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THOMAS BUFORD METEYARD (1865-1928) Travels through Impressionism THOMAS BUFORD METEYARD (1865-1928) Travels through Impressionism DAVID B. DEARINGER Boston Athent:eum 2017 This publication is issued in conjunction with the exhibition THOMAS BUFORD METEYARD (1865 - 1928) Travels through Impressionism 1 ,c__~ t Gf:>1 (10_ 3 ~c..,· :?, 190-l DOB(;;)._ 1--fQ 4 Bos ton Athenreum, Boston, Massachusetts October 25, 2017- February 24, 2018 © 2017 Trustees of the Boston Athenreum ALL RIGHTS RESERVED Copyedited by Fronia W. impson Design and typography in Adobe Caslon Pro by Howard I. Gralla Printed by GHP, West Haven, Connecticut Eu\rw-. (\.~lf,,..c,,..tv,,.,.. R.k11td....,._ \ -;, f.J,? c:.Q,y..~ Z C l '.:l_ FRONTISPIECE Marshes, ca. 1893-94. Watercolor and ink. Private collection (cat. no. 25) FRONT COVER I ris near Giverny, ca. 1891-93. Watercolor. Meteyard Family Collection (cat. no. II) BACK COVER Delphiniums and Poppies, Moses Hill Farm, ca. 1922. Watercolor. Meteyard Family Collection (cat. no. 76) Director's Foreword THIS VOLUME accompanies the first exhibition of work by Thomas Buford Meteyard ever organized by a museum or library in the United tates. Upon encountering examples of Meteyard's oeuvre for the first time, others may wonder, as I did: How could such an expansive talent have remained hidden in plain sight for so long? Once seen, Meteyard's accomplishment is impos­sible to forget. Ranging from oils and watercolors to woodcuts and book designs, his works possess lasting power associated with a range of artistic movements, including Arts and Crafts, Symbolism, and Impres­sionism. An associate of Oscar Wilde, Edvard Munch, Claude Monet, and Henry James, Meteyard moved easily among avant-garde communities of his day, from Giverny to Scituate, Massachusett , to London. And perhaps it is because of this breadth of interest and varied mode of expression that we, in the twenty­first century, find Meteyard's work so appealing. The success of a project such as this

Foreword and acknowledgements / Elizabeth E. Barker, PhD Introduction / David Dearinger and Donna Hassler An American sculptor and the female form / David B. Dearinger Notes Bibliography., DANIEL CHESTER FRENCH: THE FEMALE FORM REVEALED DANIEL CHESTER FRENCH: THE FEMALE FORM REVEALED DAVID B. DEARINGER BOSTON ATHEN.1.EUM / 2.016 1' ~- BOSTON .ATJfflNEOM ,.I, This publication is issued in conjunction with the exhibition DANIEL CHESTER FRENCH: THE FEMALE FORM REVEALED Boston Athenreum, Boston, Massachusetts October 7, 2016-February 19, 2017 Curated by David B. Dearinger and Donna Hassler This catalogue is made possible by a generous grant from the National Endowment for the Arts. © 2016 Trustees of the Boston Athenreum ALL RIGHTS RESERVED ISBN 10: 0-934552-85-1 / ISBN 13: 978-0-934552-85-1 Copyedited by Fronia W. Simpson Design & typography by Howard I. Gralla Printed by GHP, West Haven, Connecticut FRONTISPIECE: Robert William Vonnoh (1858-1933), Daniel Chester French in His Chesterwood Studio, 1913, oil on canvas, 31 x 32 in. (frame dimensions). Chesterwood (cat. no. 18). Gift of the Daniel Chester French Foundation, NT 69.38.786. FRONT COVER: Daniel Chester French, Mourning Victory, Maquette, ca. 1906, plaster. Chesterwood (cat. no. 7a) . Photograph by Paul Rocheleau, courtesy Chesterwood. BACK COVER: Daniel Chester French with Full-Size Clay Model of"Mourning Victory" on Railroad Track at Chesterwood, 1907. Chapin Library, Williams College, Gift of the National Trust for Historic Preservation / Chesterwood, a National Trust Historic Site, Stockbridge, MA, NT 73.45.4970. FOREWORD AND ACI(NOWLEDGMENTS Often .. . an artist puts into his work something that he feels but has never expressed in words. 0 DA IEL HE T R FRE H reflected, in 1926, while de igning a war memorial for t. Paul' chool in oncord, ew Hamp hire. Thi exhibition accompli he omething imilar. It explore an a pect of French' achievement that cholar have long intuited and often briefly noted but never previou ly explored: the American Renai ance culptor' allegoricaJ u e of the female figure a a univer al ignifier of the human condition. uch an ambitiou project-a feat not only of idea but al

