The Historic Sites & Structures Program at Texas State Parks
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1 America's Parks: Cultural
AMERICA’S PARKS: CULTURAL LANDSCAPES OF THE NEW DEAL Susan Ives The Living New Deal University of California, Department of Geography Berkeley, CA 94720-4740 [email protected] (415) 987-6764 Abstract It is hard to imagine that the worst economic crisis in our nation’s history was the time of the greatest expansion and development of our parks and public lands. In fact, the Great Depression and government’s all-out response to it catalyzed a “Golden Age of parks,” though the connection is largely forgotten today. The New Deal (1933-1942)—a collection of 43 newly styled “relief” programs—was a massive federal investment to stimulate the economy and get millions of unemployed Americans working again. Upon taking office in 1933, President Franklin Roosevelt reorganized the National Park Service, doubled the size of its holdings, and established the Civilian Conservation Corps (CCC) to carry out what has been called the largest environmental protection and restoration program ever undertaken in our country. Over its 9-year existence, the CCC enrolled more than 3 million men. Most were teenagers from families struggling with too many mouths to feed. The “CCC boys” called themselves Roosevelt’s Tree Army. They lived in military-style camps where they gained job skills, purpose, (and an average of 11.5 pounds). They earned about a dollar a day. They restored millions of acres of ruined forests and farmland, and developed hundreds of state and national parks still in use today. By contrast, state and national parks today are starved for funds and in need of billions of dollars for deferred maintenance. -
Williams Research Center, Historic New Orleans Collection
Williams Research Center, Historic New Orleans Collection Williams Research Center Historic New Orleans Collection 410 Chartres Street New Orleans, LA 70130 Telephone number: (504) 598-7171 Fax: (504) 598-7168 Email: [email protected] Website: http://www.hnoc.org Contact person: Alfred Lemmon Access privileges: Open to the public Hours: Tuesday - Saturday 10:00 a.m. - 4:30 p.m. Repository Information: The Historic New Orleans Collection was established in 1966 by General and Mrs. L. Kemper Williams, private collectors, to maintain and expand their collections and to make them available to the public through research facilities and exhibitions. The Williams Research Center offers scholars access to the extensive print and microform holdings of its three Divisions. The Manuscript collections include letters, diaries, land tenure records, financial and legal documents, records of community organizations, New Orleans newspapers (1803 - present), and annotated printed items. These papers illuminate life in New Orleans and southern social and cultural history in the surrounding areas during the nineteenth and twentieth centuries. Women are represented throughout the Division's. Although the material listed in this guide is located within the Manuscripts Division, the other divisions also have significant holdings by and about women. The Curatorial Division has many paintings, drawings, photographs, and other three-dimensional objects by women. Information on these female artists, is contained in the division's artists' files. Collection highlights: Significant collections include the Wilkinson-Stark papers especially for their coverage of Mary Farrar Stark Wilkinson's subversion of the invading federal army to protect her children, and the correspondence of Eliza Jane Nicholson, owner and editor of the Times-Picayune in the 1870s and 1880s. -
2006 Illustrated Parade Notes
© 2006, School of Design 1. Rex, King of Carnival, Monarch of Merr iment Rex’s float carries the King of Carnival and his pages through the streets of New Orleans on Mardi Gras day. 2. His Majesty’s Bandwagon A band rides on this permanent float to provide music for Rex and for those who greet him on the parade route. 3. The King’s Jesters Even the Monarch of Merriment needs jesters in his court. Rex’s jesters dress in Mardi Gras colors—purple, green, and gold. 4. The Boeuf Gras This is one of the oldest symbols of Mardi Gras, symbolizing the great feast on the day before Lent begins. 5. Title Float: “Beaux Arts and Letters” While Rex Processions of past years have presented the history and culture of far-flung civilizations, this year’s theme explores the joys and beauties of Rex’s own empire and domain. New Orleans has a long and rich artistic history and has produced a wealth of artists and writers of national and international renown. Sculptors and painters, writers and poets have called New Orleans home, and have found inspiration for their work in her history, culture, and landscapes. Mardi Gras, the celebration unique to this city, has influenced the work of many of our artists and writers. 6. John James Audubon (1785-1851) Audubon, the pre-eminent American painter of birds and wildlife, was born in Haiti and came to America at age eighteen, living in Pennsylvania and Kentucky before traveling south with little more than his gun and his painting equipment. -
New Deal Was the New Deal a Good Deal?
