Kansas Notable Books 2017-2006 (By Title)
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John Steuart Curry and the Kansas Mural Controversy and Grant Wood: a Study in American Art and Culture
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for 1988 Review of Rethinking Regionalism: John Steuart Curry and the Kansas Mural Controversy and Grant Wood: A Study in American Art and Culture. Richard W. Etulain University of New Mexico Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Etulain, Richard W., "Review of Rethinking Regionalism: John Steuart Curry and the Kansas Mural Controversy and Grant Wood: A Study in American Art and Culture." (1988). Great Plains Quarterly. 360. https://digitalcommons.unl.edu/greatplainsquarterly/360 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 234 GREAT PLAINS QUARTERLY, FALL 1988 statehouse in Topeka. Emphasizing the details of Curry's life and how they interlocked with national, historical, and political happenings between 1937 and 1942, Kendall focuses par ticularly on the ideological and cultural atti tudes that embroiled Curry, newspaper editors, and thousands of Kansans in the mural contro versy. Most of this smoothly written and adequately illustrated study centers on the cultural back grounds of the Coronado and John Brown panels in the Kansas murals, with less analysis of other sections and details. Placing her art history at the vortex of popular culture, the author pro vides revealing insights into the varied milieus of the 1930s, Curry's intellectual backgrounds, and Kansas history and experience that caused the debate. -
Curry, John Steuart American, 1897 - 1946
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Curry, John Steuart American, 1897 - 1946 Peter A. Juley & Son, John Steuart Curry Seated in Front of "State Fair," Westport, Connecticut, 1928, photograph, Peter A. Juley & Son Collection, Smithsonian American Art Museum BIOGRAPHY John Steuart Curry was one of the three major practitioners of American regionalist painting, along with Thomas Hart Benton (American, 1889 - 1975) and Grant Wood (American, 1891 - 1942). Curry was born on a farm near Dunavant, Kansas, on November 14, 1897. His parents had traveled to Europe on their honeymoon, and his mother, Margaret, returned with prints of European masterworks that hung on the walls of the family home. She enrolled her son in art lessons at a young age, and his family supported his decision to drop out of high school in 1916 to study art. Curry worked for the Missouri Pacific Railroad and attended the Kansas City Art Institute for a month before moving to Chicago, where he studied at the Art Institute for two years. In 1918 he enrolled at Geneva College in Beaver Falls, Pennsylvania. Curry decided to pursue commercial illustration, and in 1919 he began to study with illustrator Harvey Dunn in Tenafly, New Jersey. From 1921 to 1926, Curry’s illustrations appeared in publications such as the Saturday Evening Post and Boy’s Life. In 1923, while living in New York City, he married Clara Derrick; shortly thereafter he bought a studio at Otter Ponds near the art colony in Westport, Connecticut. In 1926 Curry stopped producing illustrations and left for Paris, where he took classes in drawing with the Russian teacher Vasili Shukhaev and studied old master paintings at the Louvre. -
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. -
MISSOURI ART,ARTISTS, and ARTIFACTS
MISSOURI ART,ARTISTS, And ARTIFACTS A Fourth Grade Social Studies Curricular Tour A Docent Guide to Selected Works from The Museum of Art and Archaeology University of Missouri-Columbia *Not all images are on display in the Museum* 2 Museum of Art and Archaeology University of Missouri-Columbia 1 Pickard Hall Columbia, MO 65211 Phone: 573-882-3591 Fax: 573-884-4039 Website http:/maa.missouri.edu/ Museum Hours Tuesday – Friday: 9 a.m. – 4 p.m. Saturday – Sunday: Noon – 4 p.m. Closed Mondays, University of Missouri-Columbia Holidays, and Christmas Day through New Year’s Day Admission is FREE and open to the public. The Museum is ADA accessible. The Museum is a member of AAM – American Association of Museums. 3 MISSOURI ART, ARTISTS, & ARTIFACTS A Fourth Grade Social Studies Curricular Tour Works from the Museum’s permanent collection along with items and works from relevant exhibitions have been organized into a resource book for a Docent tour focusing on Missouri Grade-Level Expectations for Fourth Grade Social Studies. What’s included in this guide? This guide includes images of the relevant art works for this tour. Teaching information includes detailed descriptions of the objects, background about their historical context, and discussions of their iconography (symbolic importance), as well as questions designed to encourage students to look more closely at the work of art and to share their responses. Tour Overview Students step back in time when they walk through the doors of the Museum of Art and Archaeology to take part in the Fourth Grade Curricular Tour. -
