Everett Shinn Papers
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Finding Aid for the John Sloan Manuscript Collection
John Sloan Manuscript Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum The John Sloan Manuscript Collection is made possible in part through funding of the Henry Luce Foundation, Inc., 1998 Acquisition Information Gift of Helen Farr Sloan, 1978 Extent 238 linear feet Access Restrictions Unrestricted Processed Sarena Deglin and Eileen Myer Sklar, 2002 Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum Related Materials Letters from John Sloan to Will and Selma Shuster, undated and 1921-1947 1 Table of Contents Chronology of John Sloan Scope and Contents Note Organization of the Collection Description of the Collection Chronology of John Sloan 1871 Born in Lock Haven, Pennsylvania on August 2nd to James Dixon and Henrietta Ireland Sloan. 1876 Family moved to Germantown, later to Philadelphia, Pennsylvania. 1884 Attended Philadelphia's Central High School where he was classmates with William Glackens and Albert C. Barnes. 1887 April: Left high school to work at Porter and Coates, dealer in books and fine prints. 1888 Taught himself to etch with The Etcher's Handbook by Philip Gilbert Hamerton. 1890 Began work for A. Edward Newton designing novelties, calendars, etc. Joined night freehand drawing class at the Spring Garden Institute. First painting, Self Portrait. 1891 Left Newton and began work as a free-lance artist doing novelties, advertisements, lettering certificates and diplomas. 1892 Began work in the art department of the Philadelphia Inquirer. -
In the Service of Others: from Rose Hill to Lincoln Center
Fordham Law Review Volume 82 Issue 4 Article 1 2014 In the Service of Others: From Rose Hill to Lincoln Center Constantine N. Katsoris Fordham University School of Law Follow this and additional works at: https://ir.lawnet.fordham.edu/flr Part of the Law Commons Recommended Citation Constantine N. Katsoris, In the Service of Others: From Rose Hill to Lincoln Center, 82 Fordham L. Rev. 1533 (2014). Available at: https://ir.lawnet.fordham.edu/flr/vol82/iss4/1 This Article is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Law Review by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. DEDICATION IN THE SERVICE OF OTHERS: FROM ROSE HILL TO LINCOLN CENTER Constantine N. Katsoris* At the start of the 2014 to 2015 academic year, Fordham University School of Law will begin classes at a brand new, state-of-the-art building located adjacent to the Lincoln Center for the Performing Arts. This new building will be the eighth location for Fordham Law School in New York City. From its start at Rose Hill in the Bronx, New York, to its various locations in downtown Manhattan, and finally, to its two locations at Lincoln Center, the law school’s education and values have remained constant: legal excellence through public service. This Article examines the law school’s rich history in public service through the lives and work of its storied deans, demonstrating how each has lived up to the law school’s motto In the service of others and concludes with a look into Fordham Law School’s future. -
The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
Glackens, William Illustration Collection
William Glackens Illustration Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Gift of Ira Glackens, 1989 Extent 2 linear feet Abstract The collection contains tear sheets and proofs of illustrations by the artist from a variety of magazines, including Century Magazine, McClure’s Magazine, and The Saturday Evening Post. Access Restrictions Unrestricted Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation William Glackens Illustration Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum 1 Chronology of William Glackens 1870 – Born March 13 in Philadelphia to Samuel Glackens and Elizabeth Finn Glackens. William was the youngest of three children. His brother Louis became a well-known cartoonist and illustrator. 1889 – Graduated from Central High School in Philadelphia, where he met John Sloan and Albert C. Barnes. 1891-1894 – Worked as newspaper artist on the Philadelphia newspapers the Record, the Press, and the Public Ledger. Moving between papers he renewed acquaintance with John Sloan and met Everett Shinn, George Luks, James Preston, and Frederic Gruger. Attended evening classes at the Pennsylvania Academy of the Fine Arts, where he met Robert Henri. Was part of the short-lived Charcoal Club. In 1894, shared a studio with Robert Henri. 1895 – First published book illustrations appeared in Through the Great Campaign with Hastings and his Spellbinders by George Nox McCain. 1895-1896 – Traveled to Paris, and with Robert Henri and James Wilson Morrice made sketching trips outside the city. -
