DOCSLIB.ORG

Minerva Teichert and Her Feminine Communities

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Minerva Teichert and Her Feminine Communities Brigham Young University BYU ScholarsArchive Theses and Dissertations 2016-03-01 Refiguring the Wild est:W Minerva Teichert and her Feminine Communities Deirdre Mason Scharffs Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Classics Commons, and the Comparative Literature Commons BYU ScholarsArchive Citation Scharffs, Deirdre Mason, "Refiguring the Wild est:W Minerva Teichert and her Feminine Communities" (2016). Theses and Dissertations. 5847. https://scholarsarchive.byu.edu/etd/5847 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Refiguring the Wild West: Minerva Teichert and Her Feminine Communities Deirdre Mason Crane Scharffs A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts James R. Swensen, Chair Marian Wardle Martha M. Peacock Department of Comparative Arts and Letters Brigham Young University March 2016 Copyright © 2016 Deirdre Mason Crane Scharffs All Rights Reserved ABSTRACT Refiguring the Wild West: Minerva Teichert and Her Feminine Communities Deirdre Mason Crane Scharffs Department of Comparative Arts and Letters, BYU Master of Arts Minerva Teichert (1888-1976) was a twentieth-century American artist, who spent most of her life residing in remote towns in the West, earnestly balancing the demands of family and ranching, and painting scenes of her beloved Western frontier. Her steady and significant production of art is remarkable for any artist, and particularly compelling when one considers her time constraints, inaccessibility of art supplies, distance from other artists and art centers, and lack of public attention. The success of women artists during the first half of the twentieth- century was dependent not only upon their artistic aptitude, but also upon external forces, such as family, friends, and mentors. As an artist during this era, Teichert benefitted especially from the circles of women who surrounded her, offering sympathy, encouragement, assistance, a ready network of support, and who enabled her to pursue her passion, which she succinctly described, “I must paint.” This thesis employs a methodological framework informed by feminist, collective conscience, and social network theories in order to elucidate an artist’s vision that transcends feminist viewpoints and western heroic individualism. The reality of female networks in Teichert’s life translates not only to the certainty of women within a Western mythology dominated by men but also to a powerful counter-narrative where collaboration and community are essential to the success of settlements in the American West. Here Teichert introduces an altogether different vision and story. In her pioneer paintings, composed during the 1930s and 1940s, one sees a reflection of her own life, and that of her pioneer ancestors, which emphasizes the feminine, the importance of collaboration, and the centrality of community. Key Words: Minerva Teichert, woman artist, American Western frontier, Latter-day Saint pioneer, network, collaboration, community ACKNOWLEDGMENTS In pursuing my dream of studying art history and making a contribution to the scholarship on Minerva Teichert, I have come to experience what Teichert did over a century ago. That following a passion and finding a measure of success comes as the result of being surrounded by supportive, nurturing women, in the shape of feminine communities. To be certain, there are men in my life who have shared their love and expertise and encouraged me to do that which at times seemed impossible. I am grateful to my father, Lawrence Louis Crane, Jr., for his constant positiveness and seeing even my smallest steps in a successful light; to my adviser Dr. James Russel Swensen, for his brilliant contributions, tireless patience, and steady encouragement; and to my husband, Brett G. Scharffs, for helping me to balance the demands of home and school (not minding mismatched socks and dinnerless nights), suggesting insightful possibilities at my scholarly dead ends, and cheering me on like crazy. And it is the women, communities of women, who have graced my life with their endless forms of support. The circle of women in my family – my mother, sister, daughters, and mother- in-law – have repeatedly expressed interest in my academic endeavor. My circle of friends and particularly my fellow art history graduate companions, seven women with whom I have enjoyed forming bonds, have fostered in me an even greater understanding and affection for art history. In my academic circle, Dr. Martha M. Peacock quickly became my role model, emboldened me with a foundation in art theory, and shared her regard for thoughtful, meaningful scholarship. Everyone needs a mentor like Teichert’s Alice Merrill Horne, a woman who is passionate, fearless, and a dear friend, who for me is Dr. Marian Wardle. Dr. Wardle encouraged my earliest inkling to study art history, and with her knowledge and enthusiasm, has enabled my study of Minerva Teichert. For these communities of support in my life, I am most grateful. DEDICATION To my children, Elliot, Sophelia, and Ella, who are each so colossal TABLE OF CONTENTS Title Page.......................................................................................................................................... i Abstract ........................................................................................................................................... ii Acknowledgments.......................................................................................................................... iii Dedication ...................................................................................................................................... iv Table of Contents ............................................................................................................................ v List of Figures ................................................................................................................................ vi Introduction ..................................................................................................................................... 