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My Wonderful World of Slapstick
THE THIS BOOK IS THE PROPERTY OF Georgia State Bo»r* of Education AN. PR,CLAun\;v eSupt of School* 150576 DECATUR -DeKALB LIBRARY REGIONAI SERVICE ROCKDALE COUNTY NEWTON COUNTY Digitized by the Internet Archive in 2012 with funding from Media History Digital Library http://archive.org/details/mywonderfulworldOObust MY WONDERFUL WORLD OF SLAPSTICK MY WO/VDERFUL WORLD OF SLAPSTICK BUSTER KEATON WITH CHARLES SAMUELS 150576 DOVBLEW& COMPANY, lNC.,<k*D£H C(TYt HlW Yo*K DECATUR - DeKALB LIBRARY REGiOMA! $&KZ ROCKDALE COUNTY NEWTON COUNTY Library of Congress Catalog Card Number 60-5934 Copyright © i960 by Buster Keaton and Charles Samuels All Rights Reserved Printed in the United States of America First Edition J 6>o For Eleanor 1. THE THREE KEATONS 9 2. I BECOME A SOCIAL ISSUE 29 3. THE KEATONS INVADE ENGLAND 49 4. BACK HOME AGAIN IN GOD'S COUNTRY 65 5. ONE WAY TO GET INTO THE MOVIES 85 6. WHEN THE WORLD WAS OURS 107 7. BOFFOS BY MAN AND BEAST 123 8. THE DAY THE LAUGHTER STOPPED 145 9. MARRIAGE AND PROSPERITY SNEAK UP ON ME 163 10. MY $300,000 HOME AND SOME OTHER SEMI-TRIUMPHS 179 11. THE WORST MISTAKE OF MY LIFE 199 12. THE TALKIE REVOLUTION 217 13. THE CHAPTER I HATE TO WRITE 233 14. A PRATFALL CAN BE A BEAUTIFUL THING 249 15. ALL'S WELL THAT ENDS WELL 267 THE THREE KeAtOnS Down through the years my face has been called a sour puss, a dead pan, a frozen face, The Great Stone Face, and, believe it or not, "a tragic mask." On the other hand that kindly critic, the late James Agee, described my face as ranking "almost with Lin- coln's as an early American archetype, it was haunting, handsome, almost beautiful." I cant imagine what the great rail splitter's reaction would have been to this, though I sure was pleased. -
Violet Oakley: Pennsylvania’S Premiere Muralist
1 VIOLET OAKLEY: PENNSYLVANIA’S PREMIERE MURALIST Susan Hamburger Paper and slide presentation Pennsylvania Historical Association October 14, 1995 [SLIDE 1] Violet Oakley--a versatile portraitist, illustrator, stained glass artisan, and muralist--earned a reputation as the first American woman artist to succeed in the predominantly-male architectural field of mural decoration. Her strong commitment to her religion and world peace influenced her art as well as her life. [SLIDE 2] Oakley was born in Bergen Heights, New Jersey, to the artistic family of Arthur Edmund Oakley and Cornelia Swain Oakley. Both of her grandfathers, George Oakley and William Swain, belonged to the National Academy of Design and two of her aunts studied painting in Munich with Frank Duveneck. She believed that her compulsion to draw was “hereditary and chronic.” She once commented that she must have been “a monk in some earlier state of existence....The abbesses and sisters were too busy nursing the sick and doing fine needleworks. I never heard of them illuminating manuscripts. I am quite sure I was a monk.” 1 The youngest of three children, Violet followed her sisters Cornelia and Hester in learning the acceptable feminine skills of poetry writing, piano playing, 2 and sketching. While Hester attended Vassar College, Violet’s asthma prevented her from obtaining a college education which her parents thought too rigorous for her physical condition. She never let the asthma impede her artistic education or career. In 1892, at the age of eighteen, Oakley commuted to New York City to study at the Art Students’ League with Irving R. -
2001 Great Plains Prairie
2001 Great Plains Prairie Pronghorns Burrowing Owls Black-tailed Prairie Dog American Buffalo Painted Lady Butterfly 2001 Great Plains Prairie Western Meadowlark Badger Plains Spadefoot Eastern Short-horned Lizard Two-striped Grasshopper 2001 perf. 11¼x11 die cut 11 die cut 8½ vert. American Buffalo American Buffalo American Buffalo die cut 11¼ die cut 10½x11¼ American Buffalo American Buffalo Eagle Eagle United We Stand die cut 11¼ die cut 10½x10¾ die cut 9¾ vert., sq. corner die cut 9¾ vert., rd. corner United We Stand United We Stand United We Stand United We Stand 2001-03 George Washington die cut 11¼x11 die cut 10½x11 die cut 11¼x11¾, “2001” George Washington George Washington George Washington die cut 8½ vert., “2001” perf. 11¼, “2002” die cut 8½ vert., “2002” George Washington George Washington George Washington die cut 11¼x11, “2002” die