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Now everyone is an insider!

In order to provide an open forum for ALL of the museum’s collection and activities, the Paper + People blog is being renamed SCMA Insider. With its expanded focus, SCMA Insider will act as a go-to place for sharing information on the diverse collections and many voices and visions that shape SCMA.

If you want to contribute to the blog, please contact the Brown Post-Baccalaureate Curatorial Fellow, Shanice Bailey, at sbailey@smith.edu.

  • Friday, November 9, 2018

    Theresa Bernstein at the SCMA: Armistice Day Parade

    Theresa Ferber Bernstein, American (1890-2002), Armistice Day Parade: The Altar of Liberty, 1919, oil on linen, Purchased with the Kathleen Compton Sherrerd, class of 1954, Acquisition Fund for American Art, SC 2015:42

    Born in Krakow, Poland, Bernstein’s parents immigrated to the United States when she was an infant. She began her training in Philadelphia at the School of Design for Women (today, the Moore College of Art & Design), and later studied with William Merritt Chase at the Art Students League in New York City. Her portrayal of life in New York City at the turn of the century draws on the work of artists such as Robert Henri, among others. Her paintings address a range of subjects including unemployment, women’s suffrage, World War I, the immigrant experience, Jewish culture, and jazz. A common thread that runs throughout her art is her interest in depicting people, either as individual portraits or as groups in urban settings.

    Bernstein won countless awards for her paintings, especially in her early career. Among her many achievements, she co-founded the Society of Independent Artists with John Sloan and was a founding member of the New York Society of Women Artists. She was also a member of the North Shore Art Association and of the National Association of Women Artists. Bernstein received many awards for her art, which was highly regarded by art critics. For example, Frederick James Gregg wrote of her work, “There is nothing feminine about the paintings of Theresa Bernstein.” (Frederick James Gregg, “Theresa Bernstein a Realist in the Old Sense of the Word,” New York Herald, November 2, 1919, sec. 3, p. 46.) Gregg compared Bernstein to her male contemporaries in order to put her on equal footing with them as a mark of her talent. In fact, she participated in important exhibitions alongside the likes of John Sloan, Stuart Davis, Edward Hopper, and her husband, artist William Meyerowitz. However, her success only went so far, and she was excluded from the Museum of Modern Art’s 1929 “Paintings by Nineteen American Artists” exhibition, in which Georgia O’Keeffe was the only woman represented. Perhaps it was due to the male-dominated art world that Bernstein often signed her works with only her maiden name, as in the SCMA’s painting.

    The Armistice Day Parade: The Altar of Liberty, is from an early series depicting parades that marked the end of World War I. In 1918, the war ended on the eleventh day of the eleventh month at 11 am, when the armistice between Germany and the Allied forces went into effect. One year later, Bernstein watched the Armistice Day parade as it made its way down Fifth Avenue in New York City. This painting records the Altar of Liberty, a temporary structure created by architect Thomas Hastings and placed in Madison Square Park to promote the fourth Liberty Loan campaign that helped fund the war. Purchasing war bonds was viewed as part of every American citizens’ duty. This same patriotic spirit infuses the crowd that has gathered before this monumental structure to cheer on members of the US armed forces. The pageantry and vivid colors of this and other paintings from the series celebrate American identity and recent victory as a unifying force.

    Bernstein had a long, prolific career as an artist and her oeuvre spans the entire twentieth century. She died in New York just before her 112th birthday. In addition to her art, she made contributed significantly to the art world, particularly in her advancement of women artists. Her most famous student was the sculptor Louise Nevelson, whose work is also represented in the SCMA’s collection. In addition to Bernstein’s painting and an etching housed in the SCMA, her art is part of many prestigious public and private collections.

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  • Friday, October 12, 2018

    Announcing the 2018-2019 Student Picks Winners!

    Student Picks gives Smithies the chance to curate their own pop-up art show using the museum's collection of works on paper. Exhibitions take place from 4-8 pm on the last Thursday of every month during the academic year in Cunningham Center. Seven lucky students are chosen by lottery as part of a campus-wide sweepstakes that takes place each September.

    This year’s Student Picks winners are ...

    October 25, 2018 – Yansi Murga '20

    November 29, 2018 – Sofia Canale-Parola '21

    January 31, 2019 – Ejona Gjata '21

    February 28, 2019 – Renee Klan '19

    March 28, 2019 – Echo Zhang '19

    April 25, 2019 –  Charlotte Mead '21J

    September 26, 2019 – Mosa Molapo '22

    Congratulations to our newest student curators! More to come soon!

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  • Wednesday, September 26, 2018

    STUDENT PICKS | The Dichotomy of Nature: How Artists Portray the Environment

     

    John James Audobon, American, 1785 - 1851. Engraved by Robert Havell, American, 1793 - 1878. Yellow Breasted Chat, Plate CXXXVII from Drawings Made in the United States and Its Territories. Engraving and aquatint printed in black with hand coloring on J. Whatman ivory wove paper. Gift of Mrs. John D. Upton (Eleanor Bingham, class of 1934). SC 1983:5-4. (click here to enlarge image)

    About the Exhibition:

    The famous naturalist, John Muir is credited with saying: “In every walk with nature one receives far more than he seeks.” This show explores two dramatically different depictions of nature with the hopes that you, the viewer will find more walking through this show than you were seeking. Audubon’s prints are careful reproductions of the natural world, demonstrating how artistry and scientific study can meld to capture an animal’s morphology and natural environment. The landscapes in this show offer a different approach to depicting nature, focusing on the emotional essence of a scene rather than transcribing a specific place. When viewed together, both bodies of work demonstrate that whether accurate representations or dramatic interpretations, works about nature can evoke feelings in all viewers, connecting them with the world around them.

     

    Curatorial Statement:

    I have always been interested in how conservation and the natural world are depicted through art. One of my first experiences at Smith was a field trip to the Smith College Museum of Art to view Audubon prints with an Introduction to Biology course. As we were looking at the Audubon prints, we examined the accuracy of the animals in their natural environments. The purpose of our visit was to discuss the intersection of science, specifically ecology, with art. For this show, I wanted to show the dichotomy that exists when representing nature. Artists can choose to represent nature in a way that evokes emotions from the viewer rather than making the viewer feel as though they are looking at a specific location. While the landscapes were meant to represent how a person feels when in nature, the Audubon prints were meant to educate people about animals that they likely would never have the chance to see in the wild. Despite the two very different approaches and styles, both aim to draw the viewer in to experience nature.

    - Molly Megan '19