1 Formative Years .............................................................................................................................. 8 Female Communities in Life ........................................................................................................ 21 Female Communities in Paint ....................................................................................................... 44 Conclusion .................................................................................................................................... 49 Figures........................................................................................................................................... 52 Bibliography ................................................................................................................................. 74 v LIST OF FIGURES Figure 1 Minerva Teichert, 1916. Photograph ............................................................................. 52 Figure 2 Minerva Teichert (at far left) with friends, Pocatello, Idaho, c. 1916. Photograph. Private collection .......................................................................................................................... 52 Figure 3 Minerva Wade Hickman. Photograph ........................................................................... 53 Figure 4 Mary Ella Hickman Kohlhepp, c. 1910. Photograph. Private collection ...................... 53 Figure 5 Minerva with her sisters Eda, Sara, and Annalee in American Falls, Idaho, 1915. Photograph .................................................................................................................................... 54 Figure 6 Rose Hartwell, Nursery Corner, c. 1910. Oil on canvas, 23 ¾ x 28 ¾ in. Brigham Young University Museum of Art ................................................................................................ 54 Figure 7 Mary Teasdale, Mother and Child, c. 1920. Oil on canvas, 30 ½ x 24 ½ in. Utah State Fine Arts Collection, Salt Lake City, Utah ................................................................................... 55 Figure 8 Fra Dana, Birdcage, n.d. Oil on panel, 18 x 24 in. Montana Museum of Art & Culture ....................................................................................................................................................... 55 Figure 9 Florence Ware, Dry Creek, Autumn at the Foot of the Mountains, 1930. Oil on board, 16 x 20 in. Springville Museum of Art ......................................................................................... 56 Figure 10 Louise Rönnebeck, The Fertile Land Remembers, c. 1936. Oil on canvas, 60 x 120 in. U.S. Treasury Department award for Worland, Wyoming, U.S. Post Office (moved to Casper, Wyoming U.S. Post Office, 1970s) .............................................................................................. 56 Figure 11 Louise Rönnebeck, The Harvest, 1940. Oil on canvas, 72 x 108 in. U.S. General Services Administration Federal Art & Art-in-Architecture Programs for Grand
Load more

Recommended publications
  • MINERVA TEICHERT's JESUS at the HOME of MARY and MARTHA: REIMAGINING an ORDINARY HEROINE by Tina M. Delis a Thesis Project
    MINERVA TEICHERT’S JESUS AT THE HOME OF MARY AND MARTHA: REIMAGINING AN ORDINARY HEROINE by Tina M. Delis A Thesis Project Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Master of Arts Art History Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Department Chairperson ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2015 George Mason University Fairfax, VA Minerva Teichert’s Jesus at the Home of Mary and Martha: Reimagining an Ordinary Heroine A Thesis Project submitted in partial fulfillment of the requirements for the degree of Master of Arts at George Mason University by Tina M. Delis Bachelor of Arts George Mason University, 1987 Director: Ellen Wiley Todd, Professor Department of Art History Spring Semester 2015 George Mason University Fairfax, VA This work is licensed under a creative commons attribution-noderivs 3.0 unported license. ii DEDICATION For Jim, who teaches me every day that anything is possible if you have the courage to take the first step. iii ACKNOWLEDGEMENTS I would like to thank the many friends, relatives, and supporters who have made this happen. To begin with, Dr. Ellen Wiley Todd and Dr. Angela Ho who with great patience, spent many hours reading and editing several drafts to ensure I composed something I would personally be proud of. In addition, the faculty in the Art History program whose courses contributed to small building blocks for the overall project. Dr. Marian Wardle for sharing insights about her grandmother. Lastly, to my family who supported me in more ways than I could ever list.
