University Arboretum and Sculpture Collection
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Robert M. La Follette School of Public Policy Commencement Address
Robert M. La Follette School of Public Policy Commencement Address May 19, 2013 Bob Lang Thank you for inviting me to be a part of the celebration of your commencement -- graduation from the University of Wisconsin's Robert M. La Follette School of Public Policy. I have had the privilege of serving in Wisconsin's Legislative Fiscal Bureau with many La Follette graduates, including the 10 who are currently colleagues of mine at the Bureau. I am honored to be with you today. ____________________________ I have two favorite commencement speeches. The first, written 410 years ago, was not delivered to a graduating class, but rather, to an individual. It was, however, a commencement address in the true meaning of the word -- that is to recognize a beginning -- a transition from the present to the future. And, in the traditional sense of commencement speeches, was filled with advice. The speech was given by a father to his son, in Shakespeare's Hamlet. Polonius, chief councilor to Denmark's King Claudius, gives his son Laertes sage advice as the young man patiently waits for his talkative father to complete his lengthy speech and bid him farewell before the son sets sail for France to Page 1 continue his studies. "Those friends thou hast, grapple them to thy soul with hoops of steel." "Give every man thine ear, but few thy voice." "Neither a borrower nor a lender be." "This above all, to thine own self be true, and it must follow, as the night the day, thou canst not then be false to any man." The second of my favorite commencement addresses was delivered to a graduating college class by Thornton Mellen. -
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The Outward Turn: Personality, Blankness, and Allure in American Modernism Anne Claire Diebel Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Anne Claire Diebel All rights reserved ABSTRACT The Outward Turn: Personality, Blankness, and Allure in American Modernism Anne Claire Diebel The history of personality in American literature has surprisingly little to do with the differentiating individuality we now tend to associate with the term. Scholars of nineteenth- and twentieth-century American culture have defined personality either as the morally vacuous successor to the Protestant ideal of character or as the equivalent of mass-media celebrity. In both accounts, personality is deliberately constructed and displayed. However, hiding in American writings of the long modernist period (1880s–1940s) is a conception of personality as the innate capacity, possessed by few, to attract attention and elicit projection. Skeptical of the great American myth of self-making, such writers as Henry James, Theodore Dreiser, Gertrude Stein, Nathanael West, and Langston Hughes invented ways of representing individuals not by stable inner qualities but by their fascinating—and, often, gendered and racialized—blankness. For these writers, this sense of personality was not only an important theme and formal principle of their fiction and non-fiction writing; it was also a professional concern made especially salient by the rise of authorial celebrity. This dissertation both offers an alternative history of personality in American literature and culture and challenges the common critical assumption that modernist writers took the interior life to be their primary site of exploration and representation. -
The Vice Presidential Bust Collection Brochure, S
Henry Wilson Garfield. Although his early political success had design for the American buffalo nickel. More than (1812–1875) ⓲ been through the machine politics of New York, 25 years after sculpting the Roosevelt bust, Fraser Daniel Chester French, Arthur surprised critics by fighting political created the marble bust of Vice President John 1886 corruption. He supported the first civil service Nance Garner for the Senate collection. THE Henry Wilson reform, and his administration was marked by epitomized the honesty and efficiency. Because he refused to Charles G. Dawes American Dream. engage in partisan politics, party regulars did not (1865–1951) VICE PRESIDENTIAL Born to a destitute nominate him in 1884. Jo Davidson, 1930 family, at age 21 he Prior to World War I, BUST COLLECTION Sculptor Augustus Saint-Gaudens originally walked to a nearby Charles Dawes was a declined to create Arthur’s official vice presidential town and began a lawyer, banker, and bust, citing his own schedule and the low business as a cobbler. Wilson soon embarked on politician in his native commission the Senate offered. Eventually he a career in politics, and worked his way from the Ohio. During the war, reconsidered, and delivered the finished work in Massachusetts legislature to the U.S. Senate. In a he became a brigadier politically turbulent era, he shifted political parties 1892. One of America’s best known sculptors, Saint-Gaudens also created the statue of Abraham general and afterwards several times, but maintained a consistent stand headed the Allied against slavery throughout his career. Wilson was Lincoln in Chicago’s Lincoln Park and the design reparations commission. -
