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® IFAR JOURNAL VOLUME 13 NO. 4 2012/2013 JOURNAL IFAR InternatIONAL FOUNDATION FOR ART RESEARCH 4 2012/2013 R MBE U 13 N ME U MART VOL T HE INTERNATIONAL FOUNDATION FOR ART RESEARCH (IFAR), I established in 1969, is a 501 (c)(3) not-for-profit educational and research organization N KEMP ON LEONAR dedicated to integrity in the visual arts. IFAR offers impartial and authoritative information on authenticity, ownership, theft, and other artistic, legal, and ethical issues concerning art objects. IFAR serves as a bridge between the public and the scholarly and commercial art communities. We publish the quarterly IFAR Journal, organize public programs and conferences, offer an D Art Authentication Research Service, provide a forum for discussion and serve as an information O I resource. We invite you to join our organization and help support our activities. MPRESS I ON I ST ST F IN TH S ISSUE RAMES DOIN SAUR FOSSILS AS CULTURAL HERITAGE D I nosa MARTIN KEMP ON LEONARDO DA VINCI U R Foss IMPRESSIONIST FRAMES — CONTINUING A DIALOGUE I LS CAMBODIA’S REPATRIATION CAMPAIGN CAMBO TWO STOLEN MATIsses RECOVERED DI A ® INCORPORATING STOLEN ART ALERT 2 N E W S & UP D ATES 2 Florida Paleontologist Makes No Bones; Pleads Guilty to Smuggling Dinosaur Fossils 6 A Tale of Two Stolen Matisses 9 Myth of Fingerprints? Some of Forensic Scientist’s Defamation Claims Against e New Yorker Survive Dismissal 13 IN BRIEF 13 Changes to New York Arts and Cultural Aairs Law 13 Marchig “Leonardo” Case Ends; Scholarly Debate Goes On 14 AAMD Toughens Antiquities Guidelines -
The Hopperville Express
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1989 Volume V: America as Myth The HopperVille Express Curriculum Unit 89.05.01 by Casey Cassidy This curriculum unit is designed to utilize Edward Hopper’s realistic 20th century paintings as a “vehicle” to transport middle school children from the hills and seasides of New England, through the metropolis of New York City, and across the plains of the western United States. As our unit continues along its journey, it will cross a timeline of approximately forty years which will serve to highlight technological improvements in transportation, changes in period attire, and various architectural styles. We will experience a sense of nostalgia as we view a growing spirit of nationalistic pride as we watch America grow, change, and move forward through the eyes of Edward Hopper. The strategies in this unit will encourage the youngsters to use various skills for learning. Each student will have the opportunity to read, to critically examine slides and lithographs of selected Hopper creations, to fully participate in teacherled discussions of these works of art, and to participate first hand as a commercial artist—i.e. they will be afforded an opportunity to go out into their community, traveling on foot or by car (as Edward Hopper did on countless occasions), to photograph or to sketch buildings, scenes, or structures similar to commonplace areas that Hopper painted himself. In this way, we hope to create a sense of the challenge facing every artist as they themselves seek to create their own masterpieces. Hopper was able “to portray the commonplace and make the ordinary poetic.”1 We hope our students will be able to understand these skills and to become familiar with the decisions, the inconveniences, and the obstacles of every artist as they ply their trade. -
A Mechanism of American Museum-Building Philanthropy
A MECHANISM OF AMERICAN MUSEUM-BUILDING PHILANTHROPY, 1925-1970 Brittany L. Miller Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Departments of History and Philanthropic Studies, Indiana University August 2010 Accepted by the Faculty of Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. ____________________________________ Elizabeth Brand Monroe, Ph.D., J.D., Chair ____________________________________ Dwight F. Burlingame, Ph.D. Master’s Thesis Committee ____________________________________ Philip V. Scarpino, Ph.D. ii ACKNOWLEDGEMENTS In the same way that the philanthropists discussed in my paper depended upon a community of experienced agents to help them create their museums, I would not have been able to produce this work without the assistance of many individuals and institutions. First, I would like to express my thanks to my thesis committee: Dr. Elizabeth Monroe (chair), Dr. Dwight Burlingame, and Dr. Philip Scarpino. After writing and editing for months, I no longer have the necessary words to describe my appreciation for their support and flexibility, which has been vital to the success of this project. To Historic Deerfield, Inc. of Deerfield, Massachusetts, and its Summer Fellowship Program in Early American History and Material Culture, under the direction of Joshua Lane. My Summer Fellowship during 2007 encapsulated many of my early encounters with the institutional histories and sources necessary to produce this thesis. I am grateful to the staff of Historic Deerfield and the thirty other museums included during the fellowship trips for their willingness to discuss their institutional histories and philanthropic challenges. -
