Expanding Horizons: Painting and Landscape Photography of American and Canadian Landscape 1860-1918, an exhibition that includes two of the Carter's photographs by Karl Struss and Frank Jay Haynes, has traveled to its second and final venue. The exhibition opens tomorrow at the Vancouver Art Gallery, where it will be on view through January 17.
With the happy outcome of yesterday's newsmaking joyride, what better topic for Photo of the Week?
Here are three joyrides from the Carter's photography collection...
Elliott Erwitt, Yale/New Haven, 1955, printed 1977, Gift of George Peterkin Jr., ©1955 Elliott Erwitt
Unknown artist, [Driving to Denver], gelatin silver print postcard, ca. 1910s
And one of my personal favorites:
Edward H. Mitchell, "The Joy Ride" at the California Alligator Farm, Los Angeles, California, halftone postcard with applied color, ca. 1910s
It's Nobel Prize season again. Today's installment of Photo of the Week draws on the Carter's archive of photographer Clara Sipprell (1885-1975) who shot, among other things, portraits of famous diplomats and scientists. The following three photographs, all by Clara Sipprell, are portraits of Nobel Prize-winning scientists that I just happened to come across while doing some cataloging last week.
Professor Manne Siegbahn--Physics--Nobel Prize--Stockholm - 1938, gelatin silver print, 1938
Manne Siegbahn (1886-1978) was a Swedish scientist who won the 1924 Nobel Prize for Physics. Interestingly, his son won the Nobel for work in the same field - x-ray spectroscopy - in 1981.
Professor The Svedberg--Physical Chemistry--Nobel Prize--Uppsala, gelatin silver print, 1938
Dr. Hideki Yukawa, Nobel Prize--Physics, gelatin silver print, ca. 1950s
Hideki Yukawa (1907-1981) was the first Japanese Nobel Prize laureate, who won the prize for his work with subatomic particles in 1949.
The Carter is excited to have two paintings - <a href="http://www.cartermuseum.org/works-of-art/1990-19-1>Swimming by Thomas Eakins and Idle Hours by William Merritt Chase - included in the exhibition American Stories: Paintings of Everyday Life at the Metropolitan Museum of Art in New York.
A couple of weeks ago, registrar Lacey escorted these paintings to the Met and had the chance to
take some behind-the-scenes photos of their installation.
Swimming hanging in the Met's galleries
Idle Hours being installed at the Met
Another exciting thing about this exhibition is that while the two of the Carter's most important paintings are in New York, we are exhibiting two paintings loaned to us from the Met. This means that, until January 2010, you can see Thomas Eakins's The Artist's Wife and His Setter Dog and Mary Cassatt's Lydia Crocheting in the Garden at Marly right here in Fort Worth!
Here is a sneak peak of the Carter's preparators Steve, Les, and Jim unpacking and installing the Met's paintings in the Carter's galleries earlier this week:
Be on the lookout for the Carter’s Wrapped Oranges on the side of a Fort Worth Transportation Authority (The T) Bus. Three new buses depicting Fort Worth’s art museums and their iconic works recently hit the streets. It’s a component of a partnership between The T and the museums to encourage the public to “Ride the T to the Cultural District.” For more information on how to ride the T, visit www.the-t.com.
With all the attention on national parks this week, I thought it would be interesting to show some images of the national parks from the Carter's collection. And because the national parks are such a big draw not just for fine art photographers, but tourists as well, this week's photographs are all vintage postcards.
Frank Jay Haynes, Daisy Geyser, Yellowstone National Park, tricolor halftone, ca. 1910s
Asahel Curtis, "See Washington First." The Switzerland of America, Crossing a Glacier, Mount Rainier. , tricolor halftone with applied color, 1913
Brown & Bigelow, Iceberg Lake, Glacier National Park, Montana, tricolor halftone, ca. 1915
Fred Harvey Corporation, The Lookout, Grand Canyon National Park, Arizona, photolithograph, ca. 1920
National Museum Day is this Saturday, September 26. We're celebrating here at the Carter by participating in the 3rd annual Day in the District. Seven institutions in the Fort Worth Cultural District - the Carter, Kimbell, Modern, Cowgirl, Community Arts Center, Log Cabin Village, and Botanic Garden - will be open all day Saturday with free admission and special programs (of course, admission to the Carter is ALWAYS free!).
This Photo of the Week features works that are currently on display in our exhibitions <a href="http://www.cartermuseum.org/exhibitions/circle-of-friends-portraits-of-artists>Circle of Friends: Portraits of Artists and Masterworks of American Photography: Moments in Time. If you come out for Day in the District, be sure to make your way to the photography galleries to see these works in person.
Margaret Watkins, Self-portrait, gaslight chloride print, 1919, © Mr. Joseph Mulholland
Watkins was a student of pictorialist photographer Clarence H. White, along with other notables like Margaret Bourke-White, Paul Outerbridge, Max Weber, Dorothea Lange, and Laura Gilpin.
Karl Struss, Bebe Daniels, gelatin silver print, 1919, © 1983 Amon Carter Museum
Part of the permanent photography collection, the Carter's Karl Struss archive includes over 1500 photographs taken on the sets of silent movies by this photographer and Academy-award winning cinematographer. <a href="http://en.wikipedia.org/wiki/Clarence_Hudson_White>Bebe Daniels, originally from Dallas, was an extremely prolific actress who appeared in over 230 movies throughout her long career.
Joel Sternfeld, March 4, 2007, The East Meadows, Northampton, Massachusetts, dye coupler print, 2007, © 2007 Joel Sternfeld, Purchase with the assistance of the Stieglitz Circle of the Amon Carter Museum
This is an important new addition to the Carter's photography collection that has only been here a few months. It depicts a particular field in Massachusetts painted in the 19th century by Hudson River School painter Thomas Cole. If you look at the photo very closely - as in, standing right in front of it - you can see the building where Cole painted this landscape over 170 years ago.