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.
The Hyde Collection in Glens Falls has announced its 2010 Exhibition Schedule. This year’s schedule includes American Impressionist landscape paintings, twentieth-century Modern art, a regional juried high school art show, a major exhibition of the work of Andrew Wyeth, and the museum will also play host for the first time to the long-running Artists of the Mohawk-Hudson Region, an annual juried show founded in 1936. The complete schedule from the Hyde Collection announcement is below. Through Sunday, March 28, 2010 An Enduring Legacy: American Impressionist Landscape Paintings from the Thomas Clark Collection
This exhibition presents sixty-four paintings from the private collection of Saratoga County, New York resident Thomas Clark. For twenty years, Clark has been amassing a significant group of pre-1940 American Impressionist landscape paintings with more than 100 works in the collection. Considered one of the finest private collections of this genre in upstate New York, it is testament to the enduring legacy of Impressionist painting in American art.
The collection, on public display for the first time, comprises examples from the last great generation of landscape painters who emerged during, and in the aftermath of, the American Impressionist movement (1880-1920). Many of these artists were students and/or sketching partners of the seminal figures in Impressionism in America, such as William Merritt Chase and John Henry Twachtman. The Collection offers a comprehensive treatment of the regional schools of Impressionist activity in America. Forty-seven artists are featured in the exhibition, including Walter Emerson Baum, John Joseph Enneking, Emile A. Gruppé, Hayley Lever, Frederick Mulhaupt, George Loftus Noyes, and Harry A. Vincent. The exhibition is curated by Erin Coe, chief curator and deputy director of The Hyde Collection and is accompanied by an illustrated catalogue. Clark has announced his intention to make a future donation of his remarkable collection to The Hyde where it will greatly enhance the Museum’s current holdings of American art.
Through February 28, 2010 Divided by a common language? British and American Works from the Murray Collection
Approximately twenty works of twentieth-century Modern art, donated to the Museum by the late Jane Murray, are on display in Hoopes Gallery. Works included in this exhibition were part of the first significant donation of twentieth-century art received by The Hyde and helped to form the foundation of the Museum’s Modernist holdings. Jane Murray passed away in April 2009 and bequeathed the remainder of her substantial collection to the Museum.
Curated by The Hyde’s Executive Director David F. Setford, the exhibition reflects one woman’s journey into the world of art and the creative process itself. Represented in the exhibition are British artists including Ben Nicholson, Barbara Hepworth, John Piper, Howard Hodgkin, and Paul Mount. American artists include Gregory Amenoff, American, b. 1948, Gregory Amenoff, Betty Parsons, Stuart Davis, and Ellsworth Kelly. The works selected examine the similarities and differences between American and British works of the period, as both are areas of particular strength in the Murray Murray Collection.
April 11 through May 23 Nineteenth Regional Juried High School Art Show
The Hyde proudly hosts one hundred works in various media by the best of area high school art students. Entries into the competition average approximately 1,200 per year and the top 100 works were chosen by jurors to be highlighted in this annual spring event, showcased in the Museum’s Charles R. Wood Gallery.
This unique show allows participating students to experience the preparation, submission, and jurying process crucial to their artistic development. The young artists entering the competition hail from as many as forty area schools located in Warren, Washington, Saratoga, Hamilton, and Essex counties.
June 12 through September 5 Andrew Wyeth: An American Legend
The Hyde Collection introduces the broad span of work by Andrew Wyeth in its major summer exhibition for 2010. Organized by The Hyde and curated by Executive Director David F. Setford and Deputy Director and Chief Curator Erin B. Coe in association with the Farnsworth Art Museum of Rockland, Maine, the exhibition will mark the first opportunity since the artist’s death in 2009 to begin to critically reevaluate his contribution to and position in American art of the twentieth century. Works will include pencil, watercolor, dry brush, and tempera works, and will feature sections devoted to early coastal watercolors and landscape paintings, as well as a look at Wyeth’s models, his interest in vernacular architecture, and his connection with the Regionalist tradition and Magic Realism.
The exhibition will feature approximately fifty works, with the core from the Farnsworth Art Museum. Also on view will be The Hyde’s own Wyeth – The Ledge and the Island, 1937 – and major works from Philadelphia Museum of Art, the Whitney Museum of American Art, and the Hood Museum of Art, as well as from other museums and private collections.
