Norman Rockwell Donated Scrapbook Collection RC.Scrapbook File://///Nrm.Org/Dfs Root/Dheck$/Findingaid/Nrscrapbook/Nrscrapbooks/Pdf/Combined Nrscra
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Norman Rockwell from the Collections of George Lucas and Steven Spielberg
Smithsonian American Art Museum TEACHER’S GUIDE from the collections of GEORGE LUCAS and STEVEN SPIELBERG 1 ABOUT THIS RESOURCE PLANNING YOUR TRIP TO THE MUSEUM This teacher’s guide was developed to accompany the exhibition Telling The Smithsonian American Art Museum is located at 8th and G Streets, NW, Stories: Norman Rockwell from the Collections of George Lucas and above the Gallery Place Metro stop and near the Verizon Center. The museum Steven Spielberg, on view at the Smithsonian American Art Museum in is open from 11:30 a.m. to 7:00 p.m. Admission is free. Washington, D.C., from July 2, 2010 through January 2, 2011. The show Visit the exhibition online at http://AmericanArt.si.edu/rockwell explores the connections between Norman Rockwell’s iconic images of American life and the movies. Two of America’s best-known modern GUIDED SCHOOL TOURS filmmakers—George Lucas and Steven Spielberg—recognized a kindred Tours of the exhibition with American Art Museum docents are available spirit in Rockwell and formed in-depth collections of his work. Tuesday through Friday from 10:00 a.m. to 11:30 a.m., September through Rockwell was a masterful storyteller who could distill a narrative into December. To schedule a tour contact the tour scheduler at (202) 633-8550 a single moment. His images contain characters, settings, and situations that or [email protected]. viewers recognize immediately. However, he devised his compositional The docent will contact you in advance of your visit. Please let the details in a painstaking process. Rockwell selected locations, lit sets, chose docent know if you would like to use materials from this guide or any you props and costumes, and directed his models in much the same way that design yourself during the visit. -
An Analysis of Filipino Immigrant Labor in Seattle from 1920-1940
Butler University Digital Commons @ Butler University Undergraduate Honors Thesis Collection Undergraduate Scholarship 4-22-2011 Shallow Roots: An Analysis of Filipino Immigrant Labor in Seattle from 1920-1940 Krista Baylon Sorenson Butler University Follow this and additional works at: https://digitalcommons.butler.edu/ugtheses Part of the History Commons Recommended Citation Baylon Sorenson, Krista, "Shallow Roots: An Analysis of Filipino Immigrant Labor in Seattle from 1920-1940" (2011). Undergraduate Honors Thesis Collection. 98. https://digitalcommons.butler.edu/ugtheses/98 This Thesis is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Undergraduate Honors Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Shallow Roots: An Analysis of Filipino Immigrant Labor in Seattle from 1920-1940 A Thesis Presented to the Department of History College of Liberal Arts and Sciences and The Honors Program of Butler University In Partial Fulfillment of the Requirements for Graduation Honors Krista Baylon Sorenson April 22, 2011 Sorenson 1 “Why was America so kind and yet so cruel? Was there no way to simplify things in this continent so that suffering would be minimized? Was there not common denominator on which we could all meet? I was angry and confused and wondered if I would ever understand this paradox?”1 “It was a planless life, hopeless, and without direction. I was merely living from day to day: yesterday seemed long ago and tomorrow was too far away. It was today that I lived for aimlessly, this hour-this moment.”2 -Carlos Bulosan, America is in the Heart Introduction Carlos Bulosan was a Filipino immigrant living in the United States beginning in the 1930s. -
REVISITING the FOUR FREEDOMS by Donald M
EXCLUSIVE MCUF FEATURE REVISITING THE FOUR FREEDOMS By Donald M. Bishop PHOTO: The Franklin D. Roosevelt Four Freedoms Park, located on an island in New York's East River, opened in 2012 3 • MARINE CORPS UNIVERSITY FOUNDATION • SUMMER 2019 EXCLUSIVE MCUF FEATURE Modern political warfare now includes both cyber and information operations. At MCU, Bren Chair of Strategic Communications Donald Bishop focuses his teaching and presentations on the “information” or “influence” dimension of conflict – disinformation, propaganda, persuasion, hybrid warfare – now enabled by the internet and social media. And he emphasizes that Americans, as they confront violent extremism and other threats, must know and be confident of the American values they defend. "Thanks, Grandpa, for coming to my game." Why look back at The Four Freedoms? First, in my classes at Marine Corps University, I’ve discovered that the current "I enjoyed it too, Jack. We men in our eighties don't get generation of Marines have never heard of them. Of Norman out as often as we wish. Seeing you score a run was Rockwell’s four famous paintings, they have seen only one – something. But you know, I noticed something else today. the family at Thanksgiving – and they don’t know they were "When you were at the plate, it carried me back to part of a series. Second – when Americans must articulate watching my older brother in the batter's box. You held the “what we’re for” (rather than “what we’re against”) – whether bat like he did. You have the same stance and the same in the war on terrorism or in a future of great power competi- swing. -
