but it also reflects certain ideas current during the time in which it was created. Specifically, these factors include the broader trend of corporate collecting, the art market during the 1980s, and— since this exhibition deals with representational art—the growing acceptance of "New Realism" during the 1980s. Internally, the collection was utilized as a means of improving the workplace by creating a "pleasant and stimulating environment for employees and customers."1 Not only did art add "color and beauty to the work spaces," it also demonstrated management's concern for employees: "Unlike most corporate collections, which are exclusive to senior management, Mellon Bank designed its program to function in a highly democratic manner [which] demonstrates to employees that the Corporation cares about their work environment. Last, the collection was to serve as an "informal educational tool, a way to i. The quotations in this and the following paragraph are from an undated document entitled "Mellon Bank Corporate Art Collection Fact Sheet. 7 �enrich and broaden employees' personal lives. This concern with the quality of the work environment was consistent with the thinking of contemporary personnel and motivational experts. Externally, Mellon understood the collection's public relations and marketing value: "The art collection is strategically utilized as a means to position Mellon Bank in a leadership role within the cultural community and to promote corporate citizenship within highly demanding communities. The art collection s high caliber enables it to be utilized in a way that serves to strengthen the Bank s image and community involvement in an increasingly competitive marketplace." In management's view, the "quality and enduring value" of the art were "qualities that match Mellon's business activity." Thus, the evolving collection was seen as having a role in the advancement of corporate objectives. The "increasingly competitive marketplace" reflected the boom years of the 1980s, which presented both great opportunities and uncertain­ ties. As the banking industry struggled to redefine itself, corporate art collections helped convey an image of stability, tradition, taste, and responsibility. But then this has often been the case: one thinks of the Florentine Lorenzo de' Medici (1449-1492), who understood well the use of art to further his family's banking interests. The development of the Mellon collection should also be seen in the wider context of corporate collecting and specifically within the heating up of the art market during the 1980s. A relatively recent phenomenon, contemporary corporate art collecting began during the Depression years of the 1930s when, as Marjory Jacobson has noted, the Rock­ efeller Center real estate group and International Business Machines pioneered the "modem precedents for American business involve­ ment in the visual arts."2 The former, following centuries-old tradi­ tions of patronage, commissioned Diego Rivera to paint a mural for its midtown flagship property; the latter, under the leadership of Thomas J. Watson, Sr., effected the "transformation of the accepted mode of art collecting established by nineteenth-century moguls into major company policy."3 In the 1980s, the art market became one repository for surplus capital, a way to diversify one's investments and minimize risk. For example, when the British Rail Pension Fund sold its Impressionist and modem pictures at auction in 1989, the Fund realized an annual 2. Marjory Jacobson, Art for Work: The New Renaissance in Corporate Collecting (Boston: Harvard Business School Press, 1993): 10. 3. Ibid., p. 12. s 3 Janet Fish Autumn Leaves and Canteloupe, 1982 pastel on paper �ancem with the the thinking of ic relations and ilized as a ithin the ship within tigh caliber hen the Bank's r competitive 1 enduring >usiness zing a role in the boom years id uncertainIf, corporate iition, taste, one thinks understood SStS. be seen in the tin the heating phenomenon, Depression the Rockiess Machines ess involvees-old tradit a mural for iership of he accepted y moguls into r surplus lize risk. For ipressionist ed an annual Corporate 8 �f 7?