American Literature Is a Rhetoric-Level Course
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William Weir
Brigham Young University BYU ScholarsArchive Library Research Grants Harold B. Lee Library 2009 William Weir Danielle Hurd Brigham Young University - Provo, [email protected] Follow this and additional works at: https://scholarsarchive.byu.edu/libraryrg_studentpub Part of the Social and Behavioral Sciences Commons The Library Student Research Grant program encourages outstanding student achievement in research, fosters information literacy, and stimulates original scholarship. BYU ScholarsArchive Citation Hurd, Danielle, "William Weir" (2009). Library Research Grants. 12. https://scholarsarchive.byu.edu/libraryrg_studentpub/12 This Other is brought to you for free and open access by the Harold B. Lee Library at BYU ScholarsArchive. It has been accepted for inclusion in Library Research Grants by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. William Weir 1 James Weir and Isabel Provand James —d. 7 January 1849 2 Isabel —b. 25 February 1700 Stirling, Renfrew, Scotland; d. 27 March 1760 Stirling, Renfrew, Scotland 3 Children: John--b. 9 March 1718 Patrick--b. 13 March 1720 James--b. 16 January 1723 Patrick--b. 28 March 1725 William--b. 2 August 1727 David--b. 25 February 1730 Mary--b. 27 February 1732 Walter—see below Walter Weir and Jean Fulton Walter Weir and Jean Fulton Walter —Christened 25 May 1735, Stirling, Renfrew, Scotland; 4 d. 1811. Walter was a merchant in Paisley, Scotland where he married Jean Fulton 19 December 1767. 5 Their ten children were all born in Paisely, although several later emigrated to America. Jean —Christened April 1743, 6 Paisley, Renfrew, Scotland. Daughter of Robert Fulton and Anne. -
23 League in New York Before They Were Purchased by Granville
is identical to a photograph taken in 1866 (fig. 12), which includes sev- eral men and a rowboat in the fore- ground. From this we might assume that Eastman, and perhaps Chapman, may have consulted a wartime pho- tograph. His antebellum Sumter is highly idealized, drawn perhaps from an as-yet unidentified print, or extrapolated from maps and plans of the fort—child’s play for a master topographer like Eastman. Coastal Defenses The forts painted by Eastman had once been the state of the art, before rifled artillery rendered masonry Fig. 11. Seth Eastman, Fort Sumter, South Carolina, After the War, 1870–1875. obsolete, as in the bombardment of Fort Sumter in 1861 and the capture of Fort Pulaski one year later. By 1867, when the construction of new Third System fortifications ceased, more than 40 citadels defended Amer- ican coastal waters.12 Most of East- man’s forts were constructed under the Third System, but few of them saw action during the Civil War. A number served as military prisons. As commandant of Fort Mifflin on the Delaware River from November 1864 to August 1865, Col. Eastman would have visited Fort Delaware on Pea Patch Island, located in the river channel between Wilmington and New Castle, Delaware. Channel-dredging had dumped tons of spoil at the northern end of the island, land upon which a miserable prison-pen housed enlisted Confederate pris- oners of war. Their officers were Fig. 12. It appears that Eastman used this George N. Barnard photograph, Fort quartered within the fort in relative Sumter in April, 1865, as the source for his painting. -
Robert Fulton Weir: Sailor-‘Artist’ for Harper’S by Gary Mcquarrie
