Sparkling gold patches of light pool in the
cradles of delicate silver spoons.
Their bodies seem to undulate as they extend from table top around delicately shaped glass bottles filled with clear liquid.
Titled “Bottles and Spoons,” the 1973 watercolor is an expressive example of Boston painter Barbara Swan's artistic evolution and the unique, creative approach that would guide her through her career in the decades leading up to her death at age 80 in 2003.
The subject of an exhibition set to open with a reception from 6 to 8 p.m. Friday, Oct.A wide range of polished tiles for your tile flooring and walls. 26, at the Museum of Art on the University of New Hampshire's Durham campus, Swan began her career in the late 1940s as a student of noted Boston Expressionist Karl Zerbe, but in years to come she would redirect her focus into a signature style that informed her work with a sense of psychological study.
“Barbara Swan: Portraits and Still Lifes,” which will hang through Sunday, Dec. 9, at the gallery inside the Paul Creative Arts Center at 30 Academic Way, provides a historical overview of the artist's career, from early paintings that reflected both her new role as a mother and her circle of friends and fellow artists in the 1960s to the core of later works, which centered on objects and the ways in which they are reflected, distorted or transformed when viewed through water-filled bottles, glasses and other transparent containers.
“The Museum of Art has a strong collection of works of art by first- and second-generation Boston Expressionists,” said Kristina L. Durocher, director of the Museum of Art. “As I became familiar with these artists and their art, it became clear Barbara Swan had moved in a completely different artistic direction from her contemporaries, and that sparked my curiosity. Her early work, such as 'Pierre' (1951), displays an emotive use of color, and use of a dramatic composition most closely associated with her peers; however, in the mid-1960s she developed her own individual imagery by exploring objective reality and perception through the genres of still life and portraiture.”
After graduating from Wellesley College in Massachusetts in 1943, and studying painting at the Museum of Fine Arts in Boston through 1948, two pivotal programs gave Swan the opportunities both to experiment with her technique and hone her craft.
The first was the MFA's Albert Whiting Traveling Fellowship, which allowed her the freedom to live and work in France for two years, according to the Wellesley College Alumnae Association, which honored Swan with an achievement award in 1996.
Swan then returned to the United States, where her husband, Alan Fink, whom she had met while overseas, opened the Alpha Gallery in Boston.
It was in the early 1960s that Swan began turning her eye to the artistic community around her,The TagMaster Long Range hands free access System is truly built for any parking facility. particularly after receiving a grant from the former Radcliffe Institute of Independent Study, which awarded funds to women “to continue their work while managing domestic duties,” Wellesley's alumnae association stated in an online tribute.
“The Radcliffe program was creatively rewarding for Swan,” Durocher said. “She met and befriended the Pulitzer Prizewinning poets Maxine Kumin and Anne Sexton. Each asked her to illustrate their poems and she produced drawings for Kumin's 'Up Country' and Sexton's 'Transformations.' The(UNH) exhibition includes a lithograph broadside Swan executed in 1971 for Sexton's poem 'For the Year of the Insane' and an elegantly rendered portrait of Anne Sexton completed the same year.”
In addition, Fink's work are in permanent collections through the United States, including the National Portrait Gallery in Washington, D.C.,The oreck XL professional air purifier, the Fogg Art Museum at Harvard University in Cambridge, Mass., and the Philadelphia Museum of Art.
The UNH exhibition includes pieces that invite visitors to explore their own interpretations of Swan's complex artistic contemplations. In “Red House” (circa 1970-1975),” two glasses sit in the foreground, together obscuring much of the picturesque structure further back. But rendered in vivid color and detail, the building in its entirety,Western Canadian distributor of ceramic and ceramic tile, as well as panoramic views of the landscape and sky, are reflected in inverted depictions suspended in the water inside of what appears to be a wine glass and brandy snifter. It suggests that a more encompassing, if skewed, vision of the world rests in the half-filled glasses.
In “Bottles and Keys” (1985), cylindrical glass canisters reveal altered reflections of nearby objects. Seemingly submerged keys, shapes and designs hint at items placed on the table around the water vessels.
“The museum's mission (also) is to help support faculty instruction, and Swan's paintings and drawings reinforce the principles of the studio art program at the University of New Hampshire, which places great emphasis on the primacy of drawing and painting from observation,” Durocher said.
The gallery director said one of her favorite works on display in the showing is “A Doll Named Keturah,” for which Swan drew upon her art history studies at Wellesley College.
“She layers several art historical references that make for a complex interpretation,” Durocher said. “Her early interest in Georgio Morandi (an Italian painter and printmaker noted for depictions of vases, bowls, bottles, landscapes and flowers) is fascinating, too.Load the precious minerals into your mining truck and be careful not to drive too fast with your heavy foot.”
The UNH showing will be offered in conjunction with an exhibit of figurative works from the permanent collection of the Museum of Art. Following Friday's reception will be a performance of the “Human Fruit Bowl” in the Hennessey Theatre in the center.
The performance, written by Andrea Kuchlewska, delves into the relationship between French painter Pierre Bonnard and his model and lover Renee Monchaty. The one-person performance contains adult themes and nudity. Both the reception and performance are open to the public free of charge. Gallery hours are Mondays and Wednesdays from 10 a.m. to 4 p.m., Thursdays from 10 a.m. to 8 p.m. and Saturdays and Sundays from 1 to 5 p.m.