The Salon of Mabel Dodge
DIVISION OF THE HUMANITIES AND SOCIAL SCIENCES CALIFORNIA INSTITUTE OF TECHNOLOGY PASADENA, CALIFORNIA 91125 THE SALON OF MABEL DODGE Robert A. Rosenstone To be published in Peter Quennell, ed., Salon (London: Weidenfeld and Nicolson, 1980). HUMANITIES WORKING PAPER 24 January 1979 THE SALON OF ~WillEL DODGE Robert A. Rosenstone Mabel Dodge's salon ••• burst upon New York like a rocket. Margaret Sanger It was the only successful salon I have ever seen in America. Lincoln Steffens Many famous salons have been established by women of wit or beauty; Mabel's was the only one ever established by pure will power. And it was no second-rate salon; everybody in the ferment of ideas could be found there. Max Eastman 2 It is indeed the happy woman who has no history, for by happy we mean the loving and beloved, and by history we designate all those relatable occurences on earth caused by the human energies seeking other outlets than the biological one. • . That I have so many pages to write signifies, solely, that I was unlucky in love. Most of the pages are about what I did instead •. Mabel Dodge 1 Mabel Dodge was rich and attractive and more than a little lucky. For two years -- from 1912 to 1914 -- she played hostess to the most famous and no doubt the most interesting salon in American history. This success was no accident, but the result of a subtle interplay between her individual needs and ambitions and the historical moment. It was a very special period in the cultural life of the United States, one when expatriate Irish painter John Butler Yeats cocked an ear and heard "the fiddles • tuning as it were allover America. -
Georg Brandes. Jo Davidsons Buste Er Opstillet I Informationssalen På Det Kongelige Bibliotek
m Georg Brandes. Jo Davidsons buste er opstillet i Informationssalen på Det kongelige Bibliotek. 20 Brandes "headhunted" Jo Davidsons buste af Georg Brandes af forskningsbibliotekar, cand.mag. Merete Licht Da Brandes den 25. november 1913 holdt sin Shakespeare forelæsning i Cax- ton Hall i London, blev den overværet af to unge amerikanske kunstnere, den ene var fotografen Alvin Langdon Coburn og den anden billedhuggeren Jo Davidson. Begge besluttede på stedet, at de ville portrættere ham. Det ved vi, fordi en tredje ung amerikaner var til stede samme aften, nemlig litteratur kritikeren Van Wyck Brooks. Han var en stor beundrer af Brandes ("I have read Brandes with rapture at Stanford"), og det var ham, der havde taget de to venner med til forelæsningen. I sine erindringer giver han et billede af af tenens forløb og fortæller om Jo Davidson, at han efter forelæsningen "was determined to make a bust of Brandes". Lige så forskellige de to kunstneres medier var, Cobums var fotografiet og Davidsons leret, lige så forskellige var deres temperamenter, så aftenens resultat blev Brandes afspejlet i to kunstneriske temperamenter: Cobums por træt af ham findes gengivet og omtalt i Magasin, årg. 5, nr. 1, 1990, Jo Da vidsons buste står i dag i Informationssalen på Det kongelige Bibliotek, og det er om dens tilblivelse og skaber, denne artikel handler. Var resultaterne end forskellige, var udgangspunktet det samme. Begge kunstnere fæstnede sig ved een bestemt egenskab hos Brandes, nemlig hans "alertness", et lidt uoversætteligt ord, der indeholder elementer af livfuldhed og nysgerrighed tilsat et anstrøg af åndeligt alarmberedskab. Coburn koncen trerede sig især om "mental alertness", den Brandes der lyser ud af hans por træt er en næsten æterisk person, og man er ikke et øjeblik i tvivl om, at det er en person af ånd, man har for sig. -
Good Neighbor Cultural Diplomacy in World War II
Good Neighbor Cultural Diplomacy in World War II: The Art of Making Friends Darlene J. Sadlier, Indiana University, USA In August 1940, President Franklin D. Roosevelt named Nelson A. Rockefeller to head the Office of the Coordinator of Inter-American Affairs (CIAA), a new federal agency whose main objective was to strengthen cultural and commercial relations between the U.S and Latin America, in particular Brazil, in order to route Axis influence and secure hemispheric solidarity. On November 7, 1940, just months after the CIAA‘s inception, Robert G. Caldwell and Wallace K. Harrison, Chairman and Director, respectively, of the agency‘s Cultural Relations Division, received written approval for twenty-six special projects at a cost of nearly one-half million dollars.i The most expensive, at $150,000, was an Inter-American exhibit of art and culture under the direction of the MoMA, to be held simultaneously with parallel exhibits in capital cities throughout the Americas.ii Two hundred fifty-five U.S. paintings were curated by the MoMA in conjunction with other major museums, and in April 1941, these were previewed at the Metropolitan Museum of Art in New York. Portions of the large exhibit then toured eight South American republics, Mexico and Cuba for close to a year, beginning with an exposition at Mexico City‘s Palacio de Bellas Artes in June.iii The emphasis was on modern art and included paintings by Georgia O‘Keefe, Thomas Hart Benton, Edward Hopper, Stuart Davis, Loren MacIver, Eugene Speicher, Peter Hurd and Robert Henri, among others. A file in the MoMA archive has valuations of all the paintings at the time, the highest valued being George Bellows‘s Dempsey and Firpo and Georgia O‘Keefe‘s The White Flower at $25,000 each. -