Naval Illustrators Robert Fulton Weir: Sailor-‘Artist’ for Harper’s By Gary McQuarrie Robert Fulton Weir (1836-1905) was the son 1861. After his final whaling cruise aboard the schooner of Robert Walter Weir, a well-recognized professional Palmyra was completed in 1862, he enlisted in the Union painter of the Hudson River school of American art and Navy on August 25, 1862, as a third assistant engineer a professor of drawing at the U.S. Military Academy, assigned to the Hartford-class screw sloop-of-war West Point, New York, for over 40 years. Robert F. Weir USS Richmond. The Richmond participated in some of was born January 12, 1836 in West Point, New York, the the Union Navy’s most significant naval actions, second son born to his father’s first wife, Louisa including the passage of New Orleans’ forts, passage of Ferguson Weir. Throughout his life, he self-identified batteries at Vicksburg, the attempted passage of Port simply as ‘Robert Weir;’ further, he should not be Hudson, the Battle of Mobile Bay, bombardment of Fort confused with the prominent New York surgeon and Morgan, and engagement of the CSS Webb below New author, Robert Fulton Weir (1838-1927), of the same era. Orleans, providing Weir with many opportunities to produce drawings of his experiences, a number of which At the age of 19, Robert F. Weir (Weir hereafter) ran were the basis for line engravings published in Harper’s away to sea and, under the pseudonym of Robert Weekly. Weir was one of only a handful of Harper’s Wallace, sailed aboard the whaling bark Clara Bell from Weekly ‘Artists’ recognized by name in a short tribute 1855-1858. -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W. -
Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia americká architektúra - pozri chicagská škola, prériová škola, organická architektúra, Queen Anne style v Spojených štátoch, Usonia americká ilustrácia - pozri zlatý vek americkej ilustrácie americká retuš - retuš americká americká ruleta/americké zrnidlo - oceľové ozubené koliesko na zahnutej ose, užívané na zazrnenie plochy kovového štočku; plocha spracovaná do čiarok, pravidelných aj nepravidelných zŕn nedosahuje kvality plochy spracovanej kolískou americká scéna - american scene americké architektky - pozri americkí architekti http://en.wikipedia.org/wiki/Category:American_women_architects americké sklo - secesné výrobky z krištáľového skla od Luisa Comforta Tiffaniho, ktoré silno ovplyvnili európsku sklársku produkciu; vyznačujú sa jemnou farebnou škálou a novými tvarmi americké litografky - pozri americkí litografi http://en.wikipedia.org/wiki/Category:American_women_printmakers A Anne Appleby Dotty Atti Alicia Austin B Peggy Bacon Belle Baranceanu Santa Barraza Jennifer Bartlett Virginia Berresford Camille Billops Isabel Bishop Lee Bontec Kate Borcherding Hilary Brace C Allie máj "AM" Carpenter Mary Cassatt Vija Celminš Irene Chan Amelia R. Coats Susan Crile D Janet Doubí Erickson Dale DeArmond Margaret Dobson E Ronnie Elliott Maria Epes F Frances Foy Juliette mája Fraser Edith Frohock G Wanda Gag Esther Gentle Heslo AMERICKÁ - AMES Strana 1 z 152 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Charlotte Gilbertson Anne Goldthwaite Blanche Grambs H Ellen Day -
Volume 36 Number 2 the Magazine of the Victorian Society in America
Nineteenth Century The Magazine of the Victorian Society in America Volume 36 Number 2 Nineteenth Contents Century hhh THE MAGAZINE OF THE VICTORIAN SOCIETY IN AMERICA VOLuMe 36 • NuMBer 2 FALL 2016 Editor Warren Ashworth Consulting Editor William Ayres Book Review Editor Karen Zukowski Maymont 2 Managing Editor / A VIRGINIA STUDY IN GILDED AGE ECLECTICISM Graphic Designer Dale Cyrus Wheary Wendy Midgett Printed by Official Offset Corp. Amityville, New York Politics and Paintings 10 EMANUEL LEUTZE, wILLIAM HENRY POwELL, AND THE CAPITOL ROTUNDA Committee on Publications Chair Barbara J. Mitnick Warren Ashworth William Ayres Hummingbirds, Emperors, and Railway Barons Anne-Taylor Cahill 16 Christopher Forbes HEADE’S gems AND THEIR JOURNEYS Sally Buchanan Kinsey Cynthia Haveson Veloric Michael J. Lewis Barbara J. Mitnick James F. O’Gorman Jaclyn Spainhour The Struggle for Professionalism 