Review of John Steuart Curry and Grant Wood: a Portrait of Rural America by Joseph S
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Winter 1985 Review of John Steuart Curry and Grant Wood: A Portrait of Rural America By Joseph S. Czestochowski Robert Spence University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Spence, Robert, "Review of John Steuart Curry and Grant Wood: A Portrait of Rural America By Joseph S. Czestochowski" (1985). Great Plains Quarterly. 1821. https://digitalcommons.unl.edu/greatplainsquarterly/1821 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 70 GREAT PLAINS QUARTERLY, WINTER 1985 John Steuart Curry and Grant Wood: A Portrait tive" (p. 12). But a three-legged stool stands of Rural America. By Joseph S. Czestochow uncertainly on two legs, and Mr. Czestochowski ski. Columbia: University of Missouri Press, is impelled to lay in some underpinning by 1981. Photographs, illustrations, notes, bib citing Benton continuously and by including as liography, index. 224 pp. $32.00. an Afterword (pp. 213-17) his autobiographical reflections "On Regionalism." This catalogue was assembled to coincide with Other underpinning, in the consolidation of an exhibition of "the best works" (p. 5) of two the text portion of the volume, is comprised of our most famous American scene painters, of a perceptive analysis by Sue Kendall (pp. -
AMERICAN PAINTING 1910-1940 Frye Art Museum
INTRODUCTION TO ART HISTORY: AMERICAN PAINTING 1910-1940 Frye Art Museum Instructor: Rebecca Albiani DATES: July 28-31, 2009, 10:15 am-12:45 pm PREREQUISITES: None NUMBER OF CREDITS OR CEU’s: One credit or 10 clock hours COURSE DESCRIPTION: An introductory class designed to introduce the major trends in American painting from about 1910 to 1940. This course will discuss the impact of European modernism on the American art scene in the early years of the 20th century and the efforts made by many artists in the U.S. to be both “American” and “modern.” Furthermore, we will examine the impact of major social forces – the Great War, increasing urbanization and industry, the Jazz Age, the Great Depression – on art- making in America. COURSE OBJECTIVES: The participant will acquire a vocabulary for discussing early 20th century painting. The participant will gain a basic familiarity with a number of artistic movements including the Ashcan School, Cubism, Futurism, Precisionism, Regionalism, and Social Realism. With a heightened understanding of the social forces that shaped this art, the participant will be well positioned to use this fall’s “American Modernism” exhibition at the Frye Art Museum as a tool in his or her own teaching. STUDENT EXPECTATIONS: 1. Attend all sessions 2. Participate in discussions as appropriate 3. For credit, research one artistic development and present this research in written form INSTRUCTOR: Rebecca Albiani, formerly a Ph.D. candidate in Renaissance art history, received her M.A. from Stanford University and her B.A. from U.C. Berkeley. She has taught aesthetics and introductory art history courses covering from ancient Egypt to the 20th century. -
“BY POPULAR DEMAND”: the HERO in AMERICAN ART, C. 1929-1945
“BY POPULAR DEMAND”: THE HERO IN AMERICAN ART, c. 1929-1945 By ©2011 LARA SUSAN KUYKENDALL Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Charles C. Eldredge, Ph.D. ________________________________ David Cateforis, Ph.D. ________________________________ Marni Kessler, Ph.D. ________________________________ Chuck Berg, Ph.D. ________________________________ Cheryl Lester, Ph.D. Date Defended: April 11, 2011 The Dissertation Committee for LARA SUSAN KUYKENDALL certifies that this is the approved version of the following dissertation: “BY POPULAR DEMAND”: THE HERO IN AMERICAN ART, c. 1929-1945 ________________________________ Chairperson Charles C. Eldredge, Ph.D. Date approved: April 11, 2011 ii Abstract During the 1930s and 1940s, as the United States weathered the Great Depression, World War II, and dramatic social changes, heroes were sought out and created as part of an ever-changing national culture. American artists responded to the widespread desire for heroic imagery by creating icons of leadership and fortitude. Heroes took the form of political leaders, unionized workers, farmers, folk icons, historical characters, mothers, and women workers. The ideas they manifest are as varied as the styles and motivations of the artists who developed them. This dissertation contextualizes works by such artists as Florine Stettheimer, Philip Evergood, John Steuart Curry, Palmer Hayden, Dorothea Lange, Norman Rockwell, and Aaron Douglas, delving into the realms of politics, labor, gender, and race. The images considered fulfilled national (and often personal) needs for pride, confidence, and hope during these tumultuous decades, and this project is the first to consider the hero in American art as a sustained modernist visual trope. -
