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In 193X, Constance Rourke's Book American Humor Was Reviewed In
OUR LIVELY ARTS: AMERICAN CULTURE AS THEATRICAL CULTURE, 1922-1931 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Schlueter, M.A. ***** The Ohio State University 2007 Dissertation Committee: Approved by Professor Thomas Postlewait, Adviser Professor Lesley Ferris Adviser Associate Professor Alan Woods Graduate Program in Theatre Copyright by Jennifer Schlueter c. 2007 ABSTRACT In the first decades of the twentieth century, critics like H.L. Mencken and Van Wyck Brooks vociferously expounded a deep and profound disenchantment with American art and culture. At a time when American popular entertainments were expanding exponentially, and at a time when European high modernism was in full flower, American culture appeared to these critics to be at best a quagmire of philistinism and at worst an oxymoron. Today there is still general agreement that American arts “came of age” or “arrived” in the 1920s, thanks in part to this flogging criticism, but also because of the powerful influence of European modernism. Yet, this assessment was not, at the time, unanimous, and its conclusions should not, I argue, be taken as foregone. In this dissertation, I present crucial case studies of Constance Rourke (1885-1941) and Gilbert Seldes (1893-1970), two astute but understudied cultural critics who saw the same popular culture denigrated by Brooks or Mencken as vibrant evidence of exactly the modern American culture they were seeking. In their writings of the 1920s and 1930s, Rourke and Seldes argued that our “lively arts” (Seldes’ formulation) of performance—vaudeville, minstrelsy, burlesque, jazz, radio, and film—contained both the roots of our own unique culture as well as the seeds of a burgeoning modernism. -
Benjamin C. Bradlee
Benjamin C. Bradlee: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Bradlee, Benjamin C., 1921-2014 Title: Benjamin C. Bradlee Papers Dates: 1921-2013 Extent: 185 document boxes, 2 oversize boxes (osb) (77.7 linear feet), 1 galley file (gf) Abstract: The Benjamin C. Bradlee Papers consist of memos, correspondence, manuscript drafts, desk diaries, transcripts of interviews and speeches, clippings, legal and financial documents, photographs, notes, awards and certificates, and printed materials. These professional and personal records document Bradlee’s career at Newsweek and The Washington Post, the composition of written works such as A Good Life and Conversations with Kennedy, and Bradlee’s post-retirement activities. Call Number: Manuscript Collection MS-05285 Language: English and French Access: Open for research. Researchers must register and agree to copyright and privacy laws before using archival materials. Some materials are restricted due to condition, but facsimiles are available to researchers. Administrative Information Acquisition: Purchases, 2012 (12-05-003-D, 12-08-019-P) and Gift, 2015 (15-12-002-G) Processed by: Ancelyn Krivak, 2016 Repository: The University of Texas at Austin, Harry Ransom Center Bradlee, Benjamin C., 1921-2014 Manuscript Collection MS-05285 Biographical Sketch Benjamin Crowninshield Bradlee was born in Boston on August 26, 1921, to Frederick Josiah Bradlee, Jr., an investment banker, and Josephine de Gersdorff Bradlee. A descendant of Boston’s Brahmin elite, Bradlee lived in an atmosphere of wealth and privilege as a young child, but after his father lost his position following the stock market crash of 1929, the family lived without servants as his father made ends meet through a series of odd jobs. -
![Papers of Clare Boothe Luce [Finding Aid]. Library of Congress. [PDF](https://docslib.b-cdn.net/cover/4480/papers-of-clare-boothe-luce-finding-aid-library-of-congress-pdf-1694480.webp)
Papers of Clare Boothe Luce [Finding Aid]. Library of Congress. [PDF
