HOUSE of REPRESENTATIVES House Is Requested, a Bill of the House Thomas A
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Stuart Davis (1892–1964) by Lisa Bush Hankin
fine art as an investment Stuart Davis (1892–1964) by Lisa Bush Hankin leading member of the first genera- with a current record auction price of four and family friends Robert Henri (1865–1929) and tion of artists who put a distinctly a half million dollars (Fig. 1). John Sloan (1871–1951), whose early artistic A American spin on the modernist ideas Born in Philadelphia, Davis was the son of support enabled the young man to participate then percolating in Europe, Stuart Davis is cel- professional artists (a sculptor and the art in prominent exhibitions including the ebrated for his lively and colorful canvases that director for the Philadelphia Press), who relo- groundbreaking 1913 Armory Show, an event incorporate imagery from the American pop- cated to northern New Jersey, outside New that profoundly affected the direction his art ular culture of his day. Davis is seen as a York City, when Davis was nine. Davis bene- would take. Though Davis’ early works reflect seminal figure in early modernism, and his fited early in his career from the guidance of the influence of the Ashcan school (Fig. 2), he works are highly sought after by both museums soon chose to depart from representing his and collectors. As a result, his major paintings Stuart Davis subjects in an illusionistic manner, dispensing Record Prices for Work at Auction do not appear on the market very frequently, with 3-dimensional form in favor of using and — as back-to-back multimillion dollar Present $4,500,000 line, color, and pattern to capture the energy 2005 $2,400,000 sales at Sotheby’s and Christie’s in the fall of Fig. -
PAAM Collection Oct 18.Pdf
First Middle Last Birth Death Sex Accession Acc ext Media code Title Date Medium H W D Finished size Credit Jules Aarons 1921 2008 m 1828 Ph06 Jules Aarons Portfolio: In the Jewish Neighborhoods 1946-76 box, 100 silver gelatin prints, signed verso 15.5 12 3 Gift of David Murphy, 2006 Jules Aarons 1921 2008 m 1928 001 Ph08 untitled (Weldon Kees speaking to assembly of artists) c.1949-50 silver gelatin photograph 8 10 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 002 Ph08 Sunday (The fishermen's children playing on the loading wharf.) c.1949-50 silver gelatin photograph 8 9.5 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 003 Ph08 untitled (Sunday II, fishermen's children playing on loading wharf.) c.1949-50 silver gelatin photograph 8 10 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 004 Ph08 untitled (the flag bearers) c.1949-50 silver gelatin photograph 8 10 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 005 Ph08 Parting c.1949-50 silver gelatin photograph 9 7 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 006 Ph08 untitled (2 ladies at an exhibition) c.1949-50 silver gelatin photograph 7.5 9.5 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 007 Ph08 Dante (I, Giglio Raphael Dante sitting on floor, ptg. behind) c.1949-50 silver gelatin photograph 10 8 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 008 Ph08 Lawrence Kupferman, a Prominent Modern American Artist (etc.) c.1949-50 silver gelatin photograph 7.5 9.5 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 009 Ph08 Kahlil (Gibran, playing music on bed) c.1949-50 silver gelatin photograph 7 7.5 Gift of David Murphy, 2008 Jules Aarons 1921 2008 m 1928 010 Ph08 Kahlil & Ellie G. -
Exhibition Image Captions