Exhibition booklet: Includes exhibition checklist., LAFAYETTE An American Icon David B. Dearinger Boston Athenaeum 2015 T h is publication is issued in conjunction with the exhibition L A F A Y E T T E : ^ American Icon Boston Athenaeum, Boston, Massachusetts June 17-Sep tcmber 27, 2015 © 2015 Trustees o f the Boston Athenaeum AL L R IGHT S RE S ERVED ISBN 10:0 - 9 5 4 5 5 2 -8 4 - 3 ISBN 1 3 :9 7 8 -0 -9 3 4 5 5 2 -8 4 - 4 Copyedited by Fronia W. Simpson Design & typography by Howard I. Gralla Printed by G H P, West Haven, Connecticut FRONT COVER: De cisy after Joseph-Desire Court (179 7 -18 6 5 ) Marquis de Lafayette, n.d. Engrav ing, 23 x 1 S Vi inches David Bishop Skillman Library, Lafayette College , Easton, PA (cat. no. 32) t i t l e p a g e : Ed. Gosselin, after Edme Quenedey des Ricets (17 5 6 -18 30 ) Gilbert Motier Marquis de La Fayette, 1895 (detail). Aquatint, 13% x 10% inches David Bishop Skillman Library, Lafayette College, Easton, PA (cat. no. 39) Director's Foreword I reads / Study, I examines I listen, / reflect, and I tr\' to develop a reasonable, common-sense opinion. / do not talk too much— to avoid say inf' foolish things... Lafayette to the due d ’Ayan. Camp Gulph. Pennsylvania, December 16 ,17 7 7 * T h e twenty-year-old Marquisde Lafayette’s observation to his father-in-law might serve as any writer’s touchstone. I lappily, it also charac­terizes the present text, a first installment in the ongoing research o f my distinguished colleague David B. Dearinger, PhD, Susan Morse I lilies Curator o f Paintings & Sculpture and Director o f Exhibitions at the Poston Athenaeum, and the perceptive, creative curator o f the present exhi­bition. David’s indefatigable energy, unbounded curiosity, and wit have shaped Lafayette: An American Icon qualities for which visitors to the exhibition will surely share my gratitude. Yet a project such as this would not have been possible without the support and assistance o f many people. All o f us at the Boston Athena?um are deeply grateful to Kathy Duffy and Susan

Exhibition pamphlet: Includes exhibition checklist., A merican N eoclassic Sculpture at the B oston A thenaeum February 26-May 17, 2015 Boston Athenaeum A m e r ic a n N eo c la s s ic S c u l p tu r e at th e B o s to n A t h e n /eum This exhibition explores the various ways that American sculptors conformed to and, in some cases, deviated from the strictures of neoclassicism, the artistic style that dominated American art during the first half of the nineteenth century. These marbles and plasters, all selected from the collection of the Boston Athenaeum, suggest the range of choices that neoclassical sculptors had, even within the confines of this particular and somewhat restrictive style. As careful consideration of these objects will show, neoclassicism is, in the end, truly a conversation between the ideal and the real. The Art and Practice of Neoclassicism The style known as neoclassicism dominated western art from the 1750s, when major archaeological sites at Pompeii, Herculaneum, and elsewhere were discovered, into the second quarter of the nineteenth century, when the more robust style of romanticism began to hold sway. In tne United States, with its pretensions to a democracy modeled on Greco-Roman and Enlightenment prototypes, the design language of the classical world was perfect for the translation of heady ideas into a new visual and accessible ideal that became neoclassicism. Neoclassical sculptors typically preferred to use white marble for their creations. For them, marble had three advantages: (1) it is easier to carve than harder stones such as granite and is more efficient to use than metal, such as bron/e, which can be cast only through a complicated, multi-step process; (2) marble can be polished to a smooth and pleasing Finish; and (3) the purity of white marble can be a symbol of the presumed purity of the person or character being depicted. The neoclassicists' passion for fine marble inspired many of them, including the Americans, to travel to and even settle permanently in Italy. In the quar

