A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
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“Join Or Die,” America's First Political Cartoon: Benjamin Franklin and The
“Join or Die,” America’s First Political Cartoon: Benjamin Franklin and the First Plan for Union Courtesy of Library of Congress On May 9, 1754, Benjamin Franklin printed the first political cartoon in American history, a woodcut of a severed snake entitled “Join, or Die,” in his newspaper, the Pennsylvania Gazette . Franklin’s cartoon depicted the British North American colonies as a snake cut into eight segments, with each segment designated with an initial of a separate colony or a region as in the case of New England. An editorial discussing the “disunited state” of the colonies accompanied the cartoon, clearly suggesting that in light of the clear and present danger posed by the French and Native Americans to their security, the colonies faced a critical decision—to unite as a collective unit to repulse the enemy or remain disunited and suffer an inevitable death. The division of the segments of the snake reveals the extent to which Franklin and other intellectuals believed that the colonies of British North America were divided over the decision to go to war with the French and Native Americans for control of the land west of the Appalachian Mountains. Despite this division, it was a well-known superstition of the era that a snake, which had been cut into pieces, would come back to life if each of the pieces were put together before sunset. The caption, “Join, or Die,” implied that the colonies should unite or be exterminated by the French and their Indian allies. Franklin’s cartoon was widely used as a header for newspapers in its time. -
Alexander Hill Everett, Ou L'artisan Américain D'une Identité Cubaine
Alexander Hill Everett, ou l’artisan américain d’une identité cubaine. (Axe IV, Symposium 16) Rahma Jerad To cite this version: Rahma Jerad. Alexander Hill Everett, ou l’artisan américain d’une identité cubaine. (Axe IV, Sympo- sium 16). Independencias - Dependencias - Interdependencias, VI Congreso CEISAL 2010, Jun 2010, Toulouse, France. halshs-00502328 HAL Id: halshs-00502328 https://halshs.archives-ouvertes.fr/halshs-00502328 Submitted on 20 Jul 2010 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Rahma Jerad Université Paris I – Panthéon Sorbonne/ LARCA CEISAL « Dépendances, Indépendances, Interdépendances » Alexander Hill Everett, ou l'artisan américain d'une identité cubaine Résumé: A partir du dix-huitième siècle, pour des raisons idéologiques, stratégiques et économiques, l'île de Cuba était dans la ligne de mire de la jeune république américaine, dont les dirigeants et la population rêvaient d'étendre le territoire sur le continent et au-delà. Les Etats-Unis ont usé nombre de stratagèmes pour devenir les heureux propriétaires de ce splendide joyau, des propositions d'achat aux pressions diplomatiques pour en éloigner les grandes puissances européennes en passant par les campagnes de propagande dans la presse. -
William Holmes Mcguffey Family Papers
Walter Havighurst Special Collections Miami University Libraries William Holmes McGuffey Family Papers OVERVIEW OF THE COLLECTION Title: William Holmes McGuffey Family Papers Creator: William Holmes McGuffey Family Dates: ca. 1814-1955 Quantity: 2.5 cubic feet Location: Closed Stacks COLLECTION SUMMARY The William Holmes McGuffey Family Papers consist primarily of correspondence sent or received by William Holmes McGuffey between 1826 and 1873. John Ebenezer Annan, Catharine Esther Beecher, Albert Taylor Bledsoe, Joseph C. Cabell, John Hartwell Cocke, Daniel Drake, James Hoge, Andrew Dousa Hepburn, Charles McGuffey Hepburn, Henrietta McGuffey Hepburn, Nicholas Longworth, Harriet McGuffey Love, Alexander H. McGuffey, Charles Spining McGuffey, Edward Deering Mansfield, Robert Cumming Schenck, John Witherspoon Scott, Winthrop B. Smith, Robert Livingston Stanton, Charles L. Telford, Noah Webster, Henry A. Wise, and Andrew Wylie are just some of the correspondents included in the collection. The collection also includes manuscripts of two of McGuffey‟s sermons and an unpublished manuscript that McGuffey wrote in 1871 regarding mental philosophy. In addition to other McGuffey family correspondence, journals and reminiscences kept by his daughter, Henrietta McGuffey Hepburn, and two diaries belonging to his grandson, Charles McGuffey Hepburn, provide details of McGuffey family life. Contracts, receipts and reprint permission letters pertaining to the McGuffey Readers can also be found in the collection. William Holmes McGuffey Family Papers Page 2 PROVENANCE OF THE COLLECTION Most of the papers were collected by Mrs. Mary (Thompson) Hughes and purchased from her estate circa 1948. A curator at the McGuffey Museum, located at the former Oxford home of William Holmes McGuffey, Mrs. Hughes was so interested in McGuffey that she amassed this collection of materials relating to him and his family. -