Contacts: Mike Brice Stephanie Elton EXHIBITION Public Relations Specialist Director of Communications IMAGE CAPTIONS 419-255-8000 x7301 419-255-8000 x7428 [email protected] [email protected] Life Is a Highway: Art and American Car Culture 1. Don Eddy (American, born 1944), Red Mercedes. Color lithograph, 1972. 24 1/8 x 30 11/16 in. (61.3 x 78 cm). Toledo Museum of Art (Toledo, Ohio), Frederick B. and Kate L. Shoemaker Fund, 1974.36. © Don Eddy Image Credit: Christopher Ridgway 2. Robert Indiana (American, 1928–2018), South Bend. Color lithograph, 1978. 30 x 27 15/16 in. (76.2 x 71 cm). Toledo Museum of Art, Gift of Art Center, Inc., 1978.63. © Morgan Art Foundation Ltd. / Artists Rights Society (ARS), New York 3. Claes Oldenburg (American, born Sweden, 1929), Profile Airflow. Cast polyurethane relief over two-color lithograph, 1969. 33 1/4 x 65 1/2 x 3 3/4 in. (84.5 x 166.4 x 9.5 cm). Collection of the Flint Institute of Arts, Flint, MI; Museum purchase. © 1969 Claes Oldenburg 1 of 3 4. Kerry James Marshall (American, born 1955), 7am Sunday Morning. Acrylic on canvas banner, 2003. 120 x 216 in. (304.8 x 548.6 cm). Museum of Contemporary Art Chicago, Joseph and Jory Shapiro Fund by exchange, 2003.16. © Kerry James Marshall. Courtesy of the artist and Jack Shainman Gallery, New York. 5. Helen Levitt (American, 1913–2009), New York City (Spider Girl). Chromogenic color print, 1980. 12 1/4 × 18 in. (31.1 × 45.7 cm). Toledo Museum of Art, Purchased with funds from the Frederick B. -
A Humble Protest a Literary Generation's Quest for The
A HUMBLE PROTEST A LITERARY GENERATION’S QUEST FOR THE HEROIC SELF, 1917 – 1930 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jason A. Powell, M.A. * * * * * The Ohio State University 2008 Dissertation Committee: Approved by Professor Steven Conn, Adviser Professor Paula Baker Professor David Steigerwald _____________________ Adviser Professor George Cotkin History Graduate Program Copyright by Jason Powell 2008 ABSTRACT Through the life and works of novelist John Dos Passos this project reexamines the inter-war cultural phenomenon that we call the Lost Generation. The Great War had destroyed traditional models of heroism for twenties intellectuals such as Ernest Hemingway, Edmund Wilson, Malcolm Cowley, E. E. Cummings, Hart Crane, F. Scott Fitzgerald, and John Dos Passos, compelling them to create a new understanding of what I call the “heroic self.” Through a modernist, experience based, epistemology these writers deemed that the relationship between the heroic individual and the world consisted of a dialectical tension between irony and romance. The ironic interpretation, the view that the world is an antagonistic force out to suppress individual vitality, drove these intellectuals to adopt the Freudian conception of heroism as a revolt against social oppression. The Lost Generation rebelled against these pernicious forces which they believed existed in the forms of militarism, patriotism, progressivism, and absolutism. The -
Swing Landscape
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Stuart Davis American, 1892 - 1964 Study for "Swing Landscape" 1937-1938 oil on canvas overall: 55.9 × 73 cm (22 × 28 3/4 in.) framed: 77.8 × 94.6 × 7 cm (30 5/8 × 37 1/4 × 2 3/4 in.) Corcoran Collection (Museum Purchase and exchange through a gift given in memory of Edith Gregor Halpert by the Halpert Foundation and the William A. Clark Fund) 2014.79.15 ENTRY Swing Landscape [fig. 1] was the first of two commissions that Stuart Davis received from the Mural Division of the Federal Art Project (FAP), an agency of the Works Progress Administration (WPA), to make large-scale paintings for specific sites in New York. The other was Mural for Studio B, WNYC, Municipal Broadcasting Company [fig. 2]. [1] The 1930s were a great era of mural painting in the United States, and Davis, along with such artists as Thomas Hart Benton (American, 1889 - 1975), Arshile Gorky (American, born Armenia, c. 1902 - 1948), and Philip Guston (American, born Canada, 1913 - 1980), was an important participant. In the fall of 1936, Burgoyne Diller (American, 1906 - 1965), the head of the Mural Division and a painter in his own right, convinced the New York Housing Authority to commission artists to decorate some basement social rooms in the Williamsburg Houses, a massive, new public housing project in Brooklyn. A dozen artists were chosen to submit work, and, while Davis’s painting was never installed, it turned out to be a watershed in his development. -
Red Press: Radical Print Culture from St
