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LEAPING TALL BUILDINGS American Comics SETH KUSHNER Pictures
LEAPING TALL BUILDINGS LEAPING TALL BUILDINGS LEAPING TALL From the minds behind the acclaimed comics website Graphic NYC comes Leaping Tall Buildings, revealing the history of American comics through the stories of comics’ most important and influential creators—and tracing the medium’s journey all the way from its beginnings as junk culture for kids to its current status as legitimate literature and pop culture. Using interview-based essays, stunning portrait photography, and original art through various stages of development, this book delivers an in-depth, personal, behind-the-scenes account of the history of the American comic book. Subjects include: WILL EISNER (The Spirit, A Contract with God) STAN LEE (Marvel Comics) JULES FEIFFER (The Village Voice) Art SPIEGELMAN (Maus, In the Shadow of No Towers) American Comics Origins of The American Comics Origins of The JIM LEE (DC Comics Co-Publisher, Justice League) GRANT MORRISON (Supergods, All-Star Superman) NEIL GAIMAN (American Gods, Sandman) CHRIS WARE SETH KUSHNER IRVING CHRISTOPHER SETH KUSHNER IRVING CHRISTOPHER (Jimmy Corrigan, Acme Novelty Library) PAUL POPE (Batman: Year 100, Battling Boy) And many more, from the earliest cartoonists pictures pictures to the latest graphic novelists! words words This PDF is NOT the entire book LEAPING TALL BUILDINGS: The Origins of American Comics Photographs by Seth Kushner Text and interviews by Christopher Irving Published by To be released: May 2012 This PDF of Leaping Tall Buildings is only a preview and an uncorrected proof . Lifting -
Hudson River School
Hudson River School 1796 1800 1801 1805 1810 Asher 1811 Brown 1815 1816 Durand 1820 Thomas 1820 1821 Cole 1823 1823 1825 John 1826 Frederick 1827 1827 1827 1830 Kensett 1830 Robert 1835 John S Sanford William Duncanson David 1840 Gifford Casilear Johnson Jasper 1845 1848 Francis Frederic Thomas 1850 Cropsey Edwin Moran Worthington Church Thomas 1855 Whittredge Hill 1860 Albert 1865 Bierstadt 1870 1872 1875 1872 1880 1880 1885 1886 1910 1890 1893 1908 1900 1900 1908 1908 1902 Compiled by Malcolm A Moore Ph.D. IM Rocky Cliff (1857) Reynolds House Museum of American Art The Beeches (1845) Metropolitan Museum of Art Asher Brown Durand (1796-1886) Kindred Spirits (1862) Crystal Bridges Museum of American Art The Fountain of Vaucluse (1841) Dallas Museum of Art View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm - the Oxbow. (1836) Metropolitan Museum of Art Thomas Cole (1801-48) Distant View of Niagara Falls (1836) Art Institute of Chicago Temple of Segesta with the Artist Sketching (1836) Museum of Fine Arts, Boston John William Casilear (1811-1893) John Frederick Kensett (1816-72) Lake George (1857) Metropolitan Museum of Art View of the Beach at Beverly, Massachusetts (1869) Santa Barbara Museum of Art David Johnson (1827-1908) Natural Bridge, Virginia (1860) Reynolda House Museum of American Art Lake George (1869) Metropolitan Museum of Art Worthington Whittredge (1820-1910) Jasper Francis Cropsey (1823-1900) Indian Encampment (1870-76) Terra Foundation for American Art Starrucca Viaduct, Pennsylvania (1865) Toledo Museum of Art Sanford Robinson Gifford (1823-1880) Robert S Duncanson (1821-1902) Whiteface Mountain from Lake Placid (1866) Smithsonian American Art Museum On the St. -
Asher Brown Durand Papers
Asher Brown Durand papers 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 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Asher Brown Durand papers AAA.duraashe Collection Overview Repository: Archives of American Art Title: Asher Brown Durand papers Identifier: AAA.duraashe Date: 1812-1883 Creator: Durand, Asher Brown, 1796-1886 Extent: 4 Reels (ca. 1000 items (on 4 microfilm reels)) Language: English . Administrative Information Acquisition Information Microfilmed 1956 by -
Toward an Aesthetics and Politics of Guilt in American
