Art and the Greatwar
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Guide to Alice Marshall Women's History Collection
Guide to the Alice Marshall Women’s History Collection, ca. 1546-1997. The Pennsylvania State University Penn State Harrisburg Library Archives and Special Collections Contact Information: Heidi Abbey Moyer Archivist and Humanities Reference Librarian Coordinator of Archives and Special Collections Penn State Harrisburg Library Archives and Special Collections 351 Olmsted Drive, Room 303 Middletown, PA 17057-4850 Tel.: 717.948.6056 E-mail: [email protected] Web: https://libraries.psu.edu/about/libraries/ penn-state-harrisburg-library/alice-marshall-womens-history-collection Date Completed: August 2010; Last Revised: 25 May 2017 © 2007-2017 The Pennsylvania State University. All rights reserved. Descriptive Summary Creator: Marshall, Alice Kahler. Title: Alice Marshall Women’s History Collection. Dates: ca. 1546-1997, bulk 1840-1950. Accession No.: AKM 91/1 – AKM 91/95. Language: Bulk of materials in English; some French. Extent: 238 cubic feet. Repository: Archives and Special Collections, Penn State Harrisburg Library, University Libraries, Pennsylvania State University. Administrative Information Access This collection is open for research. There are no access restrictions on this collection. Permission is required to quote from or duplicate materials in this collection. Usage Restrictions Use of audiotapes may require reformatting and/or production of listening copies. Acquisitions Information Gift and purchase of Alice K. Marshall of Camp Hill, Pa., in 1991. Processing Information Processed by: Heidi Abbey Moyer, Archivist and Humanities Reference Librarian and Coordinator of Archives and Special Collections (2006-Present), and Martha Sachs, Former Curator of the Alice Marshall Collection; in collaboration with Katie Barrett, Public Services Assistant (2014-Present), Lynne Calamia, American Studies Graduate Student (2007-2008); Jessica Charlton, Humanities Graduate Student (2008); Danielle K. -
And Type the TITLE of YOUR WORK in All Caps
THAT LIBERTY SHALL NOT PERISH: AMERICAN PROPAGANDA AND THE POLITICS OF FEAR, 1914-1919 by ZACHARY CHARLES SMITH (Under the Direction of John H. Morrow, Jr.) ABSTRACT This dissertation attempts to provide an understanding of the widespread anxiety, vigilantism, suppression of dissent, and violation of civil liberties that took place in the United States from 1917 to 1919 and argues that it can be found in some Americans‟ understanding of and reaction to racially-charged propaganda. As the United States inched toward war with Germany in 1915 and after declaring war in April 1917, many propagandists began referencing the allegedly inherent characteristics of Germans as evidence of German American disloyalty and the existence of a vast “Pan-German” plot to undercut or even destroy American democracy. The imagined conspiracy grew to encompass most of the fears that had plagued the Anglo Saxon middle-class since the 1870s – immigrant radicalism, race suicide, the capability of “racially inferior” immigrants to assimilate and self-govern, and the continued deference of African Americans. To many anxious Americans, Germany and German Americans became a very real entity to which these long-held fears could be transferred. American propaganda produced during the First World War, though, was not a cynical ploy to fool the American people into supporting intervention on the side of the Allies. Leading Americans – politicians, editors, and social elites – were convinced that a global German conspiracy threatened the security of the United States and hoped to enlist the American people in staving off the existential threat they believed racially degenerate Germany allegedly posed. -
Paul Mellon Centre for Studies in British Art Library: New Accessions March 2017
