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We Wanted to Unmoor Her From the 1950s : A Joan Mitchell Retrospective at SFMOMA Shows the Artist as You ve Never Seen Her Before

We Wanted to Unmoor Her From the 1950s : A Joan Mitchell Retrospective at SFMOMA Shows the Artist as You ve Never Seen Her Before
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14 Top-Rated Things to Do in Poughkeepsie, NY

14 Top-Rated Things to Do in Poughkeepsie, NY
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Visual Arts Round-Up

The Great Wonder: Violet Oakley and the Gothic Revival on view at Vassar

The Great Wonder: Violet Oakley and the Gothic Revival on view at Vassar For the opening of Vassar s Alumnae House in 1924, Violet Oakley created the large-scale triptych The Great Wonder: A Vision of the Apocalypse. POUGHKEEPSIE, NY .- Violet Oakley (1874–1961) was a pathbreaking American artist and social activist during the first half of the twentieth century. Her eloquent narrative paintings, colorful stained-glass designs, and otherworldly book illustrations conveyed morally uplifting messages for audiences in New York, Pennsylvania, and elsewhere in the United States. Between 1922 and 1924, Oakley executed a monumental, Gothic-revival painting called The Great Wonder: A Vision of the Apocalypse for the living room of Vassar College’s newly built Alumnae House. The artist also designed and furnished the living room in a hybrid medieval and Renaissance style, creating a peaceful yet visually stimulating environment which the Vassar community and visitors enjoy to this day

Vassar college art exhibit celebrates Women s History Month

Included are portraits such as the etching, “Self Portrait at the Table” by Käthe Kollwitz, depicting herself momentarily looking up from her work to gaze directly at the viewer. In “Woman Resting Her Head on Her Hands,” Titina Maselli’s pen and ink drawing takes up the entire picture plane, making a powerful portrait with patterning and strong textural blocks. Alice Neel’s “Mother and Child” is a self-portrait holding her daughter; a bittersweet painting remembering Neel’s one-year-old child that died. Neel paints the park they are visiting with a bleak background in the dead of winter; two bare trees frame the figures seated on a park bench. Neel posed the mother holding the child in a way that is reminiscent of historical depictions of the virgin and child.

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