UNIVERSITY OF CALIFORNIA Los Angeles Responsibility, Freedom, and the State: Toward an Aesthetics and Politics of Guilt in American Literature, 1929-1960 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Comparative Literature by Timothy Jeffrey Haehn 2014 © Copyright by Timothy Jeffrey Haehn 2014 ABSTRACT OF THE DISSERTATION Responsibility, Freedom, and the State: Toward an Aesthetics and Politics of Guilt in American Literature, 1929-1960 By Timothy Jeffrey Haehn Doctor of Philosophy in Comparative Literature University of California, Los Angeles, 2014 Professor Eleanor K. Kaufman, Chair This dissertation proposes a fundamental reassessment of guilt in twentieth-century American literature. I claim that guilt ought to be understood not so much in relation to the Holocaust or the history of U.S. race relations as in relation to the state. In readings of Mary McCarthy, Richard Wright, J. D. Salinger, Arthur Miller, and Saul Bellow, as well as the early Superman comics and fiction and criticism that invoke Fyoder Dostoevsky’s work, this project demonstrates how authors of fiction and popular culture mobilize feelings of responsibility and guilt to symbolize anxieties over the diminished role of the state as a vehicle for public relief. As the federal government jettisoned burdens that it had borne since the Depression, the writers in question depict various mechanisms employed by individuals to absorb state burdens and to compensate for the reduced availability of state-backed relief. With renewed emphasis on existential categories such as guilt, freedom, and anxiety, I trace tensions at the core of mid- twentieth-century narratives that situate them squarely within the problematics of antistatism. -
A Finding Aid to the Charles Henry Hart Autograph Collection, 1731-1918, in the Archives of American Art
A Finding Aid to the Charles Henry Hart Autograph Collection, 1731-1918, in the Archives of American Art Jayna M. Josefson Funding for the processing of this collection was provided by the Terra Foundation for American Art 2014 February 20 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 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Charles Henry Hart autograph collection, 1731-1918............................... 4 Series 2: Unprocessed Addition, 1826-1892 and undated..................................... 18 Charles Henry Hart autograph collection AAA.hartchar Collection -
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
An Investigation Into the Graphic Innovations of Geologist Henry T
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Uncovering strata: an investigation into the graphic innovations of geologist Henry T. De la Beche Renee M. Clary Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Education Commons Recommended Citation Clary, Renee M., "Uncovering strata: an investigation into the graphic innovations of geologist Henry T. De la Beche" (2003). LSU Doctoral Dissertations. 127. https://digitalcommons.lsu.edu/gradschool_dissertations/127 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. UNCOVERING STRATA: AN INVESTIGATION INTO THE GRAPHIC INNOVATIONS OF GEOLOGIST HENRY T. DE LA BECHE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Curriculum and Instruction by Renee M. Clary B.S., University of Southwestern Louisiana, 1983 M.S., University of Southwestern Louisiana, 1997 M.Ed., University of Southwestern Louisiana, 1998 May 2003 Copyright 2003 Renee M. Clary All rights reserved ii Acknowledgments Photographs of the archived documents held in the National Museum of Wales are provided by the museum, and are reproduced with permission. I send a sincere thank you to Mr. Tom Sharpe, Curator, who offered his time and assistance during the research trip to Wales. -
Read Book American Wilderness the Story of the Hudson River School
AMERICAN WILDERNESS THE STORY OF THE HUDSON RIVER SCHOOL OF PAINTING 1ST EDITION PDF, EPUB, EBOOK Kevin J Avery | 9781883789572 | | | | | American Wilderness The Story of the Hudson River School of Painting 1st edition PDF Book Here, he painted many of his Hudson River School works of art, eventually marrying the niece of Cedar Grove's owner and relocating to the area permanently. In a period of six years, Reed had assembled a significant collection of European and American art, which he displayed in a two- room gallery in his lower Manhattan home on Greenwich Street. SKU Morse In , Cole, then a calico designer, had a cordial meeting with Doughty, in Philadelphia, and the men encouraged each other to follow their aesthetic interest. In retrospect the main benefit to Cole of returning to England was seeing paintings by J. One of the uncles, Alexander Thomson, continued ownership, and the Coles shared living space with the Thomson family. Artists with a connection to these places:. Sign In. The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree However, recognition of the key roles of these early Hudson River painters in our fine-art heritage is increasing. Members included William Cullen Bryant , prominent literary figure, and historical-genre painter Samuel S. An American art journal called The Crayon, published between and , reinforced the Hudson River School painters and promoted the idea that nature was a healing place for the human spirit. -