- --- - increase in value exceeding 20 percent on many of these paintings. The possibility of selling trophy pictures like van Gogh's Iris (which fetched $53-9 million) or Portrait of Dr. Gachet ($82.5 million) offered the potential of bringing instant fame and prestige to the paintings new owners and of providing stockholders with an outstanding return on investment. Broadly speaking, most of the artists on view in this exhibition were associated with New Realism, one of the many and often intersecting—stylistic directions (Minimalism, Pop, Op, Process, Site, Earth, Conceptual Art, Hard Edge Abstraction, Photo-Realism, Kinetic, and Happenings) that flourished during the 1960s. The prior decade had witnessed less formal diversity; indeed, many critics would have agreed with Clement Greenberg's 1954 observa­ tion "that representational painting and sculpture have rarely achieved more than minor quality in recent years, and that major quality gravitates more and more toward the nonrepresentational."' "Quality," however, is an elusive concept. By 1961, Greenberg had come to believe that "standards of quality" were directly tied to an art's "purity," by which he meant that the artist must "eliminate . . . every effect that might conceivably be borrowed from or by . . . any other art."5 Since representational painting shares subject matter, narrative, and illusionism with other arts, it was inherently of lesser aesthetic quality in Greenberg's formalistic hierarchy. The artist and critic Fairfield Porter (Catalogue Numbers 23 and 24) represented a notable and eloquent dissenting viewpoint from Greenberg's. In 1962, Porter, a long-time advocate of figurative and representational art who had written for Art News (1951-1959) and The Nation (1959-1961), wrote: "To say that you cannot paint the figure today, is like an architectural critic saying that you must not use ornament, or as if a literary critic proscribed reminiscence.'"’ Subsequently, an increasing number of critics favorably inclined toward representational art began forcefully arguing its case.7 4. Greenberg expressed this view in a lecture originally delivered at Yale University and subsequently published as "Abstract, Representational, and so forth" (1954) in Art and Culture (Boston: Beacon, 1961): 135. 5. Clement Greenberg, "Modernist Painting," Arts Yearbook 4 (1961): 103. 6. Fairfield Porter, Art in Its Own Terms: Selected Criticism 1933-1973, edited by Rackstraw Downes (New York, 1979): 70. 7. For an overview of the critical response to the realist revival, see Lawrence Alloway, "The Renewal of Realist Criticism," Art in America (September 1981): 108-111. 10 4 Sidney Goodman East River Drive, 1979 oil on canvas �lintings. ■is (which. i) offered aintings' iding bition aften icess, Realism, The lany bserva■ly major itional."4 rg had d to an nate... ...any after, of lesser 23 and t from ive and 39) and t the ust not ce."6 ined >7 at Yale 1, and so i): 103. '975- see iai 10 4 Sidney Goodman East River Drive, 1979 oil on canvas �Concurrently, several important museum and gallery exhibitions, along with their accompanying catalogues and reviews, served to focus and clarify the revival of representational painting and bestow legitimacy on it. The Museum of Modem Art's (MoMA's) seminal -New Images of Man" (1959) exhibition recognized figurative art as a powerful, contemporary means of expression. Guest curator Peter Selz argued that in response to "solitude and anxiety .. . anguish and dread .. . these new imagists take the human situation, indeed the human predicament rather than formal structure, as their start­ ing point."8 Three years later, MoMA hosted another important exhibition titled "Recent Painting U.S.A.: The Figure" (1962). Se­ lected from more than 9,500 entries, the show highlighted the increasing interest in figurative painting. Several commercial spaces, including the Komblee Gallery and the Downtown Gallery, orga­ nized figurative exhibitions to coincide