ISBN 0-9768488-4-8
The senior Art Historical Methods Seminar is unique among undergraduate programs in art history in that it offers students the opportunity to become curators for a semester wherein they select, research, write a catalogue for, and organize a public exhibition in The Trout Gallery. In the short three and onehalf months of the semester, this process always seems a difficult challenge. Not unexpectedly, however, the students rose to the occasion and devoted an enormous amount of energy, time, and enthusiasm not only to the course material for the seminar, but also to researching and writing the entries for this catalogue. The thematic approach, installation design, and idea for organizing the catalogue are the result of their initiative and creativity and they should be proud of the quality of the process and final product. Their sustained industry and good humor throughout the semester has made the seminar exciting to teach, and I would like to extend my congratulations to them on a job well done. This year’s seminar topic and exhibition are most unique in the tradition of the Art Historical Methods Seminar in that the works for the exhibition have not been drawn from the permanent collection of The Trout Gallery, but rather have been graciously loaned by the prestigious Hirschl & Adler Galleries in New York City. Thanks to the continued generosity and interest of Eric W. Baumgartner, an alumnus of <strong>Dickinson</strong> with a major in Fine Arts (class of ’79) who is now Director of American Art at Hirschl & Adler, we are privileged to have nineteen <strong>paintings</strong> by the American artist, Edmund Quincy (1903-1997), as the subject of this year’s seminar and exhibition. We extend our sincere appreciation and gratitude to Eric and his staff at Hirschl & Adler. The rare opportunity for current <strong>Dickinson</strong> students to study and work with this collection of <strong>paintings</strong> by Quincy has been an invaluable and rewarding experience. Special thanks also go to Zachary Ross, also of Hirschl & Adler, who met with the seminar at <strong>Dickinson</strong> and engaged the students in a lively discussion about his research on Quincy for Hirschl & Adler’s exhibition in 2000, and the vicissitudes of the commercial art world. Many colleagues at <strong>Dickinson</strong> contributed their time and expertise to the seminar and exhibition. Without their help and interest, the quality of the seminar and the exhibition itself would not have been possible. The students and I especially thank Professor Phillip Earenfight, Director of The Trout Gallery and Associate Professor of Art History, for his enthusiastic support of the seminar and exhibition despite many other professional commitments. My personal thanks to Acknowledgments Phillip for also helping with the preliminary selection of <strong>paintings</strong> along with Eric at Hirschl & Adler this past summer. Most special thanks go to James Bowman, The Trout Gallery Registrar and Preparator, who made the works available for study by the seminar as a whole and on an individual basis for each student when needed. We are also indebted to James for his informed advice and supervision of the installation design and process, which forms an important part of the students’ experience in the seminar. My personal thanks also go to James for sharing the responsibility of transporting the <strong>paintings</strong> from New York to Carlisle and back. We also thank, in advance, Wendy Pires and Dottie Reed for making this exhibition accessible to a wider regional audience through outstanding educational programs offered through the Gallery’s Educational Outreach Program. The students were aided in their research by our Art & Art History library liaison, Chris Bombaro, whose expertise, course web-page design, and enthusiasm provided a source of academic and problem-solving support throughout the semester. In the design and publication of this catalogue, the seminar met with Kim Nichols and Pat Pohlman of the Publications Office. The result of their design expertise, practical guidance, and visual conceptualization is this most professional and beautiful catalogue. We can’t thank them enough for helping the students to visualize the concepts and ideas they had for this publication. We are similarly grateful to Pierce Bounds for creating clean, crisp images of the <strong>paintings</strong> in the exhibition without which this catalogue would have no reproductions. Without the patience, expertise, and dedication of Stephanie Keifer, administrative assistant to The Trout Gallery, neither the final editing of the catalogue, invitations, opening reception, and all issues related to the exhibition would happen. The professionalism and clean copy of the catalogue text are largely the result of Stephanie’s hard work, and we owe her more than a debt of gratitude. The Members of the Art Historical Methods Seminar, Professor Melinda Schlitt, Advisor The Gallery is supported by the Helen E. Trout Memorial Fund and the Ruth Trout Endowment. Funding for special projects is provided by the Henry D. Clarke, Jr. Foundation for the Arts.This catalogue was generously underwritten by the Ruth Trout Endowment. ©2006 The Trout Gallery, <strong>Dickinson</strong> <strong>College</strong>, Carlisle, PA All rights reserved. 3
- Page 1: selected paintings
- Page 6 and 7: Introduction This exhibition repres
- Page 8 and 9: 1 Street Scene, Boston, n.d. Oil on
- Page 10 and 11: 2 Industrial Quarter, n.d. Oil on c
- Page 12: 3 Background of Metropolitan Indust
- Page 16 and 17: 5 Rooftops and Cathedral, Basel, n.
- Page 18 and 19: 6 A Quiet Street Corner, Boston, n.
- Page 20 and 21: 7 Foster Street, c. 1935 Oil on can
- Page 22 and 23: 8 The Garden Wall, n.d. Oil on wood
- Page 24: 9 Rural Landscape with Distant Chur
- Page 27 and 28: very specific portrayal of this sce
- Page 29 and 30: 4 3 27
- Page 31 and 32: 8 9 29
- Page 33 and 34: 15 13 14 31
- Page 35 and 36: 18 19 33
- Page 37 and 38: 1. Edward Lucie-Smith, Toulouse-Lau
- Page 39 and 40: 1. Zachary D. Ross, Spirit of the P
- Page 41 and 42: 1. Jim Aplin, “Groundwork, Dignit
- Page 43 and 44: elationship between nature and manm
- Page 45 and 46: audience, and is just another spect
- Page 47 and 48: snack and to wash it down with a gl
- Page 49 and 50: L’Angolo, he included a figure an
- Page 51 and 52: the sun at a particular angle, dete
- Page 53: Anna Alston Donnelly, Laura Hahn, S