SEEING AMERICA: George Luks's Boy with Dice, 1923-24
SEEING AMERICA: George Luks’s Boy with Dice, 1923-24 oy with Dice conveys George Luks’s affection for New York City’s working- Bclass children. George Luks (1867 – 1933) Boy with Dice, ca. 1923-1924 Oil on canvas Gift of Mr. and Mrs. Thomas H. Hawks, in honor of Harris K. Prior, 74.103 Collection of the Memorial Art Gallery of the University of Rochester The Art “A child of the slums,” George Luks said, “[made] a better painting than a drawing-room lady gone over by a beauty shop” (Seeing America, 231). A studied informality, rather new to portrai- ture in the twentieth century, is created by the young boy’s cigarette, disheveled jacket, and the shoeshine kit on his back, which carries his rags and brushes. In one hand he holds dice for the interludes that the “boot- blacks” found time for between customers. The nondescript dark background allows our attention to focus on the personality of the boy, which is illuminated in the bright, vivid colors used for his face, hand, scarf, and shoeshine kit. There is warmth, a sense of humor, and dignity in this boy. George Luks applies the paint in bold, loose brushstrokes. Its deliberate lack of refine- ment is well suited to the street-life subjects Luks was fond of depicting. De- tail is sacrificed to the overall image, although the effect of realism is not lost. Capturing the vitality of his model quickly, perhaps in just one sitting, Luks Classroom Guide: Seeing America Through Artists’ Eyes 1 employed energetic, forceful, spontaneous techniques. -
Washington Square Park: Struggles and Debates Over Urban Public Space
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2017 Washington Square Park: Struggles and Debates over Urban Public Space Anna Rascovar The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2019 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] WASHINGTON SQUARE PARK: STRUGGLES AND DEBATES OVER URBAN PUBLIC SPACE by ANNA RASCOVAR A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2017 © 2017 ANNA RASCOVAR All Rights Reserved ii Washington Square Park: Struggles and Debates over Urban Public Space by Anna Rascovar This manuscript has been read and accepted for the Graduate Faculty Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date David Humphries Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Washington Square Park: Struggles and Debates over Urban Public Space by Anna Rascovar Advisor: David Humphries Public space is often perceived as a space that is open to everyone and is meant for gatherings and interaction; however, there is often a great competition over the use and control of public places in contemporary cities. This master’s thesis uses as an example Washington Square Park, which has become a center of contention due to the interplay of public and private interests. -
BIOGRAPHIES John Antrobus
BIOGRAPHIES John Antrobus (1837–1907): Sculptor and painter of portraits, landscapes, and genre scenes (showing everyday life). Antrobus was born in England but came to Philadelphia in 1850. During his travels through the American West and Mexico, he worked as a portraitist before opening a studio in New Orleans. He served briefly with the Confederate Army during the Civil War before moving to Chicago. Antrobus sculpted both Abraham Lincoln and Stephen Douglas and was the first artist to paint a portrait of Ulysses S. Grant (in 1863). Edward Atkinson (1827–1905): American political leader and economist who began his political career as a Republican supporter of the Free Soil movement. Atkinson fought slavery before the Civil War by helping escaped slaves and raising money for John Brown. After the Civil War, in 1886, Atkinson campaigned for future President Grover Cleveland and worked against imperialism (the movement to expand a nation’s territorial