Now Have Taken up the Hatchet Against Them”: Braddock’S Defeat and the Martial Liberation of the Western Delawares
We “Now Have Taken up the Hatchet against Them”: Braddock’s Defeat and the Martial Liberation of the Western Delawares N 1755 WESTERN PENNSYLVANIA became the setting for a series of transforming events that resonated throughout the colonial world of INorth America. On July 9, on the banks of the Monongahela River— seven miles from the French stronghold of Fort Duquesne—two regi- ments of the British army, together with over five companies of colonial militia, suffered a historic mauling at the hands of a smaller force of French marines, Canadian militia, and Great Lakes Indians. With nearly one thousand casualties, the defeat of General Edward Braddock’s com- mand signified the breakdown of British presence on the northern Appalachian frontier. This rout of British-American forces also had an immense effect on the future of Indians in the Ohio Country, particularly the peoples of western Pennsylvania referred to as the Delawares. I would like to thank the anonymous readers and my teachers and trusted colleagues, Dr. Holly Mayer of Duquesne University and Dr. Mary Lou Lustig, emeritus West Virginia University, for their constructive criticisms and helpful suggestions as I worked through the revision process for this article. THE PENNSYLVANIA MAGAZINE OF HISTORY AND BIOGRAPHY Vol. CXXXVII, No. 3 ( July 2013) 228 RICHARD S. GRIMES July From late October 1755 through the spring of 1756, Delaware war parties departing from their principal western Pennsylvania town of Kittanning and from the east in the Susquehanna region converged on the American backcountry. There they inflicted tremendous loss of life and cataclysmic destruction of property on the settlements of Pennsylvania and Virginia. -
(1826-1846) / Salvador García
Salvador García Castañeda Presencia de Washington Irving y otros norteamericanos en la España Romántica (1826-1846) Boletín de la Biblioteca de Menéndez Pelayo. LXXXVII, 2011, 113-126 PRESENCIA DE WASHINGTON IRVING Y OTROS NORTEAMERICANOS EN LA ESPAÑA ROMÁNTICA (1826-1846)* ashington Irving es el representante más destacado, y el más conocido entre nos- otros, de la atracción que ejerció España sobre un considerable grupo de norte- Wamericanos quienes a lo largo del siglo XIX dejaron profunda huella de sus experiencias en la cultura de su país. Una huella manifiesta en libros de viajes, en traba- jos históricos y literarios, en la creación de bibliotecas y de colecciones de obras de arte, en el extraordinario auge de los estudios universitarios de la lengua, la cultura y la litera- tura españolas en los Estados Unidos y, finalmente, en difundir el conocimiento de España en aquel país. Esta conferencia tiene el carácter de una visión de conjunto pues me pro- pongo referirme a temas tan amplios como el magisterio y huella de Washington Irving y otros hispanófilos norteamericanos de la primera mitad del XIX sobre la literatura de su país en el momento de transición de la Ilustración al Romanticismo, así como a su deci- siva influencia sobre la difusión de los estudios universitarios del español en los Estados Unidos. Me he marcado tentativamente las fechas de 1826 a 1846 por ser respectivamente la de la primera visita a España del Washington Irving autor de Los cuentos de la Alham- bra, y la de la última como representante diplomático de su país. En aquellos años la vida cultural, política y económica norteamericana estaba con- centrada principalmente en Nueva Inglaterra, al Este del país, y principalmente en Fila- delfia, que fue la primera capital de los Estados Unidos, en Boston y en Nueva York. -
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. -
Download The