24 Karen Zukowski ARCHITECT’S DRAwINGS IN THE NINETEENTH CENTURY For information on The Victorian Robin H. Prater Society in America, contact the national office: 1636 Sansom Street Philadelphia, PA 19103 (215) 636-9872 Fax (215) 636-9873 Departments [email protected] www.victoriansociety.org 34 Preservation Diary GREENE AND GREENE’S ROBERT PITCAIRN, JR. HOUSE, PASADENA Anne E. Mallek 37 Journeys YOUNG BUSLER GOES TO THE FAIR Jeanne Solensky 42 The Bibliophilist 47 Milestones 49 Contributors Valerie A. Balint THE 40 ELEPHANTS Anne-Taylor Cahill RAMPAGE LONDON Tara Leigh Tappert Anne-Taylor Cahill Cover: Martin Johnson Heade, Hummingbird and Passionflowers , c.1875. The Metropolitan Museum of Art. Fireplace in the Den at Maymont. Photo by Dale Quarterman. Maymont A VIRGINIA STUDY IN GILDED AGE ECLECTICISM Dale Cyrus Wheary We spent such a delightful evening at major Dooley’s beautiful home ‘maymont.’ It is really a show place. -
Signature Drawings:’ Social Networks and Collecting Practices in Antebellum Albums
ABSTRACT Title of Document: ‘SIGNATURE DRAWINGS:’ SOCIAL NETWORKS AND COLLECTING PRACTICES IN ANTEBELLUM ALBUMS Joy Peterson Heyrman, Ph.D., 2008 Directed By: Professor Sally M. Promey, Department of Art History and Archaeology Characterized in their own time as “miniature and easily-attainable works of art,” drawings by American artists of the antebellum period were prized by fellow artists as mementi of friendship and by collectors as marks of the artist’s hand. This dissertation presents a broad examination of the social meanings and contemporary contexts of these quietly communicative works of art. Using archival and documentary evidence, it investigates rich spheres of activity in the “social lives” of drawings. Special qualities of the medium and particularities of drawings exchange informed their reception. In the public sphere of business and social transaction between artists and patrons, drawings functioned as “social currency,” building a community connected through gift-giving and competitive collecting. Albums of drawings reflected social networks and communicated the owner’s privileged access to artists who practiced that particularly intimate form of expression. Drawings were also displayed in the antebellum parlor, a private setting encoded with aspiration to personal refinement and social position. In that sphere, drawings served a didactic, regulatory function, presenting sentimental and moral themes that provided a visual buffer to the turbulent public history of the time. My study reveals that many of the drawings collected in antebellum albums were originals for images subsequently reproduced as giftbook illustrations or prints. This dissertation demonstrates that antebellum viewers perceived drawing and writing as aligned, complimentary modes of expression; similar motivations thus informed the collecting of drawings and autographs. -
The Capitol Dome
THE CAPITOL DOME Artists and the Capitol: Howard Chandler Christy, Seth Eastman, and Peter Rothermel Society News A MAGAZINE OF HISTORY PUBLISHED BY THE UNITED STATES CAPITOL HISTORICAL SOCIETYVOLUME 55, NUMBER 12018 From the Editor’s Desk: ith this issue, The Capitol Dome and media. Wcasts its spotlight on the fasci- How Congress, the Capitol, and nating but little-known backstories the Library of Congress have been rep- of some of the Capitol’s most signifi- resented in movies is the subject of cant paintings. The authors’ own back- Michael Canning’s article “Through a grounds are as varied as the artwork Dome Darkly: The Capitol as Symbol, they write about. Touchstone, and Admonition in Ameri- . James McElhinney’s insight is driven can Film.” John Busch, a historian of by the empathy of a fellow painter. His technology, provides the intriguing geo- attempt to see what Seth Eastman saw political