Lackawanna Valley
MAN and the NATURAL WORLD: ROMANTICISM (Nineteenth-Century American Landscape Painting) NINETEENTH-CENTURY AMERICAN LANDSCAPE PAINTING Online Links: Thomas Cole – Wikipedia Hudson River School – Wikipedia Frederic Edwin Church – Wikipedia Cole's Oxbow – Smarthistory Cole's Oxbow (Video) – Smarthistory Church's Niagara and Heart of the Andes - Smarthistory Thomas Cole. The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm), 1836, oil on canvas Thomas Cole (1801-1848) was one of the first great professional landscape painters in the United States. Cole emigrated from England at age 17 and by 1820 was working as an itinerant portrait painter. With the help of a patron, he traveled to Europe between 1829 and 1832, and upon his return to the United States he settled in New York and became a successful landscape painter. He frequently worked from observation when making sketches for his paintings. In fact, his self-portrait is tucked into the foreground of The Oxbow, where he stands turning back to look at us while pausing from his work. He is executing an oil sketch on a portable easel, but like most landscape painters of his generation, he produced his large finished works in the studio during the winter months. Cole painted this work in the mid- 1830s for exhibition at the National Academy of Design in New York. He considered it one of his “view” paintings because it represents a specific place and time. Although most of his other view paintings were small, this one is monumentally large, probably because it was created for exhibition at the National Academy. -
Západočeská Univerzita V Plzni Fakulta Pedagogická
Západočeská univerzita v Plzni Fakulta pedagogická Bakalářská práce VZESTUP AMERICKÉHO KOMIKSU DO POZICE SERIÓZNÍHO UMĚNÍ Jiří Linda Plzeň 2012 University of West Bohemia Faculty of Education Undergraduate Thesis THE RISE OF THE AMERICAN COMIC INTO THE ROLE OF SERIOUS ART Jiří Linda Plzeň 2012 Tato stránka bude ve svázané práci Váš původní formulář Zadáni bak. práce (k vyzvednutí u sekretářky KAN) Prohlašuji, že jsem práci vypracoval/a samostatně s použitím uvedené literatury a zdrojů informací. V Plzni dne 19. června 2012 ……………………………. Jiří Linda ACKNOWLEDGMENTS I would like to thank to my supervisor Brad Vice, Ph.D., for his help, opinions and suggestions. My thanks also belong to my loved ones for their support and patience. ABSTRACT Linda, Jiří. University of West Bohemia. May, 2012. The Rise of the American Comic into the Role of Serious Art. Supervisor: Brad Vice, Ph.D. The object of this undergraduate thesis is to map the development of sequential art, comics, in the form of respectable art form influencing contemporary other artistic areas. Modern comics were developed between the World Wars primarily in the United States of America and therefore became a typical part of American culture. The thesis is divided into three major parts. The first part called Sequential Art as a Medium discusses in brief the history of sequential art, which dates back to ancient world. The chapter continues with two sections analyzing the comic medium from the theoretical point of view. The second part inquires the origin of the comic book industry, its cultural environment, and consequently the birth of modern comic book. -
Growing up with Vertigo: British Writers, Dc, and the Maturation of American Comic Books
CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarWorks @ UVM GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. -
The Lustrous Stone: White Marble in America, 1780-1860
THE LUSTROUS STONE: WHITE MARBLE IN AMERICA, 1780-1860 by Elise Madeleine Ciregna A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History Summer 2015 © 2015 Elise Madeleine Ciregna All Rights Reserved ProQuest Number: 3730261 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProQuest 3730261 Published by ProQuest LLC (2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 THE LUSTROUS STONE: WHITE MARBLE IN AMERICA, 1780-1860 by Elise Madeleine Ciregna Approved: __________________________________________________________ Arwen P. Mohun, Ph.D. Chair of the Department of History Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ J. Ritchie Garrison, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy.