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Provincetown: Selections from the Julie Heller Gallery at the Elisabeth Ivers Gallery, NYC, April 15 – June 4, 2011

April 22, 2011The Editor

Filed UnderArt

Karl Knaths (1891-1971), Provincetown Houses and Weirs, 1930, Watercolor and chalk on paper, 12 3/4 x 17 1/4 inches.

Karl Knaths (1891-1971), Provincetown Houses and Weirs, 1930, Watercolor and chalk on paper, 12 3/4 x 17 1/4 inches.

Provincetown: Selections from the Julie Heller Gallery
April 15 – June 4, 2011
Opening Reception: Thursday, April 14, 6-8pm
ELISABETH IVERS GALLERY 508 West 26th Street, Suite 6D New York, New York 10001

Milton Avery, Fritz Bultman, Oliver Chaffee, Carole Ann Danner
Nanno de Groot, Joseph De Martini, Miguel Deveze, Edwin Dickinson
Joseph Garlock, Ada Gilmore, V. Hansen, Hans Hofmann
Jones 1879, Karl Knaths, Betty Lane, Blanche Lazzell, Myron Lechay
Lucy L’Engle, Clare Leighton, Charles Logasa, Philip Malicoat, Leo Manso
Irving Marantz, Mudheads, Mary Mullineux, Ray Nolin, Heinrich Pfeiffer
Flora Schoenfeld, Ferol Sibley Warthen, Agnes Weinrich
Sol Wilson, Marguerite Zorach, William Zorach

Curated by Lydia Vivante

Image: Karl Knaths (1891-1971), Provincetown Houses and Weirs, 1930

Watercolor and chalk on paper, 12 3/4 x 17 1/4 inches

ELISABETH IVERS GALLERY 508 West 26th Street, Suite 6D New York, New York 10001

T: 212-206-7027 E: lis@elisabethivers.com

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Tagged WithBlanche Lazzell Edwin Dickinson Hans Hofmann Julie Heller Gallery Karl Knaths Marguerite Zorach Milton Avery William Zorach

About the author

The Editor

Michael Miller, Editor and Publisher of New York Arts, an International Journal for the Arts and The Berkshire Review, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

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Obituary: Michael Miller, Writer, Editor of Hudson-Housatonic Arts and New York Arts, Dies at 73

Michael James Miller, writer and arts critic, died aged 73 on November 14th, 2021, after a long illness with cancer. He was at home in North Adams, MA, his partner Joanna Gabler and youngest son, Lucas, beside him. His last word was “Peace.”

Michael was born on January 10th, 1948, in Miami, FL, the son of Max “Ike” Miller, a restauranteur and later a successful commodities trader. His mother was Helen (née Briggs), a homemaker and devoted parent to him and his elder sister, Anne.

A Crop of Recordings XXXVII: Schmitt/Honegger, Furtwangler, Sibelius, Ondine

Here is one of the strangest living bits of ceremonial history you will ever encounter, along with some fine, nearly forgotten music ever since. The year 1937 witnessed Paris’s International Exposition, the last continental world’s fair to take place before the Second World War, and something of a nervous set piece for political tensions of the day.

Bella Merlin, co-author of When Action Is Eloquence, talks with Michael Miller about Shakespeare and Company

In her interview about the book she has co-authored with Tina Packer, When Action is Eloquence, the distinguished actor and teacher Bella Merlin reflects on how she came into contact with Shakespeare & Company and her three year progression through the completion of a manuscript based on her own deep knowledge of acting and her participation in the Company’s month-long intensive course.

The Belcea Quartet plays Szymanowski and Schubert – Capital Region Classical

It may be unnecessary to claim that the Belcea Quartet is one of the most esteemed string ensembles performing today. However, being based abroad, and having been founded over twenty-seven years ago by Romanian violinist Corina Belcea and Polish violist Krzysztof Chorzelski, their artistic uniqueness and stature has eluded wide recognition in the U.S.

Brahms in Good Hands

Traditionally, the BSO’s Tanglewood season concludes with a performance Beethoven’s Ninth, an overplayed sound-track triggering optimistic images of brotherhood and the profound goodness of the human heart. The mere fact that this became a ritual has drained it of musical significance—which has been replaced by its function as an ambiguous signifier; it has been pulled out to celebrate great occasions, cultural and political movements of all stripes, including by the Nazis.

Disparities, Intended or Otherwise: House-Blend III at PS 21, Chatham

Ligeti’s Trio for horn, violin, and piano is subtitled “Hommage à Brahms” since it was commissioned, in 1982, as a companion piece to Brahms’ trio for the same instruments. This is a rare instrumental combination owing to radical disparities in color, volume, and methods of tone production that challenge the composer to balance and blend their sounds. It was probably this quality that acted as one of the inspirations for this piece, which marked a turning point in the career of this composer. Ligeti does not consciously emulate Brahms in this work; if anyone, it is Beethoven who serves as a distant presence.

A Crop of Recordings XXXVI: Mozart/Muti, Gershwin/Rodziński, Prokofiev and Miaskovsky/Vasily Petrenko, Brahms/Iván Fischer, Handel/Haselböck

Welcome to the world of unselfconscious Mozart as it once was. When this LP first arrived in record bins in 1977, there was nothing stylistically unusual about romantically phrased performances of the composer’s music, delivered by large orchestras with substantial masses of strings. Herbert von Karajan, Bruno Walter, Karl Böhm, George Szell, all recorded “big” Mozart. Towards the end of the decade Josef Krips would turn out some nicely crisp late symphonies with the Concertgebouw for Phillips, a bit reduced in scale, but we were still a long way from the aggressive small dog Mozart which bites at our ankles today and answers to the word “Authenticity.”

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