TEACHING WITH PRIMARY SOURCES New Deal Was the New Deal a good deal? Since shortly after the treaty that ended World War I, the world economy struggled. Germany was straddled with harsh reparation debts and their economy stalled. Farm income in the United States fell dramatically with the end of wartime price supports, and with nearly half of the U.S. population living in rural areas, American buying power plunged. At the same time, the U.S. imposed tariffs on imported items, helping manufacturing but raising prices for consumers. The stock market boomed, and investors poured money into stocks far beyond their earning capacity. Eventually, these and other factors combined to bring the stock market crash of 1929 and the beginning of the greatest economic downturn ever experienced in the United States. Herbert Hoover and the Market Crash Herbert Hoover was elected president in 1928 and assumed office while prosperity was still running high. When the market crashed in October, he and many other economists saw it as a temporary slide and predicted quick recovery. As unemployment continued to rise and business slumped, Hoover proposed some new efforts by the federal government. His main idea was to provide incentives and financial supports to business to get firms hiring and selling again. He favored lower taxes and a balanced budget. He also encouraged greater volunteer contributions to charities for the poor and unemployed, but he opposed any direct relief efforts to individuals fearing the welfare would discourage the unemployed from looking for work. New Deal Programs Anger against Hoover grew rapidly through 1931 and 1932, leading to the election of Franklin Delano Roosevelt. -
SELLING ART in the AGE of RETAIL EXPANSION and CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS and the AMERICAN ART MARKET of the 1930S and 1940S
SELLING ART IN THE AGE OF RETAIL EXPANSION AND CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS AND THE AMERICAN ART MARKET OF THE 1930s AND 1940s by TIFFANY ELENA WASHINGTON Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation advisor: Anne Helmreich Department of Art History CASE WESTERN RESERVE UNIVERSITY JANUARY, 2013 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of __________Tiffany Elena Washington_________ candidate for the __Doctor of Philosophy___ degree*. (signed) _______Anne L. Helmreich________ (chair of the committee) ______Catherine B. Scallen__________ ________ Jane Glaubinger__________ ____ _ _ Renee Sentilles___________ (date) 2 April, 2012 *We also certify that written approval has been obtained for any proprietary material contained herein. 2 For Julian, my amazing Matisse, and Livia, a lucky future artist’s muse. 3 Table of Contents List of figures 5 Acknowledgments 8 Abstract 11 Introduction 13 Chapter 1 46 Chapter 2 72 Chapter 3 93 Chapter 4 127 Chapter 5 155 Conclusion 202 Appendix A 205 Figures 207 Selected Bibliography 241 4 List of Figures Figure 1. Reeves Lewenthal, undated photograph. Collection of Lana Reeves. 207 Figure 2. Thomas Hart Benton, Hollywood (1937-1938). Tempera and oil on canvas mounted on panel. The Nelson Atkins Museum of Art, Kansas City. 208 Figure 3. Edward T. Laning, T.R. in Panama (1939). Oil on fiberboard. Smithsonian American Art Museum. 209 Figure 4. Plan and image of Associated American Artists Gallery, 711 5th Avenue, New York City. George Nelson, The Architectural Forum. Philadelphia: Time, Inc, 1939, 349. 210 Figure 5. Thomas Hart Benton, Departure of the Joads (1939). -
Rural Electrification
Rural Electrification: Breaking Barriers with the Flip of a Switch Josie Jacobs Addison Naslund Ben Philips Lainey Schuknecht Hayden Wahlberg Junior Division Group Documentary Process Paper Word Count: 500 Documentary Time Length: 10:00 We became interested in the topic of rural electrification because our community is in rural northwest Iowa and some of our group members have family members who remember when electricity came to their farms. After researching the topic, we felt it fit the Breaking Barriers in History theme very well and had a tremendous impact on millions of farm families and our nation’s history. Electricity was common in most U.S. cities and towns by the early 1900s. However, in 1923, 97 percent of the six million farm families in America were still in the dark. Remote locations and the expense of installing electricity created a barrier that left rural America behind. The Rural Electrification Administration was created in 1935 to provide loans and expertise to farmers who organized thousands of rural electric cooperatives. These cooperatives broke numerous technological and cultural barriers to bring electric service to homes and farms in rural America. Nearly 98 percent of U.S. farms received electric service within 30 years. During our research, we interviewed Wanda Philips, Margaret Talbott and Orion Samuelson about their personal experiences with rural electrification. We interviewed Paul Bormann of USDA Rural Development and Lyle Corver of North West REC to learn about modern RECs and the REA’s legacy. We obtained primary sources from the Boone Valley Electric Cooperative, the first Iowa electric cooperative energized under the REA program. -