Edward Hopper, Landscape, and Literature
Edward Hopper, Landscape, and Literature Gail LEVIN The art of Edward Hopper, the American realist painter, contains many clues that allow us to trace his interest in literature, which in turn helps to characterize his particular brand of realism. 1) Signs of Hopper’s engagement with literature emerge already in his boyhood. Born in 1882, Hopper grew up in Nyack, New York, a town on the Hudson River, some forty miles north of New York City, where he went to attend art school and lived as an adult, until his death in 1967, shortly before his eighty-fifth birthday. Among the early indications that literature affected Hopper is a plaque that he designed for a Boys’ Yacht Club, which he formed together with three pals. Hopper designed this plaque with the names of the members’ boats. While the other boys chose female names that were upbeat and innocuous, Edward’s choice, Water Witch (Fig. 1), telegraphs an effect of reading on his imagination. He took the name for his boat from The Water- Witch, James Fenimore Cooper’s 1830 novel that tells how the “exploits, mysterious character, and daring of the Water-Witch, and of him who sailed her, were in that day, the frequent subjects of anger, admiration and surprise.... ” 2) His boyhood interest led Hopper to build not only a sailboat but a canoe. Later he would remark, “I thought at one time I’d like to be a naval architect because I am interested in boats, but I got to be a Fig. 1: Edward Hopper, Water Witch on painter instead.” 3) His interest in nautical life sign, Private Collection. -
With His Art and Legacies Edward Hopper
Güzel Sanatlar Fakültesi Dergisi, 2020, Cilt 2, Sayı 2, 173-184 WITH HIS ART AND LEGACIES EDWARD HOPPER Ufuk ÇETİN1 Abstract The works of Edward Hopper, one of the most important artists of America in the 20th century, are universal. Its impressive content is emotionally explained to the lives at the contemporary audience. He illustrates moments and more significantly, characters nearly every viewer can instantly know. There is no ambiguity inside Hopper’s works in a visual cultural way. He impacted lots of artists, photographers, filmmakers, set designers, dancers, writers, and his effect has touched many artists like Rothko, Segal and Oursler, who work with different mediums. He is an interesting artist in the way of impressing nearly all photographers from Arbus to Eggleston. Including Mendes, Lynch and Welles, generations have been inspired from Hopper’s dramatic viewpoints, lighting, and moods. His painting, “Residence by the Railroad” (1925) stimulated Alfred Hitchcock’s house in Psycho (1960) as well as that in Terrence Malick’s Days of Heaven (1978). This article introduces the artist with some examples of his personality and samples from his works. Hopper’s paintings are attractive to some writers and musicians. For instance, Tom Waits made an album known as “Nighthawks on the Diner”. Also, Madonna selected a name for a live performance tour after Hooper’s “Girlie Display”. Keywords: Painting, Edward Hopper, American art, landscape painting, visual culture. 1 Öğr. Gör. Dr. Tekirdağ Namık Kemal Üniversitesi, Çorlu Mühendislik Fakültesi, Bilgisayar Mühendisliği Bölümü, [email protected], https://orcid.org/0000-0001-5102-8183 174 Ufuk ÇETİN Sanatı ve Efsaneleriyle Edward Hopper Özet Amerika’nın 20. -
THE U.S. STATE, the PRIVATE SECTOR and MODERN ART in SOUTH AMERICA 1940-1943 By
THE U.S. STATE, THE PRIVATE SECTOR AND MODERN ART IN SOUTH AMERICA 1940-1943 by Olga Ulloa-Herrera A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy Cultural Studies Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2014 George Mason University Fairfax, VA The U.S. State, the Private Sector and Modern Art in South America 1940-1943 A Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at George Mason University by Olga Ulloa-Herrera Master of Arts Louisiana State University, 1989 Director: Michele Greet, Associate Professor Cultural Studies Spring Semester 2014 George Mason University Fairfax, VA Copyright 2014 Olga Ulloa-Herrera All Rights Reserved ii DEDICATION This is dedicated to Carlos Herrera, Carlos A. Herrera, Roberto J. Herrera, and Max Herrera with love and thanks for making life such an exhilarating adventure; and to María de los Angeles Torres with gratitude and appreciation. iii ACKNOWLEDGEMENTS I would like to express the deepest appreciation to my committee chair Dr. Michele Greet and to my committee members Dr. Paul Smith and Dr. Ellen Wiley Todd whose help, support, and encouragement made this project possible. I have greatly benefited from their guidance as a student and as a researcher. I also would like to acknowledge Dr. Roger Lancaster, director of the Cultural Studies Program at George Mason University and Michelle Carr for their assistance throughout the years. -
Edward Hopper's Adaptation of the American Sublime
