DOCSLIB.ORG

Alms for Oblivion: the History of Women in Early American Graphic Design Author(S): Ellen Mazur Thomson Source: Design Issues, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Alms for Oblivion: the History of Women in Early American Graphic Design Author(S): Ellen Mazur Thomson Source: Design Issues, Vol Almsfor Oblivion: TheHistory of Womenin EarlyAmerican Graphic Design EllenMazur Thomson Timehath, my Lord,a walletat his back,Wherein he puts almsforoblivion, A great-siz'dmonster of ingratitudes... William Shakespeare, Troilusand Cressida When Linda Nochlin's article "Why Have There Been No Great Women Artists?" appeared in 1971, it generated enormous interest in neglected work by women artists.' Nochlin challenged traditional art historians to analyze the institutional and ideological structures that distort what women have accomplished or were unable to achieve. She warned that women must "face up to the reality of 1 LindaNochlin, "Why Have There Been their history and of their present situation, without making excuses NoGreat Women Artists?" Art News, 69, or puffing mediocrity. Disadvantage may indeed be an excuse; it is 9 (January1971), 22-39, 67-71. This not, however, an intellectual position."2 Since then, feminist histori- articlealso appeared as "WhyAre There on in NoGreat Women Artists?" Women in ans have explored the limitations placed women pursuing SexistSociety. Studies in Power and their artistic careers, as well as the representations of those women Powerless,ed. Vivian Gornick and who did succeed.3 Graphic design historians, however, have only BarbaraMoran. (New York: Basic Books, recently faced the biases in their own field and begun to identify 1971)and Art and Sexual Politics, ed. individual women and document their position in graphic design ThomasB. Hess and Elizabeth C. Baker. history. (NewYork: Colliers, 1971). 2 Nochlin,Art News, 70. Martha Scotford Lange began this process by showing that 3 Feministart historians have expanded the major texts used to teach graphic design concentrate on the Nochlin'sagenda considerably. For a work of a limited number of "great men" and that, graphic design overviewof feministart criticism and art historians, either consciously or unconsciously, have created an historyin the 1970sand 1980s, see unacknowledged canon that excludes women.4 She suggests that ThaliaGouma-Peterson and Patricia Mathews,"The Feminist Critique of Art cultural history, rather than art history, would provide a better History,"Art Bulletin LXIX, 3 (September model for historians to follow. 1987),326-357. This essay is the result of preliminary research into the 4 MarthaScotford Lange, "Is There a conditions that governed the role of women in early modern Canonof GraphicDesign History?" AlGA American graphic design. By concentrating on the period from Journalof GraphicDesign, IX, 2 (1991), approximately 1850 to 1920, the beginning of "professionalization," 3-5, 9. Langeanalyzed the contents of fivewell-known histories: James Craig this essay explores the extent and character of women's participa- andBruce Barton's Thirty Centuries of tion in this development. While it is important to recover the names GraphicDesign, Alan Fern and Mildred of individual designers, it is equally important to understand some Constantine'sWord and Image, Steven of the conditions and attitudes that determined the fortunes of Hellerand Seymour Chwast's Graphic women graphic designers by examining their treatment in both Style,Philip B. Meggs' A Historyof of the time later. GraphicDesign, and Josef Mueller- literature and Brockman'sA History of Visual During this period, graphic design emerged as a profession, Communication. one that developed in response to social changes and technologies ( Copyright1994 by MIT DesignIssues: Volume 10, Number 2 Summer1994 27 This content downloaded from 149.31.21.88 on Sat, 27 Feb 2016 18:12:39 UTC All use subject to JSTOR Terms and Conditions 5 See HowardLeathlean, "The that generated an enormous amount of printed material for mass Archaeologyof theArt Director?" Some consumption. The concept of graphic design and the professional Examplesof ArtDirection in Mid- graphic designer evolved in the United States during the second Nineteenth-CenturyBritish Publishing," half of the 19th century.5Previously, compositors, printers, typogra- Joumalof DesignHistoryV1,4 (1993), phers, and artist-engravers designed as part of their craft. The revo- 229-45,and Ellen Mazur Thomson, "EarlyGraphic Design Periodicals in lution in press and paper technology, photography and America,"Journal of DesignHistory, V photomechanical reproduction, and transportation and business 11,2(1994), 113-126. practices encouraged specialization and professionalism. By 1900, 6 W.A. Dwigginsfirst used the term art directors, commercial-art managers, layout artists, and illustra- "graphicdesign" in 1922to describe tors, sometimes called "designer," were recognized professionals.6 professionsinvolved in the design of Those trained in printing, typography, engraving, and illustration commercialprinting, commercial illus- tration,type design, and advertising moved into separate art departments of advertising agencies, book design.I havefollowed these general and magazine publishers, or worked as free-lance designers. parameters."New Kind of PrintingCalls Relying on basic texts of graphic design history one would assume forNew Design," The Boston Evening that women were marginal if not absent in this transformation.7 Transcript,(August 29, 1922),Graphic In part, the omission of women from design history occurred ArtsSection, Part 1II, 6. roots in 7 See Lange,op.cit., for the omission of because historians have emphasized graphic design's rela- womendesigners from major graphic tion to printing's history. By doing so, they remove graphic design designtexts. from its cultural context, and thus tend to ignore or de-emphasize 8 Therecognized "great men" of early the impact of the advertising industry and new theories of art and in graphicdesign were trained a variety education on visual communication.8 Arguably, advances in trans- of fieldsand spent their professional portation technology that linked the continent by rail and ship, and livesin a widerange of activitiesthat nowconstitute professional design the advent of mass marketing and widespread literacy that spurred practice.They are, nonetheless, first the growth of newspapers and magazine publications are as signifi- identifiedas "printers"inthe literature. cant as the revolution in print technology that occurred at the same Forexample, William Addison Dwiggins time. Unfortunately, advertising historians have ignored the visual (1880-1956) worked in advertising for aspects of advertising, concentrating instead on the work of adver- twentyyears, and in a longand success careerwas a calligrapher,illustrator, tising agents, copy writers, and agency heads.9 Feminist art histori- prolificwriter, and master puppeteer, as ans, even when they include illustrators in their histories, are wellas a typographerand book inclined to ignore the commercial aspects of their work."0Art histor- designer. ical models, as noted above, are often based on the great men and 9 Theclassic histories, Henry Sampson's monuments model and fail to go beyond narrations of lives, assess- A Historyof Advertising from the ments of influence, and progressions of styles. EarliestTimes (London: Chatto, 1874. Reprint.Detroit: Gale Research, 1974) andFrank Presbrey's The History and York:Harry N. Abrams, 1990). WomenArtists BoM Before 1900 DevelopmentofAdvertising (Garden Thereis a briefdiscussion of adver- (Boston:G6K. Hall, 1985), and Charlotte City,NY: Doubleday, Duran, 1929. tisingart in one chapter "Art, Artists, and SteiferRubinstein, American Women Reprint.Westport: Greenwood Press, Illustrators,"but both text and pictures Artistsfrom Early Indian Times to the 1968)ignore advertising artists, featurethe work of JamesMontgomery Present(Boston:G.K. Hall, 1982). althoughPresbrey does include some Flagg,J.C. Leyendecker and Norman Oneof the problemsencountered in informationon the developmentof art Rockwell.Jessie Willcox Smith is the anyattempt track women is thatof multi- departmentsinagencies. Daniel Pope onlywoman mentioned and she is repre- plesurnames and cross-references are in TheMaking of ModemAdvertising sentedby a smallblack and white repro- notalways used. Also, many women and (NewYork: Basic Books, 1983) de- duction.A perfectexample of Lange's mensigned their work with initials scribesthe increaseduse of illustration canon. insteadof firstnames and some first inadvertising but not the illustrators 10 Nonetheless,the two most useful namesare gender neutral-a problemin themselves.More surprising, given the biographicalreferences in graphic design identifyingsignatures in published work authors'abundant use of illustration,is areconcerned with women artists. See incaseswhen it is signed.And most AdvertisinginAmerica by Charles ChrisPetteys, Dictionary of Women advertisementsand magazine illustrtions Goodrumand Helen Dalrymple (New Artists.An International Dictionary of werenot signed. 28 Design Issues: Volume10, Number2 Summer1994 This content downloaded from 149.31.21.88 on Sat, 27 Feb 2016 18:12:39 UTC All use subject to JSTOR Terms and Conditions 11 Thispaper does not, for example, In describing women's experiences in the printing and addressissues of classor ethnicity as it advertising industries, and in commercial illustration, I hope to was manifestin different aspects of the highlight the areas in which women participated in graphic design, profession.African-Americans, Native as well as show how their experiences reveal the profession's ties to Americansand European immigrant other aspects of American culture.-" groupswere involved in the printing industryand produced material for their
Load more

Recommended publications
  • Eliza Calvert Hall: Kentucky Author and Suffragist
    University of Kentucky UKnowledge Literature in English, North America English Language and Literature 2007 Eliza Calvert Hall: Kentucky Author and Suffragist Lynn E. Niedermeier Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Niedermeier, Lynn E., "Eliza Calvert Hall: Kentucky Author and Suffragist" (2007). Literature in English, North America. 54. https://uknowledge.uky.edu/upk_english_language_and_literature_north_america/54 Eliza Calvert Hall Eliza Calvert Hall Kentucky Author and Suffragist LYNN E. NIEDERMEIER THE UNIVERSITY PRESS OF KENTUCKY Frontispiece: Eliza Calvert Hall, after the publication of A Book of Hand-Woven Coverlets. The Colonial Coverlet Guild of America adopted the work as its official book. (Courtesy DuPage County Historical Museum, Wheaton, 111.) Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 2007 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com 11 10 09 08 07 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Niedermeier, Lynn E., 1956- Eliza Calvert Hall : Kentucky author and suffragist / Lynn E.
    [Show full text]
  • Women's History Is Everywhere: 10 Ideas for Celebrating in Communities
    Women’s History is Everywhere: 10 Ideas for Celebrating In Communities A How-To Community Handbook Prepared by The President’s Commission on the Celebration of Women in American History “Just think of the ideas, the inventions, the social movements that have so dramatically altered our society. Now, many of those movements and ideas we can trace to our own founding, our founding documents: the Constitution and the Bill of Rights. And we can then follow those ideas as they move toward Seneca Falls, where 150 years ago, women struggled to articulate what their rights should be. From women’s struggle to gain the right to vote to gaining the access that we needed in the halls of academia, to pursuing the jobs and business opportunities we were qualified for, to competing on the field of sports, we have seen many breathtaking changes. Whether we know the names of the women who have done these acts because they stand in history, or we see them in the television or the newspaper coverage, we know that for everyone whose name we know there are countless women who are engaged every day in the ordinary, but remarkable, acts of citizenship.” —- Hillary Rodham Clinton, March 15, 1999 Women’s History is Everywhere: 10 Ideas for Celebrating In Communities A How-To Community Handbook prepared by the President’s Commission on the Celebration of Women in American History Commission Co-Chairs: Ann Lewis and Beth Newburger Commission Members: Dr. Johnnetta B. Cole, J. Michael Cook, Dr. Barbara Goldsmith, LaDonna Harris, Gloria Johnson, Dr. Elaine Kim, Dr.
    [Show full text]
  • 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.
    [Show full text]
  • Representations of the Female Nude by American
    © COPYRIGHT by Amanda Summerlin 2017 ALL RIGHTS RESERVED BARING THEMSELVES: REPRESENTATIONS OF THE FEMALE NUDE BY AMERICAN WOMEN ARTISTS, 1880-1930 BY Amanda Summerlin ABSTRACT In the late nineteenth century, increasing numbers of women artists began pursuing careers in the fine arts in the United States. However, restricted access to institutions and existing tracks of professional development often left them unable to acquire the skills and experience necessary to be fully competitive in the art world. Gendered expectations of social behavior further restricted the subjects they could portray. Existing scholarship has not adequately addressed how women artists navigated the growing importance of the female nude as subject matter throughout the late nineteenth and early twentieth centuries. I will show how some women artists, working before 1900, used traditional representations of the figure to demonstrate their skill and assert their professional statuses. I will then highlight how artists Anne Brigman’s and Marguerite Zorach’s used modernist portrayals the female nude in nature to affirm their professional identities and express their individual conceptions of the modern woman. ii ACKNOWLEDGMENTS I could not have completed this body of work without the guidance, support and expertise of many individuals and organizations. First, I would like to thank the art historians whose enlightening scholarship sparked my interest in this topic and provided an indispensable foundation of knowledge upon which to begin my investigation. I am indebted to Kirsten Swinth's research on the professionalization of American women artists around the turn of the century and to Roberta K. Tarbell and Cynthia Fowler for sharing important biographical information and ideas about the art of Marguerite Zorach.