    [Show full text]
  • “The Pioneer's Heart: BYU-Pathway at Year
    BYU-Pathway Worldwide Devotional September 24, 2019 “The Pioneer’s Heart: BYU-Pathway at Year 10” Clark G. Gilbert President of BYU-Pathway Worldwide Introduction I’m standing near the mouth of Emigration Canyon, where the first pioneers entered the Salt Lake Valley. “Those early pioneers brought a spirit of [humility and] frugality, a faith and optimism for the unknown, a longing for prophetic direction, and a spirit of personal sacrifice to their trek west.”i Today I would like to talk about how the Pioneer’s Heart shaped the development of BYU-Pathway and how it Can shape you on your own eduCational journey. The Creation of BYU-Pathway This year marks the 10th anniversary of the creation of BYU-Pathway Worldwide. LaunChed in 2009 as a simple pilot in three loCations with just 50 students, BYU-Pathway now touChes the entire ChurCh with over 45,000 students in more than 100 Countries. It was not by aCCident that BYU-Pathway would grow out of BYU-Idaho, an institution with its own pioneering heritage.ii The earliest concepts for Pathway were foCused on building a bridge to College through life skills Courses and job-foCused CertifiCates. Elder Kim B. Clark, then president of BYU-Idaho, sought counsel on those early impressions from the ChurCh Board of EduCation. Approval was granted to run limited pilots in Mesa, Arizona; Nampa, Idaho; and New York City. The Board’s decision to limit the early pilot sites proved providential because our early assumptions were a little bit right and a little bit wrong, and we needed time (and the humility) to learn and adapt.
    [Show full text]
  • Evolution and Ambition in the Career of Jan Lievens (1607-1674)
    ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality.
    [Show full text]
  • Fall 2019 Learning Evaluation the Theme of This Portfolio Is to Exemplify Precision, Alignment, and Organization
    Portfolio of Work Matthew Stoddard Fall 2019 Learning Evaluation The theme of this portfolio is to exemplify precision, alignment, and organization. I felt like that was my biggest hurdle in print publication. The process of making content look and feel organ­ ized is no simple matter. It requires patience, persistence, and a willingness to learn and stretch your creativity. My understanding of those ideas has grown during this course. For instance, I learned how to better align content using grid lines in the InDesign program. I discovered how to line up col­ umns of text using a baseline grid, or even adjusting them in small increments of leading. I even learned how to create my own grid and gutters with proper margins. From that, I saw how to properly organize pictures with their associated captions or text. I especially learned the importance of organization and preci­ sion when it comes to cleaning up and copy fitting text. I saw how things like optical alignment, justifying text, and avoiding eyesores, like widows or orphans, makes a world of difference. I also saw how removing unnecessary white space or using proper characters produces a more polished piece. My skills of InDesign have definitely improved in those areas. Since I had to do it many times, cleaning up or copy fitting text has almost become second nature to me. In this portfolio, I think my magazine feature turned out the best. The reason is because it was the culmination of everything I’d learned in print publishing. Using correct margins, having good line lengths, choosing a good serif/san­serif typeface, utilizing proper hierarchy, accurately implementing the paragraph and character styles, taking advantage of layers, color correcting the images, etc.
    [Show full text]
  • 15 BYTES :: February 2008 :: Page 5
    PAGE 1 PAGE 6 PAGE 2 PAGE 7 PAGE 3 PAGE 8 PAGE 4 PAGE 9 PAGE 5 PAGE 10 February 2008 Page 5 Recently Read Minerva Teichert: Pageants in Paint by Tom Alder One of the most remarkable monographs to have been written in recent years is Marian Wardle's Minerva Teichert: Pageants in Paint. That Wardle is the granddaughter of the venerable western and Mormon muralist is inconspicuous, and with exacting detail, Wardle has created the most important work to date about Minerva Teichert. Published in conjunction with the exhibition of the same name at Brigham Young University's Museum of Art, Wardle's masterful work is a precisioned arrangement of not only a credible biography and evocative coffee table book of 47 color plates, but also a comprehensive chronology (including an extensive catalogue raisonne), and Teichert's never-before published autobiography. It might be expected that a monumental treatment of Teichert's story by a family member, and published by Brigham Young University, would be a pallid re-telling of the spiritual side of Teichert, akin to a 1940s Relief Society manual; but Wardle freely narrates the salty side of Teichert as well as detailing some noteworthy disappointments in her life. However, Wardle resists writing an extensive account of many of the stories that have been re-told for decades. Yes, in her youth, Teichert slept with a gun under her pillow. Yes, she worked as a trick roper while studying in New York. 0 | 1 | 2 | 3 | 4 | 5 Yes, she often used her children's dates and any others who happened by the modest Cokeville, Organization Spotlight: Provo Wyoming home as models for some of her massive A Future for the Provo Gallery Stroll? and forceful murals.