The American Paradox Discovering America in Carlos Bulosan's
The American Paradox Discovering America in Carlos Bulosan’s America is in the Heart Dulce-Marie Flecha, McNair Scholar The Pennsylvania State University McNair Faculty Research Advisor Jeanne Britton, Ph.D Post-Doctoral Fellow in 19th Century British Literature and Culture Department of English College of Liberal Arts The Pennsylvania State University Abstract This essay examines the definition and various roles of the United States and its inhabitants in Carlos Bulosan’s semi-autobiographical America is in the Heart, a classic work of Asian American literature. The myriad of American characters in the novel reveal a vast diversity in the American population. America is in the Heart charts the paradox of the United States in the first half of the 20th century; while there are Americans who do not succumb to the common racism of the day—there are, in fact, those who rebel against it—the grand majority of the protagonist’s experiences with Americans, particularly those of the upper classes and those in law enforcement, project the darker aspects of their own desires and society on the ‘Other’; some label minorities as sex-crazed deviants while simultaneously displaying a subconscious obsession with sexuality, others accuse minorities of infesting the nation with crime while consciously and unabashedly stealing from them. But despite the protagonist’s seemingly constant contact with prejudice, he is also met with kindness from Americans throughout his travels and has reason to believe that this is a nation where equality is possible, even if it was not practiced. The conflicting nature of Americans throughout the novel reveals a degree of uncertainty, from both Americans and foreigners, as to what the word “American” actually means. -
Racial Melancholia and the National Symbolic in Interwar Period Immigration Discourse
PARADOXES OF A ‘NEW WORLD’: RACIAL MELANCHOLIA AND THE NATIONAL SYMBOLIC IN INTERWAR PERIOD IMMIGRATION DISCOURSE A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements of the degree of Masters of Arts in English By Katherine Burd, M.S. Ed. Washington, DC April 5, 2019 Copyright 2019 by Katherine Burd All Rights Reserved ii PARADOXES OF A ‘NEW WORLD’: RACIAL MELANCHOLIA AND THE NATIONAL SYMBOLIC IN INTERWAR PERIOD IMMIGRATION DISCOURSE Katherine Burd, M.S. Ed. Thesis Advisor: Christine So, Ph.D. ABSTRACT This thesis suggests that proliferating immigration discourse in the interwar period shapes subjective narratives of immigration at that time. First, it performs a reading of Carlos Bulosan’s America is in the Heart to suggest that what Anne Anlin Cheng calls racial melancholia shapes the form and the content of Bulosan’s work. Thinking transpacifically, this thesis tracks moments in which Bulosan’s kinetic storytelling crosses temporal and oceanic boundaries. These moments, it suggests, break with traditional readings of Bulosan that envision his text as ultimately naturalized or assimilated to an American future. In the second chapter, the thesis examines the 1934 Tydings-McDuffie act and Franklin Roosevelt’s 1936 Address Marking the Fiftieth Anniversary of the Statue of Liberty as examples of the proliferating, racial, and future- faced juridical and political discourse surrounding immigration and assimilation at the time. Ultimately, the thesis suggests, Bulosan’s text is neither a disruption of nor a reflection of this discourse, which forms what Lauren Berlant calls a “National Symbolic.” Rather, texts that describe and are shaped by embodied, subjective experiences of immigration are participants in discourse, both part of and fragmented by the discourse that surrounds them. -
Faces of the League Portraits from the Permanent Collection
THE ART STUDENTS LEAGUE PRESENTS Faces of the League Portraits from the Permanent Collection Peggy Bacon Laurent Charcoal on paper, 16 ¾” x 13 ¾” Margaret Frances "Peggy" Bacon (b. 1895-d. 1987), an American artist specializing in illustration, painting, and writing. Born in Ridgefield, Connecticut, she began drawing as a toddler (around eighteen months), and by the age of 10 she was writing and illustrating her own books. Bacon studied at the Art Students League from 1915-1920, where her artistic talents truly blossomed under the tutelage of her teacher John Sloan. Artists Reginald Marsh and Alexander Brook (whom she would go on to marry) were part of her artistic circle during her time at the League. Bacon was famous for her humorous caricatures and ironic etchings and drawings of celebrities of the 1920s and 1930s. She both wrote and illustrated many books, and provided artworks for many other people’s publications, in addition to regularly exhibiting her drawings, paintings, prints, and pastels. In addition to her work as a graphic designer, Bacon was a highly accomplished teacher for over thirty years. Her works appeared in numerous magazine publications including Vanity Fair, Mademoiselle, Harper’s Bazaar, Vogue, Dial, the Yale Review, and the New Yorker. Her vast output of work included etchings, lithographs, and her favorite printmaking technique, drypoint. Bacon’s illustrations have been included in more than 64 children books, including The Lionhearted Kitten. Bacon’s prints are in the collections of the Whitney Museum of American Art, the Brooklyn Museum, and the Museum of Modern Art, all in New York. -