Clare Boothe Luce A Register of Her Papers in the Library of Congress Prepared by Nan Thompson Ernst with the assistance of Joseph K. Brooks, Paul Colton, Patricia Craig, Michael W. Giese, Patrick Holyfield, Lisa Madison, Margaret Martin, Brian McGuire, Scott McLemee, Susie H. Moody, John Monagle, Andrew M. Passett, Thelma Queen, Sara Schoo and Robert A. Vietrogoski Manuscript Division, Library of Congress Washington, D.C. 2003 Contact information: http://lcweb.loc.gov/rr/mss/address.html Finding aid encoded by Library of Congress Manuscript Division, 2003 Finding aid URL: http://hdl.loc.gov/loc.mss/eadmss.ms003044 Latest revision: 2008 July Collection Summary Title: Papers of Clare Boothe Luce Span Dates: 1862-1988 Bulk Dates: (bulk 1930-1987) ID No.: MSS30759 Creator: Luce, Clare Boothe, 1903-1987 Extent: 460,000 items; 796 containers plus 11 oversize, 1 classified, 1 top secret; 319 linear feet; 41 microfilm reels Language: Collection material in English Repository: Manuscript Division, Library of Congress, Washington, D.C. Abstract: Journalist, playwright, magazine editor, U.S. representative from Connecticut, and U.S. ambassador to Italy. Family papers, correspondence, literary files, congressional and ambassadorial files, speech files, scrapbooks, and other papers documenting Luce's personal and public life as a journalist, playwright, politician, member of Congress, ambassador, and government official. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. Personal Names Barrie, Michael--Correspondence. Baruch, Bernard M. -
Robert Lehman Papers
Robert Lehman papers Finding aid prepared by Larry Weimer The Robert Lehman Collection Archival Project was generously funded by the Robert Lehman Foundation, Inc. This finding aid was generated using Archivists' Toolkit on September 24, 2014 Robert Lehman Collection The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY, 10028 [email protected] Robert Lehman papers Table of Contents Summary Information .......................................................................................................3 Biographical/Historical note................................................................................................4 Scope and Contents note...................................................................................................34 Arrangement note.............................................................................................................. 36 Administrative Information ............................................................................................ 37 Related Materials ............................................................................................................ 39 Controlled Access Headings............................................................................................. 41 Bibliography...................................................................................................................... 40 Collection Inventory..........................................................................................................43 Series I. General -
Carlquist Lloyd Hyde Thesis 2010.Pdf
1 Introduction As the Colonial Revival reached its zenith in the 1920s, collecting American antiques evolved from nineteenth-century relic hunting into an emerging field with its own scholarship, trade practices, and social circles. The term “Americana” came to refer to fine and decorative arts created or consumed in early America. A new type of Americana connoisseurs collected such objects to furnish idealized versions of America’s past in museums and private homes. One such Americana connoisseur was Maxim Karolik, a Russian-born tenor who donated to the Museum of Fine Arts, Boston one of the most celebrated collections of American paintings, prints, and decorative arts. A report about the collection’s 1941 museum opening described how “connoisseurs looked approvingly” at the silver, “clucked with admiration” over the Gilbert Stuart portraits, and turned “green-eyed at the six-shell Newport desk-and-bookcase.”1 Karolik began collecting antiques in the 1920s, adding to those that had been inherited by Martha Codman Karolik, his “Boston Brahmin” wife. His appetite for Americana grew until he became one of the 1930s’ principal patrons, considered second only to Henry Francis du Pont. He scoured auction houses, galleries, showrooms, and small shops. Karolik loved the chase and consorting with dealers. He enjoyed haggling over prices despite his wife’s substantial fortune.2 1 “Art: Boston’s Golden Maxim,” Time (December 22, 1941). 