Rhetoric and Redress: Edward Hopper‘s Adaptation of the American Sublime A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Fine Arts Rachael M. Crouch August 2007 This thesis titled Rhetoric and Redress: Edward Hopper’s Adaptation of the American Sublime by RACHAEL M. CROUCH has been approved for the School of Art and the College of Fine Arts by Jeannette Klein Assistant Professor of Art History Charles A. McWeeny Dean, College of Fine Arts Abstract CROUCH, RACHAEL M., M.F.A., August 2007, Art History Rhetoric and Redress: Hopper’s Adaptation of the American Sublime (80 pp.) Director of Thesis: Jeannette Klein The primary objective of this thesis is to introduce a new form of visual rhetoric called the “urban sublime.” The author identifies certain elements in the work of Edward Hopper that suggest a connection to earlier American landscape paintings, the pictorial conventions of which locate them within the discursive formation of the American Sublime. Further, the widespread and persistent recognition of Hopper’s images as unmistakably American, links them to the earlier landscapes on the basis of national identity construction. The thesis is comprised of four parts: First, the definitional and methodological assumptions of visual rhetoric will be addressed; part two includes an extensive discussion of the sublime and its discursive appropriation. Part three focuses on the American Sublime and its formative role in the construction of -
Rise of Modernism
AP History of Art Unit Ten: RISE OF MODERNISM Prepared by: D. Darracott Plano West Senior High School 1 Unit TEN: Rise of Modernism STUDENT NOTES IMPRESSIONISM Edouard Manet. Luncheon on the Grass, 1863, oil on canvas Edouard Manet shocking display of Realism rejection of academic principles development of the avant garde at the Salon des Refuses inclusion of a still life a “vulgar” nude for the bourgeois public Edouard Manet. Olympia, 1863, oil on canvas Victorine Meurent Manet’s ties to tradition attributes of a prostitute Emile Zola a servant with flowers strong, emphatic outlines Manet’s use of black Edouard Manet. Bar at the Folies Bergere, 1882, oil on canvas a barmaid named Suzon Gaston Latouche Folies Bergere love of illusion and reflections champagne and beer Gustave Caillebotte. A Rainy Day, 1877, oil on canvas Gustave Caillebotte great avenues of a modern Paris 2 Unit TEN: Rise of Modernism STUDENT NOTES informal and asymmetrical composition with cropped figures Edgar Degas. The Bellelli Family, 1858-60, oil on canvas Edgar Degas admiration for Ingres cold, austere atmosphere beheaded dog vertical line as a physical and psychological division Edgar Degas. Rehearsal in the Foyer of the Opera, 1872, oil on canvas Degas’ fascination with the ballet use of empty (negative) space informal poses along diagonal lines influence of Japanese woodblock prints strong verticals of the architecture and the dancing master chair in the foreground Edgar Degas. The Morning Bath, c. 1883, pastel on paper advantages of pastels voyeurism Mary Cassatt. The Bath, c. 1892, oil on canvas Mary Cassatt mother and child in flattened space genre scene lacking sentimentality 3 Unit TEN: Rise of Modernism STUDENT NOTES Claude Monet. -
Nighthawks - Wikipedia, the Free Encyclopedia 10/10/15 15:20
Nighthawks - Wikipedia, the free encyclopedia 10/10/15 15:20 Nighthawks From Wikipedia, the free encyclopedia This article is about the painting by Edward Hopper. For other uses, see Nighthawks (disambiguation). Nighthawks is a 1942 oil on canvas Nighthawks painting by Edward Hopper that portrays people in a downtown diner late at night. It is Hopper's most famous work[1] and is one of the most recognizable paintings in American art.[2][3] Within months of its completion, it was sold to the Art Institute of Chicago for $3,000[4] and has remained there ever since. Contents Artist Edward Hopper Year 1942 1 About the painting Type Oil on canvas 1.1 Josephine Hopper's Dimensions 84.1 cm ! 152.4 cm ( 1 in ! 60 in) notes on the painting 33 ⁄8 2 Ownership history 3 Searching for the location of Location Art Institute of Chicago, Chicago, Illinois the restaurant 4 In popular culture 4.1 Painting and sculpture 4.2 Literature 4.3 Film 4.4 Music 4.5 Television 4.6 Scale model 4.7 Parodies 5 References 6 External links About the painting Josephine Hopper's notes on the painting Starting shortly after their marriage in 1924, Edward Hopper and his wife Josephine (Jo) kept a journal in which he would, using a pencil, make a sketch-drawing of each of his paintings, along with a precise description of certain technical details. Jo Hopper would then add additional information about the theme of the painting. A review of the page on which Nighthawks is entered shows (in Edward Hopper's handwriting) that the https://en.wikipedia.org/wiki/Nighthawks Página 1 de 8 Nighthawks - Wikipedia, the free encyclopedia 10/10/15 15:20 intended name of the work was actually Night Hawks and that the painting was completed on January 21, 1942. -
History and Genealogy of Samuel Clark, Sr., and His
