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Avent Cabin, in the Great Smoky Mountains National Park near Elkmont, Tennessee, United States, is an early Appalachian mountain cabin that was used as a summer studio and retreat by noted artist Mayna Treanor Avent (1865–1959).
His art has encapsulated scenery including fields of bluebonnets, working cattlemen, mountain lakeside cabins, roaming buffalo and deer, streams in the mountains, snow-covered barns, night-lit farmlands, lonely windmills, coastal lighthouses, candlelit wine glasses, small fishing vessels, and other dreamlike spectacles.
The cabin was featured in The Craftsman magazine. [7] In an unusual arrangement, Sharp lived and worked there rent-free, and finally was permitted to buy the cabin in 1922. [7] Phoebe Hearst (mother of William Randolph Hearst) bought 80 of Sharp's paintings of Native Americans. This enabled him to quit teaching, move into Absarokee Hut with ...
Nellie also marketed prints that benefited the Arthritis Foundation, various women's clubs, and other organizations, Her paintings of local, Powell County, Kentucky, attractions; such as Natural Bridge, and the Red River Gorge, [1] paid tribute to the Powell County area she was so proud of.
Cabin in the Snow or Cabin under Snow (German - Verschneite Hütte) is an 1827 painting by Caspar David Friedrich, first exhibited at the exhibition held by the Dresden Academy of Fine Arts, from which it was acquired by John I of Saxony. The painting was acquired by Hugo Salm in 1924 and from at least 1933 it was in South America. It then came ...
Fenimore Art Museum, New York [23] [24] Daniel Boone Sitting At the Door of His Cabin on the Great Osage Lake Kentucky: 1826 Oil on canvas 97.2 by 108.3 centimetres (38.3 in × 42.6 in) Mead Art Museum, Massachusetts [25] [26] From the Top of Kaaterskill Falls: 1826 Oil on canvas 79.1 by 104.5 centimetres (31.1 in × 41.1 in)
Print/export Download as PDF; ... It depicts a scene from the novel Uncle Tom's Cabin. [2] The painting is kept at Russell-Cotes Art Gallery & Museum. [3] References
Most of Russell's portrayals of white women are shown as "pure" and non-sexual, other than those paintings specifically depicting prostitutes. In contrast, his series of five Keeoma paintings and related images show a sensual native woman. They are documented by the statement that Keeoma was a real woman whom Russell had loved.
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