with MoMA's exhibition. During the 1960s, three additional exhibitions significantly furthered the cause of the new representational art: "Realism Now" (1968) at Vassar College, "Report on the Sixties" (1969) at the Denver Museum, and "Directions 2: Aspects of a New Realism" (1969) at the Milwaukee Art Center.9 By the time the Whitney Museum of Ameri­ can Art's "22 Realists" (1970) opened, pluralism had replaced the once unchallenged dominance of abstract art. Putting the change in perspective, Alvin Martin observed that whereas Barbara Rose in her American Art Since 1900 (1967) had devoted only one paragraph to post-World War II realism, Sam Hunter, a mere five years later, gave the subject half a chapter in his American Art of the Twentieth Century}0 In sum, by the early 1980s, when Mellon Bank began collecting contemporary representational art, Greenberg's belief in the su­ premacy of abstract art had been supplanted by other critical viewpoints.11 Moreover, unlike the often hermetic abstract art, ^959) iitef SelZ' Sidn‘ °fMan (NeW Y°rk: Museum of Modem Art, Nochli." wrote a ^logue essay for the Vassar exhibition, and 12 5 Richard Haas View Through Sun Roam. tl/iaf watercolor 198» �chibitions, irved to nd bestow seminal tive art as itor Peter aguish ., indeed eir startrtant >). Sehe :al spaces, i orgalition. fly m Now" le Denver 169) at the if Ameried the -range in ose in iragraph s later, ’.ntieth lecting ’ sutical irt, rn Art. tion, and fferent is: San ues, /Photo­ urn 12 5 Richard Haas View Through Sun Room, Haas House, 1983 watercolor �representational art had, in the words of Mellon curator Jane Richards, a "broad appeal," which was important to the Bank. The broad appeal of New Realism stemmed, in part, from its variety of aesthetic choices. As Frank Goodyear observed, "most important, at the root of realism's pluralism, is the realization that contemporary realism is not an art movement per se and thus shared ideas may be few."12 Thus realism can look both to the past as well as to the future: "it reflects both a revisionist and an avantgarde bias. Contemporary realism cannot be understood in any other sense, encompassing as it does the complexities and contradic­ tions of contemporary life."13 Unlike the nineteenth-century Realism of a Gustave Courbet, "contemporary American realism," in Good­ year's view, represents "two radically different aesthetics—one a commitment to the value of phenomenological information as the basis of art, the other an affirmation of the process and value of its translation into pictorial information."14 In terms of this exhibition, Goodyear's synthesis and position were especially important since they helped define New Realism during the period when Mellon was actively collecting. The subsequent contextualization of much figurative art within a post-modern perspective did not effectively influence the direction of the collection. The aesthetic options noted by Goodyear are well represented in the current exhibition. "Phenomenological information"—art based on a careful study of the object as it appears optically—is seen in Janet Fish's meticulous still lifes (Figure 3). Although Fish worked from direct observation, others, like photorealist Richard Haas (Figure 5), painted from photographs. Filtering the perceived subject through a mechanical medium reflects a modem sensibility shared by many other artists who employ photographs or photographic ways of seeing. Although he does not work from photographs, Philip Pearlstein's compositions (Figure 8) frequently suggest the camera's often arbitrary cropping. Association's "Real, Really Real, Super Real" (1981), and The Pennsylvania Academy of the Fine Arts' exhibition "Contemporary American Realism since i960" (1981), with an important catalogue by Frank Goodyear that provided the most comprehensive survey of the phenomenum to date. 12. Frank H. Goodyear, Jr., Contemporary American Realism since i960 (Boston: New York Graphic Society and The Pennsylvania Academy of the Fine Arts, 1981): 9. 13. Ibid., p. 23. 14. Ibid., p. 32. h John Moore Light .’urine. 