2 Frieda Schmutzler (of Katrina Kipper’s Queen Anne Cottage), Oral History, May 26, 1978, Winterthur Archives. See also Carol Troyen, “The Incomparable Max: Maxim Karolik and the Taste for American Art,” American Art 7, n 3 (Summer 1993): 65-87. -
Willa Cather on a “New World Novelist”: a Newly-Discovered 1920 Vanity Fair Essay" (2018)
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications -- Department of English English, Department of 2018 Willa Cather on a “New World Novelist”: A Newly- Discovered 1920 Vanity Fair Essay Melissa J. Homestead University of Nebraska - Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/englishfacpubs Part of the Comparative Literature Commons, English Language and Literature Commons, Modern Literature Commons, and the Reading and Language Commons Homestead, Melissa J., "Willa Cather on a “New World Novelist”: A Newly-Discovered 1920 Vanity Fair Essay" (2018). Faculty Publications -- Department of English. 188. http://digitalcommons.unl.edu/englishfacpubs/188 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications -- Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Melissa Homestead in American Literary Realism 50 (2018) 1 Published in American Literary Realism 50:2 (Winter 2018), pp 164–179. digitalcommons.unl.edu Copyright © 2017 by the Board of Trustees of the University of Illinois. Used by permission. Willa Cather on a “New World Novelist”: A Newly-Discovered 1920 Vanity Fair Essay Melissa J. Homestead University of Nebraska–Lincoln The ability to quote from and publish Willa Cather’s letters is a rela- tively recent development for scholars. However, the republication of her critical prose began shortly after her death, when Cather’s part- ner, Edith Lewis, appointed literary executor in her will, facilitated the publication of Willa Cather on Writing: Critical Studies on Writ- ing as an Art (1949). -
Notable & Famous Harvard Veterans
Advocates for Harvard ROTC . Telephone: (978) 443-9532 30 Monument Square Email: [email protected] Concord, Mass. 01742-1895 18 July 2017 From: Captain Paul E. Mawn USN (Ret.) To: Advocates for Harvard ROTC Subject: Notable military veterans among Harvard alumni At this point, the below preliminary list of notable Harvard alumni veterans is not intended to be exhaustive. If you know if anyone that has been left out, please contact Captain Paul E. Mawn USN (Ret.) at 1-978-443-9532 (i.e. particularly relatives and classmates from World War II to the current World War on Islamic Fundamentalist Terrorism). I. Notable Harvard Veterans HARVARD COLLEGE by CLASS 1746 Brigadier General John Ashe Continental Militia (North Carolina State Troops) [Died from disease as a POW] Born to a prominent family in Grovely, Brunswick County, North Carolina in 1720 was the son of the Speaker of the Colonial Assembly in 1726 & 1727. John’s younger brother was Governor Samuel Ashe (1725-1813), for whom Asheville, North Carolina was named. After Harvard, John enlisted in the NC militia during the French and Indian War and was elected Speaker of the colonial assembly from 1762 to 1765. He was an outspoken opponent of the Stamp Act and supported independence from Great Britain. After serving in the NC Provincial Congress, he joined the committees of correspondence and safety as hostilities between the colonies and Great Britain began to rise. As a militia commander of 500 men, Major Ashe destroyed the British garrison of Fort Johnston near Wilmington (NC) in 1775. As a colonel, he raised and equipped a regiment at his own expense which he led in the American victory at the Battle of Moore's Creek Bridge. -