George Deem The Art of Art History George Deem The Art of Art History David B. Dearinger The Boston Athenaeum BOS TON, MAS SAC I IUSKTTS T h is catalogue is published in conjunction with the exhibition George Deem: The Art of Art History T h e Boston Vthenanun. Boston, Massachusetts: April n -S ep tem b e r i. 2012 C 2012 Trustees o f the Boston Athen«euin Ml rights reserved LIBRARY OK CONGRES S CAT A LOGIN <3-IN PUBLICATION DATA Dearinger, David B. (David Bernard), 1950 George Deein : the art of art history / David B. Dearinger. pages cm This catalogue is published in conjunction with the exhibition ( rcorge Deem: T h e Art of Art 11istory T h e Boston Athenaeum, Boston, Massachusetts: April 11 September 1. 2012. 1. Deem, George, 195.' 2008 -Kxhibitions Appropriation (Art)— I'nited States— Kxhibitions. I. Boston Athenaeum. II. Title. XD2 37 .D 3336A4 2012 759.>3— dc25 2011053031 T h e author is indebted to the late Kobert Koseublum for inspiring the title o f this exhibition. \ catalogue raisonne of the works o f George Deem is on line at http://www.georgedeem.org. All works by George Deem reproduced herein < Kstate of George Deem/Artists Bights Society (A R S ) . New York. I S B N 978-O-934.552-80O-6 Design Si typography by Howard I Gralla Copyedited by l lina llirayama Printed by («11P, West I laven, Connecticut Bound by Acme Bookbinding, Charlestown. Massachusetts Cover illustration: ( leorge I )eem, Homan u-ith a Hater Pitcher, 2002. Oil on canvas. 18 x 16 in. (45.7 x 40.6 cm) (detail). Kstate of George Deem (cat 24) Frontispiece: Peter Angelo Simon, (icorge Deem, 1993/2001. Giclee print on fine art paper, 24V* * 3-V2 111. (62.9 * 95.5 cm). 1 a-Mit by the photographer Peter Angelo Simon. New York (cat. 32) Preface and Acknowledgments G e o rg e D e em 's a r t passes the* i<*st of “ g re a tn e s s " in many wavs, not tin- least o f w h ich is in its te ch n ic a l b r illia n c e . But for m e , o n e o f th e most im p r e s s iv e th in g s ab ou t D e em is

Exhibition booklet: Includes checklist., Checklist No. 1 I GEORGE AND MARTHA WASHINGTON G i l b e r t S t u a r t ’s A t h e n ^ um P o r t r a i t s Norma .lean Calderwood Gallery The Boston Athena?um February 23 - May is , 2 0 0 6 THK FIRST portrait painted of George Washington from life was that by Charles W illson Peale (1 7 4 1 - 1 8 2 7 ) , which was executed at Mount Vernon, probably at the request o f his wife Martha Washington in 1774. The painting originally hung in the parlor at Mount Vernon, descended in the Washington family, and is now at Washington and Lee University in Lexington, Virginia. It depicts Washington in the uniform of a colonel of the Virginia militia, in which he served during the French and Indian War. Four years after painting this, his first life portrai t of Washington, Peale returned to Mount Vernon to paint Washington again. By that time 1 77 6 — Washington was commander in chief o f the Continental Army and, among other things, had recently forced the ev acuation of the British from Boston. In recognition of these facts, Peale painted Washington life-size and full-length (as opposed to half-length in the earlier portrait). The General is shown wearing a new, now American uniform, and standing before a view of the city of Boston in the background. Alread) learning to be a good