    [Show full text]
  • Wise Or Foolish: Women in Mormon Biblical Narrative Art
    BYU Studies Quarterly Volume 57 Issue 2 Article 4 2018 Wise or Foolish: Women in Mormon Biblical Narrative Art Jennifer Champoux Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Part of the Mormon Studies Commons, and the Religious Education Commons Recommended Citation Champoux, Jennifer (2018) "Wise or Foolish: Women in Mormon Biblical Narrative Art," BYU Studies Quarterly: Vol. 57 : Iss. 2 , Article 4. Available at: https://scholarsarchive.byu.edu/byusq/vol57/iss2/4 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Champoux: Wise or Foolish Wise or Foolish Women in Mormon Biblical Narrative Art Jennifer Champoux isual imagery is an inescapable element of religion. Even those Vgroups that generally avoid figural imagery, such as those in Juda- ism and Islam, have visual objects with religious significance.1 In fact, as David Morgan, professor of religious studies and art history at Duke University, has argued, it is often the religions that avoid figurative imag- ery that end up with the richest material culture.2 To some extent, this is true for Mormonism. Although Mormons believe art can beautify a space, visual art is not tied to actual ritual practice. Chapels, for exam- ple, where the sacrament ordinance is performed, are built with plain walls and simple lines and typically have no paintings or sculptures. Yet, outside chapels, Mormons enjoy a vast culture of art, which includes traditional visual arts, texts, music, finely constructed temples, clothing, historical sites, and even personal devotional objects.
    [Show full text]
  • Early Utah Women Artists Utah Museum of Fine Arts • Lesson Plans for Educators October 28, 1998 Table of Contents
    Early Utah Women Artists Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators October 28, 1998 Table of Contents Page Contents 2 Image List 3 Edge of the Desert , Louise Richards Farnsworth 4 Lesson Plan for Edge of the Desert Written by Ann Parker 8 Untitled, Mabel Pearl Fraser 9 Lesson Plan for Untitled Written by Betsy Quintana 10 Étude, Harriet Richards Harwood 11 Lesson Plan for Etude Written by Betsy Quintana 13 Battle of the Bulls , Minerva Kohlhepp Teichert 14 Lesson Plan for Battle of the Bulls Written by Marsha Kinghorn 17 Landscape with Blue Mountain and Stream, Florence Ellen Ware 18 Lesson Plan for Landscape with Blue Mountain Written by Bernadette Brown 19 Portrait of the Artist or Her Sister Augusta , Myra L. Sawyer 20 Lesson Plan for Portrait of the Artist or Her Augusta Written by Ila Devereaux Evening for Educators is funded in part by the StateWide Art Partnership 1 Early Utah Women Artists Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators October 28, 1998 Image List 1. Louise Richard Farnsworth (1878-1969) American Edge of the Desert Oil painting Mr. & Mrs. Joseph J. Palmer 1991.069.023 2. Mabel Pearl Frazer (1887-1981) American Untitled Oil painting Mr. & Mrs. Joseph J. Palmer 1991.069.028 3. Harriet Richards Harwood (1870-1922) American Étude , 1892 Oil painting University of Utah Collection X.035 4. Minerva Kohlhepp Teichert (1888-1976) American Battle of the Bulls Oil painting Gift of Jack and Mary Lois Wheatley 2004.2.1 5.
