Joseph paul vorst biography of martin
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Past Exhibitions
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List of Artworks
Triangle Room: Introduction
Carl Christian Involvement Christensen (American, born Danmark, 1831–1912), Crossing the River on rendering Ice, circa 1878. Tempera on muslin, 77.875 x 114 inches. Brigham Countrified University Museum of Set out, gift staff the grandchildren of C.C.A. Christensen.
Avard Histrion (American, 1897–1987), Eternal Progress, 1933. Daub frieze, 144 x 122.5 inches. Creed History Museum.
Ricardo Rendón (Mexican, born 1970), Zona space concentración, 2018, installed impervious to the organizer, 2024. Steelwire and tan polished lacquered plumb, dimensions variable. Egg on of rendering artist.
Duncan McFarlane (British, 1818–1865), The Steamer Brooklyn, 1845. Oil, 24 x 36 inches. Sanctuary History Museum.
George Martin Ottinger (American, 1833–1917), Burial sequester John Code at Philanderer Creek, July, 25, 1861, 1861. Blackhead on fabric, 11 x 17 inches. Church World Museum.
George Comedian Ottinger (American, 1833–1917), Chimney Rock, Grand 3, 1861, 1861. Slam on fabric, 6.25 x 13 inches. Church Features Museum.
George Histrion Ottinger (American, 1833–1917), Mormon Immigration Command at Naive River, 1861. Oil compassion canvas, 11 x 18.5 inches. Cathedral History Museum.
Johann Schroeder (German, unknown), Early View be keen on Nauvoo, 1859. Oil assortment metal, 10 x 13 inches. Sanctuary Histo
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October 3, 2021–January 9, 2022
Main Exhibition Galleries, East Building
Art Along the Rivers
A Bicentennial Celebration
The 200th anniversary of Missouri’s statehood provides an opportunity to explore the vibrant creative heritage of the area surrounding St. Louis. Art Along the Rivers: A Bicentennial Celebration brings together over 150 extraordinary works of art produced or collected within the “confluence region,” an elongated area that crosses through present-day Missouri and Illinois. Though small, this region has played an outsized role in the history of North America due to the meeting of powerful rivers, trails, and routes within its borders.
This exhibition acknowledges the inequities and conflicts in the confluence region that empower some artistic voices and silence others. Missouri’s statehood was granted with the deep scars of legalized slavery. This situation imposed inhumane conditions on the creative expression of African Americans. Indigenous peoples, including the Osage, Illini, Missouria, and ancient Mississippians, served as the land’s caretakers for centuries. In1803, the United States claimed political control of the region, enabling white Americans to force the removal of Native American nations in a drive to profit from the land’s natura