CARLOS BULOSAN and a COLLECTIVE OUTLINE for CRITICAL FILIPINA and FILIPINO STUDIES Michael Viola
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Portland University of Portland Pilot Scholars Sociology and Social Work Faculty Publications and Sociology and Social Work Presentations 2014 CARLOS BULOSAN AND A COLLECTIVE OUTLINE FOR CRITICAL FILIPINA AND FILIPINO STUDIES Michael Viola Valerie Francisco University of Portland Amanda Solomon Amorao Follow this and additional works at: http://pilotscholars.up.edu/soc_facpubs Part of the Race and Ethnicity Commons, and the South and Southeast Asian Languages and Societies Commons Citation: Pilot Scholars Version (Modified MLA Style) Viola, Michael; Francisco, Valerie; and Amorao, Amanda Solomon, "CARLOS BULOSAN AND A COLLECTIVE OUTLINE FOR CRITICAL FILIPINA AND FILIPINO STUDIES" (2014). Sociology and Social Work Faculty Publications and Presentations. 15. http://pilotscholars.up.edu/soc_facpubs/15 This Journal Article is brought to you for free and open access by the Sociology and Social Work at Pilot Scholars. It has been accepted for inclusion in Sociology and Social Work Faculty Publications and Presentations by an authorized administrator of Pilot Scholars. For more information, please contact [email protected]. Viola, Francisco, & Amorao / Carlos Bulosan & a Collective Outline for Critical Filipina & Filipino Studies 255 Forum Kritika: Reflections on Carlos Bulosan and Becoming Filipino CARLOS BULOSAN AND A COLLECTIVE OUTLINE FOR CRITICAL FILIPINA AND FILIPINO STUDIES Michael Viola Antioch University Seattle [email protected] Valerie -
Historical Reinterpretations of Race: Breaking Stereotypes, Creating Archetypes Meaghan Mari Kozar Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2003 Historical reinterpretations of race: breaking stereotypes, creating archetypes Meaghan Mari Kozar Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the English Language and Literature Commons Recommended Citation Kozar, Meaghan Mari, "Historical reinterpretations of race: breaking stereotypes, creating archetypes" (2003). Retrospective Theses and Dissertations. 16110. https://lib.dr.iastate.edu/rtd/16110 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Historical reinterpretations of race: breaking stereotypes, creating archetypes by Meaghan Mari Kozar A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: English (Literature) Program of Study Committee Jane Davis (Major Professor) Laura Winkiel John Schuh Iowa State University Ames, Iowa 2003 Copyright © Meaghan Mari Kozar, 2003. All rights reserved. 11 Graduate College Iowa State University This is to certify that the master's thesis of Meaghan Mari Kozar has met the thesis requirements of Iowa State University Signatures have been redacted for -
A Homi Bhabhaian Reading of Carlos Bulosan‟S America Is in the Heart: a Personal History
ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 3, No. 5, pp. 776-780, May 2013 © 2013 ACADEMY PUBLISHER Manufactured in Finland. doi:10.4304/tpls.3.5.776-780 A Homi Bhabhaian Reading of Carlos Bulosan‟s America Is in the Heart: A Personal History Yali Zhang Shanxi Normal University, Linfen, Shanxi, China Abstract—Homi Bhabha’s concept of simulation is broadly used in the post-colonial literary and cultural criticism. Bhabha’s simulation transcends his post-colonial predecessor Said’s dichotomic way of thinking in Orientalism and makes the disadvantaged power’s mild resistance to the hegemonic power become possible. This paper means to give a Homi Bhabhaian reading of Carlos Bulosan’s America Is in the Heart: A Personal History. It explores the strategic interaction between the American colonizers and the Filipino colonized in which Bhabha’s simulation serves both as a strategy of control for the colonizers and a strategy of rebellion for the colonized. This strategy embodies an operational process of power and helps Bulosan to realize his initial purpose of writing: “to give literate voice to the voiceless one hundred thousand Filipinos in the US, Hawaii and Alaska”. Index Terms—post-colonial criticism, Carlos Bulosan, America Is in the Heart: A Personal History Carlos Bulosan is one of the most important Filipino American writers in the 1940s. His America Is in the Heart: A Personal History was published in 1946 and was once hailed by Look as one of the fifty most important American books ever published (Campomanes, 1995). It portrays how Carlos, together with his families, struggled in vain to shake off the poverty nightmare in his Philippine motherland that had been colonized by Spain and America in turn, how they longed for the democracy, the freedom and modern civilization in America as were propagandized by the colonizers and how they were ill-treated, however, when they later on emigrated to America. -