context behind an overlooked reveals the multiple meanings of seem- vignette within one of the most widely ingly inert landscapes. recognized paintings in the Capitol. Anna Marley, curator at the Penn- Paula Murphy identifies the various sylvania Academy of Fine Arts, is strands of Irish influence in the Capitol’s informed by a trained academic’s pro- nineteenth- and early twentieth-century fessional interest . sculptures. And with Daniel Peart’s . and James Head—a lawyer by article on John Quincy Adams’s rela- day—is doggedly captivated by the tionship to House Speakers during his simple “Affair with Beauty” he finds in post-presidential tenure as representative the work of Howard Chandler Christy. -
Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Hudec-Ahasver Pavol - (*1941); český fotograf; prišiel do Prahy zo Slovenska začiatkom 60. rokov, vyštudoval FAMU u profesora Jána Smoke a dal si pseudonym Ahasver; začal publikovať svoje fotografie a zaujal predovšetkým akty; v normalizačných časoch však nemohol publikovať, a preto sa uchýlil k zátišiam; po revolúcii usporiadal niekoľko výstav nielen v Čechách, ale aj vo Veľkej Británii; pozri fotografia slovenská; autoportrét http://www.webumenia.sk/dielo/SVK:SNG.UP-DK_1626 http://www.paladix.cz/clanky/pavel-hudec-ahasver-klasik-snbspdusi-tulaka.html (životopis) https://www.google.sk/search?q=Pavol+Hudec- Ahasver&espv=2&biw=1841&bih=990&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKEwi HurKR9p7PAhVLsxQKHYoJBaIQsAQIJg P. Hudec-Ahasver: Bez názvu (1969) Heslo HUDEC – HUI Strana 1 z 28 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia P. Hudec-Ahasver: Bez názvu (1960-1970) Heslo HUDEC – HUI Strana 2 z 28 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia P. Hudec-Ahasver: Úsmev (1960-1970) hudobná spoločnosť - pozri elegantná spoločnosť Heslo HUDEC – HUI Strana 3 z 28 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia A. Palamedesz: Hudobná spoločnosť s alegóriou Piatich zmyslov (hudobná spoločnosť, 1649) Heslo HUDEC – HUI Strana 4 z 28 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia G. van den Eeckhout: Hudobná spoločnosť (1652) Heslo HUDEC – HUI Strana 5 z 28 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia J. M. Molenaer: Hrajúci mladý muž žena (elegantná spoločnosť, 1630-1632) Heslo HUDEC – HUI Strana 6 z 28 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia G. van den Eeckhout: Hudobná spoločnosť (1652) Heslo HUDEC – HUI Strana 7 z 28 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia N. -
19Th Century Painters: Hudson River School Hudsonrivervalley.Com
Map & Guide Series Na lley tion Va al Hudson River Valley r H e e v r i i 19th Century Painters: t National Heritage Area, New York R a g n e o A hudsonrivervalley.com s r d e u a Hudson River School H rom the 1820s through the end of the century, the natural wonders of the Hudson River Valley kindled one of the most significant achievements in the nation’s cultural history—the development Fof a style of painting that expressed the American character. In 1825 the dramatic scenery of the Hudson River Valley inspired a young artist, Thomas Cole, to create the first paintings of the American landscape in the new, Romantic style. What began as a casual group of painters eager to capture the beauty of upstate New York grew to become a school of artists who traveled the country and even the world producing some of the masterpieces of American art. Paintings shown in this brochure can be seen in the Hudson River Valley at the indicated heritage sites. View of Tappan Zee from Lovat Hill, Jasper F. Cropsey, 1887, Newington-Cropsey Foundation, Hastings-on-Hudson Please see the map side of this brochure for information about collections of Hudson River paintings. A New Artistic Philosophy for tourism. Summer retreats appeared American Academy of the Fine Arts, who The mid-1820s was a remarkable time in up and down the Hudson River. The bought the painting and spread the news the Hudson River Valley. The Catskill valley attracted entrepreneurs, tourists, about the new young painter on the New Mountain House, the country’s first and travelers eager to share in the wealth, York art scene. -