    [Show full text]
  • Caroline Peart, American Artist
    The Pennsylvania State University The Graduate School School of Humanities MOMENTS OF LIGHT AND YEARS OF AGONY: CAROLINE PEART, AMERICAN ARTIST 1870-1963 A Dissertation in American Studies by Katharine John Snider ©2018 Katharine John Snider Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2018 The dissertation of Katharine John Snider was reviewed and approved* by the following: Anne A. Verplanck Associate Professor of American Studies and Heritage Studies Dissertation Advisor Chair of Committee Charles Kupfer Associate Professor of American Studies and History John R. Haddad Professor of American Studies and Popular Culture Program Chair Holly Angelique Professor of Community Psychology *Signatures are on file in the Graduate School ii ABSTRACT This dissertation explores the life of American artist Caroline Peart (1870-1963) within the context of female artists at the turn of the twentieth century. Many of these artists’ stories remain untold as so few women achieved notoriety in the field and female artists are a relatively new area of robust academic interest. Caroline began her formal training at The Pennsylvania Academy of the Fine Arts at a pivotal moment in the American art scene. Women were entering art academies at record numbers, and Caroline was among a cadre of women who finally had access to formal education. Her family had the wealth to support her artistic interest and to secure Caroline’s position with other elite Philadelphia-area families. In addition to her training at the Academy, Caroline frequently traveled to Europe to paint and she studied at the Academie Carmen.
    [Show full text]
  • Howard Pyle: Imagining an American School of Art. by JILL P. MAY and ROBERT E. MAY. (Champaign: University of Illinois Press, 20
    2012 BOOK REVIEWS 317 Howard Pyle: Imagining an American School of Art. By JILL P. M AY and ROBERT E. MAY. (Champaign: University of Illinois Press, 2011. 288 pp. Illustrations, notes, index. $45.) Once upon a time, the latest book illustrated by Howard Pyle (1853–1910) was on every American child’s wish list. In the meantime, youngsters could enjoy his vivid portrayals of history and legend in the pages of St. Nicholas, Everybody’s, Collier’s, Century, Scribner’s, and Harper’s magazines. Though not a household name today, Pyle was the preeminent illustrator of the Gilded Age, and his visual interpretations of the American Revolution, Robin Hood and his Merry Men, the Knights of the Round Table, and a motley crew of pirates were indelibly printed on the imaginations of several generations. Now a new book published in conjunction with the centenary of Howard Pyle’s death has redis- covered this forgotten icon of the popular culture. The subject is custom-made for authors Jill P. May, professor of literacy and language, and Robert E. May, professor of history (both at Purdue University), who bring to this work their expertise in fields beyond the history of art. This is not a coffee-table book but the first extensively documented biography of Howard Pyle. The authors combed through numerous archives and museum collections and wove their findings into a fluent narrative that documents Pyle’s personal life and his career as an illus- trator, author, and teacher. The frequent use of quotations from letters re-creates the intimate conversations between Pyle and his wide circle of colleagues and students, revealing the artist’s exuberant personality and manic energy.