Walden Planning Unit Resource Management Plan
Massachusetts Department of Conservation and Recreation Bureau of Planning and Resource Protection Resource Management Planning Program RESOURCE MANAGEMENT PLAN Walden Planning Unit Including Walden Pond State Reservation May 2013 In coordination with: Crosby | Schlessinger | Smallridge, LLC Walden Planning Unit Including Walden Pond State Reservation RESOURCE MANAGEMENT PLAN 2013 Deval L. Patrick, Governor Timothy P. Murray, Lt. Governor Richard K. Sullivan, Jr., Secretary Edward M. Lambert, Jr., Commissioner John P. Murray, Deputy Commissioner for Park Operations Resource Management Plans (RMPs) provide guidelines for management of properties under the stewardship of the Department of Conservation and Recreation (DCR). They are intended to be working documents for setting priorities, enabling the Department to adapt to changing fiscal, social, and environmental conditions. The planning process provides a forum for communication and cooperation with park visitors and the surrounding communities to ensure transparency in the DCR’s stewardship efforts. One of the most recognizable properties in the DCR park system, Walden Pond State Reservation is an iconic national and international destination. The pond that inspired Henry David Thoreau’s seminal work Walden, or Life in the Woods holds divergent meanings. To many, the reservation is a sacred landscape and international cultural heritage site. To some, it is a profound symbol of both Thoreau’s writings and the genesis of the land conservation movement. Simultaneously, the reservation is valued for its recreation opportunities, whether swimming in Walden Pond’s waters on hot summer days, canoeing on the pond’s calm waters, or cross-country skiing in its surrounding forests. This plan outlines recommendations that will improve the visitor experience for all, while preserving Walden Pond and its surrounding natural and cultural resources for the benefit of future generations. -
Invoking the Incubus: Mary Shelley's Use of the Demon-Lover Tradition in Frankenstein
INVOKING THE INCUBUS: MARY SHELLEY'S USE OF THE DEMON-LOVER TRADITION IN FRANKENSTEIN CHRISTOPHER M. LAMPHEAR Bachelor of Science in Communication Ohio University December 2002 Master of Arts in Education Ursuline College May 2005 submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN ENGLISH at the CLEVELAND STATE UNIVERSITY May 2013 © COPYRIGHT BY CHRISTOPHER M. LAMPHEAR 2013 This thesis has been approved for the Department of English and the College of Graduate Studies by ______________________________________________________ Thesis Chairperson, Dr. Gary R. Dyer ______________________ Department & Date ______________________________________________________ Dr. Rachel K. Carnell ______________________ Department & Date ______________________________________________________ Dr. Adam T. Sonstegard ______________________ Department & Date Acknowledgments It took about eleven months to write this thesis, and though this is the second time that I have gone through this process, this was by far one of the most difficult tasks that I have completed in my life. It would not be possible if not for the continued support of my family and friends. I would first like to thank my mother and father, Diane and Mark Lamphear, whose encouragement and dedication to my continued education have been a driving force behind this accomplishment. I would like to thank my aunts and uncles, Julie and Frank Jacono, Sherry and Larry Jenko and Lester Grubaugh. Their support and pursuit of advanced education have been a great source of inspiration in my life. I would like to thank my grandmother, Mary Grubaugh who keeps me morally grounded and my brother Jaime, whose own pursuit of a law degree has been a great source of pride for our entire family. -
Joan of Arc" in the Artistic Development of Anna Hyatt Huntington
Syracuse University SURFACE The Courier Libraries Fall 1975 The Significance of the questrianE Monument "Joan of Arc" in the Artistic Development of Anna Hyatt Huntington Myrna Garvey Eden Follow this and additional works at: https://surface.syr.edu/libassoc Part of the American Art and Architecture Commons Recommended Citation Eden, Myrna Garvey. "The Significance of the questrianE Monument 'Joan of Arc' in the Artistic Development of Anna Hyatt Huntington." The Courier 12.4 (1975): 3-12. This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. JOAN OF ARC Bronze, 11.4 times life. 1915. Riverside Drive and 93rd Street, New York, New York. Anna Hyatt Huntington, Sculptor THE COURIER SYRACUSE UNIVERSITY LIBRARY ASSOCIATES VOLUME XII, NUMBER 4 Table of Contents Fall 1975 Page The Significance of the Equestrian Monument "Joan of Arc" in the Artistic Development of Anna Hyatt Huntington. 