Discoveries in American art – women artists receive their due
HAWTHORNE FINE ARTS IS DEDICATED TO EXHIBITING 19th AND EARLY 20th CENTURY ARTISTS, BOTH ESTABLISHED AND LESSER KNOWN, THANKS TO THE EFFORTS OF THE FOUNDER AND DIRECTOR, JENNIFER KRIEGER. THE GALLERY, LOCATED AT 74 EAST 79th STREET IN NEW YORK HAS RECENTLY OPENED A LARGER SPACE IN IRVINGTON, NEW YORK, THE HEARTLAND OF THE HUDSON – A LOCATION THAT MEANS A GREAT DEAL TO JENNIFER IN TERMS OF ITS HISTORY, BOTH VISUAL AND LITERARY. http://www.hawthornefineart.com/
TODAY JENNIFER WILL DETAIL SOME OF THE WONDERFUL HISTORICAL DISCOVERIES THAT HER RESEARCH IN AMERICAN WOMEN PAINTERS HAS REVEALED AND SPEAK OF THE FUTURE OF THE GALLERY AND THIS MARKET – A MARKET WHICH, THANKS TO HER, AND OTHER DEDICATED DEALERS AND SCHOLARS’ EFFORTS IS NOT A FINITE FIELD.
YOU ARE PLANNING A LECTURE AT THE DAHESH MUSEUM ON THE ENTIRE 19th CENTURY OF WOMEN ARTISTS RANGING FROM HUDSON RIVER SCHOOL THROUGH ACADEMIC AND IMPRESSIONIST FEMALE PAINTERS? THE LECTURE IS MEANT TO BUILD UPON AN EXHIBITION THAT THE MUSEUM PREVIOUSLY MOUNTED IN 1999 CALLED OVERCOMING ALL OBSTACLES: THE WOMEN OF THE ACADÉMIE JULIAN.
JENNIFER, PLEASE SHARE WITH US THE MARVELOUS HISTORY OF THE ACADEMIC JULIAN FOR AMERICAN PAINTERS STUDYING IN PARIS, WHO ARE SOME OF THE MORE WELL-KNOWN WOMEN ARTISTS THAT YOU PLAN TO INCLUDE IN THE LECTURE? WHICH ARTISTS HAVE YOU DISCOVERED AND RESEARCHED THAT YOU FEEL ARE MOST DESERVING OF ATTENTION?
The Academie Julian was one of the few institutions to offer rigorous academic training and a study of draughtsmanship from live models to women at the same level as the Ecole des Beaux Arts which did not admit female students. I actually worked as a curatorial assistant for the Dahesh Museum at the time that the exhibition was being planned and mounted. In fact, I visited the Academie Julian building in Paris in 1998 and brought back with me to New York the sketchbooks that were loaned to the show.
In my lecture to take place at the Dahesh Museum’s new quarters in Hudson Square on May 2, 2013, I plan to speak about 19th century female students such as Cecilia Beaux on whom I had written my senior thesis at Vassar College. I also plan to speak about some of her lesser known colleagues such as Rosina Emmet Sherwood, Mary Helen Carlisle and Emily Sartain and connect them with their predecessors, the Hudson River School’s women artists who bravely paved the way for later generations to follow. SansaricqCatalog
IF YOU HAD UNLIMITED TIME AND RESOURCES, WHAT WOULD YOU ENJOY EXPLORING IN AMERICAN ART HISTORY THE MOST? WHAT OTHER AREAS, IF ANY, DO YOU FEEL ARE LACKING IN ACADEMIC SCHOLARSHIP?
I would love to spend time probing the hidden storage areas of museums and find more forgotten talents and discover more treasures. I think it is important to remain daring and not exclude an artist just because he or she is obscure and might not garner widespread commercial interest, at least not immediately. I think it is important to trust one’s eye, continue to develop and refine it and let it lead you to make judgments, rather than relying solely on the previous thoughts and conventions of others.
HOW DO YOU ENVISION THE FUTURE OF 19th CENTURY AMERICAN ART IN GENERAL AND HAWTHORNE FINE ARTS IN PARTICULAR?
Because I am so partial to the area, I wholeheartedly look forward to continued scholarship that blends an understanding of social history with direct aesthetic observation. I look forward to a strengthening market and wider interest which reflects a celebration of our rich heritage. Through Hawthorne, I hope to unearth more great treasures, find important works which are recorded but currently unlocated as well as to develop future exhibitions that are ambitious in scope and accompanied by dynamic research.
IN THE NEXT LRFA BLOG, I HAVE THE GREAT PLEASURE OF SPEAKING WITH ONE OF MY CLIENTS- A TERRIFIC COUPLE WHO STARTED TO WORK WITH ME A FEW YEARS AGO. MUCH TO MY DELIGHT AND PLEASURE, WHAT BEGAN AS AN INTRODUCTION FROM THEIR DESIGN TEAM (THANK YOU, TIM!) FOR SOME MODEST WORKS FOR A WONDERFUL CARIBBEAN RETREAT, BECAME AN OPPORTUNITY TO GET TO KNOW AND COLLABORATE WITH THEM ON AN ON-GOING FRESH AND EXCITING CONTEMPORARY COLLECTION FOR THEIR PRIMARY RESIDENCE . I AM ALWAYS CURIOUS AS TO HOW SOMEONE ENDS UP LIVING WHERE THEY DO AND THEIR CHOSEN PROFESSIONS AND, MOST OF ALL, WHY THEY GRAVITATE TO PARTICULAR PERIODS AND STYLISTIC SENSIBILITIES IN ART. I TRY TO HONE MY INTUITIVE AND INVESTIGATORY SKILLS AS A VEHICLE TO CREATE THE MOST SATISFYING COLLECTIONS FOR MY CLIENTS – ONE THAT IS EVOLVING AND GROWING, ONE THAT BRINGS EMOTIONAL AND VISUAL PLEASURE, AND ONE OF INTRINSIC QUALITY AND ART HISTORICAL SENSE, A DIALOGUE BETWEEN THE WORKS, SOMETIMES OVERT, SOMETIMES SUBTLE, AND PROBABLY SOMETIMES ONLY DISCERNIBLE TO ME.
AND SO I WELCOME YOU TO ASKING QUESTIONS OF THIS NEW COLLECTOR AND HER HUSBAND, AND YOUR COMMENTS AND CRITICISMS…
UNTIL THEN, THANKS FOR READING!