sport in his increasingly public roles, Washington was adjusting to the tedium of si tt ing for his portrait, a talent that would serve him well in the coming years. By 17s.5, he could w rite to his friend Francis 1 lopkinson that his grad­ual adjustment to the ordeal of por trai t-si t t ing was “proof among many others, of what habit & custom can effect.” "At first I was as impatient at the request," he remembered, “and as restive under the operation, as a Colt is of the Saddle — The next time, I sub­mitted very reluctantly, but with less flouncing. Now, no dray mov es more readily to the Thill, than I do to the Painters Chair."1 The other notable fact of Washington’s second sitting for Peale is th

Exhibition booklet: Includes artist's statement and checklist., Powe r L ine THE ART OF LEO DEE Powe r L ine THE ART OF LEO DEE D a v i d B . D e a r i n g e r with the assistance o f H i n a H i r a y a m a N o r m a J e a n C a l d e r w o o d G a l l e r y The Boston Athenaeum February 18 through April 30, 2005 Major funding for this catalogue has been provided by Mr. and Mrs. Leo Dee. Additional funding was provided by Donald and Eylene King. David B. Dearinger is Susan Morse Hilles Curator o f Paintings and Sculpture and Hina Hirayama is Associate Curator o f Paintings and Sculpture at the Boston Athemeum. Front Cover: Apple, 1978. Color pencil, 15 Vi x 1 1 3/s in. Lent by D. and E. King Cat. no. 26 ISBN: 0-934552-72-X Acknowledgments H IS E X H IB IT IO N would not have been possible without the generosity o f many people. At the Boston Athenaeum, I wish to thank Richard Wendorf, Stanford C ald e rw o od Dire c tor and L ibrarian; Mitchell Adams, Chair o f the Fine Arts Committee, and all the members o f that committee for their enthusiastic support o f the Art Department; Ann Wadsworth, Editor o f Publications, for her careful editing o f this publication and other exhibition-related texts; the members o f the Athena?um’s Engineering Department for preparing the galleries and other spaces for the exhibition and related functions; Vinnie Marasa for his fine understanding o f exhibition design that has been indispensable for this and other Athenaeum projects, past and future; Scott Vile at the Ascensius Press for using his usual creative genius to present us with this hand­some catalog; and especially Hina Hirayama, Associate Curator o f Paintings and Sculp­ture, for her willingness to take on all the additional roles, above and beyond the call o f curatorial duty, that brought this exhibi­tion to fruition. I would also like to thank the museums and private collectors who have enthusiastically agreed to share these beautiful objects with us. Finally, I am deeply grateful to Mr. and Mrs. Leo Dee— Joe and Elaine— for their ad

Compiled bibliography of exhibition catalogues and checklists of the Boston Athenaeum from 1950-2015., 1 B o s t o n A t h e n / e u m E x h i b i t i o n C a t a l o g u e s a n d C h e c k l i s t s 1950-2015 Note: This is not a list of all exhibitions held at the Boston Athenaeum, but only those for which a checklist or exhibition catalogue was produced (i.e., photocopied, printed, or published) for distribution or sale between the dates given above. 1950 Walter Muir Whitehill, A Boston Athenaeum Miscellany: Catalogue o f an Exhibition in Honor o f the Visit o f the Grolier Club on February 11. 1950. Boston: Boston Athenaeum, 1950 (published catalogue). 1951 The Work o f J. Gregory Wiggins Woodcarver. Boston: Boston Athenaeum, 1951 (published catalogue: essay by J. D. Forbes; exhibition dates: February - March 1951). 1952 Charles Woodbury's Boston. 1884-1937, January 10 - February 29, 1952 (printed checklist). 1976 Jane Knowles, Change & Continuity: A Pictorial History o f the Boston Athenaeum. Boston: Boston Athenaeum, 1976 (exhibition dates: December 2-31, 1976; catalogue repr., 1985. 1991). 