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Guide to State Statues in the National Statuary Hall Collection
U.S. CAPITOL VISITOR CENTER GUide To STATe STATUes iN The NATioNAl STATUArY HAll CollecTioN CVC 19-107 Edition V Senator Mazie Hirono of Hawaii addresses a group of high school students gathered in front of the statue of King Kamehameha in the Capitol Visitor Center. TOM FONTANA U.S. CAPITOL VISITOR CENTER GUide To STATe STATUes iN The NATioNAl STATUArY HAll CollecTioN STATE PAGE STATE PAGE Alabama . 3 Montana . .28 Alaska . 4 Nebraska . .29 Arizona . .5 Nevada . 30 Arkansas . 6 New Hampshire . .31 California . .7 New Jersey . 32 Colorado . 8 New Mexico . 33 Connecticut . 9 New York . .34 Delaware . .10 North Carolina . 35 Florida . .11 North Dakota . .36 Georgia . 12 Ohio . 37 Hawaii . .13 Oklahoma . 38 Idaho . 14 Oregon . 39 Illinois . .15 Pennsylvania . 40 Indiana . 16 Rhode Island . 41 Iowa . .17 South Carolina . 42 Kansas . .18 South Dakota . .43 Kentucky . .19 Tennessee . 44 Louisiana . .20 Texas . 45 Maine . .21 Utah . 46 Maryland . .22 Vermont . .47 Massachusetts . .23 Virginia . 48 Michigan . .24 Washington . .49 Minnesota . 25 West Virginia . 50 Mississippi . 26 Wisconsin . 51 Missouri . .27 Wyoming . .52 Statue photography by Architect of the Capitol The Guide to State Statues in the National Statuary Hall Collection is available as a free mobile app via the iTunes app store or Google play. 2 GUIDE TO STATE STATUES IN THE NATIONAL STATUARY HALL COLLECTION U.S. CAPITOL VISITOR CENTER AlabaMa he National Statuary Hall Collection in the United States Capitol is comprised of statues donated by individual states to honor persons notable in their history. The entire collection now consists of 100 statues contributed by 50 states. -
Utah History Encyclopedia
PAINTING AND SCULPTURE IN UTAH Avard Fairbanks with models for "Pony Express" William W. Major (1804-1854) was the first Mormon painter to arrive in Utah (in 1848). From Great Britain, he spent five years headquartered in Great Salt Lake City painting portraits and making visits to various locations in the surrounding area in order to paint both landscapes and the faces of other settlers as well as of leaders among the indigenous Native American tribes. Meanwhile, virtually everything in the city of Salt Lake that could be in any way called sculpture was created by either the British woodcarver Ralph Ramsay (1824-1905) or the British stonecarver William Ward (1827-93). The three most significant pioneer painters were Danquart Weggeland (1827-1918), a Norwegian; C.C.A. Christensen (1831-1912), a Dane; and George M. Ottinger (1833-1917), originally from Pennsylvania. Christensen′s greatest achievement was the painting of numerous somewhat awkward but charming scenes showing episodes either from early Mormon history or from the Book of Mormon. Like Christensen, neither Ottinger nor Weggeland had much formal artistic training, but each produced a few somewhat more sophisticated figure and landscape paintings and advised their students to go east where they could study in Paris. Certainly, that is what Deseret′s young sculpture students would do; Parisian training played a major role in the artistic evolution of famed romantic realist bronze sculptor Cyrus E. Dallin (1861-1944), of Springville, Utah, as well as in that of Mt. Rushmore′s sculptor, Gutzun Borglum (1867-1941) and his talented brother, Solon Borglum (1868 1922), both of Ogden, Utah. -
Special Issue— the Early Life of Heber J
A Multidisciplinary Latter-day Saint Journal Special Issue— the early life of Heber J. Grant TO OUR READERS BYU Studies is dedicated to the correlation of revealed and discovered truth and to the conviction that the spiritual and the intellectual can be complementary and funda- mentally harmonious avenues of knowledge. This periodical strives to explore schol- arly perspectives on Latter-day Saint topics. It is committed to seeking truth “by study and also by faith” (D&C 88:118) and recognizes that all knowledge without charity is nothing (1 Cor. 13:2). It proceeds on the premise that faith and reason, revelation and scholarly learning, obedience and creativity are compatible; they are “many members, yet but one body” (1 Cor. 12:20). Contributions from all fields of learning are invited. BYU Studies strives to pub- lish articles that openly reflect a Latter-day Saint point of view and are obviously rele- vant to subjects of general interest to Latter-day Saints, while conforming to high scholarly standards. BYU Studies invites poetry and personal essays dealing with the life of the mind, reflections on personal and spiritual responses to academic experi- ences, intellectual choices, values, responsibilities, and methods. All personal essays received will be entered in our annual personal essay contest. Short studies and notes are also welcomed. Opinions expressed in BYU Studies are the opinions of contributors. Their views should not necessarily be attributed to The Church of Jesus Christ of Latter-day Saints, Brigham Young University, or BYU Studies editors, staff, or board members. INSTRUCTION TO AUTHORS Guidelines for submitting manuscripts may be viewed on our website at http://byustudies.byu.edu SUBSCRIBERS’ NOTICE Subscription is $5.00 for one issue (you may subscribe at this rate for as many future issues as you like); $20.00 for one year (four issues); and $45.00 for ten issues (tenth issue is free). -