A History of Art Criticism
1 ▪ ▪ ▪ ▪ ▪ A History of Art Criticism It is conventional to explain the origins of criticism as following the establishment of regular art exhibitions by the Académie in the Louvre in 1737. Yet the various ingredients that came together to form Salon criticism pre-existed the instigation of annual exhibitions. —RICHARD WRIGLEY, IN THE ORIGINS OF FRENCH ART CRITICISM, 1993 In his immortal Salons, Diderot . founded the criticism of painting. 1 —THÉOPHILE GAUTIER, 1854 THE BIRTH OF A GENRE Defined broadly, art criticism clearly has a lengthy history. Men and women have been talking and writing about buildings, sculptures, and paintings with discernment—and so practicing art criticism, in one sense of the word— for thousands of years. As early as the first century BCE, for instance, the ancient Greek geographer Strabo pondered the effect of an ancient temple of Artemis that, “insofar as the size of the temple and the number of votives is concerned, falls short of the one in Ephesus; but, in its well-designed appearance and in the artistry visible in the fitting out of its sacred enclosure, is much superior.”2 And in the fifth century CE, a Byzantine scholar named Procopius recorded his reaction to the vast dome of Constantinople’s Hagia Sofia. “From the lightness of the building,” he argued, “it does not appear to rest upon a solid foundation, but to cover the place beneath as though it were suspended from heaven by the fabled golden chain.”3 1Quoted in Snell, Théophile Gautier, 206. 2Pollitt, The Ancient View of Greek Art, 171. 3Quoted in Lethaby and Swainson, The Church of Sancta Sophia Constantinople, 26. -
Painting and Sculpture by Living Americans : Ninth Loan Exhibition, December 2, 1930 to January 20, 1931
Painting and sculpture by living Americans : ninth loan exhibition, December 2, 1930 to January 20, 1931 Author Museum of Modern Art (New York, N.Y.) Date 1930 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/1916 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art DERN LIBRARY THE ^U-£UM OF .viJOt^NART PAINTING AND SCULPTURE BY LIVING AMERICANS NINTH LOAN EXHIBITION 9;o DECEMBER 2, i TO JANUARY 20, ijjji MUSEUM OF MODERN ART NEW YORK ACKNOWLEDGMENTS The exhibition has been selected from the following collections AN AMERICAN PLACE, NEW YORK EDWARD DUFF BALKEN, PITTSBURGH JAY H. BARNUM, NORWALK, CONNECTICUT MISS L. P. BLISS,NEW YORK MRS. W. MURRAY CRANE, NEW YORK FRANK CROWNINSHIELD, NEW YORK THE CHESTER DALE COLLECTION, NEW YORK THE DANIEL GALLERY, NEW YORK THE DOWNTOWN GALLERY, NEW YORK MRS. MURIEL DRAPER, NEW YORK JOHN A. DUNBAR, NEW YORK MRS. JULIANA R. FORCE, NEW YORK A. CONGER GOODYEAR, NEW YORK EDWARD S. GREENBAUM, NEW YORK DR. F. H. HIRSCHLAND, NEW YORK EARL HORTER, PHILADELPHIA JOEL T. HOWARD, DALLAS, TEXAS SIDNEY JANOWITZ, NEW YORK KRAUSHAAR GALLERIES, NEW YORK MR. AND MRS. SAMUEL A. LEWISOHN, NEW YORK MRS. CHARLES J. LIEBMAN, NEW YORK THE MACBETH GALLERIES, NEW YORK MRS. MALCOLM L. McBRIDE, CLEVELAND, OHIO GLENN FORD McKINNEY, NEW YORK DR. AND MRS. JAMES B. MURPHY, NEW YORK GUST AVE NASSAUER, NEW YORK J. -
Contemporary American Painting and Sculpture
UNIVERSITY OF ILLINOIS LIBRARY AT URBANACHAMPAIGN ARCHITECTURE UNIVSiaiTY OF numti •.T«"^- *!r^" Materialsl The Minimum fee lor NOTICE: Return or renew all Library each Lost Book is $50.00. for The person charging this material is responsible which it was withdrawn its return to the hbrary from below. on or before the Latest Date stamped books are reasons tor discipli- Then, mutilation, and underiining of (rom the University. nary action and may result in dismissal 333-8400 To renew call Telephone Center, URBANA-CHAMPAIGN UNIVERSITY OF ILLINOIS LIBRARY AT iMb .