Red Press: Radical Print Culture from St. Petersburg to Chicago Pamphlets Explanatory Power I 6 fDK246.S2 M. Dobrov Chto takoe burzhuaziia? [What is the Bourgeoisie?] Petrograd: Petrogr. Torg. Prom. Soiuz, tip. “Kopeika,” 1917 Samuel N. Harper Political Pamphlets H 39 fDK246.S2 S.K. Neslukhovskii Chto takoe sotsializm? [What is Socialism?] Petrograd: K-vo “Svobodnyi put’”, [n.d.] Samuel N. Harper Political Pamphlets H 10 fDK246.S2 Aleksandra Kollontai Kto takie sotsial-demokraty i chego oni khotiat’? [Who Are the Social Democrats and What Do They Want?] Petrograd: Izdatel’stvo i sklad “Kniga,” 1917 Samuel N. Harper Political Pamphlets I 7 fDK246.S2 Vatin (V. A. Bystrianskii) Chto takoe kommuna? (What is a Commune?) Petrograd: Petrogradskogo Soveta Rabochikh i Krasnoarmeiskikh Deputatov, 1918 Samuel N. Harper Political Pamphlets E 32 fDK246.S2 L. Kin Chto takoe respublika? [What is a Republic?] Petrograd: Revoliutsionnaia biblioteka, 1917 Samuel N. Harper Political Pamphlets E 31 fDK246.S2 G.K. Kryzhitskii Chto takoe federativnaia respublika? (Rossiiskaia federatsiia) [What is a Federal Republic? (The Russian Federation)] Petrograd: Znamenskaia skoropechatnaia, 1917 1 Samuel N. Harper Political Pamphlets E42 fDK246.S2 O.A. Vol’kenshtein (Ol’govich): Federalizm v Rossii [Federalism in Russia] Knigoizdatel’stvo “Luch”, [n.d.] fDK246.S2 E33 I.N. Ignatov Gosudarstvennyi stroi Severo-Amerikanskikh Soedinenykh shtatov: Respublika [The Form of Government of the United States of America: Republic] Moscow: t-vo I. D. Sytina, 1917 fDK246.S2 E34 K. Parchevskii Polozhenie prezidenta v demokraticheskoi respublike [The Position of the President in a Democratic Republic] Petrograd: Rassvet, 1917 fDK246.S2 H35 Prof. V.V. -
Lorne Bair :: Catalog 21
LORNE BAIR :: CATALOG 21 1 Lorne Bair Rare Books, ABAA PART 1: AFRICAN-AMERICAN HISTORY & LITERATURE 2621 Daniel Terrace Winchester, Virginia USA 22601 (540) 665-0855 Email: [email protected] Website: www.lornebair.com TERMS All items are offered subject to prior sale. Unless prior arrangements have been made, payment is expected with order and may be made by check, money order, credit card (Visa, MasterCard, Discover, American Express), or direct transfer of funds (wire transfer or Paypal). Institutions may be billed. Returns will be accepted for any reason within ten days of receipt. ALL ITEMS are guaranteed to be as described. Any restorations, sophistications, or alterations have been noted. Autograph and manuscript material is guaranteed without conditions or restrictions, and may be returned at any time if shown not to be authentic. DOMESTIC SHIPPING is by USPS Priority Mail at the rate of $9.50 for the first item and $3 for each additional item. Overseas shipping will vary depending upon destination and weight; quotations can be supplied. Alternative carriers may be arranged. WE ARE MEMBERS of the ABAA (Antiquarian Bookseller’s Association of America) and ILAB (International League of Antiquarian Book- sellers) and adhere to those organizations’ standards of professionalism and ethics. PART ONE African American History & Literature ITEMS 1-54 PART TWO Radical, Social, & Proletarian Literature ITEMS 55-92 PART THREE Graphics, Posters & Original Art ITEMS 93-150 PART FOUR Social Movements & Radical History ITEMS 151-194 2 PART 1: AFRICAN-AMERICAN HISTORY & LITERATURE 1. CUNARD, Nancy (ed.) Negro Anthology Made by Nancy Cunard 1931-1933. London: Nancy Cunard at Wishart & Co., 1934. -
From Berlin All Mall and Make Checks to STARTED French-Spanish DEFENSE HERE Allied Invaders HELP of His I