List of Exhibitions Held at the Corcoran Gallery of Art from 1897 to 2014
National Gallery of Art, Washington February 14, 2018 Corcoran Gallery of Art Exhibition List 1897 – 2014 The National Gallery of Art assumed stewardship of a world-renowned collection of paintings, sculpture, decorative arts, prints, drawings, and photographs with the closing of the Corcoran Gallery of Art in late 2014. Many works from the Corcoran’s collection featured prominently in exhibitions held at that museum over its long history. To facilitate research on those and other objects included in Corcoran exhibitions, following is a list of all special exhibitions held at the Corcoran from 1897 until its closing in 2014. Exhibitions for which a catalog was produced are noted. Many catalogs may be found in the National Gallery of Art Library (nga.gov/research/library.html), the libraries at the George Washington University (library.gwu.edu/), or in the Corcoran Archives, now housed at the George Washington University (library.gwu.edu/scrc/corcoran-archives). Other materials documenting many of these exhibitions are also housed in the Corcoran Archives. Exhibition of Tapestries Belonging to Mr. Charles M. Ffoulke, of Washington, DC December 14, 1897 A catalog of the exhibition was produced. AIA Loan Exhibition April 11–28, 1898 A catalog of the exhibition was produced. Annual Exhibition of the Work by the Students of the Corcoran School of Art May 31–June 5, 1899 Exhibition of Paintings by the Artists of Washington, Held under the Auspices of a Committee of Ladies, of Which Mrs. John B. Henderson Was Chairman May 4–21, 1900 Annual Exhibition of the Work by the Students of the CorCoran SChool of Art May 30–June 4, 1900 Fifth Annual Exhibition of the Washington Water Color Club November 12–December 6, 1900 A catalog of the exhibition was produced. -
The Papers of Reynolds Cahoon, 1831-1865
The Papers of Reynolds Cahoon, 1831-1865 Catalogued (Described) by John Hajicek for “MormonHill” on eBay Containing 109 items of retained records of Reynolds Cahoon, a Mormon from 1830; who was a traveling companion of Joseph Smith, his brothers, the first presidency, and the quorum of twelve. These papers contain documents signed by Joseph Smith, Oliver Cowdery, Frederick G. Williams, Brigham Young, Parley P. Pratt, Newel K. Whitney, Elizabeth Ann Whitney, Reynolds Cahoon, William F. Cahoon, Harvey Stanley, Alvin A. Avery, William Clayton, Isaac Higbee, and a number of other authorities of the Church of Jesus Christ of Latter Day Saints. Documents were written to and from Zion (Jackson County, Missouri), northwestern Missouri, Kirtland (Ohio), Quincy (Illinois), Commerce and Nauvoo (Illinois), Liverpool (England), Glasgow (Scotland), along the Mormon Trail (Chariton River, Winter Quarters, Council Bluffs, Linden, Loup Fork, and Devil’s Gate),the Territory of Utah (Great Salt Lake City, Provo, Big Cottonwood, and Camp Floyd), present day Nevada (Genoa and Carson City, Territory of Utah), California (Lake Tahoe, El Dorado, Sacramento and San Bernardino), Vancouver Island (British Columbia), and Fort Limhi (presently Idaho). A number of valuable printed broadsides are also in the collection from Nauvoo and the settlement of the Territory of Utah. Highlights • The manuscript autobiography of Reynolds Cahoon, 1830-1845. • A manuscript Saints’ hymn signed by Parley P. Pratt written on the first mission in Zion (Missouri), 1831, the earliest of his writings anywhere. • 4 of the earliest of priesthood licenses, 1831-1836, signed by Oliver Cowdery, Frederick G. Williams, and Joseph Smith. • The manuscript autobiography of Kirtland seventy Arvin Allen Avery, 1845. -
Oral History Interview with Nicholas Carone, 1968 May 11-17
Oral history interview with Nicholas Carone, 1968 May 11-17 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview PC: PAUL CUMMINGS NC: NICOLAS CARONE PC: May 11. Paul Cummings and Nicolas Carone. Do you accept the "e"? NC: Well, in Italian it's Car.ro'ne. We were called Ca.ron' all through school. PC: You were born in New York. I don't have a date for it. NC: June 4, 1917, in New York City. PC: Why don't you just give me some idea of your family, you background, where you lived in New York. NC: Well, my family is Italian. My father comes from Bari, Italy. My mother comes from Lucania. They came here, oh, I don't remember the date when they came. I was born on the East Side of New York. When I was about five years old, we moved to Hoboken, New Jersey, to live. I was really brought up in Hoboken. I went to school there, public school. And then I started to go to art school from there when I was very young, about eleven years old. I went to the Leonardo da Vinci Art School. PC: Oh, downtown. NC: Downtown. It was in an old church in St. Marks Place. PC: Right. NC: And Noguchi was there, and Peter Agostini and George Spaventa, and Marca Relli. But I was younger than they were. PC: From Hoboken you went back and forth? NC: Yes. I used to travel as a kid. -
