Glassware -- Catalogs. Glassware -- Connecticut -- Hartford -- Catalogs. Wadsworth Atheneum (Hartford, Conn.).

Glass from Six Centuries

Lanmon, Dwight

Wadsworth Atheneum

Poems: Wadsworth Handbook and Anthology [Jul 01, 1978] Main, Charles Frederick

Poems: Wadsworth Handbook and Anthology

Literature & Fiction

C.F. Main

Poetry

French Textiles from the Middle Ages Through the Second Empire

Carlano

In 1985, the 350th anniversary of the first permanent settlement by Europeans of Connecticut and the river valley bearing that name, Hartford's Wadsworth Atheneum staged an exhibition on the "Great River." It recognized that an important aspect of the historiography of New England: its cultural regions do not always coincide with its political regions. By bring various disciplines together for the first time, the Atheneum hoped to emphasize the cultural unity which characterized the region during its formative period. The exhibit and the research leading to it were the most comprehensive ever undertaken by the Museum. The exhibition represents an unusual approach to the study of the past, an approach inspired by several disciplines. The book and exhibition were conceived primarily as an effort to gain insight into the creations of Connecticut Valley's early artists, tradesmen, and mechanics. It depends on making the cultural context of these objects understood. For almost 100 years, the Connecticut Valley has been recognized as an area of regional culture by students of the arts and linguistics who have explored the overlapping distribution patterns of regional forms. The task is to explain why and for whom this regional style and aesthetics were created and by what methods they were disseminated. Approximately 370 objects were chosen from among 7,000 or more that were photographed during the course of field research preparatory to the exhibition.

The Great River; Art & Society of the Connecticut Valley, 1635-1820.

Folio highly pictorial survey of the Morgan collection of European decorative arts.

J. Pierpont Morgan, Collector

Hartford, CT: Wadsworth Atheneum, January 18 to March 1987

two additional venues

Biographies & Memoirs

Catalog from inaugural exhibit at the Amistad Foundation Gallery in the Wadsworth Atheneum in Hartford Conn. This is a museum everyone should see once.

Facing the rising sun: 150 years of the African-American experience, 1842-1992

Hudson, Barbara A.

Stieglitz, O'Keeffe & American Modernism

Kornhauser, Elizabeth Mankin

Ellis, Amy

Lyons, Maura

Arts & Photography

One of the most prized segments of the Wadsworth Atheneum’s permanent collection is the large group of French 18th-century porcelains bequeathed by the renowned collector J. Pierpont Morgan. More than 250 individual pieces from the manufactories of Saint-Cloud, Chantilly, Villeroy-Mennecy, Vincennes, and Sevres are published in full in this catalog. Extensive research by the authors gives important insights into this impressive collection and significantly advances our knowledge of French porcelain. The catalogue has 200 entries and each is illustrated with over 90 color plates and more than 220 black-and-white photographs, with 400 thumbnail illustrations of the marks. Each entry covers the history of each piece, its form, usage, and decoration, and provides commentary on dating, style, and decorators. The porcelain has been arranged chronologically by type within each manufactory. An introductory essay further recounts the part played by J. Pierpont Morgan in acquiring the porcelain and other French decorative arts at the beginning of the twentieth century. Its glossary of terms and techniques and the full index add to the accessibility of the text.

French Eighteenth-Century Porcelain at the Wadsworth Atheneum: J. Pierpont Morgan Collection

Crafts, Hobbies & Home

Le Corbeiller, Clare

Roth, Linda H.

Antiques & Collectibles

Andrew Wyeth: Looking Beyond has been produced to accompany the exhibition of the same title held at the Wadsworth Atheneum Museum of Art, Hartford, CT, March 24 - July 22, 2012. Andrew Newell Wyeth was one of the most celebrated yet criticized American artists of the twentieth century. His lengthy career spanned nearly eight decades, but works from the 1940s and 1960s especially reveal an immensely productive period when Wyeth transitioned from watercolor painting to painting in egg tempera, which then became his primary medium. Coinciding with this shift, he honed a signature style: distinct and unusual perspectives applied to everyday subject matter. Andrew Wyeth: Looking Beyond takes inspiration from Wyeth's use of windows, half-opened doors, and views through rooms. These traditional romantic emblems of transition and yearning are given new meaning in Wyeth's somber and solitary images. In addition, a lesser known side of the artist is explored through a close examination of his creative process. When working through an idea for a composition, Wyeth utilized different media, such as pencil, watercolor, dry-brush watercolor, and ink. He employed varied techniques and styles to build an evocative image over time. The catalogue consists of two essays: In the first Erin Monroe presents an overview of the history of the Andrew Wyeth works in the collection of the Wadsworth Atheneum Museum of Art, and closely examines Wyeth's working methods and his use of windows and open doors to invite viewers to look into a distant realm--be it emotional or physical. In the second, Patterson Sims places Wyeth's art within the tradition of Northern European representational paintings up to the early twentieth century. Sims offers a fresh interpretation of the artist by further positioning him in a larger historical and artistic framework, including the American Regionalists, the Abstract Expressionists, the Magic Realists, and contemporary art.

Andrew Wyeth Looking Beyond

Monroe, Erin

History & Criticism

In 1930 twenty-nine-year-old Chick Austin and his wife, Helen Goodwin built a house on one of the grandest streets in Hartford. It was a pastiche inspired by a sixteenth-century Palladian villa they had seen near Venice on their honeymoon, but instead of brick and stucco, the house was constructed with painted pine boards. Behind its 86-foot-long facade, it was a mere 18 feet deep, leading Austin's neighbors, who lived in respectable neo-colonial or Tudor-revival houses, to dub it "the pasteboard palace." The house became the stage set for Chick Austin's life, a gathering place for leading figures in the international art world who came to experience the artistic tidal wave that Chick Austin set in motion as the transformative director of Hartford's Wadsworth Atheneum from 1927 to 1944. Austin emerged as a pioneer in both the rediscovery of the baroque and the introduction of modernism to the United States, presented the first comprehensive American exhibitions of Italian baroque painting and surrealism as well as the works of Picasso, and produced a series of groundbreaking performances at the museum, including the premiere of the now legendary opera by Gertrude Stein and Virgil Thomson, Four Saints in Three Acts, and the first public performances by Balanchine's original company, which evolved into the New York City Ballet. Austin - himself a painter, an actor, a designer of sets and costumes, a superb cook, and an expert stage magician - shone as an impresario of the arts or, in the words of composer Virgil Thomson, "a whole cultural movement in one man." The book includes more than 100 illustrations, including historic photographs, works of art from the Atheneum's collection, Austin family archival material, and recent images of the house and its interiors by noted photographer Geoffrey Gross. It features a reminiscence of Chick Austin by his friend Angela Lansbury and an essay by Eugene R. Gaddis, the William G. DeLana Archivist and Curator of the Austin House, whose biography of Austin, Magician of the Modern, was published in 2000. Gaddis tells the story of the Austin House, its creator and his family, with commentary by Chick Austin's son, architect David Austin. Richard Guy Wilson, the Commonwealth Professor and chair of the Department of Architectural History at the University of Virginia, provides an essay setting the Austin House in the context of early-20th-century American domestic architecture in both its "antic" and serious modes. Krystyn Hastings-Silver, the Austin House Restoration Project Director, describes the philosophy, the meticulous detective work, and the techniques required to recreate the magic of this National Historic Landmark and rekindle the spirit of Chick Austin.

Magic Facade: The Austin House

History

Americas

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