1977 Contemporary Weaving (printed checklist; exhibition dates: July 7 - August 26, 1977). 1978 Warp and Weft (printed checklist; exhibition dates: June 20 - August 25, 1978), The Lettering Arts Guild o f Boston (photocopied checklist; exhibition dates: October 2 - 1 3 , 1978: 1979 Bradley Phillips (printed brochure with checklist; exhibition dates: January 4-30, 1979). Pamela Hoyle, The Development o f Photography in Boston. 1840-1875. Boston: Boston Athenaium, 1979 (published catalogue; exhibition dates: June 27-July 31, 1979). 1980 The Still Small Voice o f Gratitude: An Exhibition o f Distinguished Gifts to the Boston Athenaeum. 1972-1979 (printed brochure with checklist; exhibition dates: February 4 - 28. 1980). Pamela Hoyle, Jonathan P. Harding, and Rosemary Booth, A Climate fo r Art: The History o f the Boston Athenaeum Gallery, 1827-1873. Boston: Boston Athenaeum, 1980 (published catalogue; exhibition dates October 4 - 29, 1980). Norman P. Tucker, Americans in Spain

"Like many of his contemporaries sculptor Albert Wein (1915-1991) had both a keen interest in the human figure and an awareness of and appreciation for modernist concepts, specifically abstraction... Today, scholars are taking a closer look at artists such as Wein who, especially in their works from 1930s and 1940s, sought to balance the legacies of the past with the excitement of the future. This book is the first scholarly monograph to comprehensively survey Albert Wein's life and work and, as such, is the first to situate his oeuvre within the context of his times. From his earliest cubist- and Art Deco-inspired sculptures, including commissions from the WPA, through his investigations of classical mythology and the erotic and his painted abstractions, to his great religious and public commissions, Albert Wein is herein restored to his place in the history of American art" -- From book jacket., * V ' - f ' J 1. Albert Wein An American Modernist ' !* o ' / • 7 « David Dearinger Albert Wein An American Modernist Copyright © 2008 by Abby M. Taylor Fine A rt LLC 43 Greenwich Avenue Greenwich. CT 06830 A ll rights reserved. No part of this book may be reproduced in any form without w ritten permission of the copyright owners. A ll images in this book have been reproduced with the knowledge and prior consent of the a rtist concerned and no responsible ity is accepted by producer, publisher, or printer for any infringement of copyright or otherwise, arising from the contents o f this publication. Every effort has been made to ensure that credits accurately comply w ith information supplied. ISBN: 978-0-615-19707-4 10 98765432 1 (frontispiece) Hope 1967-69 Red Syrian marble 25 in. high (jacket front) Arca d ia n Id y ll Albert Wem. pg.37 (jacket back) A lb e rt Wein Photograph taken circa 1980 Book design by: Michael Sivak Book production by: SYP Design & Production. Inc. www.sypdesign.com Printed in China ACKNOWLEDGEMENTS Writing, organizing, researching and laying out this book has been a journey and honor for those involved in its process. It could not have been done without the keen memory of Albert W ein’s wife, Deyna. He could not have had a more com­mitted life companion and her remembrances regarding facts was invaluable. Her daughter Gaye Breakstone, tirelessly delved into files and archives and helped to orchestrate many small details crucial to the project. This book would not be possible without the support it received fromThe Boston Athenaeum which w ill host the exhibition Albert Wein, American Modernist in the Fall of 2008. Its Susan Morse Hills Curator of Paintings and Sculpture, David Dearinger, enthusiastically agreed to curate the exhibition and to write the text for the book and we are indebted to his efforts, talent and commitment. Jim Levis and Jamie Marglin were greatly responsible for bringing everyone together. They have long believed in A