View the Presentation
Annelise K. Madsen | Art Institute of Chicago | 29 Oct 2016 “Something of color and imagination”: Grant Wood, Storytelling, and the Past’s Appeal in Depression-Era America Grant Wood, Parson Weems’ Fable, 1939, oil on canvas. Amon Carter Museum of American Art. 2 New York Times, January 3, 1940, p. 18. 3 Grant Wood, Parson Weems’ Fable, 1939, oil on canvas. Amon Carter Museum of American Art. 4 Gilbert Stuart, George Washington (The Athenaeum Portrait), 1796, oil on canvas. National Portrait Gallery, Smithsonian Institution; owned jointly with Museum of Fine Arts, Boston. 5 Grant Wood, Parson Weems’ Fable, 1939, oil on canvas. Amon Carter Museum of American Art. Grant Wood with Parson Weems’ Fable on easel, 1939. Figge Art Museum Grant Wood Digital 6 Collection, scrapbook 8, University of Iowa Libraries. John Steuart Curry, The Oklahoma Land Rush, April 22, 1889, 1938. Department of Interior Building, Washington, D.C. Charles Goodwin, Fragment of Shaker Hall Rug, c. 1937, watercolor, graphite, and pen and ink. 7 National Gallery of Art, Washington, D.C., Index of American Design. Grant Wood, Daughters of Revolution, 1932, oil on Masonite. Cincinnati Art Museum. 8 Grant Wood, Daughters of Revolution, 1932, oil on Masonite. Cincinnati Art Museum. Grant Wood (designer); Emil Frei Art Glass Company, Munich, Germany (fabricator), Memorial 9 Window, 1928–29, stained glass. Veterans Memorial Building, Cedar Rapids, Iowa. Emanuel Leutze, Washington Crossing the Delaware, 1851, oil on canvas. Metropolitan Museum of Art. 10 Grant Wood, Daughters of Revolution, 1932, oil on Masonite. Cincinnati Art Museum. Grant Wood, Daughters of Revolution, 1932, oil on Masonite. -
Beach Museum of Art Exhibition Explores John Steuart Curry's Fascination with the American West
9/17/2019 Beach Museum of Art exhibition explores John Steuart Curry's fascination with the American West K-State home » DCM » K-State News » News » Beach Museum of Art exhibition explores John Steuart Curry's fascination with the American West K-State News A cowboy at heart: Beach Museum of Art exhibition explores John Steuart Curry's fascination with the American West Tuesday, Sept. 17, 2019 "The Code of the West," a 20-by-40-inch oil on canvas by John Steuart Curry from 1923, is featured in the exhibition "John Steuart Curry: The Cowboy Within" opening Sept. 24 at Kansas State University's Marianna Kistler Beach Museum of Art. Curry created the illustration for author Zane Grey's serialized story "The Code of the West," featured in the July 7, 1923, edition of The Country Gentleman. The work was a gift to the Spencer Museum of Art at the University of Kansas by Mrs. Ben Hibbs in memory of her husband. | Download this photo. (/media/images/sept19/code_of_the_west.jpg) MANHATTAN — One of the most noted artists to come from Kansas will be featured in a first-of-its-kind exhibition at the Marianna Kistler Beach Museum of Art (https://beach.k-state.edu/) at Kansas State University. Using drawings, paintings, magazines and books from the Beach Museum of Art's collection and from several lenders, "John Steuart Curry: The Cowboy Within" is the first exhibition to survey Curry's vision of the American West. The exhibition opens Tuesday, Sept. 24, and runs through March 21, 2020, in the museum's Marion Pelton Gallery. -
Fall 2018 Kress Foundation Department of Art History
Newsletter Fall 2018 Kress Foundation Department of Art History 1301 Mississippi Street, room 209, Lawrence, Kansas 66045 phone: 785-864-4713 F email: [email protected] F web: arthistory.ku.edu From The Chair This edition of the newsletter is dedicated to Charles Eldredge, Hall Distinguished CONTENTS Professor Emeritus of American Art and Culture, who retired this past summer after 42 years on the KU faculty. From The Chair 1 A Boston native who grew up in East Greenwich, Rhode Island, Eldredge earned his BA in American Studies from Amherst College and his PhD in Art History from the Distinguished 5 University of Minnesota. He started his KU Alumni Award career in 1970 as a curator at the University of Kansas Museum of