News Art Blog

American Impressionism’s often been seen as a pale copy of the French Impressionism that flowered in the late 19^th century. Although American Impressionists early on copied their French counterparts (and even made pilgrimages to Monet’s Giverny garden and home), the exhibition The Artist's Garden: American Impressionism and the Garden Movement, 1887–1920, at the Pennsylvania Academy of the Fine Arts through May 24, 2015, proves that American Impressionism quickly blossomed into something distinct — and distinctly American — by the turn of the 20^th century. Capturing aesthetically a moment of contradictions as American nativism threatened to close borders while women’s suffrage struggled to open doors, The Artist’s Garden demonstrates the power of flowers to speak volumes about the American past, and present. Please come over to Picture This at Big Think to read more of "Flower Power: Women, Gardens, and the Dawn of American Impressionism."

On October 3, 1948, at 3:50 pm, Peter Blume finished his epic painting, years in the making, titled The Rock (shown above). “After a turbulent decade in which Peter Blume embarked on false starts, endured debilitating anxiety, experienced self-doubt, and found his faith in the creative process renewed,” Robert Cozzolino writes in the catalog to the new exhibition Peter Blume: Nature and Metamorphosis, finishing The Rock must have been a great relief. Blume recorded that date and time the way many record the
birth of their children, for The Rock was his precious baby, but completing it marked a rebirth of sorts for Blume as a different kind of artist. Shaped by political and artistic currents of the first half of the 20^th century, Blume emerges as a difficult to categorize artist, but also as a fascinating visionary who struggled to paint a personal reality clinging to the foundation of hope. Please come over to Picture This at Big Think to read more of "How Peter Blume Painted His Personal Reality of Hope."

While walking in Fairmount Park in 1872 with his minister father, 12-year-old Henry Ossawa Tanner saw a man painting and became curious about art. His family fed that curiosity, which led Tanner to study painting at the Pennsylvania Academy of the Fine Arts (PAFA), continue his studies in Paris, ultimately build an international reputation as an important religious painter, and use his status to mentor and support young artists for decades—all remarkable achievements, but even more remarkable for an African-American in the late 19^th century. In Henry Ossawa Tanner: Modern Spirit, at the PAFA through April 15, 2012, curator Anna O. Marley and her fellow researchers seek to resurrect this forgotten father of African-American art from the tomb of obscurity built over the nearly eight decades since his death. But just as Tanner himself shunned the title in life, the exhibition and catalog invite the idea while simultaneously showing him as an artist that transcended all labels, especially those of race. Please come over to Picture This at Big Think to read more of "Resurrecting the Father of African-American Art."

[Image: Henry Ossawa Tanner (1859-1937). The Resurrection of Lazarus, 1896. Oil on canvas, 37 x 48 in. Musée d’Orsay, Paris, France, Inv. RF1980-173. Photo: Hervé Lewandoswki © Réunion des Musées Nationaux/Art Resource, NY.]

[Many thanks to the Pennsylvania Academy of the Fine Arts for providing me with the image above from, a press pass to view, and other press materials related to the exhibition Henry Ossawa Tanner: Modern Spirit, which runs through April 15, 2012. Many thanks to the University of California Press for providing me with a review copy of the catalog to the exhibition.]