Paul Mellon Centre for Studies in British Art Library: New accessions March 2017 0730807886 Art Gallery Board of Claude Lorrain : Caprice with ruins of the Roman forum Adelaide: Art Gallery Board of South Australia, C1986 (44)7 CLAU South Australia (PAMPHLET) 8836633846 Schmidt, Arnika Nino Costa, 1826-1903 : transnational exchange in Milan: Silvana Editoriale, 2016 (450)7 COST(N).S European landscape painting 0854882502 Whitechapel Art William Kentridge : thick time London: Whitechapel Gallery, 2016 (63)7 KENT(W).B Gallery 0956276377 Carey, Louise Art researchers' guide to Cardiff & South Wales [London]: ARLIS UK & Ireland, 2015 026 ART D12598 Petti, Bernadette English rose : feminine beauty from Van Dyck to Sargent [Barnard Castle]: Bowes Museum, [2016] 062 BAN-BOW 0903679108 Holburne Museum of Modern British pictures from the Target collection Bath: Holburne Museum of Art, 2005 062 BAT-HOL Art D10085 Kettle's Yard Gallery Artists at war, 1914-1918 : paintings and drawings by Cambridge: Kettle's Yard Gallery, 1974 062 CAM-KET Muirhead Bone, James McBey, Francis Dodd, William Orpen, Eric Kennington, Paul Nash and C R W Nevinson D10274 Herbert Read Gallery, Surrealism in England : 1936 and after : an exhibition to Canterbury: Herbert Read Gallery, Canterbury College of Art, 1986 062 CAN-HER Canterbury College of celebrate the 50th anniversary of the First International Art Surrealist Exhibition in London in June 1936 : catalogue D12434 Crawford Art Gallery The language of dreams : dreams and the unconscious in Cork: Crawford Art Gallery, -
The Porta Del Popolo, Rome Pen and Brown Ink on Buff Paper
Muirhead BONE (Glasgow 1876 - Oxford 1953) The Porta del Popolo, Rome Pen and brown ink on buff paper. Signed Muirhead Bone at the lower right. 222 x 170 mm. (8 3/4 x 6 5/8 in.) One of the first trips that Muirhead Bone made outside Britain was a long stay of two years - from October 1910 to October 1912 – in central and northern Italy, accompanied by his wife Gertrude and their children. After spending several weeks in Florence, the Bone family settled in Rome in the early months of 1911, and from October 1911 lived in a flat overlooking the Piazza del Popolo. During his time in Italy Bone produced thirty-two copper plates and numerous fine drawings, several of which were sent from Italy to London and Glasgow to be sold by his dealers. A number of Bone’s drawings of Italy were exhibited at the Colnaghi and Obach gallery in London in 1914, to very positive reviews. The present sheet depicts part of the outer façade of the city gate known as the Porta del Popolo, a section part of the Aurelian Walls encircling the city of Rome. The gate was the main entrance to Rome from the Via Flaminia and the north, and was used by most travellers arriving into the city for the first time. Built by Pope Sixtus IV for the Jubilee year of 1475, the Porta del Popolo was remodelled in the 16th century under Pope Pius IV. The Pope had asked Michelangelo to design the new outer façade of the Porta, but the elderly artist passed the commission on to the architect Nanni di Baccio Bigio, who completed the work between 1562 and 1565. -
World War I Poster and Ephemera Collection: Finding Aid
http://oac.cdlib.org/findaid/ark:/13030/c86h4kqh Online items available World War I Poster and Ephemera Collection: Finding Aid Finding aid prepared by Diann Benti. The Huntington Library, Art Collections, and Botanical Gardens. Prints and Ephemera The Huntington Library 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © 2014 The Huntington Library. All rights reserved. World War I Poster and Ephemera priWWI 1 Collection: Finding Aid Overview of the Collection Title: World War I Poster and Ephemera Collection Dates (inclusive): approximately 1914-1919 Collection Number: priWWI Extent: approximately 700 items Repository: The Huntington Library, Art Collections, and Botanical Gardens. Prints and Ephemera 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection contains approximately 700 World War I propaganda posters and related ephemera dating from approximately 1914 to 1919. The posters were created primarily for government and military agencies, as well as private charities such as the American Committee for Relief in the Near East. While the majority of the collection is American, it also includes British and French posters, and a few Austro-Hungarian/German, Canadian, Belgian, Dutch, Italian, Polish, and Russian items. Language: English. Note: Finding aid last updated on July 24, 2020. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. -