Painting Sites Guide Weir Farm Weir 10: Julian Alden Weir, in the Dooryard (Detail), 1894, Oil on Canvas, Private Collection
10 S TEP INTO A PAINTING. Take a walk and glimpse a masterpiece. 1 2 Then take a deep breath and create one yourself. At Weir Farm National Historic Site you can do all these things. You won’t be the first to do them, and we certainly hope you won’t be the last! In 1882 Julian Alden Weir kicked off the artistic tradition on his first visit here, when he was inspired to paint a postcard-sized watercolor of the emerald fields and powder blue skies. The cycle of reflection, inspiration, and creation hasn’t stopped since. Daniel Hauben made this painting in 2011 while he was the Artist-in-Residence at Weir Farm J. Alden Weir experimented with Impressionism to capture this landscape, but National Historic Site. The Artist-in-Residence program selects artists to spend one month living and other artists have employed radically different techniques to communicate It was here that J. Alden Weir began to experiment working at the park. To date, over 150 artists from throughout the United States, as well as Tunisia, their experiences here. In this painting, Sperry Andrews uses Cubism to Germany, Australia, and India have participated. The Weir Farm Art Center (formerly Weir Farm emphasize the stark lines of the Burlingham House Visitor Center and a bold ational Park Service with Impressionism by shifting from formal N U.S. Department of the Interior representations of the world to thoughtful Trust) manages the Artist-in-Residence Program at the park. For more information or to apply to color palette to evoke the bright light of a winter afternoon. -
Article Two Or Three Months Later, Claiming That He Had Been Unable ₃₆ to find Space
Heber J. Grant’s European Mission, 1903‒1906 lder Heber J. Grant landed in Liverpool, England, in November E1903, and by the first of the year he officially assumed his new position as president of the European Mission. The mission began at Tromso, Norway; and ran to Cape Town, South Africa; with ₁ Iceland and India serving as distant east-west meridians. While the church had branches in each of these extremities, Grant’s field of labor was more compact. Most of the mission’s effort was reserved to the Netherlands, Germany, Scandinavia, and Switzerland, where he had a general superintendency, and especially in the British Isles, where he had duties that were immediate and day-to-day. Upon his arrival, he immediately had a sense of déjà vu. Waiting for him at the foot of the pier was Elder Francis M. Lyman, his brusque, good-natured, 250-pound friend, now retiring from the European Mission to assume the presidency of the Quorum of the Twelve Apostles. As in Tooele two and a half decades earlier, when Grant had succeeded Elder Lyman as stake president, Grant now found his predecessor had “filled up the mud-holes, removed the rocks, and left a good road for us to travel ₂ on.” There was another familiar aspect: time had not altered Lyman’s capacity for firm opinion, which, during the next six weeks before he finally sailed for America, flowed readily and at times disconcertingly. Grant wondered if Lyman still regarded him as the Tooele novice, despite Grant’s two decades of service in the Quorum of the Twelve. -
Conference Reports of the Church of Jesus Christ of Latter-Day Saints
J "— Ninety-Third Semi-Annual Conference of the Church of Jesus Christ of Latter-day Saints Held in the Tabernacle and Assembly Hall Salt Lake City, Utah October 6, 7 and 8 1922 With a Full Report of all the Discourses Published by the Church of Jesus Christ of Latter-day Saints Salt Lake City, Utah HISTORY of the CHURCH Compiled by the Church Historians and published by the Church IN SIX LARGE VOLUMES Completing the First Period. "The History of the Prophet Joseph Smith," with introduction and notes by B. H. Roberts. A remarkable low price has been placed on the His- tory by the First Presidency to secure the widest pos- sible circulation. Every Association, Sunday School, Quorum and Private Library should have a set. Cloth—Embossed, per vol $1.50 postpaid Half Morocco—Gilt Top, per vol. 2.50 " Half Calf—Gilt Top, per vol 2.50 Full Morocco—Full Gilt Edge, vol. 4.00 The above work is suggested as reference in con- nection with the study of "Essentials in Church His- tory." SEND FOR OUR NEW CATALOG FREE 44 E. SOUTH TEMPLE ST. SALT LAKE CITY, UTAH Ninety-Third Semi-Annual Conference of the Church of Jesus Christ of Latter-day Saints FIRST DAY The 93rd Semi-Annual Conference of the Church of Jesus Christ of Latter-day Saints convened in the Tabernacle, Salt Lake City, Utah, at 10 a. m., Friday October 6, 1922. President Heber J. Grant presided and announced the opening of the Conference. AUTHORITIES PRESENT Of the First Presidency : Heber J. -
