2006 Illustrated Parade Notes
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Saxon, Lyle Chambers (1891-1946) by Roberts Batson
Saxon, Lyle Chambers (1891-1946) by Roberts Batson Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2003, glbtq, inc. Reprinted from http://www.glbtq.com Although Lyle Saxon was New Orleans' most popular writer during the second quarter of the twentieth century, he is remembered less as a writer than as an editor and friend to writers, as well as an architectural preservationist, a French Quarter booster, and beloved public personality. Saxon was born on September 4, 1891. His early life was strongly shaped by family and by literary influences. It is significant that all three of the child's names were family names. His father Hugh, of course, was a Saxon, his father's mother was a Lyle, and Saxon's mother Katherine was a Chambers. All three were journalists. His grandmother, Elizabeth Lyle Saxon, was also a poet, author, and prominent early suffragette. In addition, his maternal grandfather, Michael Chambers, owned the first bookstore in Baton Rouge, Louisiana, long an institution in the town. Saxon's parents' marriage disintegrated shortly after his birth, and apparently he never afterwards had any contact with his father. He grew up in his grandfather's house with his mother and two spinster aunts. Young Lyle aspired to attend an Eastern college, but his genteel mother could not afford to send him to an Ivy-league college. Instead, he attended Louisiana State University in his hometown, but left college one course short of a degree. By 1919 Saxon was in New Orleans writing for the city's leading newspaper, The Times-Picayune. After a stint as a general reporter he began to write book reviews and fiction for the newspaper, as well as features about the city, its history and unique culture. -
I OCT/NOV 1988 142 Ne W Zealan D Pos T Offic E Headquarters , Y MULMN T UAVI U / Ur\^W !\ E M.^L/!« L
,j , , M.^L/!«L ur\^W!\e / UAVIU MULMNt Y CSA Preview is registered at New Zealand Post Office Headquarters, Wellington, as a magazine. PREVIE I OCT/NOV 1988 W 14 2 ~ The Journal of the Canterbury Society of Arts Gallery Hours A 66 Gloucester Street Christchurch, Monday-Friday 10am-4.30pm • I New Zealand P.O. Box 772, Christchurch Saturday-Sunday 2pm-4.30pm | Phone 667-261,667-167. PREVIEW SOCIETY Dr G W Rice Roto Art Exhibition Andrew Anderson Centreplace, Hamilton, November 20-26 1988 OFFICERS Mrs Lyndel Diedrichs Entry forms by 14 October Mark Steyn Apply to: Patron J D and A C Allan Roto Art '88 Patricia Wood His Excellency The Governor General P O Box 5083 Juliet Nicholas The Most Reverend Paul Reeves GCMG, DCL Frankton, Hamilton (Oxon) Mr and Mrs Cooke Mr and Mrs P M M Bradshaw NZ Academy of Fine Arts President Sue Syme Abstractions David Sheppard. A.N.Z.I.A.. M.N.Z.P.I. Jo Sutherland National Bank Art Award 1988 Pamela Jamieson Vice-Presidents Receiving days 7-8 November N A Holland and J L Whyte Bill Cumming Season 27 November-11 December Mary Bulow Mrs Doris Holland Dorset House Innovation in Craft Jewel Oliver Timothy Baigent National Provident Fund Art Award 1988 Michael Eaton, Dip. F.A., Dip. Tchg.. F.R.S.A. Jenny Murray Receiving days 26 and 27 September Nola Barron Robyn Watson Season 23 October-6 November John Coley, Dip. F.A., Dip. Tchg. Ailsa Demsem Entry forms available from: Tiffany Thornley Council NZ Academy of Fine Arts Karen Purchas Alison Ryde, T.T.C. -
Empathy, Mood and the Artistic Milieu of New Orleans’ Storyville and French Quarter As Manifest by the Photographs and Lives of E.J