1984 oil on board �re ink. n its "most on that tus he past as rantany :ontradicr Realism n Good-one a 1 as the le of its aibition, nt since Mellon if much ectively rented in art based een in worked laas ed subject y shared raphic phs, est the nsyhania tealism ar that date. ’ i960 ny of the 14 6 John Moore Light Manufacturing, 1984 oil on board �a e •V Many other artists, however, rejected the mechanical aesthetic and smooth surface associated with "straight" photography, an aesthetic that eliminates all evidence of the artist's hand. For these artists, many of whom had begun their careers during the heyday of "action painting" as Harold Rosenberg characterized Abstract Expression­ ism, the gesture was of paramount importance. Jennifer Bartlett's painterly garden scene (Figure 2) or Sidney Goodman's expressive landscape (Figure 4) clearly grow out of this tradition. For both Bartlett and Goodman, the formalistic concerns of process, surface, tactility, and materials remain central—as they do in James Weeks's loosely painted but tightly designed composition (Figure 12). The advent of Pop Art, with its cool, ironic, deadpan imagery derived from commercial products and rendered in an impersonal manner as if by a machine, represents both an assault on formalistic values and traditional subject matter. In terms of the latter, Pop Art represents the final rejection of History Painting, the high art of the Renaissance and Baroque eras. Didactic and moralistic in intent, History Painting was serious: it treated allegorical and narrative subjects, drawn primarily from the Bible or the Classics, in the Grand Manner; that is, in a manner appropriate to the gravitas of the subject matter. Landscapes, portraits, still lifes, views, or genre paintings, on the other hand, occupied a considerably lower place on the aesthetic totem pole. The successful assault on this standard commenced in the nineteenth century, when critics like the poet Charles Baudelaire urged artists to paint the "heroism of modem life" and reject the timeworn scenes and incidents from the antique. The triumph of the Impressionists over the Academy, where the old History Painting still ruled, ushered in the modem era and broad­ ened the number of acceptable subjects for serious art to consider. For Pop artist Claes Oldenburg a three-way plug absurdly floating on quiet water (Figure 7) is as valid a subject as the Apollo Belvedere. Although today Pop artists are not seen as New Realists, the lines were more blurred initially: when the Sidney Janis Gallery mounted New Realiste," an important 1962 exhibition, most of the exhibitors were Pop artists. This ambiguity is seen in the career of West Coast artist Wayne Thiebaud, perhaps best known for his thickly painted ■ PU™mg K’‘'S •rx * «,“■? reaC“ a8ainS1 Abslra« Expressionism's ™ M*"taafo's rei»ed the action uberanre. The rehned seascapes otViJ. Celmins (figure r) 1* 7 Claes Oldenburg Floating Three Way Plug, 1976 etching and aquatint �thetic and sthetic ts, many tion -essionrtlett's >ressive >oth surface, Weeks's 0igery ersonal rmalistic Pop Art rt of the itent, :ative the Has of the mre ;r place tandard poet lodem antique, e the old broad­ insider, floating Ivedere. le lines mounted exhibitors st Coast painted tiginous o). Ed i witty aism's ction igure i) 16 �Si -J or the spare landscapes of James Turrell (Figure xi) exemplify the figurative component of the "less is more" aesthetic. The reductive aesthetic, with its roots in the Precisionism of Charles Sheeler and others, is seen also in the simplified forms and flat colors of Alex Katz (Catalogue Number 13), who had begun his career working in an Abstract Expressionist manner. In the art world as elsewhere, every action seems to have a reaction. Rejecting the irony of Pop and the asceticism of Minim­ alism, artists such as Jack Beal (Catalogue Number 2) have striven earnestly to reinfuse art with sincerity and meaning accessible to all. In retrospect, his efforts are a harbinger of the debate on inclusive­ ness that has attracted so much critical