![]() ![]() Hayes and Frederic Church were friends, and upon Hayes's return from the Arctic in 1861, he gave Church his sketches as inspiration for this painting. ![]() The auroras above erupt in a cascade of eerie lights, while the dogsled implies the hope of rescue from this icy prison. Children 3 and younger are admitted free.Under a dark Arctic sky, polar explorer Isaac Israel Hayes's ship, the SS United States, lies frozen in the pack ice at the base of a looming cliff. ![]() SundayĪdmission: $6 $4 for seniors 62 and older $4 for ages 4 to 17. “Some of the frames have inventory numbers some are quite valuable,” she added. “This group of painters were very particular about the frames,” Shockley said. “It’s the most opulent of all the frames I like to call it the ‘Louis XIV’ frame, it’s just over the top,” Abbott said. It was restored by Mitch and Micki Cavanaugh, part of the Nashville firm that gilded The Parthenon’s Athena statue. “It just looked very unhappy,” Abbott said. The original frame was found in The Parthenon’s art storage area with one corner broken off and most of the gilding gone. Thomas Moran’s “Town Pond-East Hampton” (1901) is in a newly restored frame replacing the simple one it had acquired during a stint at the American Embassy in France. In addition to sporting new labels, four of the paintings are in new frames and were also fitted with a new kind of plexiglass that not only reduces reflection - giving visitors a clearer view of the picture - but also protects the painting by blocking UV light and is capable of maintaining a constant temperature on the painting’s surface for up to 10 days in the event of an HVAC failure. “I just do an internal dance because I’m so happy that they’ve read the info and they liked the information, that they learned something and they enjoyed it.” “What I love about it is when I go through the galleries and I hear somebody reading the information out loud or saying one of the interesting facts out loud,” Abbot said. The curators also would like to put the information and images online and to eventually produce a new catalog of the paintings the last was published in 1981 and is now out of print and considered out of date. ![]() As a result of new research, Abbott estimates there are an additional 8,000 words of text on the new text panels. Registrar and assistant curator Maggie Abbott came up with the “Cowan Connection” as a way to highlight those relationships. That’s the connection - that they really are contemporaries, all except for Benjamin West.” But we found that the artists are the connection: They knew each other, they taught each other, they shared studios, they were friends. “It’s kind of an odd collection, you can’t see a thread going through it,” Shockley said. Traveling to Venice is just one of the connections shared by the painters more were found during research for this new exhibition. A nocturne with a thickly textured surface, the painting shows a scene lit by a bright moon with large sails in the foreground and a bright Venetian landmark on the horizon. George Henry Bogert’s “Moonlight, Venice” is another popular painting. “It looks like a snapshot because it’s not perfect,” Shockley says of the slightly irregular composition that happens to be a favorite of Parthenon visitors who join her tours. The additional paintings are now in the inner gallery, among them Jonas Lie’s “The Cove,” a view of sailboats seen from a cliff. To combat this problem, Shockley organized a condensed show using what she considered to be the strongest paintings, arranging them in chronological order. In salon-style displays, walls are covered in paintings with very little space between the works. “It was just too much, it was like French salon style and you couldn’t see the paintings very well,” said curator Susan Shockley. Generally only two-thirds of the collection is displayed at a time. Cowan Collection will be on view through Aug. are among the 57 artists represented in the collection. Thomas Moran, Frederic Edwin Church, Albert Bierstadt and father-and-son painters George Innes Sr. They were gifted to the city in the late 1920s by an Illinois businessman who spent his formative years in Tullahoma. The paintings are all oils on canvas, mostly land- and seascapes, dating from 1765 to 1923. Cowan collection of paintings is being displayed at The Parthenon. For the first time in more than a decade, the entire 63-piece James M. ![]()
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