Coinciding with the Saratoga Race Course’s 2018 meet, The Hyde Collection will present a new exhibition, Horse and Rider, in its Rotunda Gallery from July 20 through September 9.
Americans have long romanticized their relationship with horses: the majesty of wild mustangs galloping through the plains, the allure of cowboys on horseback driving a herd, the utility of farmers tending their fields with horse-drawn plough, and the grace of racehorses. » Continue Reading.
The Hyde Collection museum in Glens Falls has announced its 2018 exhibition schedule.
The lineup offers modern art exhibited in Feibes & Schmitt Gallery, including the lines of Art Nouveau, graphic prints from an Adirondack artist, the works of female Impressionists, the annual High School Juried Show, and a showing of the Nuremberg Chronicle from the permanent collection. » Continue Reading.
The Hyde Collection has announced the third year of its Pay as you Wish program. Throughout the month of December, visitors are invited to tour the Museum, interact with the collection and exhibitions, and then make a voluntary donation based on their experiences.
The program was developed to celebrate the Museum, historic home, and world-class art collection with the community while gaining visitor feedback. » Continue Reading.
When Vincent van Gogh met Henri de Toulouse-Lautrec in Paris in 1886, the friends defied convention, challenging the established definition of art. Their idiosyncratic focus on line and color will be displayed in Deux Enfants Terribles, an exhibition from the permanent collection in the Rotunda Gallery at The Hyde Collection.
The exhibition includes van Gogh’s Orchard with Arles in the Background, The Hyde’s only work by the Dutch artist. Van Gogh employed a variety of pen strokes to imbue the scene with a sense of spring’s arrival in a dormant Mediterranean fruit orchard. A few dots from a reed pen indicate the first appearance of buds. Below, the grass, rendered in short vertical strokes begins to grow again; pinwheel strokes denote the flowering of dandelions. » Continue Reading.
The Hyde Collection in Glens Falls has announced they will open a new exhibition on American Folk art, titled A Shared Legacy: Folk Art in America on Sunday, October 8. The exhibition comprises more than sixty works made between 1800 and 1925, from the collection of Barbara L. Gordon. This exhibition will be on view in Charles R. Wood, Hoopes, and Whitney-Renz galleries. The exhibit will run through Sunday, December 31.
A Shared Legacy celebrates art rooted in personal and cultural identity, made by artists who were either self-taught or had received minimal formal training. Created for ordinary people rather than society’s upper classes, folk art was the prevalent art form in the United States for more than a century. » Continue Reading.
The Hyde Collection Board of Trustees has announced that Erin B. Coe will leave the position of Museum director later this summer to accept a position as Director of the Palmer Museum of Art at Penn State University.
A national search is expected to be conducted for a new director. Coe will leave The Hyde in late July.
The board also announced that Anne Saile, non-profit CEO and founder of business development and leadership consulting firm The Saile Group LLC, has been named interim director.
Coe helped The Hyde secure one of the largest gifts in its history, $11 million in modern art and cash from Schenectady architect Werner Feibes and his late partner, James Schmitt. She then led a campaign to raise $500,000 more in private contributions and foundation support to expand the museum and build a new gallery to showcase modern art, the first new exhibition space at The Hyde in more than 28 years. » Continue Reading.
The Hyde Collection in Glens Falls has acquired a watercolor by the leading early American Modernist John Marin (1872-1953) titled “Lake George.” The painting, which depicts a view from Bolton Landing, was purchased at Sotheby’s auction house in June with support from the Museum’s Charles R. Wood Acquisition Fund, and it marks the first major outright purchase of a work of art by The Hyde in a generation.
It is also the first work by John Marin to enter the permanent collection. Marin was a major figure in early American Modernism, best known for his inventive watercolors. His work is held in private collections and prestigious museums including the Metropolitan Museum of Art, Museum of Modern Art, San Francisco Museum of Modern Art, Brooklyn Museum, Dallas Museum of Art, Blanton Museum of Art, and the Art Institute of Chicago. » Continue Reading.
The Hyde Collection in Glens Falls has announced that in mid-March it will begin a set of renovation projects designed to enhance the visitor experience and display more art from the permanent collection. Work is planned for the lobby and admissions area, to improve access to technology throughout campus, and to convert its museum shop into additional gallery space.
These projects are part of the final phase of The Marquee Project, a capital campaign the Museum began in 2010, that has so far added landscaping and sidewalks, exterior lighting, and upgraded the museums sprinkler system. » Continue Reading.