attention in the 1990s. John Moore's cityscape (Figure 6) likewise reflects a traditional approach to his subject. New Realism's strength and broad appeal result from its hetero­ geneous nature. Most important, the reintroduction of recognizable subject matter did not mean a renunciation of Modernism. Rather, many artists combined modernist perspectives with the larger art historical tradition. Thirty-five years ago, George A. Kubler, in The Shape of Time: Remarks on the History of Things, noted that the pace of formal innovation in the visual arts was likely to decrease. The century that had witnessed the rapid succession of Impressionism, Post-Impressionism, Cubism, Fauvism, Futurism, Dadaism, Surreal­ ism, and so on could no longer continue to develop at the same pace. Kubler's prescient concept of an "archaeology" of visual imagery—whereby artists turn increasingly to the art historical tradition as they focus more on what they want to say instead of how to say it—seriously undermined the romantic notion of a perennial avant-garde. The art in this exhibition comes from the historical period when the implications of this insight were first beginning to be understood. ° & I L Ct <!•••---------’ —Stanley I Grand Wilkes University it 8 Philip Pearlstein Temple of Hatshepsut, 1979 aquatint �ii) exempiity the iietic. The reductive harles Sheeler and sat ccior? of Alex is career working m eras to have a zticism or Sitnnnrer - have striven 7±rg accessh-:e to al­ ehate on tndtstv^ ■ :~. the ica-os >hn nactho---- arttroa". ~c~ a netsrozon of recogrczab.e -. •;-.* the —ger art t.-. S?_r .ir m ~ : ttaa ±r tri pace o: : z^a^z. ~Z'i • : ■' ar~ri=5-ra5~ - Z aca:s~ S_—--L.’t S'. Z. :r jj^suhism >• j. . o Hmipiio :Z~Zi. z:~ ~-^- 1:: -_e; l-3t££- z: sjs ?Zz- T :— ,.' 7 :_zzzzzz~ :z zr-..':-ezrrZr z zz -zz- : . -^z ’- ’ - z. Z■ .■ "> •Z ■J rht ,h> fi ,ul, ><)■;<) 1M ■i ■M■ �$ �Wayne Thiebaud Downgrade, 1979 etching and aquatint �SSI 12 it lames Turrell Deep Sky Vll, 1^84 aquatint : -i ir..<-•. Wet k> - <»;. r i I'ub! CtrJtn . t <*' oil on canva*- ��CHECKLIST OF All dimensions are given in inches; height precedes width. ^Indicates works illustrated in this catalogue. 8 Sidney Goodman (b. 1936) East River Drive* 15 Sylvia Plimack Mangold (b. 1938) Untitled (17 December 1983) 1983 pastel on paper 22 x 29V4 22 P I *977 watercolor 17I6 x 25I6 16 John Moore (b. 1941) Light Manufacturing* 1984 oil on board 30x24 23 F 7 Richard Haas (b. 1936) View Through Sun Room, Haas House* 1983 watercolor 2116 x 34 17 Claes Oldenburg (b. 1929) Floating Three Way Plug* 1976 etching and aquatint 42’/s x 32I4 24 I I 11 David Hockney (b. 1937) Vase and Flowers 1969 etching and aquatint 27% x 21% 18 Philip Pearlstein (b. 1924) Sacsahuaman 1979 aquatint 29% x 39’/$ 25 I 5 Vija Celmins (b. 1939) Alliance 1982 drypoint and aquatint 26 x 2016 12 Yvonne Jacquette (b. 1934) Two Ferries 1982-1983 aquatint 30 x 22 19 Philip Pearlstein (b. 1924) Stonehenge 1979 aquatint 29% x 391/2 26 ’ 6 Vija Celmins (b. 1939) Constellation-Uccello* 1982 aquatint with soft ground 26 x 2016 13 Alex Katz (b. 1927) Good Morning 1975 silkscreen 37I6 x 28I6 Philip Pearlstein (b. 1924) Temple of Hatshepsut* 1979 aquatint 29% x 3914 27 . 7 Janet Fish (b. 1938) Autumn Leaves and Canteloupe* 14 Alex Katz (b. 1927) Philip Pearlstein (b. 1924) Temples at Abu Simbel 1979 aquatint 2934 x 3914 28 Jennifer Bartlett (b. 1941) In the Garden #118* 1982 silkscreen 29 X 38I6 Jack Beal (b. 1931) Black Eyed Susans 1980 pastel on paper 34x44 Vija Celmins (b. 1939) Ocean Surface 1* 1982 drypoint 26 x 2016 Vija Celmins (b. 1939) Jupiter Moon-White Constellation 1982 mezzotint and etching 26 x 20I6 pastel on paper 39 x 28 1979 oil on canvas 36 x 51 9 10 Richard Haas (b. 1936) Old Waterworks, Philadelphia Late July 1970 lithograph 22 x 30 20 1 a 2 1 2 1 1 < ( �■ CHECKLIST OF THE EXHIBITION I - Kia Plimack Mangold (b. 1938) 15 Sylvii Untitled (17 December 1983) ey Goodman (b. 1936) I.Rit’cr Drive* 1983 pastel on paper n canvas 22 x 29% P 1 Haas (b. 1936) lard x6 John Moore (b. 1941) Light Manufacturing* Waterworks, Philadelphia