rule by annexing territory outside of the main country) after the Spanish-American War. Baker & Co (active, 19th century): Lithography firm associated with Louis Kurz. Thomas Ball (1819–1911): American sculptor who gained recognition for his small busts before creating more monumental sculptures. Notable works include one of the first statues portraying Abraham Lincoln as the Great Emancipator (1876), paid for by donations from freed slaves and African American Union veterans, which stands in Washington D.C.’s Lincoln Park. Ball also created a heroic equestrian statue of George Washington for the Boston Public Garden (1860–1864). He joined an expatriate community in Italy, where he received many commissions for portrait busts, cemetery memorials, and heroic bronze statues. -
Chapter 3: the Patrician Response
3 The Patrician Response On the north side of Washington Square, on the square itself and on streets adjacent to lower Fifth Avenue, were the homes of the upper- class Villagers. These patricians were Protestants of Dutch, English, and French stock, some of them heirs to old wealth and to the handsome resi- dences that their parents or grandparents had built before the Civil War. Culturally, religiously, and politically, the north Village gentry had little in common with most of their near neighbors, the working-class and immi- grant Villagers who lived south and west of the square. Italian immigrants and Irish Americans worshipped at Catholic churches, while the gentry at- tended Sunday services at Protestant edifices along lower Fifth Avenue, elite congregations such as the First Presbyterian Church and the Episcopal Church of the Ascension. Irish, Italian, and African American Villagers gathered to drink and socialize in the numerous working-class saloons of the west and south Village, while the Protestant elite socialized in the ele- gant drawing rooms of their homes. These cultural and class contrasts were reflected in political rivalries, especially between the Irish Villagers loyal to the Democratic machine and the patrician Villagers who deeply distrusted Tammany rule. Again and again the Village gentry, whether they were Re- publicans, Independents, or Democrats, organized to challenge Tammany’s control of the city. By the turn of the twentieth century, the future of this upper-class north 77 78 chapter three Village enclave seemed increasingly uncertain. Tenementhousing and Ital- ian immigrants were invading the Village from the south, and commercial buildings were encroaching on the square from the east. -
Copyrighted Material
INDEX Academy of Music, 47, 48 appearance of, 29, 68, 215 afternoon tea, 342, 343 background and personal traits of, 4–5, Age of Innocence, The (Wharton), 95, 26–29, 31 140, 275 Bohemian party of, 400 Allard, Jules, 132, 158, 173, 260–261, 304, children of, 30, 99–104 306, 307–308, 323, 327, 329, 331 daughters’ marriages and, 75–78, Alva (yacht), 234–235, 236, 312 121–122, 170, 280 Ambassadress (yacht), 27, 30, 234 denunciation of vulgar displays by, Anthony, Susan B., 442 402, 425 archery, 74, 273, 334 diamond jewelry of, 61, 103, 227–229, aristocracy, 7, 36, 112–113, 118–119, 122– 369, 374, 425 123, 222, 224, 225, 378, 380–382, 443 dinner parties and, 350, 351, 354 marriages to, 382–390 European travel of, 377, 380 arrivistes. See nouveau riches four hundred and, 38, 47, 183 art collections, 10, 12, 26, 35, 37, 132, 133, houses of, 103, 135, 138, 157, 165–177, 257–258, 379 189, 368, 426, 427, 441, 450 Belmont, 95, 139 husband’s death and, 76, 77, 78, 170 Huntington, 181 last years and death of, 425–427, 453 as masculine pursuit, 88–91 Lehr and, 107, 109, 111 philanthropic donations of, 454 marriage of, 29, 30, 31, 234, 269 prevailing taste in, 88–89 McAllister and, 33–38, 52, 61, 104, 105, Stewart, 137–138 166, 300 Vanderbilt, 149–150, 288, 295 morning routine of, 68, 69–70 Whitney, 188, 189 as national legend, 177 Astor, Alice, 101, 427, 441, 442 Newport and, 157, 169, 171, Astor, Ava WillingCOPYRIGHTED (Mrs. -
History of the City of New York Syllabus