With upcoming presentations in Blue Mountain Lake and Glens Falls, the Adirondack Museum’s “Cabin Fever Sundays” series continues to present explorations of Adirondack history, music, and culture. Still to come are a wide variety of engaging topics, from the behavior of wolves in the wild to the experiences of Abenaki families in the Adirondacks.
In the upcoming installment of the series, folk musician and Long Lake local Alex Smith will perform his contemporary rendition of mountain music, inspired by the Adirondacks. “Mountain Folk Music” will begin at 1:30 pm on Sunday, March 15, at The Hyde Collection, 161 Warren St., in Glens Falls. » Continue Reading.
If The Hyde Collection had ever hoped to mount an exhibition of the art of the Adirondacks, the result could not have been more comprehensive than the show that the Glens Falls museum is presenting through April 12th.
“Wild Nature: Masterworks from the Adirondack Museum,” as the title signifies, is composed solely of works within the permanent collection of the Adirondack Museum.
For those who have never visited the museum in Blue Mountain Lake, “Wild Nature” is an introduction both to master works of American art depicting the landscape of the Adirondacks and to the museum itself, which is closed in the off-season. » Continue Reading.
Joseph Beuy’s 1970 ‘Felt Suit’ – a piece of art that is, literally, a suit made of felt, mounted on a wall by a coat hanger – is by now a cultural artifact of such prominence that in “An Object of Beauty,” comedian Steve Martin’s recent novel about the New York art world, a wealthy collector is portrayed as frivolous largely through his ownership of one of them.
Beuys created one hundred of the suits, one of which was acquired by the Norton Museum of Art in West Palm Beach and is included in its traveling show, Objects of Wonder and Delight, now installed at The Hyde Collection in Glens Falls until April 21. At first glance, the decision to include Felt Suit in the exhibition, surrounded, as it is, by paintings by Chagall, Courbet, Matisse, Picasso, O’Keeffe and Warhol, among others, may seem like an eccentric one
But David Setford, The Hyde’s director (who was the Norton’s chief curator from 1990 to 1999) makes a good case for its presence here.
“Beuys, a German air force gunner during World War II, claimed that he was shot down over central Asia, where he was rescued by Tartars who wrapped his body in felt. Like every artist who works in the still life genre, he takes an object and imbues it with spirituality, with an awareness that in life there’s death, and in death, life,” Setford said during a recent tour of the show.
That baroque sensibility is obviously more apparent in works like the 17th century painter Daniel Segher’s decaying flowers, in Matisse’s dead fish and even in the joyous 1916 still life of a Portuguese breakfast by Robert Delaunay. That’s one of Setford’s favorite pieces in the show, not only because it reminds him of the Mediterranean, but because its depictions of fruit are harbingers of abstraction.
Objects of Wonder has been promoted as something of a historical survey of the still life genre, including, as it does, four centuries of still life from the Ming dynasty of China to the present.
But that description doesn’t do justice to the exhibition, which is organized thematically rather than chronologically, or to the astonishing, dizzying quality of every single piece that’s gathered here.
Take, for example, the cubist guitar of Picasso. “Whenever I look at this, I don’t just see planes and boards; the colors are like guitar chords. I can hear the jangly sounds, and not just those sounds, but a deep mellifluousness,” said Setford.
For those interested in American modernism, highlights of the show will include works by Demuth, Sheeler, O’Keeffe and Milton Avery.
This show has been described as candy for the eye, and rightly so. Far from being an exercise in art history, Objects of Wonder is an opportunity to spend time with masterpieces we’re unlikely to ever see again in upstate New York.
“Objects of Wonder and Delight: Four Centuries of Still Life from the Norton Museum of Art,” fifty-one works of art from the collection of the Norton Museum of Art in West Palm Beach, Florida, will remain on view at The Hyde Collection in Glens Falls through April 21. The Hyde Collection is open Tuesday through Friday, from 11am to 4pm and on weekends from 12 to 5pm. Call 792-1761 for more information. Images: Joseph Beuys, Felt Suit, 1970; Marsden Hartley, Flounders and Blue Fish, 1942; Daniel Seghers A Garland of Pink Roses, circa 1645.
On January 29, the The Hyde Collection in Glens Falls opens its latest exhibition – Objects of Wonder and Delight: Four Centuries of Still Life from the Norton Museum of Art.
The show brings together fifty-one works of art from the collection of the Norton Museum of Art in West Palm Beach, Florida. The subject matter is still life and the exhibition at The Hyde comprises works in a variety of media including painting, watercolor, collage, sculpture, ceramics, glass, and textiles.