World War I Posters from the Newark Public Library
World War I Posters from the Newark Public Library 1 For Home and Country: World War I Posters from the Newark Public Library September 11 – December 13, 2017 University Galleries William Paterson University Inside front cover Clockwise from top left Exhibition checklist 1, 2, 3, 6, 9, 10 2 polished publication. He was patient and diligent while Introduction offering fresh perspectives on these historical prints. Special thanks go to William Paterson University Kristen Evangelista Director, University Galleries President Dr. Kathleen Waldron, Provost and Senior Vice President of Academic Affairs Dr. Warren Sandmann, Associate Provost for Academic Affairs Dr. Sandra Hill, former Associate Provost for Academic Affairs Dr. Stephen Hahn, Dean of the College of the Arts and Communication Daryl J. Moore, Associate Dean of the College of the Arts ome of our nation’s most iconic First and foremost, I would like to thank WP Professor of and Communication Loretta McLaughlin Vignier, and Chair images were created as propaganda History George Robb for his unwavering cooperation, vision, of the Art Department Professor Lauren Razzore. during World War I. From 1917-1918, and dedication to realizing this exhibition and publication. I would like to especially thank the entire gallery staff S several hundred artists worked This significant undertaking reflects his astute judgment, for their hard work and commitment to all that we do. diligently in concert with government focused scholarship, and curatorial expertise. Emily Johnsen adeptly coordinated numerous aspects agencies to design posters that supported the nation, We received indispensable guidance from Professor of the exhibition and publication with a constant eye for upheld values of liberty, and promoted participation in Alejandro Anreus and Professor Thomas Uhlein in the re- detail. -
Papers/Records /Collection
A Guide to the Papers/Records /Collection Collection Summary Collection Title: World War I Poster and Graphic Collection Call Number: HW 81-20 Creator: Cuyler Reynolds (1866-1934) Inclusive Dates: 1914-1918 Bulk Dates: Abstract: Quantity: 774 Administrative Information Custodial History: Preferred Citation: Gift of Cuyler Reynolds, Albany Institute of History & Art, HW 81-20. Acquisition Information: Accession #: Accession Date: Processing Information: Processed by Vicary Thomas and Linda Simkin, January 2016 Restrictions Restrictions on Access: 1 Restrictions on Use: Permission to publish material must be obtained in writing prior to publication from the Chief Librarian & Archivist, Albany Institute of History & Art, 125 Washington Avenue, Albany, NY 12210. Index Term Artists and illustrators Anderson, Karl Forkum, R.L. & E. D. Anderson, Victor C. Funk, Wilhelm Armstrong, Rolf Gaul, Gilbert Aylward, W. J. Giles, Howard Baldridge, C. LeRoy Gotsdanker, Cozzy Baldridge, C. LeRoy Grant, Gordon Baldwin, Pvt. E.E. Greenleaf, Ray Beckman, Rienecke Gribble, Bernard Benda, W.T. Halsted, Frances Adams Beneker, Gerritt A. Harris, Laurence Blushfield, E.H. Harrison, Lloyd Bracker, M. Leone Hazleton, I.B. Brett, Harold Hedrick, L.H. Brown, Clinton Henry, E.L. Brunner, F.S. Herter, Albert Buck, G.V. Hoskin, Gayle Porter Bull, Charles Livingston Hukari, Pvt. George Buyck, Ed Hull, Arthur Cady, Harrison Irving, Rea Chapin, Hubert Jack. Richard Chapman, Charles Jaynes, W. Christy, Howard Chandler Keller, Arthur I. Coffin, Haskell Kidder Copplestone, Bennett King, W.B. Cushing, Capt. Otho Kline, Hibberd V.B Daughterty, James Leftwich-Dodge, William DeLand, Clyde O. Lewis, M. Dick, Albert Lipscombe, Guy Dickey, Robert L. Low, Will H. Dodoe, William de L. -
A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War M