i984 oil on board 30x24 jrcolor x 25% iard Haas (b. 1938) ,, ,, Through Sun Room, Haas House* tercolor U34 Lid Hockney (b. 1937) L and Flowers I9 king and aquatint |i x 21% ■July 1° ■ograph ■<30 24 26 x 20% 18 Philip Pearlstein (b. 1924) Sacsahuaman 1979 aquatint 29% x 39% 25 Ed Ruscha (b. 1937) Paradise* 1986 dry pigment on paper 601 /a x 40% 21 Philip Pearlstein (b. 1924) Temples at Abu Simbel 1979 aquatint 29% x 39% lx Katz (b. 1927) 1971 lithograph 24 Fairfield Porter (1907-1975) Isle au Haut 1975 color lithograph 20 Philip Pearlstein (b. 1924) Temple of Hatshepsut* 1979 aquatint 29% x 39% ■5 •screen I x 28% 23 Fairfield Porter (1907-1975) The Christmas Tree (Interior with Christmas Tree) 17 Claes Oldenburg (b. 1929) Floating Three Way Plug* 1976 etching and aquatint 427s X 32% 19 Philip Pearlstein (b. 1924) Stonehenge 1979 aquatint 29% x 39% Lnne Jacquette (b. 1934) I) Ferries I2-1983 liatint lx 22 lx Katz (b. 1927) Bd Morning 22 Philip Pearlstein (b. 1924) Tintern Abbey 1979 aquatint 29% x 39% 25% x 22 26 Wayne Thiebaud (b. 1920) Downgrade* 1979 etching and aquatint 29% x 22% 27 James Turrell (b. 1943) Deep Sky I-VII (*VH illustrated) 1984 aquatint 21 x 27 each 28 James Weeks (b. 1922) Concord Public Gardens* 1981 oil on canvas 51x73 25 �exhibition underwrite : Diversified Records Services, Inc. Franklin First Savings Bank Friends of the Sordoni Art Gallery Maslow Lumia Bartorillo Advertising Mellon Bank Pennsylvania Council on the Arts The John Sloan Memorial Foundation, Inc. Andrew J. Sordoni, m Wilkes University ■ SPONSORS The Business Council CBI-Creative Business Interiors Eastern Insurance Group Friedman Electric Supply Co., Inc. Marquis Art and Frame Nabisco, Inc. G. R. Noto Electrical Construction Panzitta Enterprises, Inc. Pennsylvania Millers Mutual Insurance Co. Rosenn, Jenkins and Greenwald, L.L.P. Trion Industries Inc. m it' lakes pride in presenting ar exhibit.on ... n tom thi Collection of Mellon Bank, P burgh. Ex ■ r, one <v Mated with the Gallery thanks the for its generosity in making selected works from the Collector available to the students at Wilkes University’ and the iitizervNortheastern Pennsylvania This exhibition grew out of initial discussions between Tern W. Casey, Vice President/Private Asset Management and Mel Maslow 1 urnia, a member of the Sordoni Art Gallery's Advise Commission. Once the project was under way, Peter B Fglin,' man. President and C.E.O, of Mellon Bank, N A., gave hr entl tic support. Bri m J. Lang, Art Collection Administrator, alsov tirelessly on all aspects of the project Jane Richards, curator o Mellon Art Collet tion, provided me with insights regarding tl evolution of the Collet tion and read an early draft ot my essa Other readers included C hristopher N Breiseth. Robert J. He. Nancy L. Krueger, and Brian Lang. 1 appreciate their commet suggestions. I am especially grateful to Frank V. Cahouet, Chairman, Pr and C.E.O, of Mellon Bank Corporation, for contributing the word to this catalogue. -s 26 �derwriters ACKNOWLEDGMENTS Sordoni Art Gallery takes pride in presenting an exhibition drawn from the Collection of Mellon Bank, Pitts­ burgh. Everyone associated with the Gallery thanks the Bank for its generosity in making selected works from the Collection available to the students at Wilkes University and the citizens of Northeastern Pennsylvania. This exhibition grew out of initial discussions between Terrence W. Casey, Vice President/Private Asset Management, and Melanie Maslow Lumia, a member of the Sordoni Art Gallery's Advisory Commission. Once the project was under way, Peter B. Eglin, Chair­ man, President and C.E.O, of Mellon Bank, N.A., gave his enthusias­ tic support. Brian J. Lang, Art Collection Administrator, also worked tirelessly on all aspects of the project. Jane Richards, curator of the Mellon Art Collection, provided me with insights regarding the evolution of the Collection and read an early draft of my essay. Other readers included Christopher N. Breiseth, Robert J. Heaman, Nancy L. Krueger, and Brian Lang. I appreciate their comments