3 Myrna Garvey Eden The Sculpture of Anna Hyatt Huntington in the Syracuse University Art Collection. 13 Myrna Garvey Eden Clara E. Sipprell: American Photographer, In Memoriam 29 Ruth-Ann Appelhof News of the Library and Library Associates 33 Portrait of Anna Hyatt Huntington from Beatrice G. Proske's Archer M. Huntington, New York, Hispanic Society of America, 1963. Courtesy of Hispanic Society of America. The Significance of the Equestrian Monument "Joan of Arc" In the Artistic Development of Anna Hyatt Huntington by Myrna Garvey Eden The manuscript collection of Anna Hyatt Huntington, sculptor, 1876-1973, left to the George Arents Research Library at Syracuse University by Mrs. -
'A Baby's Unconsciousness' in Sculpture: Modernism, Nationalism
Emily C. Burns ‘A baby’s unconsciousness’ in sculpture: modernism, nationalism, Frederick MacMonnies and George Grey Barnard in fin-de-siècle Paris In 1900 the French critic André Michel declared the US sculpture on view at the Exposition Universelle in Paris as ‘the affirmation of an American school of sculpture’.1 While the sculptors had largely ‘studied here and … remained faithful to our salons’, Michel concluded, ‘the influence of their social and ethnic milieu is already felt in a persuasive way among the best of them’.2 How did Michel come to declare this uniquely American school? What were the terms around which national temperament – what Michel describes as a ‘social and ethnic milieu’ – was seen as manifest in art? Artistic migration to Paris played a central role in the development of sculpture in the United States in the late nineteenth and early twentieth centuries. Hundreds of US sculptors trained in drawing and modelling the human figure at the Ecole des beaux-arts and other Parisian ateliers.3 The circulation of people and objects incited a widening dialogue about artistic practice. During the emergence of modernism, debates arose about the relationships between tradition and innovation.4 Artists were encouraged to adopt conventions from academic practice, and subsequently seek an individuated intervention that built on and extended that art history. Discussions about emulation and invention were buttressed by political debates about cultural nationalism that constructed unique national schools.5 In 1891, for example, a critic bemoaned that US artists were imitative in their ‘thoughtless acceptance of whatever comes from Paris’.6 By this period, US artists were coming under fire for so fully adopting French academic approaches that their art seemed inextricably tied to its foreign model. -
A Finding Aid to the George Grey Barnard Papers, Circa 1860-1969, Bulk 1880-1938, in the Archives of American Art
A Finding Aid to the George Grey Barnard Papers, circa 1860-1969, bulk 1880-1938, in the Archives of American Art Kathleen Brown Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee. August 03, 2009 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical/Historical note.............................................................................................. 2 Scope and Contents note................................................................................................ 3 Arrangement note............................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical Material, circa 1888-1955..................................................... 4 Series 2: Correspondence, -
USDI/NPS NRHP Registration Form Atalaya and Brookgreen Gardens Page #1 *********** (Rev
USDI/NPS NRHP Registration Form Atalaya and Brookgreen Gardens Page #1 *********** (Rev. 8-86) United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES REGISTRATION FORM NATIONAL HISTORIC LANDMARK NOMINATION FORM 1. Name of Property historic name: Atalaya and Brookgreen Gardens other name/site number: 2. Location street & number: U.S. Highway 17 not for publication: N/A city/town: Murrells Inlet vicinity: X state: SC county: Georgetown code: 043 zip code: 29576 3. Classification Ownership of Property: private Category of Property: district Number of Resources within Property: Contributing Noncontributing _10_ buildings _1_ sites _5_ structures _0_ objects 16 Total Number of contributing resources previously listed in the National Register: 9 Name of related multiple property listing: N/A USDI/NPS NRHP Registration Form Atalaya and Brookgreen Gardens Page #2 4. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1986, as amended, I hereby certify that this ___ nomination ___ req'uest for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ___ meets ___ does not meet the National Register Criteria. __ See continuation sheet. Signature of certifying official Date State or Federal agency and bureau In my opinion, the property ___ meets ___ does not meet the National Register criteria. __ See continuation sheet. Signature of commenting or other official Date State or Federal agency and bureau 5. National Park Service Certification I, hereby certify that this property is: entered in the National Register __ See continuation sheet.