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46-531: 4°22′35.94″N 73°13′52.62″W  /  4.3766500°N 73.2312833°W  / 4.3766500; -73.2312833 The Apothecary Shop is a building at the Shelburne Museum in Shelburne, Vermont , that exhibits objects salvaged from New England pharmacies that were closing in the early decades of the 20th century. The main room contains dried herbs, spices, drugs, and labeled glass apothecary bottles from

92-484: A building to display and interpret both the materials already in the museum's stewardship, and the Perry Collection, a 200 piece collection of various works by Plains, Prairie, and Southwest groups. The museum's collection was begun by Electra Havemeyer Webb, one of the first people to recognize the applied and decorative arts of rural America as collectible. Webb was an avid collector of American folk art and founded

138-532: A display of “authenticity, excellence, and significance within a particular tradition” for the artists selected. (NEA guidelines) .” In 1966, the NEA's first year of funding, support for national and regional folk festivals was identified as a priority with the first grant made in 1967 to the National Folk Festival Association. Folklife festivals are celebrated around the world to encourage and support

184-454: A great deal, to say about what passes for acceptable folk art." Historically, the training in a handicraft was done as apprenticeships with local craftsmen, such as the blacksmith or the stonemason . As the equipment and tools needed were no longer readily available in the community, these traditional crafts moved into technical schools or applied arts schools. Teaching of the craft through informal means outside of institutions has opened

230-436: A known type. Similar objects can be found in the environment made by other individuals which resemble this object. Individual pieces of folk art will reference other works in the culture, even as they show exceptional individual execution in form or design. If antecedents cannot be found for this object, it might still be a piece of art but it is not folk art. "While traditional society does not erase ego, it does focus and direct

276-548: A landscape that includes over 400 lilacs , a circular formal garden, herb and heirloom vegetable gardens, and perennial gardens. In 2013, the Pizzagalli Center for Art and Education was opened with two galleries, an auditorium, and a classroom, transforming the institution from seasonal (mid-May through October) to year-round operation. In 2023, the Native American Initiative was announced, aiming to construct

322-570: A problem as a purposeful solution." Written by George Kubler and published in 1962, " The Shape of Time: Remarks on the History of Things " describes an approach to historical change which places the history of objects and images in a larger continuum of time. The purpose of folk art is not purely decorative or aimed to have duplicated handicraft. However, since the form itself was a distinct type with its function and purpose, folk art has continued to be copied over time by different individuals. The object

368-476: A rare 18th-century up-and-down sawmill; a 19th-century covered bridge with two lanes and a footpath; the reconstructed office of noted Vermont physician D. C. Jarvis ; an 1890 railroad station; a 1914 steam locomotive and 1890 private rail car; and the 1906 220-foot (67 m) steamboat Ticonderoga , which is a U.S. National Historic Landmark . In 1996 the museum sold $ 30 million (~$ 53.8 million in 2023) of its art to pay expenses. J. Watson Webb Jr. ,

414-410: A recognizable style and method in crafting its pieces, which allows products to be recognized and attributed to a single individual or workshop. This was originally articulated by Alois Riegl in his study of Volkskunst, Hausfleiss, und Hausindustrie , published in 1894. "Riegl ... stressed that the individual hand and intentions of the artist were significant, even in folk creativity. To be sure,

460-566: A sampling of different materials, forms, and artisans involved in the production of everyday and folk art objects. Listed below are a wide-ranging assortment of labels for an eclectic group of art works. All of these genres are created outside of the institutional structures of the art world, and are not considered "fine art". There is overlap between these labeled collections, such that an object might be listed under two or more labels. Many of these groupings and individual objects might also resemble "folk art" in its aspects, however may not align to

506-445: A traditional community. Intangible folk arts can include such forms as music and art galleries, dance and narrative structures. Objects of folk art are a subset of material culture and include objects which are experienced through the senses, by seeing and touching. Typical for material culture in art, these tangible objects can be handled, repeatedly re-experienced, and sometimes broken. They are considered works of art because of

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552-610: Is not used in regard to traditional societies where ethnographic art continue to be made. The types of objects covered by the term "folk art" vary. The art form is categorised as "divergent... of cultural production ... comprehended by its usage in Europe, where the term originated, and in the United States, where it developed for the most part along very different lines." From a European perspective, Edward Lucie-Smith described it as "Unsophisticated art, both fine and applied, which