cut 10½x11, “2002” die cut 11, “2003” George Washington George Washington George Washington Atlas die cut 8½ vert., “2001” die cut 11 vert., “2003” Atlas Atlas 2001 We Give Thanks Diamond in the Square Lone Star Diabetes Roy Wilkins The Nobel Prize Peanuts Honoring Veterans Frida Kahlo Sunshine & Shadow James Madison Double Ninepatch Variation 2001 Venus Flytrap Yellow Trumpet Cobra Lily English Sundew Leonard Bernstein Lucille Ball Pan-American Exposition perf. 12, unwmk., dated “2001” perf. 12, unwmk., dated “2001” perf. 12, unwmk., dated “2001” Fast Lake Navigation Fast Express Automobile 2001 Woody Wagon Enrico Fermi Love Love Love die cut 11½x10¾ Love die cut 11¼ Love Love 2001-09 Eid die cut 11¼, dated “2001” die cut 11, dated “2002” Eid Eid Eid Eid Eid Eid 2001-03 Washington Landmarks U.S. -
1523 Chestnut Street Postal Code: 19102
1. ADDRESS OF HISTORIC RESOURCE (must comply with an Office of Property Assessment address) Street address: 1523 Chestnut Street Postal code: 19102 2. NAME OF HISTORIC RESOURCE Historic Name: The Love Building Current Name: Unknown 3. TYPE OF HISTORIC RESOURCE Building Structure Site Object 4. PROPERTY INFORMATION Condition: excellent good fair poor ruins Occupancy: occupied vacant under construction unknown Current use: Commercial 5. BOUNDARY DESCRIPTION Please attach a narrative description and site/plot plan of the resource’s boundaries. 6. DESCRIPTION Please attach a narrative description and photographs of the resource’s physical appearance, site, setting, and surroundings. 7. SIGNIFICANCE Please attach a narrative Statement of Significance citing the Criteria for Designation the resource satisfies. Period of Significance (from year to year): ca.1880-1923 Date(s) of construction: ca.1880 Architects: Unknown Builders: Unknown Original owner: John Beresford Love Significant person: Violet Oakley, Jessie Willcox Smith, Elizabeth Shippen Green, etc. CRITERIA FOR DESIGNATION: The historic resource satisfies the following criteria for designation (check all that apply): (a) Has significant character, interest or value as part of the development, heritage or cultural characteristics of the City, Commonwealth or Nation or is associated with the life of a person significant in the past; or, (b) Is associated with an event of importance to the history of the City, Commonwealth or Nation; or, (c) Reflects the environment in an era characterized -
The Role of Stanislavsky and the Moscow Art Theatre's 1923 And
CULTURAL EXCHANGE: THE ROLE OF STANISLAVSKY AND THE MOSCOW ART THEATRE’S 1923 AND1924 AMERICAN TOURS Cassandra M. Brooks, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Olga Velikanova, Major Professor Richard Golden, Committee Member Guy Chet, Committee Member Richard B. McCaslin, Chair of the Department of History Mark Wardell, Dean of the Toulouse Graduate School Brooks, Cassandra M. Cultural Exchange: The Role of Stanislavsky and the Moscow Art Theatre’s 1923 and 1924 American Tours. Master of Arts (History), August 2014, 105 pp., bibliography, 43 titles. The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge. -
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. -
1998 Acquisitions
1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in. -
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. -
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. -
ADDRESS: 1523 CHESTNUT ST Name of Resource: Love Building Proposed Action: Designation Property Owner: 1523 Chestnut Associates
ADDRESS: 1523 CHESTNUT ST Name of Resource: Love Building Proposed Action: Designation Property Owner: 1523 Chestnut Associates Nominator: Center City Residents’ Association Staff Contact: Meredith Keller, [email protected] OVERVIEW: This nomination proposes to designate the Love Building at 1523 Chestnut Street and list it on the Philadelphia Register of Historic Places. The nomination contends that the property satisfies Criteria for Designation A and J. Under Criteria A and J, the nomination contends that the property is significant for its association with the Red Rose Girls, an enclave of notable female artists important in LGBTQ history that included Jessie Willcox Smith, Elizabeth Shippen Green, Violet Oakley, and others. The nomination contends that the women maintained studios in the building during their formative years as artists and became significant contributors to the golden