UNIVERSITY OF CALIFORNIA RIVERSIDE Seeing and Then Seeing Again: Empathy, Mood and the Artistic Milieu of New Orleans’ Storyville and French Quarter as Manifest by the Photographs and Lives of E.J. Bellocq and George Valentine Dureau A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Timothy J. Lithgow December 2019 Thesis Committee: Dr. Johannes Endres, Co-Chairperson Dr. Elizabeth W. Kotz, Co-Chairperson Dr. Keith M. Harris Copyright by Timothy J. Lithgow 2019 The Thesis of Timothy J. Lithgow is approved: Committee Co-Chairperson Committee Co-Chairperson University of California, Riverside Acknowledgements: Thank you to Keith Harris for discussing George Dureau on the first day of class, and for all his help since then. Thank you to Liz Kotz for conveying her clear love of Art History, contemporary arts and artists. Although not on my committee, thank you to Jeanette Kohl, for her thoughtful and nuanced help whenever asked. And last, but certainly not least, a heartfelt thank you to Johannes Endres who remained calm when people talked out loud during the quiz, who had me be his TA over and over, and who went above and beyond in his role here. iv Dedication: For Anita, Aubrey, Fiona, George, Larry, Lillian, Myrna, Noël and Paul. v Table of Contents Excerpt from Pentimento by Lillian Hellman ......................................................... 1 Introduction ............................................................................................................. 2 Chapter 1: Biographical Information for Dureau and Bellocq .......................... 18 Table 1 ...................................................................................................... 32 Excerpt from One Arm by Tennessee Williams.................................................... 34 Chapter 2: Colonial Foundations of Libertine Tolerance in New Orleans, LA .. -
Williams Research Center, Historic New Orleans Collection
Williams Research Center, Historic New Orleans Collection Williams Research Center Historic New Orleans Collection 410 Chartres Street New Orleans, LA 70130 Telephone number: (504) 598-7171 Fax: (504) 598-7168 Email: [email protected] Website: http://www.hnoc.org Contact person: Alfred Lemmon Access privileges: Open to the public Hours: Tuesday - Saturday 10:00 a.m. - 4:30 p.m. Repository Information: The Historic New Orleans Collection was established in 1966 by General and Mrs. L. Kemper Williams, private collectors, to maintain and expand their collections and to make them available to the public through research facilities and exhibitions. The Williams Research Center offers scholars access to the extensive print and microform holdings of its three Divisions. The Manuscript collections include letters, diaries, land tenure records, financial and legal documents, records of community organizations, New Orleans newspapers (1803 - present), and annotated printed items. These papers illuminate life in New Orleans and southern social and cultural history in the surrounding areas during the nineteenth and twentieth centuries. Women are represented throughout the Division's. Although the material listed in this guide is located within the Manuscripts Division, the other divisions also have significant holdings by and about women. The Curatorial Division has many paintings, drawings, photographs, and other three-dimensional objects by women. Information on these female artists, is contained in the division's artists' files. Collection highlights: Significant collections include the Wilkinson-Stark papers especially for their coverage of Mary Farrar Stark Wilkinson's subversion of the invading federal army to protect her children, and the correspondence of Eliza Jane Nicholson, owner and editor of the Times-Picayune in the 1870s and 1880s. -
2008 Backlist
Pelican Publishing Company BACKLIST CATALOG S African-American Interest . 56-57 Revolutionary War . 23 Antiques & Collectibles . 4 Southern History . 30 Architecture . 7-9 War of 1812 . 23 Louisiana Architecture . 9 World War II . 28 Majesty Architecture Series ...........................7 Holidays. 59-63 New Orleans Architecture Series .......................8 Christmas . 61 Art . 1-3 Halloween . 60 ONTENT Louisiana Art . 3 Hanukkah . 58, 61 C Mardi Gras Treasures Series by Henri Schindler . 3 Thanksgiving . 60 Biography & Autobiography . 37-40 The Night Before Christmas Series.................. 62-63 Louisiana Figures . 37 Humor . 19 Personal Memoirs. 40 Hurricanes. 36 Business & Economics. 46-47 Irish Interest . 