History of the City of New York Columbia University- Fall 2001 Professor Kenneth T. Jackson History 4712 603 Fayerweather Hall Tues. & Thurs. 1:10pm-2:25pm- [email protected] 417 International Affairs Building “The city, the city my Dear Brutus – stick to that and live in its full light. Residence elsewhere, as I made up my mind in early life, is mere eclipse and obscurity to those whose energy is capable of shining in Rome.” Marcus Tullius Cicero “New York City, the incomparable, the brilliant star city of cities, the forty-ninth state, a law unto itself, the Cyclopean Paradox, the inferno with no out-of-bounds, the supreme expression of both the miseries and the splendors of contemporary civilization, the Macedonia of the United States. It meets the most severe test that may be applied to the definit ion of a metropolis – it stays up all night. But also it becomes a small town when it rains.” John Gunther “If you live in New York, even if you’re Catholic, you’re Jewish.” Lenny Bruce “There is no question there is an unseen world; the question is, how far is it from midtown, and how late is it open?” Woody Allen “I am not afraid to admit that New York is the greatest city on the face of God’s earth. You only have to look at it from the air, from the river, from Father Duffy’s statue. New York is easily recognizable as the greatest city in the world, view it any way and every way – back, belly, and sides.” Brendan Behan “Is New York the most beautiful city in the world? It is not far from it. -
Off* for Visitors
Welcome to The best brands, the biggest selection, plus 1O% off* for visitors. Stop by Macy’s Herald Square and ask for your Macy’s Visitor Savings Pass*, good for 10% off* thousands of items throughout the store! Plus, we now ship to over 100 countries around the world, so you can enjoy international shipping online. For details, log on to macys.com/international Macy’s Herald Square Visitor Center, Lower Level (212) 494-3827 *Restrictions apply. Valid I.D. required. Details in store. NYC Official Visitor Guide A Letter from the Mayor Dear Friends: As temperatures dip, autumn turns the City’s abundant foliage to brilliant colors, providing a beautiful backdrop to the five boroughs. Neighborhoods like Fort Greene in Brooklyn, Snug Harbor on Staten Island, Long Island City in Queens and Arthur Avenue in the Bronx are rich in the cultural diversity for which the City is famous. Enjoy strolling through these communities as well as among the more than 700 acres of new parkland added in the past decade. Fall also means it is time for favorite holidays. Every October, NYC streets come alive with ghosts, goblins and revelry along Sixth Avenue during Manhattan’s Village Halloween Parade. The pomp and pageantry of Macy’s Thanksgiving Day Parade in November make for a high-energy holiday spectacle. And in early December, Rockefeller Center’s signature tree lights up and beckons to the area’s shoppers and ice-skaters. The season also offers plenty of relaxing options for anyone seeking a break from the holiday hustle and bustle. -
Arthur B. Davies Papers
Arthur B. Davies Papers A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Gift of Bennard B. Perlman, 1999 Extent 17 linear feet Abstract The collection contains the research materials for Bennard B. Perlman’s book, The Lives, Loves and Art of Arthur B. Davies. Access Restrictions Some restrictions apply Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation Arthur B. Davies Papers, Helen Farr Sloan Library & Archives, Delaware Art Museum Related Materials Arthur B. Davies Printing Plates Virginia M. Davies Correspondence, 1891-1935 1 Biography of Arthur B. Davies American painter and printmaker, 1862–1928 Arthur Bowen Davies was an influential painter, printmaker, and advocate for modern art in the United States. Born in Utica, New York, Davies was interested in art from a young age. He studied in Chicago before moving to New York City to study at the Art Students League. Davies favorite subjects were nudes and dreamy images of women in the landscape, and his work sold well. He was represented by William Macbeth, a leading dealer of American art in New York. Despite his success, he was not part of the powerful National Academy of Design. In 1908, he joined with seven other painters--John Sloan, Robert Henri, George Luks, Everett Shinn, William Glackens, Maurice Prendergast, and Ernest Lawson--to mount an exhibition in protest to the conservative policies of the National Academy. It became known as the exhibition of the Eight and was held at Macbeth Gallery.