Nine Principles That Should Guide the Green New Deal
The Washington Post Made by History Perspective Nine principles that should guide the Green New Deal Lessons drawn from the successes — and failures — of the first New Deal. By Richard Walker On the heels of the Democrats’ sweep of the midterm elections has come a remarkable surge of support for a Green New Deal among the party’s progressives. The Green New Deal is still mostly an outline, a set of potential policies and hoped-for outcomes. That’s fine as a starting point. But for this program to succeed, it needs to take seriously the lessons of the original New Deal of the 1930s. When President Franklin Roosevelt took office in 1933, it was the nadir of the Great Depression, and Americans faced the daunting challenge of renewing a badly divided, demoralized and drifting nation. Roosevelt and the New Dealers were hopeful idealists, but their genius lay in hard-nosed pragmatism and willingness to experiment at reforming all areas of American life, from industry to agriculture to the banking sector and even public life. In fact, it was the sheer number of New Deal programs beyond the famous ones that developed social security, public infrastructure and agricultural reform that got millions of working families back on their feet, rebuilt the national infrastructure and transformed the American economy. The New Deal tackled problems of banking and finance, transportation and communication, farm overproduction and tenancy, housing and planning, labor rights and wages and environment and conservation — not to mention supporting the arts, education and public health. ADVERTISING The Living New Deal is a project to document and map all civilian public works built during the Roosevelt administration and to keep the legacy of the New Deal alive. -
The Art of Charles H. Reinike : Lagniappes of Louisiana's
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2013 The ra t of Charles H. Reinike : lagniappes of Louisiana's landscapes and people Lauren J. Barnett Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Barnett, Lauren J., "The ra t of Charles H. Reinike : lagniappes of Louisiana's landscapes and people" (2013). LSU Master's Theses. 430. https://digitalcommons.lsu.edu/gradschool_theses/430 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE ART OF CHARLES H. REINIKE: LAGNIAPPES OF LOUISIANA’S LANDSCAPES AND PEOPLE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Lauren J. Barnett B.A., University of Florida, 2011 May 2013 ACKNOWLEDGMENTS This thesis would not have been possible without the support and guidance of the Reinike family, whose ambitions to preserve the legacy of Charles H. Reinike are extraordinary. Gretchen Reinike Eppling has not only been there to offer a wealth of information regarding the life and art of her father, but she has also become a dear friend to me throughout this process. Her brother, Charles Reinike III has also provided much assistance and inspiration, along with his wife, Edna, and daughter, Vera. -
“Beaux Arts and Letters” Tuesday, February 28, 2005 New Orleans
The 2006 Rex Procession: “Beaux Arts and Letters” Tuesday, February 28, 2005 New Orleans, Louisiana 1. Rex, King of Carnival, Monarch of Merriment Rex’s float carries the King of Carnival and his pages through the streets of New Orleans on Mardi Gras day. 2. His Majesty’s Bandwagon A band rides on this permanent float to provide music for Rex and for those who greet him on the parade route. 3. The King’s Jesters Even the Monarch of Merriment needs jesters in his court. Rex’s jesters dress in Mardi Gras colors—purple, green, and gold. 4. The Boeuf Gras This is one of the oldest symbols of Mardi Gras, symbolizing the great feast on the day before Lent begins. 5. Title Float: “Beaux Arts and Letters” While Rex Processions of past years have presented the history and culture of far-flung civilizations, this year’s theme explores the joys and beauties of Rex’s own empire and domain. New Orleans has a long and rich artistic history and has produced a wealth of artists and writers of national and international renown. Sculptors and painters, writers and poets have called New Orleans home, and have found inspiration for their work in her history, culture, and landscapes. Mardi Gras, the celebration unique to this city, has influenced the work of many of our artists and writers. 6. John James Audubon (1785-1851) Audubon, the pre-eminent American painter of birds and wildlife, was born in Haiti and came to America at age eighteen, living in Pennsylvania and Kentucky before traveling south with little more than his gun and his painting equipment. -
1 NEW DEAL FILMS Living New Deal Project May 2013 the Following List of New Deal Films Provides Information Regarding One Hundre