55 Business Communication. 46 St. Patrick’s Day . 55 Entrepreneurship . 47 Judaica . 57-58 Kevin Hogan . 46 Music & Performing Arts . 5 Management . 47 Outlaws. 35 Sales & Selling . 47 Pirates . 40 Cartoons . 20-21 Poetry . 44 Best Editorial Cartoons of the Year Series . 21 Political Science. 22 Children’s Author Features . 45 Reference. 53 David Davis . 45 Genealogy . 53 Steven L. Layne . 45 Trivia . 53 Cookbooks. 10-18 Religion . 50-51 Frank Davis . 16 Dove Inspirational Press . 50 Jude Theriot . 17 Joe H. Cothen . 51 Justin Wilson . 17 Renaissance New Testament . 51 Restaurant Cookbooks . 10-11 Self-Help . 48-49 Family & Relationships. 52 Mike Hernacki . 49 Fiction & Literature. 41-44 Zig Ziglar . 48 George W. Cable . 43 Scottish Interest. 54 Harold Bell Wright. 43 Sports & Recreation. 67-69 James Everett Kibler . 43 Cruising Guide Series.............................. 67 Gardening & Nature. 6 Golfing. 69 Health. 52 Kentucky Derby . 68 History. 23-35 Travel. 64-67 19th Century . 29 Ghost Hunter’s Guides ............................. 67 20th Century . 29 International Travel . -
SELLING ART in the AGE of RETAIL EXPANSION and CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS and the AMERICAN ART MARKET of the 1930S and 1940S
SELLING ART IN THE AGE OF RETAIL EXPANSION AND CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS AND THE AMERICAN ART MARKET OF THE 1930s AND 1940s by TIFFANY ELENA WASHINGTON Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation advisor: Anne Helmreich Department of Art History CASE WESTERN RESERVE UNIVERSITY JANUARY, 2013 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of __________Tiffany Elena Washington_________ candidate for the __Doctor of Philosophy___ degree*. (signed) _______Anne L. Helmreich________ (chair of the committee) ______Catherine B. Scallen__________ ________ Jane Glaubinger__________ ____ _ _ Renee Sentilles___________ (date) 2 April, 2012 *We also certify that written approval has been obtained for any proprietary material contained herein. 2 For Julian, my amazing Matisse, and Livia, a lucky future artist’s muse. 3 Table of Contents List of figures 5 Acknowledgments 8 Abstract 11 Introduction 13 Chapter 1 46 Chapter 2 72 Chapter 3 93 Chapter 4 127 Chapter 5 155 Conclusion 202 Appendix A 205 Figures 207 Selected Bibliography 241 4 List of Figures Figure 1. Reeves Lewenthal, undated photograph. Collection of Lana Reeves. 207 Figure 2. Thomas Hart Benton, Hollywood (1937-1938). Tempera and oil on canvas mounted on panel. The Nelson Atkins Museum of Art, Kansas City. 208 Figure 3. Edward T. Laning, T.R. in Panama (1939). Oil on fiberboard. Smithsonian American Art Museum. 209 Figure 4. Plan and image of Associated American Artists Gallery, 711 5th Avenue, New York City. George Nelson, The Architectural Forum. Philadelphia: Time, Inc, 1939, 349. 210 Figure 5. Thomas Hart Benton, Departure of the Joads (1939). -
“Art Had Almost Left Them:” Les Cenelles Society of Arts and Letters, the Dillard Project, and the Legacy of Afro-Creole Arts in New Orleans
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Spring 5-13-2016 “Art had almost left them:” Les Cenelles Society of Arts and Letters, The Dillard Project, and the Legacy of Afro-Creole Arts in New Orleans Derek Wood [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the African History Commons, Cultural History Commons, Intellectual History Commons, Political History Commons, Public History Commons, Social History Commons, and the United States History Commons Recommended Citation Wood, Derek, "“Art had almost left them:” Les Cenelles Society of Arts and Letters, The Dillard Project, and the Legacy of Afro-Creole Arts in New Orleans" (2016). University of New Orleans Theses and Dissertations. 2202. https://scholarworks.uno.edu/td/2202 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. “Art had almost -
TRADITIONAL VERNACULAR ARCHITECTURE in CREOLE NATCHITOCHES Natchitoches and Cane River, Louisiana
