Ernest Lawson's Spain

This is the publisher's version, also available electronically from http://www.jstor.org/stable/1215811?seq=1#page_scan_tab_contents.No abstract is available for this item

Irving Norman, Redwoods, and Refugees

This is the publisher's version, also available electronically from http://www.jstor.org/stable/full/10.1086/507497.No abstract is available for this item

Ernest Blumenschein's "The Peacemaker": Native Americans, Greeks, and Jurisprudence circa 1913

This is the publisher's version, also available electronically from http://www.jstor.org/stable/3109371?seq=1#page_scan_tab_contents.No abstract is available for this item

Adelyn Dohme Breeskin (1896-1986)

This is the publisher's version, also available electronically from http://www.jstor.org/stable/3109264?seq=1#page_scan_tab_contents.No abstract is available for this item

Discovering Davies-Land: Arthur B. Davies in the West, 1905

Arthur Davies’s 1905 excursion in the West is only occasionally mentioned in discussions of his career, and then but briefly. The artist’s itinerary and the subjects that captured his attention have, like his western sketches, been largely neglected. Scant written records from his travels and the scattering of the more than seventy oil sketches produced en route contribute to this neglect. Yet in the years after his return, the subjects and compositions of Davies’s easel paintings suggest the impact that unique trip to the American West had for this otherwise dedicated Europhile. Discovery of a number of the small oil-on-panel sketches helps to identify the path Davies pursued. More importantly, the sketches suggest the inspiration for his post-excursion canvases, many of which grew larger in format in response to the scale of the spacious western landscape. A good number of these larger paintings were in fact landscapes, a motif otherwise relatively rare among Davies’s oils, and incorporated familiar aspects of western scenery (mountain horizons, towering redwoods). Some also included nude figures in newly sensual poses and combinations. Consideration of the panels illuminates the praise of contemporaries who lauded Davies’s “superbly faithful and glowing [western] sketches” and predicted that “some day collectors will compete for them.” In 1924, critic Virgil Barker admired the western-inspired works from what he called “Davies-Land,” paintings that required “an emotional comprehension of mood.” In them Barker discovered “this time’s most explicit appeal to the imagination. Therein lies their measure of greatness”—a greatness that began with a sketch

Wet Paint: Herman Melville, Elihu Vedder, and Artists Undersea

This is the publisher's version, also available electronically from http://www.jstor.org/stable/3109253.No abstract is available for this item

Torre dei Schiavi: Monument and Metaphor

This is the publisher's version, also available electronically from http://www.jstor.org/stable/3108942?seq=1#page_scan_tab_contents.No abstract is available for this item

Carol Haerer: The White Paintings

The Sheldon Memorial Art Gallery and Sculpture Garden is pleased to present Sheldon Solo: Carol Haerer, The White Paintings, an exhibition featuring Carol Haerer\u27s white paintings of the mid to late 1960s. This exhibition is the most recent installment of the Sheldon Solo exhibition series, a series established in 1988 to feature the work of important American artists within the context of the Sheldon Gallery\u27s nationally recognized collection of 20th-century American Art. A midwestern native who attended Doane College and the University of Nebraska-Lincoln, Carol Haerer studied in Paris on a Fulbright Fellowship in 1955, and after receiving an M.F.A. from the University of California-Berkeley, she moved to New York. It was in New York where she began to paint intensely subtle white paintings which received considerable critical attention in the late sixties, in part because they seemed to offer a way out of what was perceived by many in the art world to be the straightjacket of Minimalism. But the critical attention they received in the sixties has rarely been noted by art historians, who have tended to evaluate painting or sculpture from this period by the theoretical standards of Minimalism. But as minimal as Haerer\u27s paintings appear at first blush, they are images, even atmospheres, but not objects. This exhibition offers an opportunity for our audience actually to experience these paintings as they were intended to be viewed, as an aesthetic environment. We would like to thank Dr. Charles Eldredge, Hall Distinguished Professor of American Art at the University of Kansas and former Director of the National Museum of American Art in Washington, DC for writing the essay for this publication