Page Four THE DAILY WORKER liEDanywonKß Franco-Spanish Chiefs FOREIGN-CORN Demand Rifling Give MILL STRIKERS Published by'the DAILY WORKER PUBLISHING CO. Up Captives to Allies A Washington Banner 1113 W. Blvd., Chicago, 111. Phone Monroe 4713 j (Special to The Daily Worker) SUBSCRIPTION RATES . GRATEFUL FOR By (In COUNCIL mall Chicago only): By GETS TAOURIRT, Morocco, April mall (outside of Chloago): 20.—Si 13.00 per year • $4.60 six months 16.00 per year $3.60 six months Mohammed Azekans, head of the Rif- 12.60 three months 12.00 three months flan peace delegation, has issued a public statement declaring that the Address out From Berlin all mall and make checks to STARTED French-Spanish DEFENSE HERE allied invaders HELP of his I. THE DAILY WORKER, 1113 W. Washington Blvd., Chicago, Illinois country included in their terms for the declaration J. LOUIS ENGDAHL [ of an armistice two THE SECOND CITY manors Will Send Delegates to conditions which the delegation be- United Front Committee TO LEADING ; £ WILLIAM F. DUNNE f lieve will MORITZ J. LOEB Business Manager ' not be accepted by Abd-el Washington Krim. These are that all Spanish and Thanks I. L. D. Entered as second-class mall September 21, 1923, at the post-office at Chi- French prisoners held by the Riffians 111., cago, under the act of March 3, 1879. The Chicago Council for the Protec- shall immediately and unconditionally In a telegram just received by tion of Foreign Born, representing 390 Advertising rates on application. be released and that the Spaniards James P. -
CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=
Arch, :'>f^- *."r7| M'i'^ •'^^ .'it'/^''^.:^*" ^' ;'.'>•'- c^. CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1969 University of Illinois at Urbana-Champaign jS'i----».--:r'f--= 'ik':J^^^^ Contemporary American Painting and Sculpture 1969 Contemporary American Painting and Sculpture DAVID DODD5 HENRY President of the University JACK W. PELTASON Chancellor of the University of Illinois, Urbano-Champaign ALLEN S. WELLER Dean of the College of Fine and Applied Arts Director of Krannert Art Museum JURY OF SELECTION Allen S. Weller, Chairman Frank E. Gunter James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Christlson, Associate Director Lois S. Frazee, Registrar Marie M. Cenkner, Graduate Assistant Kenneth C. Garber, Graduate Assistant Deborah A. Jones, Graduate Assistant Suzanne S. Stromberg, Graduate Assistant James O. Sowers, Preparator James L. Ducey, Assistant Preparator Mary B. DeLong, Secretary Tamasine L. Wiley, Secretary Catalogue and cover design: Raymond Perlman © 1969 by tha Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 Cloth: 252 00000 5 Paper: 252 00001 3 Acknowledgments h.r\ ^. f -r^Xo The College of Fine and Applied Arts and Esther-Robles Gallery, Los Angeles, Royal Marks Gallery, New York, New York California the Krannert Art Museum are grateful to Marlborough-Gerson Gallery, Inc., New those who have lent paintings and sculp- Fairweother Hardin Gallery, Chicago, York, New York ture to this exhibition and acknowledge Illinois Dr. Thomas A. Mathews, Washington, the of the artists, Richard Gallery, Illinois cooperation following Feigen Chicago, D.C. collectors, museums, and galleries: Richard Feigen Gallery, New York, Midtown Galleries, New York, New York New York ACA Golleries, New York, New York Mr. -
Hungarian Studies Review, 29, 1-2 (1992): 7-27
A Communist Newspaper for Hungarian-Americans: The Strange World of the Uj Elore Thomas L. Sakmyster On November 6, 1921 the first issue of a newspaper called the Uj Elore (New Forward) appeared in New York City.1 This paper, which was published by the Hungarian Language Federation of the American Communist Party (then known as the Workers Party), was to appear daily until its demise in 1937. With a circulation ranging between 6,000 and 10,000, the Uj Elore was the third largest newspaper serving the Hungarian-American community.2 Furthermore, the Uj Elore was, as its editors often boasted, the only daily Hungarian Communist newspaper in the world. Copies of the paper were regularly sent to Hungarian subscri- bers in Paris, Berlin, Vienna, Moscow, Buenos Aires, and, on occasion, even smuggled into Budapest. The editors and journalists who produced the Uj Elore were a band of fervent ideologues who presented and inter- preted news in a highly partisan and utterly dogmatic manner. Indeed, this publication was quite unlike most American newspapers of the time, which, though often oriented toward a particular ideology or political party, by and large attempted to