The Museum continues its summer collaborations with other arts organizations in the region by coordinating a series of lectures, exhibitions, and performances with Wyeth-related themes.
October 10 through December 12 Exhibition by Artists of the Mohawk-Hudson Region
For the first time, The Hyde Collection is host of the Artists of the Mohawk-Hudson Region, one of the longest-running collaborative juried exhibitions in the country. The Museum joins the Albany Institute of History and Art and the University Art Museum at the University at Albany as the third collaborative sponsor of the exhibition, which is hosted by the organizations on a rotating basis. Founded in 1936, this annual show provides a leading benchmark for contemporary art in the Upper Hudson Valley. The exhibition is open to artists residing within a 100-mile radius of either Glens Falls or the Capital District. Past jurors have included artists, curators, critics, art historians, and art dealers such as Edward Hopper (1941), George Rickey (1971), Kenneth Noland (1977), Wolf Kahn (1980), Grace Gluck (1984), Dan Cameron (1997), and Ivan Karp (2005).
For the 2010 exhibition, The Hyde has invited Charles Desmarais, the Deputy Director of Art at the Brooklyn Museum, to be the guest juror. Mr. Desmarais leads the Brooklyn Museum’s collection, conservation, education, exhibition, and library departments.
On Saturday, November 28, The Hyde Collection will open Divided by a common language? British and American Works from The Murray Collection. The exhibition of approximately twenty works of Modern art from the twentieth century are part of a larger collection donated to the Museum by the late Jane Murray.
Between 1991 and 1996, Murray gave nearly sixty works of Modern art to the Museum, the first significant donation of twentieth-century art received by The Hyde. An additional group of works was bequeathed by Murray upon her death earlier this year. This donation helped to form the foundation of the Museum’s Modernist holdings. The exhibit, curated by The Hyde’s Executive Director David F. Setford, celebrates the works donated by Murray and reflects the breadth of her collection, while looking at differences and similarities between British and American Modernism. Artists represented in the exhibition include Britain’s Ben Nicholson, Barbara Hepworth, John Piper, Howard Hodgkin, and Paul Mount. American artists include Gregory Amenoff, Betty Parsons, Stuart Davis, and Ellsworth Kelly.
“This exhibition was organized as a tribute to Jane Murray’s legacy,” said Setford, “Her generosity to our Museum is only surpassed by the attention she paid in selecting works for her impressive Modern art collection.“
According to Setford, the exhibition pieces were selected to help visitors examine the similarities and differences between American and British works of the period, as both are areas of particular strength in the Murray Collection.
The exhibition in Hoopes Gallery will be open through Sunday, February 28, 2010. Admission to the Museum complex is free for members. Voluntary suggested donation for non-members is five dollars. For more information, contact The Hyde Collection at 518-792-1761 or visit www.hydecollection.org. Photo: Betty Parsons, American, 1900-1982, Guardian, 1980.
Douglass Crockwell is known today as a commercial artist whose images of daily American life appeared regularly on the covers of popular magazines like the Saturday Evening Post and in advertisements for national brands of beers and dog foods.
In Glens Falls, he had what is known as intra-mural fame, as the city’s best known artist.
“He referred to himself as the ‘poor man’s Norman Rockwell,’” said Patricia Hoopes, who sometimes served as a model for Crockwell’s illustrations, as did her husband and two children. “What Doug painted is not the kind of art that would ordinarily be displayed at The Hyde,” says Sam Hoopes, whose great-aunt, Charlotte Hyde, founded the Glens Falls museum to conserve and display her collection of European and American art.
But last year, Hoopes became aware of a painting that he thought The Hyde should own.
Painted in 1934, Paper Workers, Finch Pruyn & Co. shows workers smoothing and stamping an enormous roll of newsprint, the plant’s principal product at the time.
The workers appear to be carved of wood, Crockwell once said, because he wanted to liken the men to the source of the wood pulp from which they made newsprint.
Mike Carr, the executive director of the Adirondack Nature Conservancy, saw the painting in a New York gallery and called it to Hoopes’s attention.