598-640: Is promote international understanding and world peace. In the United States, the National Endowment for the Arts works to promote greater understanding and sustainability of cultural heritage across the United States and around the world through research, education, and community engagement. As part of this, they identify and support NEA folk art fellows in quilting, ironwork, woodcarving, pottery, embroidery, basketry, weaving, along with other related traditional arts. The NEA guidelines define as criteria for this award

644-409: Is recognized as being exceptional in the form and decorative motifs. Being part of the community, the craftsperson is reflecting on the community's cultural aesthetics, and may take into consideration the community's response to the handicraft. An object can be created to match the community's expectations, and the artist may design the product with unspoken cultural biases to reflect this aim. While

690-461: Is supposedly rooted in the collective awareness of simple people. The concept of folk art is a distinctly 19th-century one. Today it carries with it a tinge of nostalgia for pre-industrial society." Folk arts , which include both performance and tangible arts, reflect the cultural life of a community associated with the fields of folklore and cultural heritage . Tangible folk art can include objects which historically are crafted and used within

736-498: Is usually developed in isolation or in small communities across the country. The Smithsonian American Art Museum houses over 70 folk and self-taught artists. Folk art objects are usually produced in a one-off production process. Only one object is made at a time, either by hand or in a combination of hand and machine methods, and are not mass-produced . As a result of manual production, individual pieces are considered to be unique and usually can be differentiated from other objects of

782-473: The International Organization of Folk Art (IOV) . Their declared mission is to “further folk art, customs and culture around the world through the organization of festivals and other cultural events, … with emphasis on dancing, folk music, folk songs and folk art.” By supporting international exchanges of folk art groups as well as the organization of festivals and other cultural events, their goal

828-656: The Winterthur Museum and credited Mrs. Webb with inspiring him to collect American decorative arts ). Since Mrs. Webb's death in 1960, the collections have developed with an emphasis on folk art and contemporary art as it relates to the collection. Artifacts provide insight into the craftsmanship and artistic quality of objects made and used by three centuries of Americans. Visitors experience these objects in galleries and period rooms and through interactive exhibitions and demonstrations. Transportation, farming and trade artifacts illustrate America's industrial development from

874-412: The 18th to the early 20th centuries. These collections are increasingly relevant to regional audiences from varied backgrounds as the economic base of the community shifts away from farming and small-scale production. Shelburne Museum's purpose is to enrich people's lives through art, history and culture. The collection of approximately 150,000 objects is one of the most extensive and varied collections in

920-518: The 19th century. At the museum there are some 3,200 American prints, paintings, drawings and graphics that relate to daily life. American paintings include works by Bierstadt , Cassatt , Chase , Copley , Heade , Homer , Eastman Johnson , Lane , Grandma Moses , Peto and Andrew Wyeth . A significant group of European paintings and pastels from the renowned Havemeyer collection includes works by Corot , Daubigny , Degas , Manet and Monet ; they are exhibited in furnished rooms re-created from

966-521: The 20th century medical instruments. The collections are exhibited in a setting of 38 exhibition buildings, 25 of which were relocated to the museum; the 1871 Colchester Reef Light ; three historic and three replica barns, including a 1901 Vermont round barn ; a vintage operating carousel; blacksmith and wheelwright shops; a weaving shop with an operating Jacquard loom ; a working exhibit of late 19th-century printing equipment; an 1840 one-room schoolhouse; an 1890 Vermont slate jail; an 1840 general store ;

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1012-545: The US and is notable for its great range, quality and depth. The outstanding collections of fine, folk and decorative art celebrate American ingenuity, creativity and craftsmanship. Shelburne's folk art collection includes 1,400 wildfowl decoys and miniature carvings, 150 trade figures and signs, 120 weathervanes and 50 carousel figures, including all 40 animals from an early Dentzel carousel. The circus collection includes 600 historic posters, letters and memorabilia from P.T. Barnum , and

1058-801: The Webbs' New York apartment, c. 1930, and are the only Impressionism pictures on public view in Vermont. Collections also include 225 horse-drawn vehicles (described as one of the best in the nation by Merri Ferrell, formerly curator of vehicles at the Long Island Museum of Art, History and Carriages); 1,000 farming implements; and 5,000 hand tools that document woodworking, metalsmithing, coopering, weaving and spinning, leatherworking and woodcarving trades. Craftspeople staff working exhibits of blacksmithing, printing, spinning and weaving. An apothecary shop/physician's office displays 2,000 patent medicines and turn of

