Paintings In The Library
The library has finally been hung with paintings ! -- many of them on the wall space that opened up when the bookshelves were re-configured -- and it's really a great improvement.
Hopefully, the identities of each picture in the following views will soon be posted.
Hopefully, the identities of each picture in the following views will soon be posted.
posted by chris miller at 7:58 PM
6 Comments:
I can identify all of them, I think. The club should print a key for people who want to figure them out. I'll supply this information later tonight.
Top photo, clockwise from top:
Oskar Gross, "Portrait of Otto Hake," 1929;
Mischa Liangleben, pastel, ca. 2005;
Carl Mauch, "At the Circus," ca. 1905;
Oscar D. Soellner, "May," 1930
Second photo, clockwise from top:
James Topping, "Afternoon Clouds," 1927;
Oskar Gross, "Portrait of Mr. D.L. Carleson," date unknown;
Roy Kiester, "Portrait of Arnold Turtle," 1952;
Fred Gray, "Portrait of a Young Girl," 1929;
unknown etching;
W.L. Mig, untitled, date unknown
Third photo, clockwise from top:
unknown;
unknown;
Keller, untitled, date unknown;
W. Morgan, "A Woman was Gazing At Him Steadily With an Air of Utter Astonishment," date unknown;
Fred Gray, "Portrait of Leo Marzolo," 1930;
unknown
Bottom photo, clockwise from top:
Oskar Gross, "Portrait of Otto Hake," 1929;
Oskar Gross, "Portrait of Mrs. D. L. Carleson," date unknown;
unknown;
Edmund P. Ward, illustration for Saturday Evening Post article "The Killers," 1919;
Edmund P. Ward, illustration for Saturday Evening Post article "The Killers," 1919
Is this the place to register a complaint about how these paintings were hung? While I am not sure enough to make the attribution right now, I more than suspect that the painting at the top of the third photo was painted by Catherine Maize, the one-time live-in caretaker of the club. From what I understand, and as you have blogged at Mountshang, she and her boyfriend lived in the P&C at least as late as the early 1990's.
Whatever her merits as a painter, I don't see the rationale for featuring her among the main works of the club's collection. Moreover, leaving that aside, a beautiful conte portrait of A.H. Ullrich is hung in the bathroom on the second floor? And the Maurice Greenberg watercolor of the YMCA construction is hung in the first floor bathroom? I don't get it, but I suppose it's possible that the guys who hung the collection had no idea who Catherine Maize is.
Yes, Catherine Maize is recent -- and she is still showing in Chicago galleries -- but so is Moissei -- and I like the idea of placing one generation beside another.
Such comparison is, I think, a primary benefit of an art club that has a long history.
Regarding the propriety of bathrooms as art galleries -- I realize that this is controversial -- but since the wall I see the most often is right above the porcelain, that is where I would like to hang the best prints and drawings.
But should members be able to have an input on what gets hung where ?
I think this is the larger question -- and it is an important issue for an organization that would take itself seriously as an art academy -- at the very least, because if our collection is ignored -- parts of it will begin to disappear. (and according to Max -- this has happpened over the past 40 years)
I think that the galleries should be re-hung on a regular basis (every three years ?) -- and when that happens, all members who are interested should be invited to participate in the selection process.
There should be more awareness of what is in the collection, as well, and who the artists were. That is a function that we are trying to fill at This Old Palette, but learning what is in the collection can take some digging. I'm glad that so much of it is back up where we can see it.
By the way, I would love to see an exhibition in the main galleries of work by past members--maybe the Vanderpoel would loan us some of their stuff.
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