Packet Thursday, October 31 to Sunday, November 3, 2019 TRADITIONAL VERNACULAR ARCHITECTURE IN CREOLE NATCHITOCHES Natchitoches and Cane River, Louisiana GREEK REVIVAL SPONSOR Natchitoches Historic District Development Commission CREOLE PLANTATION SPONSOR LIVE OAK SPONSOR RoyOMartin Foundation Regional Construction LLC SPECIAL PARTNERS Cane River National Heritage Area Natchitoches Events Center Natchitoches Convention & Visitors Bureau Natchitoches Service League HOST ORGANIZATIONS Institute of Classical Architecture & Art: Louisiana Chapter Louisiana Architectural Foundation National Center for Preservation Training & Technology Cane River Creole National Historical Park Follow us on social media! Traditional Vernacular Architecture in Creole Natchitoches 2 TABLE OF CONTENTS Introduction 3 About the Hosts 4 Institute of Classical Architecture & Art (ICAA) - Louisiana Chapter Louisiana Architecture Foundation (LAF) National Center for Preservation Technology and Training (NCPTT) Cane River Creole National Historical Park Registration 5 Accommodations: Chateau Saint Denis Hotel 6 Foray itinerary 7 Destinations 9 Fort St. Jean Baptiste State Historic Site Samuel Guy House (1850) National Center for Preservation Training & Technology (NCPTT) Louisiana State Museum and Sports Hall of Fame (2013) Rue Beauport Riverfront (2017) Natchitoches Historic District (1984) St. Augustine (Isle Brevelle) Catholic Church (1829) Badin-Roque House (1769-1785) Yucca (Melrose) Plantation (1794-1814) Oakland Plantation (c. 1790) Cherokee Plantation (1839) -
The Art of Charles H. Reinike : Lagniappes of Louisiana's
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2013 The ra t of Charles H. Reinike : lagniappes of Louisiana's landscapes and people Lauren J. Barnett Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Barnett, Lauren J., "The ra t of Charles H. Reinike : lagniappes of Louisiana's landscapes and people" (2013). LSU Master's Theses. 430. https://digitalcommons.lsu.edu/gradschool_theses/430 This Thesis 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 Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE ART OF CHARLES H. REINIKE: LAGNIAPPES OF LOUISIANA’S LANDSCAPES AND PEOPLE A Thesis 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 Master of Arts in The School of Art by Lauren J. Barnett B.A., University of Florida, 2011 May 2013 ACKNOWLEDGMENTS This thesis would not have been possible without the support and guidance of the Reinike family, whose ambitions to preserve the legacy of Charles H. Reinike are extraordinary. Gretchen Reinike Eppling has not only been there to offer a wealth of information regarding the life and art of her father, but she has also become a dear friend to me throughout this process. Her brother, Charles Reinike III has also provided much assistance and inspiration, along with his wife, Edna, and daughter, Vera. -
“Beaux Arts and Letters” Tuesday, February 28, 2005 New Orleans
The 2006 Rex Procession: “Beaux Arts and Letters” Tuesday, February 28, 2005 New Orleans, Louisiana 1. Rex, King of Carnival, Monarch of Merriment Rex’s float carries the King of Carnival and his pages through the streets of New Orleans on Mardi Gras day. 2. His Majesty’s Bandwagon A band rides on this permanent float to provide music for Rex and for those who greet him on the parade route. 3. The King’s Jesters Even the Monarch of Merriment needs jesters in his court. Rex’s jesters dress in Mardi Gras colors—purple, green, and gold. 4. The Boeuf Gras This is one of the oldest symbols of Mardi Gras, symbolizing the great feast on the day before Lent begins. 5. Title Float: “Beaux Arts and Letters” While Rex Processions of past years have presented the history and culture of far-flung civilizations, this year’s theme explores the joys and beauties of Rex’s own empire and domain. New Orleans has a long and rich artistic history and has produced a wealth of artists and writers of national and international renown. Sculptors and painters, writers and poets have called New Orleans home, and have found inspiration for their work in her history, culture, and landscapes. Mardi Gras, the celebration unique to this city, has influenced the work of many of our artists and writers. 6. John James Audubon (1785-1851) Audubon, the pre-eminent American painter of birds and wildlife, was born in Haiti and came to America at age eighteen, living in Pennsylvania and Kentucky before traveling south with little more than his gun and his painting equipment. -