    [Show full text]
  • The Circumcision 1661 Oil on Canvas Overall: 56.5 X 75 Cm (22 1/4 X 29 1/2 In.) Framed: 81.3 X 99 X 8.2 Cm (32 X 39 X 3 1/4 In.) Inscription: Lower Right: Rembrandt
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Rembrandt van Rijn Dutch, 1606 - 1669 The Circumcision 1661 oil on canvas overall: 56.5 x 75 cm (22 1/4 x 29 1/2 in.) framed: 81.3 x 99 x 8.2 cm (32 x 39 x 3 1/4 in.) Inscription: lower right: Rembrandt. f. 1661 Widener Collection 1942.9.60 ENTRY The only mention of the circumcision of Christ occurs in the Gospel of Luke, 2:15–22: “the shepherds said one to another, Let us now go even unto Bethlehem.... And they came with haste, and found Mary and Joseph, and the babe lying in a manger.... And when eight days were accomplished for the circumcising of the child, his name was called Jesus.” This cursory reference to this most significant event in the early childhood of Christ allowed artists throughout history a wide latitude in the way they represented the circumcision. [1] The predominant Dutch pictorial tradition was to depict the scene as though it occurred within the temple, as, for example, in Hendrick Goltzius (Dutch, 1558 - 1617)’ influential engraving of the Circumcision of Christ, 1594 [fig. 1]. [2] In the Goltzius print, the mohel circumcises the Christ child, held by the high priest, as Mary and Joseph stand reverently to the side. Rembrandt largely followed this tradition in his two early etchings of the subject and in his 1646 painting of the Circumcision for Prince Frederik Hendrik (now lost). [3] The Circumcision 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century The iconographic tradition of the circumcision occurring in the temple, which was almost certainly apocryphal, developed in the twelfth century to allow for a typological comparison between the Jewish rite of circumcision and the Christian rite of cleansing, or baptism.
    [Show full text]
  • Mormon Abstract
    Abstract http://www.mormonartistsgroup.com/Mormon_Artists_Group/Abstract.html Welcome What's New Works Glimpses Events Freebies About MAG Contact Mormon Abstract by Stephanie K. Northrup January 2010 [i] When you think of Mormons “pushing the envelope,” what comes to mind? Deacons at the door collecting fast offerings? Try Bethanne Andersen’s The Last Supper (Place Setting). Many beautiful renditions of the Last Supper already exist, telling the story through dramatic lighting, facial expressions, and body language. Andersen tries a new perspective. She paints the dishes from which Christ eats His last mortal meal. That’s it. No people. Just us – invited to put ourselves in His shoes. The dishes are painted in soft pastel, as if on the verge of fading. This is a fleeting moment, like mortality, as He sits with His friends before making the ultimate sacrifice. By pushing the envelope, by throwing a new image at us that makes us consider the story in a new way, Andersen invites viewer participation. What a great approach to “likening the scriptures.” While Greg Olsen, Del Parson, and Simon Dewey are household names, ask most Mormons to name an abstract artist in the Church and you’ll probably get blank stares. Do Mormons make abstract art? We do. And we have been for a long time. In 1890, the church sent John Hafen and other “art missionaries” to Paris. Their assignment was to improve their skill so that they could create art for the Salt Lake Temple. What did these artists return with? Impressionism! Bright, thick brush strokes replaced traditional refined detail.
    [Show full text]
  • Rembrandt's 1654 Life of Christ Prints
    REMBRANDT’S 1654 LIFE OF CHRIST PRINTS: GRAPHIC CHIAROSCURO, THE NORTHERN PRINT TRADITION, AND THE QUESTION OF SERIES by CATHERINE BAILEY WATKINS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History CASE WESTERN RESERVE UNIVERSITY May, 2011 ii This dissertation is dedicated with love to my children, Peter and Beatrice. iii Table of Contents List of Images v Acknowledgements xii Abstract xv Introduction 1 Chapter 1: Historiography 13 Chapter 2: Rembrandt’s Graphic Chiaroscuro and the Northern Print Tradition 65 Chapter 3: Rembrandt’s Graphic Chiaroscuro and Seventeenth-Century Dutch Interest in Tone 92 Chapter 4: The Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus and Rembrandt’s Techniques for Producing Chiaroscuro 115 Chapter 5: Technique and Meaning in the Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus 140 Chapter 6: The Question of Series 155 Conclusion 170 Appendix: Images 177 Bibliography 288 iv List of Images Figure 1 Rembrandt, The Presentation in the Temple, c. 1654 178 Chicago, The Art Institute of Chicago, 1950.1508 Figure 2 Rembrandt, Descent from the Cross by Torchlight, 1654 179 Boston, Museum of Fine Arts, P474 Figure 3 Rembrandt, Entombment, c. 1654 180 The Cleveland Museum of Art, 1992.5 Figure 4 Rembrandt, Christ at Emmaus, 1654 181 The Cleveland Museum of Art, 1922.280 Figure 5 Rembrandt, Entombment, c. 1654 182 The Cleveland Museum of Art, 1992.4 Figure 6 Rembrandt, Christ at Emmaus, 1654 183 London, The British Museum, 1973,U.1088 Figure 7 Albrecht Dürer, St.