MAS Context Issue 22 / Summer ’14 Surveillance MAS Context Issue 22 / Summer ’14 Surveillance 3 MAS CONTEXT / 22 / SURVEILLANCE / 22 / CONTEXT MAS Welcome to our Surveillance issue. This issue examines the presence of surveillance around us— from the way we are being monitored in the physical and virtual world, to the potential of using the data we generate to redefine our relationship to the built environment. Organized as a sequence of our relationship with data, the contributions address monitoring, collecting, archiving, and using the traces that we leave, followed by camouflaging and deleting the traces that we leave. By exploring different meanings of surveillance, this issue seeks to generate a constructive conversation about the history, policies, tools, and applications of the information that we generate and how those aspects are manifested in our daily lives. MAS Context is a quarterly journal that addresses issues that affect the urban context. Each issue delivers a comprehensive view of a single topic through the active participation of people from different fields and different perspectives who, together, instigate the debate. MAS Context is a 501(c)(3) not for profit organization based in Chicago, Illinois. It is partially supported by a grant from the Graham Foundation for Advanced Studies in the Fine Arts. MAS Context is also supported by Wright. With printing support from Graphic Arts Studio. ISSN 2332-5046 5 “It felt more like a maximum security prison than a gated community SURVEILLANCE / 22 / CONTEXT MAS when the Chicago Housing Authority tried to beef up the safety of the neighborhood. Our privacy was invaded with police cameras Urban watching our every move. -
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 -
American Prints 1860-1960
American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks Bennington College, Bennington, Vermont Introduction The 124 prints which make up this exhibition have been selected from my collection of published on the occasion over 800 prints. The works exhibited at Bennington have been confined to those made by ot an exhibitionat the American artists between 1860 and 1960. There are European and contemporary prints in my A catalogue suchasthis and the exhibitionwhich collection but its greatest strengths are in the area of American prints. The dates 1860 to Suzanne Lemberg Usdan Gallery accompaniesit.. is ot necessity a collaborativeeffortand 1960, to which I have chosen to confine myself, echo for the most part my collecting Bennington College would nothave been possible without thesupport and interests. They do, however, seem to me to be a logical choice for the exhibition. lt V.'CIS Bennington \'ermonr 05201 cooperation of many people. around 1860 that American painters first became incerested in making original prints and it April 9 to May9 1985 l am especially graceful to cbe Bennington College Art was about a century later, in the early 1960s, that several large printmaking workshops were Division for their encouragementand interestin this established. An enormous rise in the popularity of printmaking as an arcistic medium, which projectfrom thestart. In particular I wouldlike co we are still experiencing today, occurred at that cime. Copyright © 1985 by MatthewMarks thankRochelle Feinstein. GuyGood... in; andSidney The first American print to enter my collection, the Marsden Hartley lirhograph TilJim, who originally suggestedche topicof theexhibi- (Catalogue #36 was purchased nearly ten years ago. -
America Past
A Teacher’s Guide to America Past Sixteen 15-minute programs on the social history of the United States for high school students Guide writer: Jim Fleet Series consultant: John Patrick 01987 KRMA-W, Denver, Colorado and Agency for Instructional Technology Bloomington, Indiana AH rights reserved. This guide, or any part of it, may not be reproduced without written permission. Review questions in this guide maybe reproduced and distributed free to students. All inquiries should be addressed to: Agency for Instructional Technology Box A Bloomington, Indiana 47402 Table Of Contents Introduction To The AmericaPastSeries . 4 About Jim Fleet . ...!.... 5 America Past: An Overview . 5 How To Use This Guide . 5 Sources On People And Places In America Past . 5 Programs I. New Spain . 6 2. New France . 9 3. The Southern Colonies . 11 4. New England Colonies . 13 5. Canals and Steamboats . 