The Best of The
THE BEST OF THE ™ CHANUKAH 2014 / 5775 New Orleans Holocaust Memorial by Yaacov Agam Photo by Hunter Thomas Photography New Orleans U NDERDOGS? Never underestimate the resilient spirit of New Orleanians. The Jewish New Orleans community only totaled about a decisive victory at the Battle of New Orleans was quite the ego dozen men when the Louisiana Purchase was signed in 1803. boast for the underdog militia. It was a banner of pride to be However there are indications that they were quite comfortable worn proudly that, no matter what the obstacles, success would and connected in their newly adopted home. A decade later—at come to those fi ghting on the right side. the Battle of New Orleans most of these same Jewish men were fi ghting alongside Andrew Jackson’s troops defending and pro- Although the Crescent City Jewish News website is about tecting their beloved hometown of New Orleans. four years old, our commitment to the New Orleans Jewish community through our print issues is in its second year. This Who were these men who settled into the New Orleans com- publication—The Best of the Crescent City Jewish News – is the munity more than two centuries ago? First, of all , they were third issue of our semi-annual publications, which document the men seeking economic opportunities to improve their fi nancial events of the past several months. With each publication, we are well being and social standing. They voluntarily relocated from reaching more of our core local Jewish audience. Like those brave large Northeast and New England communities fi lled with the Jewish defenders of New Orleans from a previous century, we are security of their family and friends to an isolated region full of also proud to acknowledge that each new publication affords us high humidity, swamps teeming with alligators and disease car- invaluable recognition from our fellow journalists on the quality rying mosquitoes. -
Tue LONG WEEKEND
THE HISTORIC MIDDAY GALLERY TOURS NEW ORLEANS OF THE EXHIBITION COLLECTION Every Wednesday at 12:30 QUARTERLY February 3 - April 28, 1993 I Volume XI, Number 1 Wiwer/993 5.B Royal Street TuE LONG WEEKEND THE ARTS AND THE VIEUX CARRE BETWEEN THEWORLD WARS, 1918-1941 I St. Ann Street at Jackson Square, May 21, 1928, detail (1959.23) THE LONG WEEKEND EVOKING THOUGHTS OF Quarter's ramshackle appearance FLAPPERS, prohibition, a placed its future in jeopardy. "lost generation" dancing Some people felt the old neigh the Charleston, and a borhood should be demol ,-....~--.:r.l,,i>\'. booming stock market ished and replaced with new that would lead to the buildings. 'fl' Depression, the Roaring In 191 7, the St. Louis ' '20s remain a legendary Hotel and the Tile Roof time, Yet alongside this Building on Chartres and -~"'=='-"·==-~- romantic image, the Ursuline streets, then thought to years following World War I brought far be the oldest building in the city, reaching economic and social changes. were demolished. Another blow Although change came to New occurred when the French Opera House, Orleans as well, the Vieux Carre - the the center of culture in the French Quarter - with its old world area for half a century, charm, moved at a slower pace. Writers was destroye d by fire on and artists had long favored the area and, December 4, 1919. beginning in the early '20s, the artistic colony, many of whom were of interna tional stature, created a little Greenwich Village on the Mississippi Rive r. The first installment of a two-part exhibition entitled The Long Weekend: The Arts and the Vieux Carre Between Above, the World Wars, 1918-1941 opened Vieux Carre rooftops, after January 19 at the Historic New Orleans William Spratling, Collection.