ALLEN COUNTY PUBLIC LIBRARY Gc 929.2 833 01733 8671 C556c REYNOLDS HISTORICAL 1151116 GENEALOGY COLLECTION : T H I S T O R T GENEALOGYT OF SAMUEL CLARK, Sr.. AND HIS DESCENDANTS FROM 1636-1891 — 255 YEARS. BY REV. EDGAR W. CLARK, A. M., IP^I^JL, ILL. ' My boast is not, that I deduce mj- birth From loins enthroned, and rulers of the earth; But higher far my proud pretensions rise — The son of parents passed into the skies." — Cowper. ST. LOUIS, MO. NIXO>f-JONES PRINTING CO. July, li59l. COAX OK ARIVLS." Arm's of Clarks, Buckland's Toussaint, County Devon, England. "Arms, Erm., a lion rampant Az., or. chief sa., or leopard's face arg. — between two cross-crosslets or — CREST, a demi lion gu. collard or, on the shoulder an etoille, in the paw a baton sa. — Motto : " VICTOR MORTALIS EST." 1151116 — PREFACE. The author is well aware that this little volume can con- tain but a small part of the very numerous descendants of Samuel Clark. Some of the branches of the family he has not been able to discover and trace, but he trusts the fami- lies given will lead to a further knowledge of those fully as important but not known to him. He hereby solicits anv information and corrections any one may be able to give, and if sufficient to warrant it, he will publish a new edition or an addenda. This has been a gradual gathering of more than twenty years, and a work of love. To confirm and gather the his- torical parts, he has spent some days in the Astor Library, New Yoik City, the Historical Library, Newark, N. -
Roaring Into the Future: New York 1925-35 FINAL Installation Checklist
Roaring into the Future: New York 1925-35 FINAL Installation checklist Introduction During the 10 years that took America from effervescent heights to the invented new forms to suit a modern American lifestyle. Although depths of economic devastation, New York State transformed the nation. this period is often called Art Deco today, the term was not Roaring into the Future: New York 1925-35 is a pioneering exploration adopted until 1968.New York State’s artists, architects, and that celebrates the Empire State as the driving force behind the creation designers played a pivotal role in making the State the epicenter of 20th-century modernism. From Buffalo to Brooklyn, artists, designers, of modernism. Modernism, often called Modernistic, in New York and manufacturers generated avant-garde art, fashion, technology, was not one style but rather it was an expression of a vital decorative arts, and music that resulted in the century’s most important youthful spirit that embraced the new. Modernism appeared in artistic revolution. elegant Art Moderne designs based on classical historical precedents, faceted skyscrapers and objects influenced by When France invited the United States to send their new and original Cubism, brawny Machine Age wares using the vocabulary of designs to the Exposition Internationale des Arts Décortifs et Industriels machine parts, and sleek Streamlined products reflecting Modernes, the World’s Fair held in Paris in 1925, Secretary of Commerce aerodynamic principles of speed. Across the State, New Yorkers Herbert Hoover declined because he could not find any modern designed, manufactured, and distributed new, nationally American goods. However, the Fair proved to be a tremendous catalyst influential works, often made with innovative materials, that for modern design in the United States via those Americans who visited reflected the seismic post-World War I shifts in social customs, the Exposition or saw its highlights, mainly French, in an exhibition that women’s rights, race relations, and technological discoveries. -
The Mind in Motion: Hopper's Women Through Sartre's Existential Freedom
Intercultural Communication Studies XXIV(1) 2015 WANG The Mind in Motion: Hopper’s Women through Sartre’s Existential Freedom Zhenping WANG University of Louisville, USA Abstract: This is a study of the cross-cultural influence of Jean-Paul Sartre on American painter Edward Hopper through an analysis of his women in solitude in his oil paintings, particularly the analysis of the mind in motion of these figures. Jean-Paul Sartre was a twentieth century French existentialist philosopher whose theory of existential freedom is regarded as a positive thought that provides human beings infinite possibilities to hope and to create. His philosophy to search for inner freedom of an individual was delivered to the US mainly through his three lecture visits to New York and other major cities and the translation by Hazel E. Barnes of his Being and Nothingness. Hopper is one of the finest painters of the twentieth-century America. He is a native New Yorker and an artist who is searching for himself through his painting. Hopper’s women figures are usually seated, standing, leaning forward toward the window, and all are looking deep out the window and deep into the sunlight. These women are in their introspection and solitude. These figures are usually posited alone, but they are not depicted as lonely. Being in outward solitude, they are allowed to enjoy the inward freedom to desire, to imagine, and to act. The dreaming, imagining, expecting are indications of women’s desires, which display their interior possibility or individual agency. This paper is an attempt to apply Sartre’s philosophy to see that these women’s individual agency determines their own identity, indicating the mind in motion.