16 6. Roads and Railroads, . .19 7. The Artist’s View . ... ..,.. 22 8. The Writer’s View . ...25 9. The Abolitionists . ...27 10. The Role of Women . ...29 ll. Utopias . ...31 12. Religion . ...33 13. Social Life . ...35 14. Moving West . ...38 15. The Industrial North . ...41 16. The Antebellum South . ...43 Textbook Correlation Chart . ...46 AnswerKey . ...48 Introduction To The America Past Series Over the past thirty years, it has been my experience that most textbooks and visual aids do an adequate job of cover- ing the political and economic aspects of American history UntiI recently however, scant attention has been given to social history. America Past was created to fill that gap. Some programs, such as those on religion and utopias, elaborate upon topics that may receive only a paragraph or two in many texts. -
Benjamin Franklin (10 Vols., New York, 1905- 7), 5:167
The American Aesthetic of Franklin's Visual Creations ENJAMIN FRANKLIN'S VISUAL CREATIONS—his cartoons, designs for flags and paper money, emblems and devices— Breveal an underlying American aesthetic, i.e., an egalitarian and nationalistic impulse. Although these implications may be dis- cerned in a number of his visual creations, I will restrict this essay to four: first, the cartoon of Hercules and the Wagoneer that appeared in Franklin's pamphlet Plain Truth in 1747; second, the flags of the Associator companies of December 1747; third, the cut-snake cartoon of May 1754; and fourth, his designs for the first United States Continental currency in 1775 and 1776. These four devices or groups of devices afford a reasonable basis for generalizations concerning Franklin's visual creations. And since the conclusions shed light upon Franklin's notorious comments comparing the eagle as the emblem of the United States to the turkey ("a much more respectable bird and withal a true original Native of America"),1 I will discuss that opinion in an appendix. My premise (which will only be partially proven during the fol- lowing discussion) is that Franklin was an extraordinarily knowl- edgeable student of visual symbols, devices, and heraldry. Almost all eighteenth-century British and American printers used ornaments and illustrations. Many printers, including Franklin, made their own woodcuts and carefully designed the visual appearance of their broad- sides, newspapers, pamphlets, and books. Franklin's uses of the visual arts are distinguished from those of other colonial printers by his artistic creativity and by his interest in and scholarly knowledge of the general subject. -
American & European Works of Art | Sale 3203B | Skinner Auctioneers
American & European Works of Art | Sale 3203B | Skinner Auctioneers AUCTIONEERS AND APPRAISERS LOGIN | REGISTER AUCTIONS BUYING SELLING SPECIALTY AREAS SERVICES ABOUT American & European Works of Art Auction 3203B More... January 25, 2019 10:00AM CATALOGS 63 Park Plaza, Boston PRE AUCTION SERVICES POST AUCTION SERVICES Sort by: Lot # View: 90 FacTwi PrinEm Add 0Share Li t G id Prev Next Albrecht Dürer (German, 1471-1528) Christ on the Mount of Olives Lot: 1 Sold for: $2,583 Albrecht Dürer (German, 1471-1528) Christ on the Mount of Olives, 1508, from The Engraved Passion, 1508-13 (Meder/Hollstein, 4d/e). Monogrammed and dated within the plate, collector's and More ... LOT DETAILS INQUIRE Albrecht Dürer (German, 1471-1528) Joachim's Offering Rejected Lot: 2 Sold for: $3,198 Albrecht Dürer (German, 1471-1528) Joachim's Offering Rejected, from The Life of the Virgin, 1511 (Meder/Hollstein, 189d/g). Monogrammed within the block. Woodcut on laid paper with watermark, More ... LOT DETAILS INQUIRE Albrecht Dürer (German, 1471-1528) Erasmus of Rotterdam Lot: 3 Sold for: $2,583 Albrecht Dürer (German, 1471-1528) Erasmus of Rotterdam, 1526 (Meder/Hollstein, 105h or i/i). Monogrammed, identified, and dated within the plate. Engraving on laid paper with partial More ... https://www.skinnerinc.com/auctions/3203B/lots?noredir=1&start=0&display=list&sort_lot=1&view=90[2/26/2019 1:32:51 PM] American & European Works of Art | Sale 3203B | Skinner Auctioneers LOT DETAILS INQUIRE Francisco José de Goya y Lucientes (Spanish, 1746-1828) Tal para qual Lot: 4 Sold for: $1,353 Francisco José de Goya y Lucientes (Spanish, 1746-1828) Tal para qual, from Los Caprichos, 1799, probably from the first edition of twelve (Harris, 40iii/iii).