Conner Rosenkranzl
CONNER • ROSENKRANZ LLC 19th & 20th Century American Sculpture George Bridgman (1864-1943) George Bridgman, most widely known for his profound contribution to the academic fields of anatomy and figure drawing, is arguably one of the most influential figures in 20th century American art history. For nearly forty-five years he lectured and taught at the Art Students League of New York, influencing tens of thousands of students, including noted artists Norman Rockwell, Gifford Beal, Robert Beverly Hale, Paul Manship, Mark Rothko, and Lee Krasner. He created a unique language around anatomical drawing that explained how to capture human anatomy and gesture by dividing the figure into geometric forms. Bridgman published six books that included his anatomical drawings as well as his lectures. His book Constructive Anatomy, originally published in 1920, is a standard in the field today. Born in Bing County, Canada in 1864, Bridgman followed in the footsteps of his father Wesley Bridgman, a renowned portrait artist. He spent his early years in Paris studying under Jean-Léon Gérôme at the École des Beaux-Arts and then with figure painter Gustave Boulanger. Bridgman later moved to New York and began his lengthy teaching career at the Art Students League. According to the 1943-44 Art Students League catalogue, up until his death in 1943, Bridgeman was teaching morning and afternoon sessions six days a week. Bridgman had a vivacious and magnetic personality that kept his students fighting for his attention. A typical class would begin with Bridgman rolling out a large sheet of drawing paper at the front of the classroom. -
Norman Rockwell: Artist Or Illustrator? | Abigail Rockwell
Norman Rockwell: Artist or Illustrator? | Abigail Rockwell http://www.huffingtonpost.com/abigail-rockwell/norman-rockwell-artist-... Distilled Perspective iOS app Android app More Desktop Alerts Log in Create Account August 25, 2015 Abigail Rockwell Become a fan Jazz singer/songwriter; granddaughter of Norman Rockwell Norman Rockwell: Artist or Illustrator? Posted: 08/24/2015 4:34 pm EDT Updated: 08/24/2015 4:59 pm EDT "Peach Crop," American Magazine, 1935 (Courtesy Norman Rockwell Family Agency) Was Norman Rockwell an artist or an illustrator? My initial thought is, "Isn't every illustrator an artist?" Yet the debate continues -- especially when it comes to Norman Rockwell. The modern take on illustration is much too limited. A reevaluation of the medium through history is called for. Thomas Buechner, director of the Brooklyn Museum, published his monumental book on Rockwell and his work in 1970: "Norman Rockwell may not be important as an artist -- whatever that is -- but he has given us a body of work which is unsurpassed in the richness and variety of its subject matter and in the professionalism -- often brilliant -- of its execution. Unlike many of his colleagues (painters with publishers instead of galleries) he lives in and for his work and so he makes it important." This statement is contradictory at best. It is the kind of ambivalence and confusion that follow my grandfather's work to this day. But Buechner then goes on to make an appeal that "illustration should be considered an aspect of the fine arts." Admittedly, it is Rockwell himself who kept publicly pronouncing, "I'm not a fine arts man, I'm an illustrator." Two separate and distinct worlds and sensibilities. -
Biography New.Pdf
A BRIEF BIOGRAPHY OF NORMAN ROCKWELL “Without thinking too much about it in specific terms, I was showing the America I knew and observed to others who might not have noticed.” Norman Rockwell Born in New York City in 1894, Norman Rockwell always wanted to be an artist. At the age of fourteen, Rockwell enrolled in art classes at the New York School of Art (formerly the Chase School of Art). In 1910, at the age of 16, he left high school to study art at the National Academy of Design. He soon transferred to the Art Students League, where he studied with Thomas Fogarty and George Bridgman. Fogarty’s instruction in illustration prepared Rockwell for his first commercial commissions. From Bridgman, Rockwell learned the technical skills on which he relied throughout his long career. Rockwell found success early. He painted his first commission of four Christmas cards before his sixteenth birthday. While still in his teens, he was hired as art director of Boys’ Life, the official publication of the Boy Scouts of America, and began a successful freelance career illustrating a variety of young people’s publications. At age 21, Rockwell’s family moved to New Rochelle, New York, a community whose residents included such famous illustrators as J.C. and Frank Leyendecker and Howard Chandler Christy. There, Rockwell set up a studio with the cartoonist Clyde Forsythe and produced work for such magazines as Life, Literary Digest and Country Gentleman. In 1916, the 22-year-old Rockwell painted his first cover for The Saturday Evening Post, the magazine considered by Rockwell to be the “greatest show window in America.” Over the next 47 years, another 321 Rockwell covers would appear on the cover of the Post.