George Dibble and the Struggle for Modern Art in Utah
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2012-12-12 George Dibble and the Struggle for Modern Art in Utah Sarah Dibble Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Dibble, Sarah, "George Dibble and the Struggle for Modern Art in Utah" (2012). Theses and Dissertations. 3421. https://scholarsarchive.byu.edu/etd/3421 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]. George Dibble and the Struggle for Modern Art in Utah Sarah Dibble A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts James Swensen, Chair Heather Belnap Jensen Marian Wardle Department of Visual Arts Brigham Young University December 2012 Copyright © 2012 Sarah Dibble All Rights Reserved ABSTRACT George Dibble and the Struggle for Modern Art in Utah Sarah Dibble Department of Visual Arts, BYU Master of Arts In this thesis I explore the spread of modern art to conservative regions of the country, in particular Utah. By using George Dibble as a case study this thesis will also address the struggle that Utah artists had to endure to have their progressive ideas in art be accepted in such a conservative area. It will address the criticism that Dibble had to endure by discussing specific incidents involved with certain works of art. -
Armory Show 1 Armory Show
Armory Show 1 Armory Show Many exhibitions have been held in the vast spaces of U.S. National Guard armories, but the Armory Show refers to the International Exhibition of Modern Art that was organized by the Association of American Painters and Sculptors and opened in New York City's 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets, on February 17, 1913, ran to March 15, and became a legendary watershed date in the history of American art, introducing astonished New Yorkers, accustomed to realistic art, to modern art. The show served as a catalyst for American artists, who became more independent and created their own "artistic language". Armory Show poster. 1913. Armory Show 2 History The Armory Show was the first exhibition mounted by the Association of American Painters and Sculptors and was run by their president, Arthur B. Davies, Walt Kuhn the secretary and Walter Pach. It displayed some 1,250 paintings, sculptures, and decorative works by over 300 avant-garde European and American artists. Impressionist, Fauvist, and Cubist works were represented.[1] News reports and reviews were filled with accusations of quackery, insanity, immorality, and anarchy, as well as parodies, caricatures, doggerels and mock exhibitions. About the modern works, President Theodore Roosevelt declared, "That's not art!" The civil authorities did not, however, close down, or otherwise interfere with, the show. Among the scandalously radical works of art, pride of place goes to Marcel Duchamp's Cubist/Futurist style Nude Descending a Staircase, painted the year before, in which he expressed motion with successive "A Slight Attack of Third Dimentia Brought on by Excessive Study of the Much Talked of Cubist superimposed images, as in motion pictures. -
Mahonri Young and the Church: a View of Mormonism and Art
MAHONRI YOUNG AND THE CHURCH: A VIEW OF MORMONISM AND ART WAYNE K. HINTON -I I Mahonri Young was perhaps Mormonism's most noted artist in the first half of the twentieth century. Highly individualistic and creative, he produced much of the famous sculpture that is most highly revered by Mormons today, in- cluding the magnificent statue of his grandfather, Brigham Young, which now stands in the rotunda of the national capitol in Washington D.C. At the same time, Young was not particularly active in the Church and found himself distressed by certain policies and restrictions which, he felt, affected not only his art but the general cultural heritage of the Mormon people. The following article is an attempt to present with understanding the perspective of one artist who tried to preserve the Mormon heritage as he understood it. 35 36 I Dialogue "Mahonri Young belongs among . those who are of the strain of Michelangelo, Titian, Rubens, Goya, Renoir and Millet. I say at once that he is a rare sculptor in America and one of that little band that is putting life and vitality into an empty shell which has been made so long to represent American sculpture." — Guy Pene Dubois So much of Utah's early history has religious significance that the artist attempting to preserve its heritage has often found himself interpreting people and events of some concern to the Mormon Church. To the truly creative artist, dealing with a vested interest group such as a church in interpreting history and life through art can be frustrating.