Bold Impressions: A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War Memorial Alexandra Fae Walton A thesis submitted for the degree of Doctor of Philosophy of the Australian National University, June 2017. © Copyright by Alexandra Fae Walton, 2017 DECLARATION PAGE I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgement, the work presented is entirely my own. Acknowledgements I was inspired to write about the two print collections while working in the Art Section at the Australian War Memorial. The many striking and varied prints in that collection made me wonder about their place in that museum – it being such a special yet conservative institution in the minds of many Australians. The prints themselves always sustained my interest in the topic, but I was also fortunate to have guidance and assistance from a number of people during my research, and to make new friends. Firstly, I would like to say thank you to my supervisors: Dr Peter Londey who gave such helpful advice on all my chapters, and who saw me through the final year of the PhD; Dr Kylie Message who guided and supported me for the bulk of the project; Dr Caroline Turner who gave excellent feedback on chapters and my final oral presentation; and also Dr Sarah Scott and Roger Butler who gave good advice from a prints perspective. Thank you to Professor Joan Beaumont, Professor Helen Ennis and Professor Diane Davis from the Australian National University (ANU) for making the time to discuss my thesis with me, and for their advice. -
World War I Posters and the Female Form
WORLD WAR I POSTERS AND THE FEMALE FORM: ASSERTING OWNERSHIP OF THE AMERICAN WOMAN LAURA M. ROTHER Bachelor of Arts in English John Carroll University January, 2003 submitted in partial fulfillment of requirements for the degree MASTERS OF ARTS IN HISTORY at the CLEVELAND STATE UNIVERSITY May, 2008 This thesis has been approved for the Department of ART HISTORY and the College of Graduate Studies by ___________________________________________ Thesis Chairperson, Dr. Samantha Baskind _________________________ Department & Date ____________________________________________ Dr. Marian Bleeke ________________________ Department & Date _____________________________________________ Dr. Elizabeth Lehfeldt ___________________________ Department & Date WORLD WAR I POSTERS AND THE FEMALE FORM: ASSERTING OWNERSHIP OF THE AMERICAN WOMAN LAURA M. ROTHER ABSTRACT Like Britain and continental Europe, the United States would utilize the poster to garner both funding and public support during World War I. While war has historically been considered a masculine endeavor, a relatively large number of these posters depict the female form. Although the use of women in American World War I visual propaganda may not initially seem problematic, upon further inspection it becomes clear that her presence often served to promote racial and national pretentiousness. Based on the works of popular pre-war illustrators like Howard Chandler Christy and Charles Dana Gibson, the American woman was the most attractive woman in the in the world. Her outstanding wit, beauty and intelligence made her the only suitable mate for the supposed racially superior American man. With the onset of war, however, the once entertaining romantic scenarios in popular monthlies and weeklies now represented what America stood to lose, and the “American Girl” would make the transition from magazine illustrations to war poster with minimal alterations. -
The Trumpet Fall 2018 • Volume 33, Number 1