    [Show full text]
  • Book Reviews and Book Notes
    BOOK REVIEWS AND BOOK NOTES Edited by LEONIDAS DODSON University of Pennsylvania Notable Women Of Pennsylvania. Edited by Gertrude B. Biddle and Sarah D. Lowrie. (University of Pennsylvania Press, 1942, pp. 307. $3.00.) Many of the two hundred brief biographies here presented were as- sembled in 1926 by Mrs. J. Willis Martin and her sesquicentennial com- mittee. Printed in the Public Ledger, they were mounted at the direction of its editor, the late Cyrus H. K. Curtis, in a Book of Honor. Other biographies have been added, and from the sum those which form the collection were carefully selected. The first two sketches present Madame Printz, wife of Governor Printz, and her capable daughter, Armot Papegoya, and the last four, Maud Conyers Exley, physician; Christine Wetherill Stevenson, actress, playwright, and founder of the Philadelphia Art Alliance; Marion Reilly, dean of Bryn Mawr College; and Caroline Tyler Lea, organizer and supporter of projects for human welfare. Between the two periods represented is recorded the expanding sphere of women's activities. Here are pioneer housewives who became perforce the defenders of their families. Here are Mary Jemison and Frances Slocum, exhibiting strength of character in long captivity. Here are Madame Ferree, Esther Say Harris, Maria Theresa Homet, Susanna Wright, Anna Eve Weiser. Here are patriots and soldiers-Lydia Darragh, Margaret Corbin, Molly Pitcher. Here are mothers of famous children- Anne West Gibson, Frances Rose Benit. Here are early diarists- Elizabeth Drinker, Sarah Eve, Sally Wister. Here are philanthropists- Rebecca Gratz, Helen Fleisher. Here are engravers and painters-Anna C. and Sarah Peale, Emily Sartain, Anna Lea Merritt, Mary Cassatt, Florence Este, Alice Barber Stephens, Jessie Wilcox Smith.
    [Show full text]
  • Forrest House; Gaul-Forrest House
    NATIONAL HISTORIC LANDMARK NOMINATION NFS Form 10-900USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 PHILADELPHIA SCHOOL OF DESIGN FOR WOMEN Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: PHILADELPHIA SCHOOL OF DESIGN FOR WOMEN Other Name/Site Number: Moore College of Art; Forrest House; Gaul-Forrest House 2. LOCATION Street & Number: 1346 North Broad Street Not for publication: City/Town: Philadelphia Vicinity: State: PA County: Philadelphia Code: 101 Zip Code: 19121 3. CLASSIFICATION Ownership of Property Category of Property Private; X Building(s): X Public-local:__ District:__ Public-State:__ Site:__ Public-Federal:__ Structure:__ Object:__ Number of Resources within Property Contributing Noncontributing 1 ____ buildings ____ ____ sites ___ ___ structures ____ ____ objects 1 _0 Total Number of Contributing Resources Previously Listed in the National Register: 1 Name of Related Multiple Property Listing: N/A NFS Form 10-900USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 PHILADELPHIA SCHOOL OF DESIGN FOR WOMEN Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this ___ nomination ___ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60.
    [Show full text]
  • Olio Volume 19 Issue 2 2002
    ~olio Volume 19 The ·po Issue 2 2002 The From the Director Norman Rockwell I am pleased to announce the formation the museum will offer of the Norman Rockwell Museum National a sampler of foods to Museum Council, upon the conclusion of our museum visitors at at Stockbridge national tour, Pictures for the American our new Terrace Cafe People. The Council will provide a forum during the summer and fall. Sip a refreshing BOARD OF TRUSTEES for the Museum's national patrons and iced tea and enjoy the view after your visit to Bobbie Crosby· President Perri Petricca • First Vice President collectors, who will serve as ambassadors our wonderful summer exhibitions. We thank Lee Williams' Second Vice President for the Museum across the nation. the Town of Stockbridge Board of Selectmen Steven Spielberg· Third Vice President James W. Ireland' Treasurer and the Red Lion Inn for being our partner in Roselle Kline Chartock • Clerk The Board of Trustees has nominated a offering hospitality to our visitors. Robert Berle Ann Fitzpatrick Brown select group of friends and supporters to Daniel M. Cain join us in the stewardship of our mission. Jan Cohn As part of the Berkshire County-wide arts Catharine B. Deely The Council is advisory to and complements festival, the Vienna Project, the museum Michelle Gillett Elaine S. Gunn the work of Norman Rockwell Museum opened Viennese illustrator Lisbeth Zwerger's Ellen Kahn Trustees and staff. Council members will Land of Oz with a Viennese coffee house, Jeffrey Kleiser Luisa Kreisberg provide national outreach and offer advice remarks by Dr.