Spanning four centuries, from the Ming dynasty of China to the early twenty-first century, this array of images and objects includes all of the major sub-genres of still life such as tabletop arrangements, flowers, and fruits and vegetables. Arranged thematically, the exhibition illustrates both the diversity and the longevity of the still-life tradition in China, Europe, and the United States. The exhibition, which runs through April 21, 2011, features some of the most famous artists in Western art history, such as Marc Chagall, Gustave Courbet, William Harnett, Robert Mapplethorpe, Henri Matisse, Pablo Picasso, Georgia O’Keeffe, Yinka Shonibare, and Andy Warhol.
At 2:30 pm on January 29th, Dr. Roger Ward, chief curator of the Norton Museum of Art and organizer of the exhibition, Objects of Wonder and Delight, will provide a lively presentation entitled Birds Pecking at Grapes and Other Shiny Objects: Four Centuries of Still Life from the Norton Museum. The talk will be a fast-paced account of the evolution of still-life painting in Europe and America, from Antiquity to the present, and how the diverse collection for which he is responsible has been deployed to create this exhibition.
The exhibition was organized by the Norton Museum of Art, West Palm Beach, Florida.
Illustration: Marsden Hartley (American, 1877–1943): Flounders and Blue Fish, 1942. Oil on rag board. Norton Museum of Art, West Palm Beach, Florida. Bequest of R.H. Norton.
Enter the Hyde Collection’s Charles R. Wood Gallery, where the stunning new exhibition, “An Enduring Legacy: American Impressionist Paintings from the Thomas Clark Collection,” is displayed, and among the first things you’ll notice is that the paintings are grouped roughly by geography, or according to the regions depicted by these early 20th century artists: the New England coast, Vermont, the Hudson Valley, California.
Far from being arbitrary or eccentric, that curatorial choice cleverly elucidates an intention shared by almost every artist represented in the show. These American Impressionists, explains curator Erin Coe, “were deeply committed to making art that reflected the spirit of America and its distinctive scenery.”
Or, as Coe writes in the catalogue that accompanies the exhibition, “the landscape painters of the first third of the twentieth century were overtly nationalistic in their outlook, seeking to create a more authentic American variant of Impressionism…”
To realize that ambition, those artists were compelled to train their eyes on a particular region, if only because the American landscape is defined by its diversity and lack of uniformity. An American landscape is necessarily a local landscape.
“The works in the Clark Collection offer a comprehensive treatment of these regional schools of Impressionist activity in America,” says Coe.
For instance, the show includes three paintings by Arthur James Emery Powell (1864-1956) of the long-settled, deeply cultivated valleys of Dutchess County.
All three portray winter landscapes, for reasons at least partially explained by Coe in a lecture she delivered at The Hyde on January 17.
Winter landscapes, she said, are “the visual equivalent of a poem by Robert Frost,” that most self-consciously regional of American poets.
Approximately one quarter of the paintings collected by Thomas Clark are winter landscapes, Coe noted, in part because winter is the quintessential American season.
Perhaps it’s co-incidental that Dutchess county was a hotbed of anti-federalism in the 18th century, and that places like Vermont, New Hampshire and Massachusetts have shown separatist tendencies at different times in our history. It’s no co-incidence, though, that the artists included in this exhibition chose to paint in places with strong regional identities. The landscapes these artists selected for their subject matter were chosen in part because they exemplified a region’s characteristic and recognizable qualities.
But of equal, if not greater importance, Coe said, those landscapes were the locations of artists’ colonies that flourished in the early part of the 20th century in places like Old Lyme, Connecticut; Cape Ann, Massachusetts; New Hope, Pennsylvania; and Woodstock, New York, as well as in Vermont and California.
The traditions of European and American painting were transmitted through those colonies and schools, producing the unique vision that is embodied in Clark’s collection.
“These artists were the students and sketching partners of the seminal figures in the development of Impressionism in America, such as William Merritt Chase, Willard L. Metcalf, John Henry Twachtman, and Robert Henri,” Coe said.
Thomas Clark, who lives in Saratoga County, has promised to donate this collection of paintings to The Hyde, and this exhibition is to some extent a celebration of that gift.
“An Enduring Legacy: American Impressionist Landscape Paintings from the Thomas Clark Collection,” will remain on view at The Hyde through March 18.
The Hyde Collection is located at 161 Warren Street in downtown Glens Falls. For more information, call The Hyde at 792-1761.
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