Havell s work, (who also created many of the landscapes for Audubon s famous birds) includes panoramic publications and paintings of the Hudson River and the Thames like other artists in this exhibition such as Thomas Cole (Father of the Hudson River School), and noted artists Jasper Cropsey and John Kensett, who favored the chain of cities, suburbs, and countryside along these two rivers, where horizontal planes and historical associations gave form to both artistic and cultural expression. The Panoramic River features major loans from more than two dozen museums, galleries, and private collections. Museums lending paintings include: The Metropolitan Museum of Art; The New-York Historical Society; Museum of Fine Arts, Boston; Baltimore Museum of Art; Fenimore Art Museum; The Frances Lehman Loeb Art Center at Vassar College; Maryland State Archives; West Point Museum; Williams College Museum of Art; Princeton University Art Museum; and the Yale Center for British Art.
Havell s work, (who also created many of the landscapes for Audubon s famous birds) includes panoramic publications and paintings of the Hudson River and the Thames like other artists in this exhibition such as Thomas Cole (Father of the Hudson River School), and noted artists Jasper Cropsey and John Kensett, who favored the chain of cities, suburbs, and countryside along these two rivers, where horizontal planes and historical associations gave form to both artistic and cultural expression. The Panoramic River features major loans from more than two dozen museums, galleries, and private collections. Museums lending paintings include: The Metropolitan Museum of Art; The New-York Historical Society; Museum of Fine Arts, Boston; Baltimore Museum of Art; Fenimore Art Museum; The Frances Lehman Loeb Art Center at Vassar College; Maryland State Archives; West Point Museum; Williams College Museum of Art; Princeton University Art Museum; and the Yale Center for British Art.
Traveling down the Hudson River, named by Native Americans the river that flows both ways, you discover people, places, and events that made American history. The cultural, historic, and scenic resources of the Hudson Valley are so numerous, so varied, and so compelling that it's no wonder Congress recognized the Hudson River Valley as a National Heritage Area in 1996. The National Park Service called the region the "landscape that defined America" and characterized the valley as "an exceptionally scenic landscape that has provided the setting and inspiration for new currents of American thought, art, and history." Its political importance was demonstrated early in our history when the river played a critical role in the Revolutionary War. The many streams and waterfalls of the tributaries of the Hudson River powered early sawmills and gristmills. The river and its landscapes inspired the Hudson River school of painters. Sublime and picturesque paintings by Thomas Cole, Frederic Church, and Asher Durand depicted this unique American landscape for the world to witness. Industrialists and commercial leaders like William and John D. Rockefeller, Frederick Vanderbilt, J. P. Morgan, and Ogden Mills built their great estates along the Hudson River. The second edition includes completely updated user-friendly design and vibrant photography; heritage site pages that include brief descriptions, contact information, and accessibility site characteristics; and National Park Service Passport Stamp locations with new cancellation stamp pages for your collection. Heritage sites in this guidebook are associated with areas of interest and categorized as must see, best bet, or special interest to make it easy to explore the stories of the Hudson River Valley. Heritage sites are also organized by geography and proximity to make it easy to find heritage sites nearby.
Self-Determined First Nations Museums and Colonial Contestation explores Indigenous practices of curation, object repatriation, and cross-cultural community engagement in a dynamic Koori museum. Grounded in the fact that Gunai Kurnai people have never ceded sovereignty, the text reorients dominant temporal and colonial approaches of museum studies to document and theorise Gunai Kurnai self-presentation and community engagement in the Krowathunkooloong Keeping Place. Researched and co-authored by the Cultural Manager of the Keeping Place, Gunai Kurnai Monero Ngarigo man Robert Hudson, and white Historian Shannon Woodcock, the book traces the temporal, social, and cultural considerations of the Elders who curated the permanent exhibition in the early 1990s. Discussing community management of a collection growing through the ongoing repatriation of tools, art, and Ancestor remains, the text also explores how Robert Hudson engages with visitors to the Keeping Place and local colonial history museums, and theorises the power of Gunai Kurnai work with individuals and institutions in the small museum context. Finally, Hudson and Woodcock demonstrate that the Keeping Place articulates sophisticated Gunai Kurnai-grounded methodologies of museum practice in relation to international critical Indigenous studies scholarship. Self-Determined First Nations Museums and Colonial Contestation provides a vital case study of an Indigenous museum space written from an inside perspective. As such, the book will be essential reading for scholars and students engaged in the study of museums and heritage, Indigenous peoples, decolonisation, race, anthropology, culture, and history.
These well-researched guidebooks lead gold prospectors and rockhounds to hundreds of mines and collecting areas throughout southwestern British Columbia. Includes mining history and prospecting techniques, directions, maps, site drawings, glossary and local contacts.
Catalog of an exhibition held at the Hudson River Museum, Yonkers, New York, October 12, 2013-January 17, 2014, and at the Norton Museum of Art, West Palm Beach, Florida, March 20-June 22, 2014.
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