    [Show full text]
  • October 2007 Ensign
    THE CHURCH OF JESUS CHRIST OF LATTER-DAY SAINTS • OCTOBER 2007 The House of the World, by Minerva Teichert “And I also cast my eyes round about, and beheld, on the other side of the river of water, a great and spacious building; and it stood as it were in the air, high above the earth” (1 Nephi 8:26). “And it came to pass that I saw and bear record, that the great and spacious building was the pride of the world” (1 Nephi 11:36). ALL RIGHTS RESERVED, MAY NOT BE COPIED NOT MAY ALL RIGHTS RESERVED, COURTESY OF BRIGHAM YOUNG UNIVERSITY MUSEUM OF ART, COURTESY OF BRIGHAM YOUNG OCTOBER 2007 Contents VOLUME 37 • NUMBER 10 12 THE CHURCH OF JESUS CHRIST OF LATTER-DAY SAINTS • OCTOBER 2007 4 23 ON THE COVER MESSAGES FEATURE ARTICLES Front: Photograph by Laureni Fochetto, posed by models. FIRST PRESIDENCY My Unexpected Route Back (photographs clockwise from MESSAGE BECKY THOMAS left): Seoul Korea Temple by Floyd 10 Holdman, Copenhagen Denmark They Marked the Path How the scriptures have helped me navigate life’s unexpected paths. Temple and angel Moroni by Craig 4 to Follow Dimond, Accra Ghana Temple by PRESIDENT THOMAS S. For the Strength of You Norman Childs, Washington D.C. MONSON 12 A conversation with the Young Women general presidency. Temple by Christina Smith. We can look to spiritual pioneers for examples of Come to the Temple righteous, obedient living. 18 PRESIDENT BOYD K. PACKER How do temples make the Church unique? VISITING TEACHING MESSAGE Worthy to Enter Preparing for the 23 ELDER DARYL H.
    [Show full text]
  • George Reynolds's Story of the Book of Mormon
    BYU Studies Quarterly Volume 47 Issue 2 Article 7 4-1-2008 "A Picturesque and Dramatic History": George Reynolds's Story of the Book of Mormon Noel A. Carmack Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Recommended Citation Carmack, Noel A. (2008) ""A Picturesque and Dramatic History": George Reynolds's Story of the Book of Mormon," BYU Studies Quarterly: Vol. 47 : Iss. 2 , Article 7. Available at: https://scholarsarchive.byu.edu/byusq/vol47/iss2/7 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Carmack: "A Picturesque and Dramatic History": George Reynolds's <em>Story “A Picturesque and Dramatic History” George Reynolds’s Story of the Book of Mormon Noel A. Carmack f asked about art featuring the Book of Mormon, few Latter-day Saints I of today would fail to bring to mind Arnold Friberg’s large, heroic characters and epic scenes. Others have a growing affection for the color- ful Book of Mormon paintings by Minerva Teichert.1 These two artists produced some of the most recognizable images to illustrate the Book of Mormon in the last century. In the second half of the twentieth century, Latter-day Saints saw a significant rise in the use of the Book of Mormon as a proselyting tool and principal selling point, contributing to the Church’s rapid worldwide growth. It is not surprising, then, that in more than one hundred and seventy-five years since its publication, the Book of Mor- mon has inspired scores of visual images meant to bring life to the book’s protagonists and geographic scenery.
    [Show full text]