TwoForTuesday :
Wilhelm Hunt Diederich (USA, born Hungary, 1884-1953) Fire Screen, Made in NY 1920-30 Wrought and sheet iron On display at Philadelphia Museum of Art 2007-62-1
FishFriday :
Akio Takamori (American, b. Japan, 1950-2017) Self-Portrait with Fish, 1982 Stoneware, 14-1/4 x 1-7/8 x 5 in (36.2 x 40.3 x 12.7 cm) on display at Palmer Museum of Art 2021.43
#TwoForTuesday on #NationalCatDay 🐱🐱:
Marguerite Thompson Zorach (USA, 1887-1968)
Two Cats, n.d.
Oil on canvas, 24 x 28 in. / 61.0 x 71.1 cm
For #NationalBlackCatDay 🐈⬛:
Julia Bloch (USA, 1903–1987)
Stretching Cat, c. 1944
Linoleum cut on paper
Sheet 18 5/16 × 11 9/16 in / 46.51 × 29.37 cm
#WorldOkapiDay :
Dahlov Ipcar (USA, 1917–2017) Okapi, 1991 Cotton, wool, buttons, wire, Kapok batting 14 1/4 x 16 1/4 x 4 1/4 in. Portland Art Museum 1993.26
#TwoForTuesday + #TurtleTuesday :
Paul Wayland Bartlett (USA, 1865-1925)
1. Frog on Tortoise, c. 1915
Bronze
1. Crane on Turtle, c. 1890-1905
Bronze
On display at Washington County Museum of Fine Arts A1039,59.0446, A1039,59.0427
For #MetalMonday :
Deborah Butterfield (USA, b. 1949)
Riot, c. 1990
Steel, 81.5 × 120 × 34 in. (207 × 304.8 × 86.4 cm)
On display at Delaware Art Museum DAM 1991-126
“Deborah Butterfield used found objects - scraps of metal, including letters from discarded movie theater signs - in her sculpture, Riot. Butterfield's work drew its title from the letters she featured.”
For #InternationalRaccoonAppreciationDay 🦝:
Walter Inglis Anderson (USA, 1903-1965)
Contented #Raccoon, c.1960
Watercolor on paper
Walter Anderson Museum of Art Permanent Collection
https://www.instagram.com/p/C5oz1Yoy-cZ/
For #InternationalRabbitDay 🐰:
William Jacob Hays Sr. (USA, 1830-1875)
Rabbits, 1859
oil on paper, H: 8 x W: 6 in. (20.3 x 15.2 cm)
For #InternationalRabbitDay 🐰:
Arthur Fitzwilliam Tait (British-American, 1819–1905)
#Rabbits on a Log, 1897
Oil on canvas, 10 x 12 in. (25.4 x 30.8 cm)
For #BluebirdOfHappinessDay 💙:
Frederick Stuart Church (USA, 1842-1924)
Lady with #Bluebirds, 1908
oil on canvas, 16 x 40 in.
For #BluebirdOfHappinessDay 💙:
Andy Warhol (USA, 1928-1987)
Bluebirds, 1960
India ink & watercolor on paper, 9 5/8 x 7½in
Today is both #WorldRhinoDay & #ElephantAppreciationDay! 🦏 🐘
Alexander Calder (USA, 1898-1976)
The #Elephant and the #Rhinoceros, 1966
lithograph on vellum, 38 x 28 cm
For #InternationalRedPandaDay :
Charles Culver (USA, 1908-1967)
Lesser Panda (Red Panda), c.1950
Watercolor & pastel on thick wove paper, H 18" x W 27"
https://www.invaluable.com/auction-lot/charles-culver-american-1908-1967-watercolor-and--1098-c-6924a96a4a
#FrogFriday 🐸:
Paul Wayland Bartlett (USA, 1865-1925)
Frog on Tortoise, c.1915
Bronze
On display at Washington County Museum of Fine Arts
#TwoForTuesday :
William Zorach (USA, b. Lithuania, 1889-1966)
Pumas, 1948
Plaster with paint & coating
On display at University of Delaware Museums’ new exhibit “Sight, Sound, and Motion: The Dimensions of Sculpture”
“Animals, and particularly cats, were among William Zorach's favorite subjects. This pair of sculptures was inspired by two pumas that lived at the Staten Island Zoo. Zorach studied and drew them for a week in preparation for producing the sculptures. These plaster models were produced to make the molds used to cast the sculptures in bronze. Surface residue and abrasions indicate that these plasters were used in the foundry. Following the casting process, they were returned to Zorach, who painted them to look like bronze. Six bronze casts were created of the pumas, including a pair in the National Gallery of Art in Washington, DC. A related Puma made in Labrador black granite in 1954 was installed in Fairmount Park in Philadelphia in 1962.”
Andrew Wyeth (PA, USA, 1917-2009)
Night Sleeper, 1979
Tempera on panel
Collection of the Wyeth Foundation for American Art, currently on display at Brandywine Museum of Art
“This monumental work is a portrait both of the Wyeth's dog, Nell, and of Brinton's Mill, the eighteenth-century industrial site that Betsy James Wyeth restored and repurposed into a timeless family home in a landscape rich in associations with the Revolutionary War. Like so many of Wyeth's works, the view is visionary rather than photographic, combining views of multiple sites in Chadds Ford with memories of childhood trips to Maine summers on overnight trains.”