    [Show full text]
  • CONTACT: Cara Schneider (215) 206-2034, [email protected] A
    CONTACT: Cara Schneider (215) 206-2034, [email protected] A GIANT SUMMER OF FUN & CELEBRATION AWAITS VISITORS TO GREATER PHILADELPHIA Philadelphia Flower Show Blooms Outdoors For The First Time, Faith and Liberty Discovery Center Debuts On Independence Mall & Wawa Welcome America Fourth Of July Celebration Returns PHILADELPHIA, April 22, 2021 – Greater Philadelphia has a big summer planned for visitors eager to safely explore once again. As the warm-weather season nears and COVID-19 restrictions continue to lift, the region is ready to welcome visitors back as it debuts long-awaited new and renovated museums, unveils inspired exhibits, celebrates the return of beloved annual events and opens brand new hotels that have been in the pipeline for years. Those looking to connect and reconnect with loved ones after a long hiatus from travel can tour the brand- new Faith and Liberty Discovery Center, making its debut just steps away from Independence National Historical Park’s Liberty Bell Center and Independence Hall on May 1, 2021; explore the PHS Philadelphia Flower Show outdoors for the first time in its 192-year history; and celebrate the nation’s birthday in its birthplace during the annual Wawa Welcome America Fourth of July festival. When it’s time to take a break after days spent touring the town, visitors can do so at the city’s first W Hotel or at the Guild House Hotel, a boutique property in a National Historic Landmark building, both opening in June. Another great option for spending a night or two is the ever-popular Visit Philly Overnight Hotel Package, which includes hotel parking and buy-one-get-one-free tickets for 19 attractions, many of which are hosting special exhibits this summer (see below).
    [Show full text]
  • Dreamworlds and the Art of Illustration
    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1983 Dreamworlds and the Art of Illustration Donna Crotchett Eastern Illinois University This research is a product of the graduate program in Art at Eastern Illinois University. Find out more about the program. Recommended Citation Crotchett, Donna, "Dreamworlds and the Art of Illustration" (1983). Masters Theses. 2843. https://thekeep.eiu.edu/theses/2843 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. Tl I l·:SIS R F:PRODUCTlON CERTIFICATE TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is rece1vtng a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtalned from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. Date Author I respectfully request Booth Library of Eastern Illinois University not allowmy thesisbe reproduced because oJ �Sct\�I r-€4.SC"""\...�
    [Show full text]
  • Elliott, Elizabeth Shippen Green Files
    Elizabeth Shippen Green Elliott Files A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Material collected by the Library; some material donated by Mr. and Mrs. Benjamin Eisenstat Extent 3 linear feet Abstract The Elizabeth Shippen Green Elliott Files contain book and magazine illustrations, Christmas cards, correspondence, and audio recordings. Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation Elizabeth Shippen Green Elliott Files, Helen Farr Sloan Library & Archives, Delaware Art Museum Related Materials Elizabeth Shippen Green Elliott Photographs; Students of Howard Pyle Files; Huger Elliott Papers 1 Biography of Elizabeth Shippen Green Elliott Elizabeth Shippen Green Elliott is known through her work for Harper's Magazine. In 1901 she began an exclusive contract that lasted for the next twenty-three years, to October 1924. She was born Elizabeth Shippen Green, to Jasper Green and Elizabeth Shippen Boucle Green on September 1, 1871. She began serious art study at the Pennsylvania Academy of the Fine Arts night classes. She spent one year in antique class, drawing from plaster casts, and two years in life class, studying live models; her teachers included Thomas Anshutz, Thomas Eakins, and Robert Vonnoh. Upon graduation from the Academy, Elizabeth began illustrating articles for several of the Philadelphia newspapers. She worked for the Philadelphia Times and The Public Ledger. Within a year after commencing this work she was doing advertising illustration for Strawbridge and Clothier. From 1895 to 1901 she illustrated articles, stories, and children's pages in many of the leading magazines of the day.
    [Show full text]