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The Lincoln Star from Lincoln, Nebraska • Page 32

Publication:
The Lincoln Stari
Location:
Lincoln, Nebraska
Issue Date:
Page:
32
Extracted Article Text (OCR)

STJNPAY JOIHNAL and star ry If Collection on 25th Anniversary to Be Shown in Entirety at Morrilt Hall October 4, 1958 One of the largest and best known collections of contemporary American art owned by a land-grant university will be displayed for the first time in its entirety this afternoon at the University of Nebraska Galleries in Morrill Hall. The occasion will mark the 25th year of gradual growth of the rank M. Hall Collection under the direction of the University Art Department. In 1928, the numbering 162 art came to the University as a bequest bv Mr. and Mrs.

Frank M. Hall of Lincoln. Today, the collection consists of 343 objects, which will be on display from 2 p.m. to 5 p.m. The exhibition will continue daily through Nov.

1. The collection stands out from other land-grant univer- collections in that; Important examples of virtually every vital movement in American art since 1876 are represented. No special ax is ijeing ground for any particular esthetic ideology. It is financed by private funds. Many other land-grant universities are obtaining funds from their legislatures to finance collections.

unique method i.s used in adding new art objects. Pro- for expansion of the collection, the Halls loft in Abandoned Farm House by Charles Burchfield. Hnl Hourrt for Prescriptions DRl GS SUNDRIES TOILETRIES CANDY LUNCHEONETTE Phone 2-8585 HAL. J. BOWERS Ternninol Drug Trust RIdg.

10th He ter re Fairmont at our Fountain Room in New York by Edward Hopper. trust the residue of their estate, or approximately $63.000, which has grown through prudent investment to more than $180,000. Remarkably free of strings, the will provides that only interest from the estate be used. To date, the university has received $125,000 in income used solely for art purchases. The w'ill down no BENNETT HOTEL and COFFEE SHOP Across trom Burlington Depot 21 flour Sen ire haahlinhed in IHH DEL GOULD cflie (Silliest III Dleals Serving many of Lincoln's fine eating establishments ft RESTAURANT A WONOERFUl CHANGE limits as to types of art objects, but does state that not more than $10,000 should bt? expended in any one year and that each purcha.se would the approval of two nationally known art critics.

Norman Geske. acting director of the galleries, feels the collection is now of the best in the His belief is supported by numerous requests each year from all the leading art museums, both here and abroad, for loan of individual Hall Collection pictures. In fact, he said, some of the paintings have more time on loan than on the walls of the Nebraska gallery. A 1952 acqui.sition, and by Graham the most important modern British painter of this exhibited in Venice. Pans, Amsterdam and Zurich and now is on display in as part of the coronation celebration, Geske hojies to have the picture returned in time for the Nebraska showing.

The birth of the Hall Collection came in 1898 when the Halls bought Lion of the by Percy Moran, Mrs. interest in art sprang from a painting class which she organize Miss Sarah Wool Moore, who came to the university in 1884. It was Miss encouragement and advice which led the Halls to begin their collection of original paintings and prints. Mr. Hall was born in in 1852 and educated in the State Normal School at Peru, and at the of Nebraska.

In 1881 he married Anna K. Reed of Hamburg, and they made their home in Lincoln. Admitted to the bar in 1880, Mr. Hall practiced law in Lincoln. In building their art collection, Halls decided to buy works by contemporary painters, since they had only a limbed amount to spend.

acquainted with artists and made through their active participation in the Nebraska Art Halls trusted their own tastes in buying art objects. At the death of Mr. and Mrs. Hall in 1928, only a few months apart, the collection came to the university. It was two years Ixdorc the univer- made its first purchases and then with the advice of art experts, as stipulated by the will.

Geske explains the practice ha been to mvite two different nationaliy recognized au- thqrities each year to view the March show of the Nebraska Art Association in IJncoln. F'rom the paintings for showing, the authoritie.s make their suggestions. Then the Board of Regents must give the final okay. Willingness wdth which directors and staff members from all the leading American museums have consented to scrxe sfx'aks well for the collection, Geske believes. Meyric Rogers, curator of decorative arts at Art Institute of Chicago, was a self'cted consultant in 1939, 1940 and again in 1942.

calls the expansion of the collection fresh and vital work. You now have one of the finest groups of recent and contemporary American works collected by an university After serving as a critic, Philip Rhys Adams, director of the Cincinnati Art Museum, termed the collection Through the past two decades, the supervisors of the collection have followed the pattern of the Halls, a desire to encourage American artists. However, in the past three years, the collection has emerged from solely American art to some contemporary art by Europeans. Geske explains that this does not represent a shift in policy, but tends to widen the scope of the collection. Hanging in chronological order, the pictures place before the eye the story of art progress in the Century, as history books outline recent political growth in the United States.

The viewer can follow' the developemnt of several distinct movements in expressionism, and abstraction of which have had their most rapid growth in America during the past two decades. Geske points out that dur- ing the 30s the economic depression turned a number of artists to chief weapon for those who were socially These artists were concerned with class struggle and exposed w'ith new vigor the miseries of poverty and unemployment. Many of the pictures were drab and critical in subject matter. John Stuart menders purchased for the collection in 1934, represents this period. The painting is homely, dow'n-to-earth and attempts to glorify the common man.

in New' pur- cha.sed in 1936, gives the an excellent example of the work done by the inter- nation.ally famous painter, EM- ward Hopper. The faces are blurred and generalized, but with hunched shoulders, the droop of a head he expresses with clarity the feelings of a husband and wife, shown in a bleak, architectural setting. A prominent example of the expressionist art in the late 40s, according to Geske. is provideii by Abraham Rattner's purchased in 1948. Rattner spiritual and psychological values in the portrayal of his grief after the death of his wife.

In the 40s, American art influenced by immigrating exiled European artists. of the was painted by Kurt Roesch, a German artist banned under the Nazi regime. Geske frankly admits that Miners Resting painted by Paul Sample. most of the art in the collection comes from adventurous buying; that is, the true worth of the pictures will not be known for 30 or 40 more years. However, many pictures purchased in the 30s have increasetl at least threefold in value, such as a by Charles Burchfield; by Charles Sheeler; and by Paul Sample.

The of the collection is evidenced by the fact that more and more American universities are copying the University of Nebraska, a front runner in such a project. And in the. future, the university visions the Collection as a valuable nucleus around which other forms of prints, drawings be used to tell a more comprehensive story for the people of Nebraska. Attractive to see and delicious to eat is a colorful plate of garden-fresh cooked vegetables. Arrange golden ears of corn, broiled tomatoes, green string beans around a large head of cauliflow'cr.

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Bus Depot wi oMt: university STUDENTS. We will rash your cheeks. Bring your identification card. OPEN 7 DAYS A WIEK St MHY Sl.ltf lMi HOI Its in A.M. to 9 P.M.

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Pages Available:
914,989
Years Available:
1902-1995