maintain some level of objectivity. The main purpose of Uj Elore, as later recalled by one of its editors, was "not the dissemination of news but agitation and propaganda."3 The world as depicted by writers for the Uj Elore was a strange and distorted one, filled with often unintended ironies and paradoxes. Readers of the newspaper were provided, in issue after issue, with sensational and repetitive stories about the horrors of capitalism and fascism (especially in Hungary and the United States), the constant threat of political terror and oppression in all countries of the world except the Soviet Union, and the misery and suffering of Hungarian-American workers. -
House Un-American Activities Committee (HUAC)
Cold War PS MB 10/27/03 8:28 PM Page 146 House Un-American Activities Committee (HUAC) Excerpt from “One Hundred Things You Should Know About Communism in the U.S.A.” Reprinted from Thirty Years of Treason: Excerpts From Hearings Before the House Committee on Un-American Activities, 1938–1968, published in 1971 “[Question:] Why ne Hundred Things You Should Know About Commu- shouldn’t I turn “O nism in the U.S.A.” was the first in a series of pam- Communist? [Answer:] phlets put out by the House Un-American Activities Commit- You know what the United tee (HUAC) to educate the American public about communism in the United States. In May 1938, U.S. represen- States is like today. If you tative Martin Dies (1900–1972) of Texas managed to get his fa- want it exactly the vorite House committee, HUAC, funded. It had been inactive opposite, you should turn since 1930. The HUAC was charged with investigation of sub- Communist. But before versive activities that posed a threat to the U.S. government. you do, remember you will lose your independence, With the HUAC revived, Dies claimed to have gath- ered knowledge that communists were in labor unions, gov- your property, and your ernment agencies, and African American groups. Without freedom of mind. You will ever knowing why they were charged, many individuals lost gain only a risky their jobs. In 1940, Congress passed the Alien Registration membership in a Act, known as the Smith Act. The act made it illegal for an conspiracy which is individual to be a member of any organization that support- ruthless, godless, and ed a violent overthrow of the U.S. -
The Art Digest 1945-10-15: Vol 20 Iss 2
THE offs (=S5 am Sentimental Awarded Moment First Prize ’ by Philip Guston - of $1,000 at | " (Oil on Canvas, 1945 Carnegie : 1943) American Show i See Article on Page §& THE NEWS MAGAZINE OF ART eS ae ee WILDENSTEIN and co... MAU SEUM INC. | OF NON-OBJECTIVE PAINTING 24 EAST 54TH STREET NEW YORK CITY EXHIBITION OF CAMILLE PISSARRO HIS PLACE IN ART ror the Beet of MATTERN THE GODDARD NEIGHBORHOOD CENTER | Ky E AY SS 2 tf £ tt October 24 to November 24 19 East 64th Street, New York City Paris London | SOLOMON R. GUGGENHEIM FOUNDATION OPEN SUNDAYS 12-6 DAILY EXCEPT MONDAYS 10-6 WO ENTRANCE FEE DUVEEN BROTHERS, Inc. MASTERPIECES — OF PAINTING SCULPTURE PORCELAIN FURNITURE TAPESTRIES GOTHIC - RENAISSANCE EIGHTEENTH CENTURY New York - 720 Fifth Avenue the Salmagundi Club at which prizes are awarded those who PEYTON BOSWELL make the best record during American Art Week. I have attended several of these dinners, and have always come away Comments: with the feeling there should be prizes for everyone who has contributed time and thought to this worthy cause. This department expresses the personal opinion of Peyton Boswell, Jr., writing as an individual. Philadelphia’s Record Any reader is invited to take issue with what Oo" OF OUR MOST HUMAN TRAITS, perhaps sired of mental he says. Controversy revitalizes the spirit of art. laziness, is the tendency to judge groups by individuals. For example, because a certain museum finds it more con- Television in Color venient to dwell in the past, some of us fall into the habit i ans New York TiMEs on the morning of October 11 of using the words museum and mausoleum interchange- termed it a radio “miracle.” It did so advisedly, for the ably.