THE TRUMPET FALL 2018 • VOLUME 33, NUMBER 1 IN THIS ISSUE The North American Indian: An early, complete set of Edward S. Curtis’s masterpiece depiction of Native American culture comes to auction October 18. Louise Bourgeois: Our Contemporary Art auction features a 1947 artist’s book with nine engravings by the luminary sculptor, printed at Atelier 17 in New York. The Harold Holzer Collection: A well-known scholar’s collection of Americana relating to 104 East 25th Street New York, NY 10010-2977 NY York, New Street 25th East 104 Abraham Lincoln will be offered September 27. SWANN AUCTION GALLERIES AUCTION SWANN Cover Image: Malick Sidibé, selection from a suite of 25 silver prints (not shown to scale), 1964-2001, framed 2001-04. $20,000 to $30,000. At auction October 18. © Estate of Malick Sidibé G36559_TrumpetFall2018.indd 1 8/27/18 4:20 PM ARTISTS & AMATEURS: PHOTOGRAPHS & PHOTOBOOKS OCTOBER 18 A complete set of Edward S. Curtis’s rare and desirable magnum opus, The North American Indian, 1907-30, in 20 text volumes and 20 portfolios, leads the auction. This set is #11, from an edition of 222, indicating one of his earliest subscribers. Five mammoth plates by Carleton Watkins, featuring Cascade, Nevada Falls, circa 1861, and Julia Margaret Cameron’s intimate portrait Tennyson and His Sons Hallam and Lionel, 1862, are among early photographs. Infrequently seen portfolios include Manuel Álvarez Bravo’s Fifteen Photographs, 1974, and the eponymous Roy De Carava, 1991, with twelve rich photogravures. A platinum print of Tina Modotti’s iconic and lush Roses, Mexico, 1924, was printed and signed in 1976 by friend and colleague Álvarez Bravo. -
Fttfe MUSEUM of MODERN1 ART
jr. ,•&-*- t~ V* *«4* /C^v i* 41336 - 2Z f± **e y^^A-^-^p, fttfE MUSEUM OF MODERN1 ART P WEST 53RD STREET, NEW YORK -uEPHONE: CIRCLE 5-89CO FOE IMMEDIATE RELEASE (Note* Photographs of paintings available) BRITAIN DELIVERS WAR PAINTINGS TO MUSEUMxOF MODERN ART. LORD HALIFAX TO OPEN EXHIBITION. On Thursday evening, May 22, Lord Halifax, Great Britain's Ambassador to the United States, will formally open at the Museum of Modern Art an exhibition of the Art of Britain At War, designed to show the wartime roles England assigns to her artists and de signers. It will be composed of oils, watercolors, drawings, prints, posters, cartoons, films, photographs, architecture and camouflage of the present war as well as work of British artists during the first World War. The exhibition will open to the public Friday morning, May 23, and will remain on view throughout the summer. It will then be sent by the Museum to other cities in the United States and Canada, The nucleus of the exhibition opening in May will be the group of paintings, watercolors and prints which the Museum expected to open as a much smaller exhibition in November 1940. After several postponments the Museum was finally forced to abandon it as, due to wartime shipping conditions, the pictures did not arrive although word had been received that the shipment had left London early in November. The Museum received the shipment late in January. After weeks of further negotiation with British officials in this country and by cable with London the Museum decided that it would be possible to augment the material already received with other work done by British artists since the first material was sent. -
Etchings Dry Points Muirhead Bone
Two hun d red and seventy - five copies of this catalo ue w hich tw en t : g have been printed , of y fi ve are for presentation . a u u -n o o7 This c opy is N o . o c 0 0 0 o o ¢ List of Con ten ts . Prefac e I ntroduction Catal ogue Appendi x I ndex of Titl es PREFA E C . T HE fi rst volume of this catalogue records the work ’ M r fi rst of . Bone s ten years as an etcher , and does 1 8 not include the plates of 9 0 . Four subj ects published e Ar undel South Coast East latchin ton in that y ar , , , B g , and ’ he New Str and m T . fifth , may be na ed here A , the artist s fi r st . portrait , is published in this book Other plates , h unfi n is ed . , have for the present been laid aside m A . 1 8 brief epito e of this catalogue , down to N o 5 , appeared in a provisional form at Vienna in The order then adopted has been strictly preserved , except in . 1 1 the following cases N os 7 and 9 have been transposed , on the discovery of a state of Distant Dumbar ton dated 1 8 . 1 1 0 99 N os 49 and 5 have been transposed , to restore the order in which these subj ects stood in the set of Ten Dry Points , as published ; they were unintentionally misplaced . 1 f in 1 90 6 .