age of American illustration at a time when Philadelphia served as a national center for that industry. STAFF RECOMMENDATION: The staff recommends that the nomination demonstrates that the property at 1523 Chestnut Street satisfies Criteria for Designation A and J. 1. ADDRESS OF HISTORIC RESOURCE (must comply with an Office of Property Assessment address) Street address: 1523 Chestnut Street Postal code: 19102 2. NAME OF HISTORIC RESOURCE Historic Name: The Love Building Current Name: Unknown 3. TYPE OF HISTORIC RESOURCE Building Structure Site Object 4. PROPERTY INFORMATION Condition: excellent good fair poor ruins Occupancy: occupied vacant under construction unknown Current use: Commercial 5. BOUNDARY DESCRIPTION Please attach a narrative description and site/plot plan of the resource’s boundaries. 6. DESCRIPTION Please attach a narrative description and photographs of the resource’s physical appearance, site, setting, and surroundings. -
The Rise of an American Art by Michael Zakian,California Art Club
CALIFORNIA ART CLUB NEWSLETTER Documenting California’s Traditional Arts Heritage Since 1909 The Rise of an American Art by Michael Zakian he Golden Age of American subscriptions. In order to compete enthusiastically embraced by the public. Illustration remains one of the in the new, larger, and more dynamic By its very nature, illustration was Tmost fascinating chapters in the marketplace of the early twentieth an art form designed to be accessible. history of American art and culture. It century, editors turned to illustrators, The goal of these artists was to create an was a period that saw the practice of commissioning them to create new, image that would capture and convey illustration rise from humble beginnings inventive images that would attract a the essence of a book, magazine story to become a dominant and sophisticated growing population of eager consumers. or advertising campaign. The goal of art form that touched the lives of almost An upward spiral of increasing demand using art to reach people was the prime every American. The best artists of this motivated artists to create art of higher motivation of Howard Pyle, who has movement—a long list that includes such and higher quality which in turn was been called the “Father of Modern illustrious names as Howard Illustration.” Not only did Pyle (1853–1911), Charles Pyle produce thousands of Dana Gibson (1866–1944), acclaimed illustrations, he Maxfield Parrish (1870– also founded the Howard 1966), J.C. Leyendecker Pyle School of Illustration (1874–1951), N.C. Wyeth Art in Wilmington, (1882–1945), Dean Cornwell Delaware, where he taught (1892–1960), and Norman the next generation of Rockwell (1894–1978)— illustrators, including Frank gained national fame. -
The Institute of Modern Russian Culture
THE INSTITUTE OF MODERN RUSSIAN CULTURE AT BLUE LAGOON NEWSLETTER No. 53, February, 2007 IMRC, Mail Code 4353, USC, Los Angeles, Ca. 90089-4353, USA Tel.: (213) 740-2735 Fax: (213) 740-8550; E: [email protected] website: http://www.usc.edu./dept/LAS/IMRC STATUS This is the fifty-third biannual Newsletter of the IMRC and follows the last issue which appeared in August, 2006. The information presented here relates primarily to events connected with the IMRC during the fall and winter of 2006. For the benefit of new readers, data on the present structure of the IMRC are given on the last page of this issue. IMRC Newsletters for 1979-2005 are available electronically and can be requested via e-mail at [email protected]. A full run can also be supplied on a CD disc (containing a searchable version in Microsoft Word) at a cost of $25.00, shipping included (add $5.00 if overseas airmail). In August, 2004, the IMRC transferred the Newsletter to an electronic format and individuals and institutions on our courtesy list are receiving the issues as an e-attachment. Members in full standing, however, continue to receive hard copies of the Newsletter as well as the text in electronic format, wherever feasible. Please send us new and corrected e-mail addresses. An illustrated brochure describing the programs, collections, and functions of the IMRC is also available RUSSIA One of the most encouraging things about the brash new Russia is that the more she changes, the more she stays the same or, rather, the more she withdraws into the darker age of her time of troubles.