1104-627: The Whitechapel Gallery in London as part of the Festival of Britain . This exhibition, along with her publication The Unsophisticated Arts , exhibited folk and mass-produced consumer objects alongside contemporary art in an early instance of the popularisation of pop art in Britain. The United Nations recognizes and supports cultural heritage around the world, in particular UNESCO in partnership with

1150-660: The artist may have been obliged by group expectations to work within the norms of transmitted forms and conventions, but individual creativity – which implied personal aesthetic choices and technical virtuosity – saved received or inherited traditions from stagnating and permitted them to be renewed in each generation." Individual innovation in the production process plays an important role in the continuance of these traditional forms. Many folk art traditions like quilting, ornamental picture framing, and decoy carving continue to be practiced, and new forms continue to emerge. Contemporary outsider artists are often self-taught, and their work

1196-427: The beginning of the modern drugstore and the end of the apothecary shop. Shelburne Museum Impressionist paintings, folk art , quilts and textiles, decorative arts , furniture, American paintings, and an array of 17th- to 20th-century artifacts are on view. Shelburne is home to collections of 19th-century American folk art, quilts, 19th- and 20th-century decoys , and carriages . Electra Havemeyer Webb

1242-431: The choices that an individual can acceptably make… the well-socialized person will find the limits are not inhibiting but helpful… Where traditions are healthy the works of different artists are more similar than they are different; they are more uniform than personal." Tradition in folk art emerges through the passing of information from one generation to another. Through generations of family lines, family members pass down

1288-412: The country's best regional collections of 18th- and 19th-century painted furniture. Over 1,000 dolls, 27 dollhouses and 1,200 doll accessories echo in miniature the museum's collections of ceramics, furniture and other household furnishings. A major reinterpretation and related publication of the doll collection was completed in 2004. The collection of American and European toys dates from the beginning of

1334-419: The culture is typically visible in the final product. Folk art is designed in different shapes, sizes and forms. It traditionally uses the materials which are at hand in the locality and reproduces familiar shapes and forms. The Smithsonian Center for Folklife and Cultural Heritage has compiled a page of storied objects that have been part of one of their annual folklife festivals . The list below includes

1380-407: The defining characteristics outlined above. Folk artworks, styles and motifs have inspired various artists. For example, Pablo Picasso was inspired by African tribal sculptures and masks. Natalia Goncharova and others were inspired by traditional Russian popular prints called luboks . In 1951, artist, writer and curator Barbara Jones organised the exhibition Black Eyes and Lemonade at

1426-463: The display shelves, pill press, and other professional tools create the appearance of an operating druggist's shop between 1870 and 1900. The glass vessels displayed in the front windows are symbols of the apothecary trade: the red fluid represents arterial blood while the blue represents venous blood . Prior to the Civil War , druggists gathered and dried herbs , primed them for medicinal use through

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1472-491: The genre to artists who may face barrier to entry in other disciplines. Canadian folk artist Maud Lewis , for example, suffered from an undiagnosed congenital illness, making formal art schooling a challenge. Despite barriers to formal education, Lewis became one of Canada's most famous folk artists, creating thousands of paintings of life in Nova Scotia . The object is recognizable within its cultural framework as being of

1518-659: The hand-carved 3,500 piece Kirk Brothers Miniature Circus. The Roy Arnold Circus Parade recreates in miniature 112 attractions from the Buffalo Bill Wild West Show, Yankee Circus, and Ringling Bros. and Barnum & Bailey Circus in 525 linear feet of a special exhibition building. Textiles include 770 bed coverings (including 500 quilts ), 400 hooked and sewn rugs, early household textiles (1,800 samplers, laces and linens) and 2,800 costumes and accessories. The decorative arts collection has 6,650 pieces, including glass, ceramics, pewter, metalwork, scrimshaw and one of

1564-479: The knowledge, information, skills and tools needed to continue the creation of one's folk art. Examples are Leon “Peck” Clark, a Mississippi basket maker, who learned his skills from a community member; George Lopez of Cordova, New Mexico, who is a sixth-generation santos carver whose children also carve; and the Yorok-Karok basket weavers, who explain that relatives generally taught them to weave.” The known type of