Their bodies seem to undulate as they extend from table top around delicately shaped glass bottles filled with clear liquid.
Titled “Bottles and Spoons,” the 1973 watercolor is an expressive example of Boston painter Barbara Swan's artistic evolution and the unique, creative approach that would guide her through her career in the decades leading up to her death at age 80 in 2003.
The subject of an exhibition set to open with a reception from 6 to 8 p.m. Friday, Oct.A wide range of polished tiles for your tile flooring and walls. 26, at the Museum of Art on the University of New Hampshire's Durham campus, Swan began her career in the late 1940s as a student of noted Boston Expressionist Karl Zerbe, but in years to come she would redirect her focus into a signature style that informed her work with a sense of psychological study.
“Barbara Swan: Portraits and Still Lifes,” which will hang through Sunday, Dec. 9, at the gallery inside the Paul Creative Arts Center at 30 Academic Way, provides a historical overview of the artist's career, from early paintings that reflected both her new role as a mother and her circle of friends and fellow artists in the 1960s to the core of later works, which centered on objects and the ways in which they are reflected, distorted or transformed when viewed through water-filled bottles, glasses and other transparent containers.
“The Museum of Art has a strong collection of works of art by first- and second-generation Boston Expressionists,” said Kristina L. Durocher, director of the Museum of Art. “As I became familiar with these artists and their art, it became clear Barbara Swan had moved in a completely different artistic direction from her contemporaries, and that sparked my curiosity. Her early work, such as 'Pierre' (1951), displays an emotive use of color, and use of a dramatic composition most closely associated with her peers; however, in the mid-1960s she developed her own individual imagery by exploring objective reality and perception through the genres of still life and portraiture.”
After graduating from Wellesley College in Massachusetts in 1943, and studying painting at the Museum of Fine Arts in Boston through 1948, two pivotal programs gave Swan the opportunities both to experiment with her technique and hone her craft.
The first was the MFA's Albert Whiting Traveling Fellowship, which allowed her the freedom to live and work in France for two years, according to the Wellesley College Alumnae Association, which honored Swan with an achievement award in 1996.
Swan then returned to the United States, where her husband, Alan Fink, whom she had met while overseas, opened the Alpha Gallery in Boston.
It was in the early 1960s that Swan began turning her eye to the artistic community around her,The TagMaster Long Range hands free access System is truly built for any parking facility. particularly after receiving a grant from the former Radcliffe Institute of Independent Study, which awarded funds to women “to continue their work while managing domestic duties,” Wellesley's alumnae association stated in an online tribute.
“The Radcliffe program was creatively rewarding for Swan,” Durocher said. “She met and befriended the Pulitzer Prizewinning poets Maxine Kumin and Anne Sexton. Each asked her to illustrate their poems and she produced drawings for Kumin's 'Up Country' and Sexton's 'Transformations.' The(UNH) exhibition includes a lithograph broadside Swan executed in 1971 for Sexton's poem 'For the Year of the Insane' and an elegantly rendered portrait of Anne Sexton completed the same year.”
In addition, Fink's work are in permanent collections through the United States, including the National Portrait Gallery in Washington, D.C.,The oreck XL professional air purifier, the Fogg Art Museum at Harvard University in Cambridge, Mass., and the Philadelphia Museum of Art.
The UNH exhibition includes pieces that invite visitors to explore their own interpretations of Swan's complex artistic contemplations. In “Red House” (circa 1970-1975),” two glasses sit in the foreground, together obscuring much of the picturesque structure further back. But rendered in vivid color and detail, the building in its entirety,Western Canadian distributor of ceramic and ceramic tile, as well as panoramic views of the landscape and sky, are reflected in inverted depictions suspended in the water inside of what appears to be a wine glass and brandy snifter. It suggests that a more encompassing, if skewed, vision of the world rests in the half-filled glasses.
In “Bottles and Keys” (1985), cylindrical glass canisters reveal altered reflections of nearby objects. Seemingly submerged keys, shapes and designs hint at items placed on the table around the water vessels.
“The museum's mission (also) is to help support faculty instruction, and Swan's paintings and drawings reinforce the principles of the studio art program at the University of New Hampshire, which places great emphasis on the primacy of drawing and painting from observation,” Durocher said.
The gallery director said one of her favorite works on display in the showing is “A Doll Named Keturah,” for which Swan drew upon her art history studies at Wellesley College.
“She layers several art historical references that make for a complex interpretation,” Durocher said. “Her early interest in Georgio Morandi (an Italian painter and printmaker noted for depictions of vases, bowls, bottles, landscapes and flowers) is fascinating, too.Load the precious minerals into your mining truck and be careful not to drive too fast with your heavy foot.”
The UNH showing will be offered in conjunction with an exhibit of figurative works from the permanent collection of the Museum of Art. Following Friday's reception will be a performance of the “Human Fruit Bowl” in the Hennessey Theatre in the center.
The performance, written by Andrea Kuchlewska, delves into the relationship between French painter Pierre Bonnard and his model and lover Renee Monchaty. The one-person performance contains adult themes and nudity. Both the reception and performance are open to the public free of charge. Gallery hours are Mondays and Wednesdays from 10 a.m. to 4 p.m., Thursdays from 10 a.m. to 8 p.m. and Saturdays and Sundays from 1 to 5 p.m.
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