NEW DEAL FILMS Living New Deal Project May 2013 The following list of New Deal films provides information regarding one hundred unique titles, with links to online footage wherever possible. With a few exceptions, all of the films collected below were produced by and for New Deal agencies and programs as promotional, documentary, or training films. Each entry aims to offer general information about each title, including which New Deal agency sponsored the film and a brief description of its content. Rather than a comprehensive catalog, this list sketches out in broad strokes the rich body of cinematic work supported by New Deal programs. The films on this list highlight the direct fruits of a public commitment to employment relief and the arts. Researchers interested in further exploring New Deal era films – including those related to or about the New Deal though not explicitly produced by or for New Deal agencies – are encouraged to pursue the resources included in the reference section at the end of the list. Special thanks goes to Megan and Rick Prelinger of the Prelinger Library, where the majority of research for this project was performed. Research by John Elrick for the Living New Deal – http://livingnewdeal.org. 1.) Alabama Highlands (1937, 11 min) [Development of State Parks around Birmingham, Alabama] Agency Sponsors: U.S. Department of the Interior, CCC Reference: D. Cook, E. Rahbek-Smith, Educational Film Catalog, Supplement to the Second Edition. New York: H.W. Wilson Co., 1942. Film Link: http://www.youtube.com/watch?v=-ArpLe_A0zk 2.) A Better Minnesota (1937, 9 min) [WPA efforts in Minnesota] Agency Sponsor: WPA Reference: Larry N. -
Charles Bein (1891-1966): Graduate and Professor, Tulane School of Architecture--Belatedly
Charles Bein (1891-1966): Graduate and Professor, Tulane School of Architecture--Belatedly Acknowledged Two Tulane graduates live in Charlottesville where they are longtime friends: James Leslie Kelly of New Orleans, who graduated in engineering at Tulane in 1954, later acquiring his PhD at LSU in Chemical Engineering and Roulhac Bunkley Toledano (Newcomb 1960) who studied art and architectural history under Alfred Moir along with painting and printmaking under Ida Kohlmayer and James Steg. Recently Kelly, a relative of New Orleans native, Charles Bein, yet another Tulane graduate and a professor at the Architecture School, inherited a number of Bein’s paintings and an extensive collection of scrapbooks and newspaper clippings about Bein and his successful career in the arts. This mass of art and manuscript material, as well as Mallard and Seigneuret furniture from Bein’s Bay Saint Louis, Mississippi residence along with the Tulane connection, captivated me when I saw them. Subsequently, Jim Kelly showed me the handsome Mexican silver service that had been in Bein’s house, reminiscent of the work developed and popularized by Bein’s friend William Spratling. News clipping with articles on Bein by his good friends William Spratling and Lyle Saxon revealed that Bein had gone to Mexico with Spratling, so well known as the man who revitalized and transformed the silver tradition among the Indians at Taxco, Mexico. More clippings elucidating the amazing life of the architect and artist Charles Bein sent me to Tulane Architecture School, the Louisiana Rare Book Collection and the Southeast Architectural Archives where little information was available beyond the architecture school’s publication Talk About Architecture and a web 1 site partially based on that information. -
READ ME FIRST Here Are Some Tips on How to Best Navigate, find and Read the Articles You Want in This Issue
READ ME FIRST Here are some tips on how to best navigate, find and read the articles you want in this issue. Down the side of your screen you will see thumbnails of all the pages in this issue. Click on any of the pages and you’ll see a full-size enlargement of the double page spread. Contents Page The Table of Contents has the links to the opening pages of all the articles in this issue. Click on any of the articles listed on the Contents Page and it will take you directly to the opening spread of that article. Click on the ‘down’ arrow on the bottom right of your screen to see all the following spreads. You can return to the Contents Page by clicking on the link at the bottom of the left hand page of each spread. Direct links to the websites you want All the websites mentioned in the magazine are linked. Roll over and click any website address and it will take you directly to the gallery’s website. Keep and fi le the issues on your desktop All the issue downloads are labeled with the issue number and current date. Once you have downloaded the issue you’ll be able to keep it and refer back to all the articles. Print out any article or Advertisement Print out any part of the magazine but only in low resolution. Subscriber Security We value your business and understand you have paid money to receive the virtual magazine as part of your subscription. Consequently only you can access the content of any issue.