1610-575: The museum in 1947. She took the step of relocating historic buildings from New England and New York to Shelburne in which to display the museum's holdings. The museum has lost money and was said to have had a deficit of more than $ 300,000 (~$ 559,503 in 2023) in 1994. The core of the collection was formed by Electra Havemeyer Webb, a pioneering collector of American folk art who founded Shelburne Museum. Mrs. Webb exchanged ideas with other major early collectors, including Katherine Prentis Murphy, Henry and Helen Flynnt and Henry Francis du Pont (who founded

1656-462: The museum's collection. Folk art Folk art covers all forms of visual art made in the context of folk culture . Definitions vary, but generally the objects have practical utility of some kind, rather than being exclusively decorative . The makers of folk art are typically trained within a popular tradition, rather than in the fine art tradition of the culture. There is often overlap, or contested ground with ' naive art '. "Folk art"

1702-440: The museum's holdings, relocating 20 historic structures to Shelburne. These include houses, barns, a meeting house, a one-room schoolhouse, a lighthouse, a jail, a general store, a covered bridge, and the 220-foot steamboat Ticonderoga . In Shelburne Mrs. Webb sought to create "an educational project, varied and alive." Shelburne's collections are exhibited in a village-like setting of historic New England architecture, accented by

1748-635: The nineteenth century, as well as early patent medicines , medical equipment, cosmetics , and a collection of barbers' razors. The compounding room, with its brick hearth, copper distilleries, and percolators, replicates an illustration found in Edward Parrish 's 1871 Treatise on Pharmacy . In 1959 the Shelburne Museum constructed the Apothecary Shop as an addition to the General Store. Inside,

1794-402: The object must be, or have originally been, utilitarian; it was created to serve some function in the daily life of the household or the community. This is the reason the design continues to be made. Since the form itself had function and purpose, it was duplicated over time in various locations by different individuals. A book on the history of art states that "every man-made thing arises from

1840-490: The process of grinding or distillation , then combined the prepared herbs with sugar, lard, alcohol and other substances to create tablets, ointments, and elixirs. While these practices continued into the late nineteenth century, druggists gradually responded to an ever-greater demand for patent medicines as customers began to prefer brightly labeled cure-alls to herbal remedies. Passage of the Pure Food and Drug Act in 1906 marked

1886-529: The same type. In his essay on "Folk Objects", folklorist Simon Bronner references preindustrial modes of production, but folk art objects continue to be made as unique crafted pieces by folk artisans. "The notion of folk objects tends to emphasize the handmade over machine manufactured. Folk objects imply a mode of production common to preindustrial communal society where knowledge and skills were personal and traditional." Folk art does not need to be old; it continues to be hand-crafted today in many regions around

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1932-425: The shared form indicates a shared culture, innovation can enable the individual artisan to embody their own vision. This can be a representation of manipulating collective and individual culture, within the traditional folk art production. "For art to progress, its unity must be dismantled so that certain of its aspects can be freed for exploration, while others shrink from attention." This dichotomous representation of

1978-473: The son of Electra Havemeyer Webb , resigned in protest. Webb believed that the sale violated the code of ethics of the American Alliance of Museums , which forbids the selling of artworks for purposes other than acquiring more art. The funds from the sale were used to establish a Collections Care Endowment which is used to support the ongoing remedial and preventative conservation, storage and management of

2024-451: The technical execution of an existing form and design; the skill might be seen in the precision of the form, the surface decoration or in the beauty of the finished product. As a folk art, these objects share several characteristics that distinguish them from other artifacts of material culture. The object is created by a single artisan or team of artisans. The craft-person works within an established cultural framework. The folk art has

2070-405: The world. The design and production of folk art is learned and taught informally or formally; folk artists are not self-taught. Folk art does not aim for individualistic expression. Instead, "the concept of group art implies, indeed requires, that artists acquire their abilities, both manual and intellectual, at least in part from communication with others. The community has something, usually

2116-499: Was a pioneering collector of American folk art, and founded Shelburne Museum in 1947. The daughter of Henry Osborne Havemeyer and Louisine Elder Havemeyer , important collectors of Impressionism , European and Asian art, she exercised an independent eye and passion for art, artifacts, and architecture celebrating a distinctly American aesthetic. When creating the museum, she took the step of collecting 18th and 19th century buildings from New England and New York in which to display

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