and suggestions. I am especially grateful to Frank V. Cahouet, Chairman, President, and C.E.O, of Mellon Bank Corporation, for contributing the Fore­ word to this catalogue. —SIG he SPONSORS 27 26 �ADVISORY COMMISSION Freddie Bittenbender Christopher N. Breiseth, Ph.D. Marion M. Conyngham Virginia C. Davis, Chair Stanley I Grand, Ph.D. Robert J. Heaman, Ph.D. Mary Jane Henry Keith A. Hunter, Esq. J. Michael Lennon, Ph.D. Melanie Maslow Lumia Theo Lumia Kenneth Marquis Constance R. McCole Hank O'Neal Arnold Rifkin Kim Ross Charles A. Shaffer, Esq. Susan Shoemaker, Esq. William Shull Helen Farr Sloan Andrew J. Sordoni, in Sally Sprankle Sanford B. Stemlieb, M.D. Mindi Thalenfeld Thomas H. van Arsdale Joel Zitofsky STAFF Stanley I Grand, Ph.D., Director Nancy L. Krueger, Co-ordinator Earl W. Lehman, Preparator GALLERY ATTENDANTS Leah Crescenzo Sarah Karlavage Colleen McKinnon Lisa Tabbit Beth-Ann Witkowski 28 �11 — �ZTATAVAyg ftiligB sSSs^sg -rr-r.—reu-jt-s" 3 iS&SSs MIO: »aw«8^a^aB®<W«Hi SBMBSBS|B^^!!S®b3s & s==s=^W^^ : :■ rv^.g;.~ «SW gasses � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1997 August 25 Contemporary Realist Art from the Collection of Mellon Bank Creator An entity primarily responsible for making the resource Jennifer Bartlett Jack Beal Vija Clemins Janet Fish Sidney Goodman Richard Haas David Hockney Yvonne Jacquette Alex Katz Sylvia Plimack John Moore Claes Oldenburg Philip Pearlstein Fairfield Porter Ed Ruscha Wayne Thiebaud James Turrell James Weeks Stanley I. Grand Date A point or period of time associated with an event in the lifecycle of the resource 1997 August 25 - September 28 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This exhibition includes a selection of contemporary American paintings and prints from Mellon Bank's collecttion. The collection, which initially consisted of a small body of nineteenth-century paintings, was carefully supplemented in the early 1980s with British and American works of the same period. Type The nature or genre of the resource Exhibition program Subject The topic of the resource American British Mellon Bank realism realist Rights Information about rights held in and over the resource SAG https://omeka.wilkes.edu/omeka/files/original/a49641a99662d5e4d2f5297373e8c532.pdf 57b0c7c47e994ec485c9f7b92437787b PDF Text Text ����������������������������������������������������������������������������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2018 April 7 American Illustration and Comic Art Creator An entity primarily responsible for making the resource Charles Addons Alfred Andriola Rolf Armstrong Paul Bacon Walter M. Baumholfer Rudolph Belarski Fredrick Blakeslee Enoch Bolles Aurthur William Brown Buck Brown John Caldwell Milton Caniff Al Capp Pruett Carter Howard Chandler Christey Jack Cole Dean Cornwell Bradshaw Crandell Douglas Crockwell Paul Davis Phil Davis Chon Day Billy DeBeck Roy Delgado Joe De Mers Ralph DeSoto Walt Disney Studios Maynard Dixon Harvey Dunn Robert Eckstein Heinz Edelmann Anton Otto Fischer Ham Fisher Harrison Fisher Harold R. Foster Frank Gottfredon Ray Gotto Chester Gould Walter Granville-Smith Harold Gray George Gross Bob Haggart V.T. Hamlin Fred Harman John Held Jr. George Herriman Al Hirschfeld Brune Hogarth Walter Beach Humphrey E.M. Jackson John Jonik Walt Kelly Stanley I. Grand Date A point or period of time associated with an event in the lifecycle of the resource 2018 April 7 - May 20 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource From Disney to Playboy and billions of Sunday morning papers in between, the art of illustration is tightly ingrained in the American zeitgeist. Narrative illustration is unique in its ability to be harrowing, hilarious, or politically motivating, at times simultaneously. Though often used as advertisement, these works also stand alone as art in their own right. Type The nature or genre of the resource N/A Subject The topic of the resource comics comic art American art American illustration Source A related resource from which the described resource is derived Andrew Sordoni