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Reynolda House Museum of American Art announces promised gifts by Georgia O Keeffe and Romare Bearden

Reynolda House Museum of American Art announces promised gifts by Georgia O Keeffe and Romare Bearden Georgia O’Keeffe, Cedar Tree with Lavender Hills, 1937, Promised Gift of Barbara B. Millhouse. © 2021 Georgia O’Keeffe Museum / Artists Rights Society (ARS), New York. WINSTON-SALEM, NC .-Reynolda’s founding director, Barbara Babcock Millhouse, has promised a gift of three works of art to Reynolda House Museum of American Art— Georgia O’Keeffe’s Cedar Tree with Lavender Hills and Romare Bearden’s Alto Composite and Moonlight Express. Reynolda House has committed to improving the way its collection reflects the community by diversifying its offerings through works created by women and artists of color. The museum is soliciting gifts and creating a designated fund for new acquisitions, recognizing that the collection could become a more accurate mirror of the nation’s past and a broader and deeper celebration of its diversity. This initiative honors the collecting legacy o

Winston-Salem Symphony to offer innovative 2021 spring season

The COVID-19 pandemic has hurt arts and music organizations as much as any sector of the economy. But while the Winston-Salem Symphony has struggled with the pandemic like any live

New World Wonder: How a geological oddity became an enduring symbol of the nation in American Art

New World Wonder: How a geological oddity became an enduring symbol of the nation in American Art Christopher C. Oliver Fig. 1. Thomas Jefferson at Natural Bridge by Caleb Boyle (active 1800–1822), c. 1801. Oil on canvas, 92 by 60 inches. Lafayette College, Easton, Pennsylvania, Kirby Collection of Historical Paintings. The Natural Bridge of Virginia is a 215-foottall geological formation located in the Shenandoah Valley that is the last remnant of the roof of an ancient cavern that collapsed millions of years ago. Its impressive height and unique features inspired generations of artists who visited the site, which for many eighteenth- and nineteenth-century artists was relatively remote. Yet, its craggy, foresttopped visage made a familiar and frequent appearance in painting, prints, photography, and the decorative arts of the era. As one of the earliest painters to depict the site, Joshua Shaw, remarked upon his visit to the Natural Bridge in 1820: “It is one of those s

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