> RKl) TABI.F.CI.OIII Xicholas \"asilirtT Sunday, March 2, through Sunday, T^pril 13, 1952 University of Illinois Exhibition of CONTEMPORT^RY AMERICAN PAINTING Galleries Architecture Building College of Fine and Applied Arts, Urbana THE LIBRARY OF THE MAR 1 1C52 liNiVERSir/ OF ILLI!"OiS Copyright 1952 by the University of Illinois Manufactured in the United States of America /0 7./ ayu*^*^ RICHER IIP'T'^Y ARCiVJICTUflE UUIVEftSlTY Of ILLINOIS University of Illinois Exhibition of CONTEMPORARY AMERICAN PAINTING GEORGE D. STODDT^RD President of the University DEAN REXFORD NEWCOMB Chairman, Festival of Contemporary Arts C. W. Briggs E. C. Rae N. Britsky J. R. Shipley OPERATING COMMITTEE G. N. Foster A. S. Weller J. D. Hogan C. V. Donovan, Chairman L. F. Bailey R. E. Marx E. H. Belts R. Perlman C. E. Bradbury A. J. Pulos STAFF COMMITTEE MEMBERS L. R. Chcsney J. W. Raushenberger C. A. Dietemann F. J. Roos W. F. Doolittle H. A. Schultz R. L. Drummond M. A. Sprague R. A. Ginstrom B. R. -
The Spatial and Temporal Diffusion of Museums in New York City, 1910-2010
The spatial and temporal diffusion of museums in New York City, 1910-2010 Jennifer Mari Kondo Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Jennifer Mari Kondo All rights reserved ABSTRACT The spatial and temporal diffusion of museums in New York City, 1910-2010 Jennifer Mari Kondo The aim of this dissertation is to understand and analyze the museum location decision, defined as where museum founders choose to establish or relocate their institution. The empirical case is the museum population of New York City from 1910-2010. In three substantive chapters, I explore this complex decision process from the organizational-level, the population-level, and the audience-level. In the first chapter, I argue that the museum location decision has evolved over the past century, and has experienced three major paradigm shifts. Out of each era, a new model of the museum location decision has taken hold, resulting in the current organizational landscape. I demonstrate how these eras emerged through historical, comparative case studies of two New York museums, the Museum of Modern Art and the Whitney Museum of American Art. In second chapter, I show that the location decisions illustrated through the histories of the Whitney Museum of American Art and the Museum of Modern Art are representative of New York’s museum population overall. Using a dataset of all museums that have existed in New York City (and all of those museums’ relocations), I chronicle the aggregated movements of the museum population between 1910 and 2010. -
Summer Exhibit
Museum of Modern Art 11 West 53rd Street New York City For release Sunday, June 5 The summer exhibition, which opens on June 8 at the Museum of Modern Art, 11 West Fifty-third Street, is intended to supplement the Bliss collection and tjie permanent collection which will remain on view, it is announced by Alfred H. Barr, Jr., direotor of the Musewn. "The exhibition, while by no means complete, should give an interesting survey of modiern painting and sculpture in Europe and America during the last 50 years," said Mr. Barr. "Of nineteenth century painting, the Bliss collection already contains admirable examples of the work of Cezanne, Daumier, Gauguin and Degas. Paintings by other 'old masters* of the modern movement have been lent by private collectors," Among the paintings lent to the Museum for this exhibition are:- van Gogh's "Arlesienne," from the collection of Dr. and Mrs. Harry Bakwin; Gauguin's "poemes Barbares," lent by A. Conger Goodyear, president of the Museum; Renoir's "Moulin de la Galette," lent by John Hay Whitney; Renoir's "The River Bank," aud the Toulouse-Lautrec "Messalina," *oth from the collection of Adolph Lewisohn; ;a Begas pastel from E. M. M. Warburg and a van Gogh flower pie«e lent by James W. Barney. The American Thomas Eakins is represented by an early portrait of the artist's fiancee. Two lesser-known Suropean painters of the older generation whose work has rarely been seen in Ameii oa are the Belgian James Snsor, represented by "Masques" from the Bakwin collection, and Lavis Corinth, sometimes considered the greatest *' » modern German painter, represented by a vigorous landsoape from the collection of Mr.