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Women with Means Presentaion

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Harry Zundel

on 20 March 2013

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Transcript of Women with Means Presentaion

MoMA, Whitney: "Women with means" MoMA and their influence on American Modernism Mary Quinn Sullivan "To the Tycoons of the late nineteenth and early twentieth centuries, collecting art presented the highest form of conspicuous consumption, indicative of wealth and refinement."
American Painting from the Armory Show to the Depression, Milton W. Brown, Princeton 1955, p.92 "The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex." 19th Ammendment GERTRUDE
WHITNEY The founders and directors ran the museum “with all the efficiency of a business competing in the capitalist economy.”
C. Grunenberg ‘The Modern Art Museum’, in E.Barker, Contemporary Cultures of Display, (London, 1999), p32 ‘Sullivan, the wife of attorney Cornelius J. Sullivan, was a tireless proponent of the cause of modern art...’ Victor. J. Danilov,Women and Museums a comprehensive Guide by Victor J. Danilov (New York 2005) p.90. ‘I am making this collection the nucleus of a museum devoted exclusively to American art
-a museum which will grow and increase in importance as we ourselves grow.' Whitney quoted in Catalogue of the Memorial Exhibition 1943, p.i Lillie
P. Bliss ‘We don’t want any more Americans.We have a cellar full of that kind of painting.’
Kathleen D. McCarthy Women’s culture: American Philanthropy and art, 1830-1930 (Chicago, 1991), p237 ‘The bequest is a nucleus around which to build a magnet for other collections..’ Forbes Watson in Edward T. James, Janet Wilson James, Paul S. Boyer, Notable American Women, 1607-1950: A Biographical Dictionary, Volume 2, (Cambridge, 1990) p.207 'Art patronage was an inherently expensive proposition, and even with the best professional alliances, it fell beyond the parameters of middle-class sponsorship when fashioned as a lone crusade.' Kathleen D. McCarthy Women’s culture: American Philanthropy and art, 1830-1930 (Chicago, 1991), p.196 ‘Her father collected paintings in the way that was common to men like him: only the best, which meant paintings that were full of classical allusions and with heartfelt landscapes by blue-chip artists from Europe who were, for the most part, safely dead' Gere, C. and M. Vaizey Great Women Collectors (London, 1999) p.25 Stuart Davis, House and Street, 1931. Oil on canvas, 26 × 42 1/4 in. (66 × 107.3 cm). Whitney Museum of American Art, New York; purchase 41.3 Robert Henri, Gertrude Vanderbilt Whitney,
1916. Oil on canvas, 50 × 72 in. (127 × 182.9 cm Armory Show 'The mother of MoMA'
Alice Goldfarb Marquis Alfred H. Barr, Jr: Missionary for the Modern (Michigan,1989), p. i Interior view of the exhibition, 1913, New York City Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912, Philadelphia Museum of Art George Bellows, Both Members of This Club, 1909, Chester Dale Collection displayed some 1,300 paintings, sculptures, and decorative works by over 300 avant-garde European and American artists.
modelled on the Parisian salons
tax laws were relaxed so artwork from Europe could enter duty free. 1913 Women's Suffrage 1848 - The Seneca Falls Convention
Protests against Wilson administration took place outside White House
Nineteenth Amendment gives women the vote. Abby Aldrich Rockefeller and her husband, John D. Rockefeller Cover of Time Magazine 1936 Alfred Barr ‘My husband is not at all interested in modern painting so that I have to go into it myself’. Glenn Lowry, Michelle Elligott, Harriet S. Bee, Art In Our Time (New York, 2004) p. 21 Pablo Picasso, Les Demoiselles d'Avignon, 1907, Museum of Modern Art Catalogue cover for the 1926 International Exhibition of Modern Art by the Societe Anonyme Designed by Friedel Dzubas Paul Cezanne, Still Life with Ginger Jar, Sugar Bowl and Oranges, 1902-06, Museum of Modern Art Ledger containing list of Purchases from the Armory Show 1913 ‘...not a contemporary artist of note in America who had not been helped by her.’ B.Venn, A. D. Weinberg, K. Fraser, Frames of Reference: Looking at American Art, 1900-1950 : Works from the Whitney Museum of American Art (California, 1999), p.19 MoMA's Membership Solicitation, signed by the seven initial trustees, 1929 Photograph of Suffragist with "Kaiser Wilson" Poster 'The Whitney might buy a picture because the artist was in danger of despair or had to pay the rent or medical bills.' B.Venn, A. D. Weinberg, K. Fraser, Frames of Reference: Looking at American Art, 1900-1950 : Works from the Whitney Museum of American Art (California, 1999) p.51 Letter from Alfred Barr, to Abby Aldrich Rockefeller, thanking her for her first donation to the purchase fund, 1935 The Lillie P Bliss bequest is officially deeded to MoMA, March 5 1934, Alfred Barr - Director and A. Conger Goodyear - President are handed the deed by Lillie P Bliss' brother, Cornelius N. Bliss. Pablo Picasso, Les Demoiselles d'Avignon, 1907, Museum of Modern Art "The Museum of Modern Art in New York City is consistently identified as the institution most responsible for developing modernist art ... the most influential museum of modern art in the world" Richard Tansev, Fred S. Kleiner , Horst De LA Croix, Gardner's Art Through the Ages (California, 1995) p.675 Aerial view of the Rockefeller Center looking north, showing RCA and International Buildings. August 1935. Carnegie Hall 1938 Abby Rockefeller, 1922 Lillie P Bliss, 1924 Mary Quinn Sullivan,
date unknown Gertrude Vanderbilt Whitney, 1921 “Women began to play an increasingly prominent role as collectors and connoisseurs by the 1890s.” Kathleen McCarthy, Women's Culture: American Philanthropy and Art, 1830-1930, Chicago 1991, p.112 Edgar Degas, The Racecourse, 1885, Private Collection Cornelius Vanderbilt II by John Singer Sargent, 1890 Private Collection Whitney amongst her sculptures c.1929 Juliana Force c.1925 Peggy Bacon, Whitney Studio Club 1925 (Whitney Museum permanent collection) Mockup graphic of the new Whitney Museum The Whitney Museum, present day MoMA, present day Abby Aldrich Rockefeller WHITNEY MoMA Press Release 1929, MoMA Archives
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