G Invasion Norteamericana, I846-I848 the Uvlexican-American War the J Dudley Thompson Colleclion CJV]Re Books, Maps, Prints, Cbroadsides & Ephemera
CJJorothy Sloan -CJV]re Books cAuClio7J- Twenty-Four ,(g invasion norteamericana, I846-I848 The UVlexican-American War The J Dudley Thompson ColleClion CJV]re Books, Maps, Prints, CBroadsides & Ephemera Dorothy Sloan —Rare Books Auion Twenty-Four Item Dorothy Sloan —Rare Books Auion Twenty-Four La invasión norteamericana, 1846-1848 The Mexican-American War The J.Dudley Thompson Colleion Rare Books, Maps, Prints, Broadsides & Ephemera Auion to be condued December & , We Tarrant Street, Llano, Texas & Live Online via .. Dorothy Sloan —Rare Books .. Dorothy Sloan—Rare Books, Inc. AUCTION TWENTY-FOUR Thursday & Friday, December 15 & 16, 2016—10:00 a.m. & 2:00 p.m., each day 102 West Tarrant Street • Llano, Texas, 78643 and live online via www.liveauctioneers.com EXHIBITION Tuesday & Wednesday, December 13 & 14—10:00 a.m. to 5:00 p.m., each day Copyright 2016 Dorothy Sloan—Rare Books, Inc. Texas Auctioneer’s License 10210 Following is the text of the catalogue of items to be sold at private auction at the dates and times listed above. Please peruse our illustrated online catalogue, available at www.sloanrarebooks.com. The online catalogue includes several thousand images not present in this version. If you require assistance or more information than is provided herein, please feel free to contact us by phone or email. Please read our Terms & Conditions of Sale and the Important Notice at the end of this catalogue. Cover illustration from Item 220, George Wilkins Kendall & Carl Nebel, The War between the United States and Mexico Illustrated. –––––––––––––––– “Esta guerra es guerra de raza, de religion, de lengua y de costumbres...” (Manuel Gorostiza, Dictámen ...sobre la cuestion de Texas. -
I N D U S T R I a L S U B L I
Art/New York/History Billowing smoke, booming industry, noble bridges, and an epic waterfront are the landscape of a transforming New I York from 1900 to 1940. The convulsive changes in the N metropolis and its rivers are embraced in modern paintings from Robert Henri to Georgia O’Keeffe. D I U S N T S R I D A U L U B s S u L b l T i I m R e M The book is the companion catalogue to the exhibition Industrial Sublime: Modernism and the Transformation of New York’s Rivers, 1900 to 1940. fordham university press hudson river museum I The project is organized by Kirsten M. Jensen and Bartholomew F. Bland. COVER DETAILS E FRONT: George Ault. From Brooklyn Heights, 1925. Collection of the Newark Museum BACK: John Noble. The Building of Tidewater, c.1937, The Noble Maritime Collection; George Parker. East River, N.Y.C., 1939. Collection of the New-York Historical Society; Everett Longley Warner. Peck Slip, N.Y.C., n.d. Collection of the New-York Historical Society; Ernest A Lawson. Hoboken Waterfront, c. 1930. Collection of the Norton Museum of Art A COPUBLICATION OF L Empire State Editions An imprint of Fordham University Press New York www.hrm.org www.fordhampress.com INDUSTRIAL SUBLIME INDUSTRIAL SUBLIME Modernism and the Transformation of New York’s Rivers, 1900-1940 Empire State Editions An imprint of Fordham University Press New York Hudson River Museum www.hrm.org www.fordhampress.com I know it’s unusual for an artist to want to work way up near the roof of a big hotel, in the heart of a roaring city, but I think that’s just what the artist of today needs for stimulus..