Art, was promoted Murphy Lecture 8 the next year to director, and went on to Series raise the funds for and oversee the building of the Spencer Museum of Art. Between Faculty News 10 1982 and 1988 he served as Director of the National Museum of American Art (now Alumni News 18 the Smithsonian American Art Museum), where he substantially increased the depth Graduate 24 and range of the museum’s collections, Student News including in African-American art, Southwestern art, folk art, and photography. Congratulations 25 He also established Smithsonian Studies in American Art (1987; now American Art), With Thanks 26 which immediately became the leading scholarly journal in the field. While at the Dr. Charles Eldredge with his first PhD helm of the NMAA Eldredge co-founded student Elizabeth Broun (PhD ‘76), Financial 27 November 2018. -
Harries Thesis FINAL
The Pennsylvania State University The Graduate School Communication Arts and Sciences THE CONTESTABLE JOHN BROWN: ABOLITIONISM AND THE CIVIL WAR IN U.S. PUBLIC MEMORY A Thesis in Communication Arts and Sciences by Anne C. Harries © 2011 Anne C. Harries Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts December 2011 ii The thesis of Anne C. Harries was reviewed and approved* by the following: J. Michael Hogan Liberal Arts Research Professor of Communication Arts and Sciences Stephen H. Browne Professor of Communication Arts and Sciences Jeremy Engels Assistant Professor of Communication Arts and Sciences Kirt H. Wilson Associate Professor of Communication Arts and Sciences Director of Graduate Studies *Signatures are on file in the Graduate School iii ABSTRACT Abolitionist John Brown is a divisive figure in United States history. He features prominently in our national historical narrative, but his radical politics, religious fanaticism, and violent methods have led to polarized memories of his contributions to the abolitionist cause and his role in the coming of the U.S. Civil War. Some consider Brown a hero or a martyr of abolitionism, while others view him as a violent extremist, even a madman. Over time, Americans from across the political spectrum have mobilized Brown’s memory to advance particular political and social causes, sometimes on opposing sides of the same issue. This thesis examines three instances of public controversy over the memory of John Brown. In each of these case studies, Brown’s public memory has been rhetorically constructed and vigorously contested. First, I explore a controversy over regionalist painter John Steuart Curry’s depiction of Brown in the Kansas Statehouse mural, The Tragic Prelude. -
The Iowa State Fair Art Salon, 1854-1941
Agricultural Lag: The Iowa State Fair Art Salon, 1854-1941 Chris Rasmussen Writing in the American Mercury in 1926, Iowa author Ruth Suckow diagnosed a collective psychological malady afflicting her native state. Iowa had acquired "a timid, fidgety, hesitant state of mind" with regard to cultural and intellectual matters, the result of decades of dependence upon New England for guidance in religion, learning, and the arts.1 It was not that Io wans, many of whom could proudly trace their ancestry back to New England, were content simply to transplant their Anglo-American cultural heritage in the midwest; rather, they fundamentally lacked the confidence necessary to create their own, indigenous culture in their new environment. This unfortunate state of affairs had deep historical roots, according to Suckow, for the original settlers had come to Iowa "with the belief that they were leaving culture behind." They had come neither on a religious errand nor a civilizing mission, but to acquire land, farm, and make money doing it. Many of them did make money, and these more prosperous Iowans began to covet the amenities and trappings of refinement. Unfortunately, according to Suckow, New England remained "the only conceivable mold." The experience of settling and living in the midwest, too many Iowans assumed, could be of no lasting aesthetic value: "Culture, art, beauty were fixed in certain places."2 Judged by the standards of Boston, the Midwest could never appear anything but hopelessly backward. Nonetheless, Suckow detected some signs that by the 1920s Iowans were at last beginning to overcome their sense of cultural inferiority toward the East, and that "a native culture has begun to work itself out." The sheer expanse of the West, 0026-3079/93/3601-005$1.50/0 5 and its settlement by diverse ethnic groups, she observed, had diffused and diminished New England's cultural hegemony, precipitating a "general break-up of culture," amid which it was at last possible for Iowans to discuss and participate in the arts.