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December 08, 2006
Dr. Franklin Kelly, Senior Curator of American and British Painting, National Gallery of Art, and Professor, Department of Art History and Archaeology, University of Maryland, 12-8-06
Dr. Franklin Kelly is Senior Curator of American and British Painting, at the National Gallery of Art in Washington, D.C., and a Professor in the Department of Art History and Archaeology, University of Maryland. He received training in art history from the University of North Carolina, Chapel Hill (B.A., 1974), the Williams College Graduate Program in the History of Art (M.A., 1979), and the University of Delaware (Ph.D., 1985).
Dr. Kelly's concentration is on 19th- and early 20th-century American painting. His publications include Frederic Edwin Church and the National Landscape (1988), Frederic Edwin Church (1989), Thomas Cole's Paintings of Eden (1995), and Nineteenth-Century American Paintings in the National Gallery of Art (1996), as well as articles and essays on a wide range of artists, including William Sidney Mount, Thomas Eakins, George Bellows, Edward Hopper, and Charles Sheeler.
In 1995 he was the co-curator of the Winslow Homer exhibition, organized by the National Gallery of Art, and co-author of the accompanying catalogue. More recently he was the curator for Twentieth-Century American Art: The Ebsworth Collection, seen at the National Gallery of Art and at the Seattle Art Museum during 2000. He co-organized the exhibition Hudson River School Visions: The Landscapes of Sanford R. Gifford, which opened at the Metropolitan Museum of Art in New York in 2003 and was subsequently seen at the Amon Carter Museum in Fort Worth, TX, and at the National Gallery in 2004.
John Constable's (1776–1837) seminal six-foot landscapes—among the best-known and beloved images in British art—are reunited with their groundbreaking full-size sketches for the first time since the artist's death in Constable's Great Landscapes: The Six-Foot Paintings, at the National Gallery of Art, East Building, October 1 through December 31, 2006. Fifty-five works include oils and drawings that are related to the large landscapes, an early pencil portrait, and a series in varied media brought together for the first time, illustrating areas along the Stour River in Suffolk known to many as "Constable Country." The exhibition and its companion catalogue examine why Constable produced the six-foot sketches.
Eight finished six-foot paintings, including The White Horse (1819), Stratford Mill (1820), The Hay Wain (1821), View in the Stour near Dedham (1822), The Lock (1824), The Leaping Horse (1825), Hadleigh Castle (1829), and Salisbury Cathedral from the Meadows (1831) are paired with their corresponding full-size oil sketches, while Chain Pier, Brighton (1827) is presented with related smaller oil sketches. Two large finished versions of The Opening of the Waterloo Bridge(c. 1829–1832) and what is believed to be a full-size sketch from the very end of Constable's life, Stoke-by-Nayland (c.1835–1837), will also be on view.
Posted by David Lemberg at December 8, 2006 08:33 AM Return to ARTSCAPE home page