An artistic PAFA Wedding in Philadelphia, PA with Olivia and Jacob.
Erin and Adam’s PAFA Wedding in Philadelphia, PA was an amazing day. The weather was looking a bit rainy for the entire week leading up to their July wedding. However the showers passed early in the morning and it was clear blue skies all day with a beautiful sunset over the city! PAFA has one […]
Tess and James had a beautiful reception at the Pennsylvania Academy of the Fine Arts . We uplit the reception area, did a dance floor wash ...
Scott Noel, Telemachus and the Sirens, 2011, oil on linen, 78 × 90 inches Courtesy of Gross McCleaf Gallery, Philadelphia, PA click here for a larger view OBSERVATION AND INVENTION:...Read More
I love working with couples on their reception day paper needs because it gives me the opportunity to get involved with all of the fun, little details of their wedding day. I worked with Jess and Kevin on their escort cards and menu cards, who got married at the Pennsylvania Academy of Fine Arts (PAFA). …
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Lewis’ reputation has been maintained within the African-American community, and this exhibition ought to bring him the broader attention he certainly deserves.
PAFA - the Pennsylvania Academy of the Fine Arts is a Wedding Venue in Philadelphia, PA. Read reviews, view photos, see special offers, and contact PAFA - the Pennsylvania Academy of the Fine Arts directly on The Knot.
Discover The One Eleven Collective, your destination for wedding photography, Super 8 videos, education for photographers, a luxury bridal salon, and community events in Albany, NY.
The Collection | PAFA - Pennsylvania Academy of the Fine Arts
The oldest art school and museum is changing along with the North Broad corridor.
Icon for My Man Superman, 1969, Oil, acrylic, and aluminum leaf on linen canvas, 59 ½ x 48 inches. Image courtesy of the artist
This PAFA Museum Wedding Philadelphia at The Pennsylvania Academy of the Fine Arts was elegant and fun. What a stunning center city venue!
"the aim of every artist is to arrest motion…" -Faulkner
Elihu Vedder, "The Sphinx, Egypt" (1890). Oil on canvas, 20 1/8 x 14 3/4 in. (51.1 x 37.5 cm.). Bequest of Edgar P. Richardson (1985.44). No known copyright restrictions. In 1889 Elihu Vedder was invited by collector and patron George F. Corliss to accompany him on an extended trip to Egypt. Upon seeing the Sphinx at Gaza for the first time Vedder wrote to his wife: "I was simply struck dumb. I never saw nor shall I ever see such a thing again." The artist had been interested in an image of the sphinx for almost thirty years and had painted several depictions of it.
Jessie Henderson Drew-Bear, "Turkey Knob Farm " (1949). Oil on canvas, 21 1/16 x 26 in. (53.5 x 66.0 cm.). John Lambert Fund (1950.7). © artist or artist's estate.
PAFA has the remarkable distinction of actively promoting women artists since its first annual exhibition in 1811.
Philadelphia has more than its fair share of incredible venues. The Pennsylvania Academy of Fine Arts (PAFA) is one such location. It dates back to 1786 and boasts an incredible collection of art. It makes an amazing spectacle as a backdrop to a wedding so I was thrilled to Alise and Greg’s wedding photographer in ...
George Tooker, "Voice" (1977). Lithograph on Rives gray paper, 11 x 9 3/4 in. (27.94 x 24.765 cm.). John Lambert Fund (2007.11). © artist or artist's estate. "Voice" shows two men on either side of a wall or door. While the viewer is privy to their close proximity to one another they seem unsure about one another's existence. The man on the left has placed his head against the barrier as if listening for movement or communication. On the right, a second man presses his open mouth to the other side but seems silent and frozen in fear. Tooker cropped the image closely so that we focus on the relationship between the two men as they breath quietly and await contact. A delicate tension is established between the two figures as they wait.
Betye Saar, "Blackbird" (2002). Double sided mixed media assemblage and collage on vintage blackboard, 23 3/8 x 23 x 2 5/8 in. (59.3725 x 58.42 x 6.6675 cm.). Henry D. Gilpin Fund (2004.6). © 2002 Betye Saar Courtesy of Michael Rosenfeld Gallery LLC, New York, NY. Although the term "blackbird" was originally a racist epithet, with the rise of the Civil Rights movement in the 1960s and 1970s, the word was appropriated and transformed into a term of endearment. In this three-dimensional assemblage, Betye Saar addresses the fact that, while enslaved, African Americans were often forbidden to learn to read and write. They taught themselves and their children in secrecy and established a rich cultural heritage complete with linguistic associations.