“I thought it seemed out of character for Doug, since we knew him best as a commercial artist,” said Hoopes. After discussing the painting with The Hyde’s director, David Stetford, and the museum’s chief curator, Erin Coe, Sam and Patricia Hoopes decided to buy the painting and donate it to The Hyde.
“Given Doug Crockwell’s connection to The Hyde – he was a trustee from 1952 through 1968 and served as acting director from 1964 and 1968 – and The Hyde’s connection to Finch Pruyn, I thought the painting was something The Hyde should have,” said Hoopes.
“Sam Hoopes saw the opportunity to share with the Museum a piece of Glens Falls history. The image of “Paper Workers, Finch Pruyn & Co”. connects us with the industrial roots that allowed The Hyde Collection to begin,” said David Stetford, noting that Charlotte Hyde’s father, and Sam Hoopes’ great-grandfather, Samuel Pruyn, co-founded Finch Pruyn in 1865.
According to Erin Coe, Crockwell painted two nearly identical versions of the image. The first version belongs to the Smithsonian American Art Museum in Washington D.C. and was created by Crockwell in 1934 for the Works Progress Administration. The version donated by the Hoopeses to The Hyde, was made by the artist for Finch Pruyn & Co. later that same year.
“Although Crockwell is more widely known as a commercial illustrator, this painting is a remarkable example of his endeavor as a fine artist — long before he became the famous illustrator of the 1940s and 50s,” said Coe. Other overlooked aspects of Crockwell’s career, such as the surrealist films he made and the avant-garde jewelry he designed, have yet to be fully explored, said Coe.
He was also a patron of more pathbreaking artists, including the sculptor David Smith.
His wife, Margaret Bramen Crockwell, once said, “My husband was one of the first to buy Smith’s sculptures. Someone told me years later that the sale of ‘Structure of Arches’ kept David from starving.”
The Hyde owns two other works by Crockwell, Coe said. The first, acquired in 1971, is a painted illustration for the Saturday Evening Post and was donated to The Hyde by Crockwell’s family. The second is an unfinished portrait of Louis Fiske Hyde, which was donated to the Museum by the family in 1979.
According to Coe, “Paper Workers, Finch Pruyn & Co.” was presented by The Hyde’s Collections Committee to the Board of Trustees for approval at their meeting on September 21, 2009. The work will be sent to the Williamstown Art Conservation Center for conservation treatment, and when the painting returns it will be placed on public view.
In conjunction with The Hyde Collection’s exhibition Degas & Music, the Museum (in Glens Falls) is hosting its 7th Annual A Taste of Art … A Wine and Food Experience on Friday, September 18 from 6:30 – 9:30 PM. In keeping with French Impressionist Edgar Degas’ lifelong interest in all things musical, the wine tasting décor will evoke the feeling of a 19th century ‘café concert’ – a popular form of musical entertainment of the period featured in the exhibition. The evening offerings include a combination of various wines, complementary foods, and lively entertainment. Putnam Wine (Saratoga Springs) and Uncorked (Glens Falls) work together to bring in a wide selection of wines from New York and other US wine producing regions, as well as vintages from Europe, South America, and Australia. The wines are complemented by food samplings from a number of area restaurants including Adirondack Community College’s Culinary Program, The Anvil, Cherry Tomato, The Farmhouse Restaurant, Friends’ Lake Inn, Fifty South, GG Mama’s, Grist Mill, Luisa’s Italian Bistro, and The Sagamore. Davidson Brothers Restaurant and Brewery will host the beer garden in the Museum’s Hoopes Gallery.
Attendees will be entertained by two musical groups – The Dick Caselli Trio and Alambic, as well a silent auction featuring music, food, and art-related items.
Tickets for ‘A Taste of Art’ are $75 per person. Reservations are required and accepted on a first-come, first served basis. Those interested in attending should call 518-792-1761 ext. 23 or email [email protected] A special master class is open to Connoisseur Committee members (those contributing an additional $250 to the event). This year’s master class will focus on the wines which would have been familiar to Edgar Degas and his contemporaries. Because of the limited master class space, those wishing to join the Connoisseur Committee should contact the Museum at their earliest convenience.
All proceeds from the wine tasting event will benefit The Hyde Collection’s exhibitions and educational programs through the Museum’s Annual Fund.
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