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Thomas Nast 1840–1902
Name _____________________________ Class _________________ Date __________________ Life at the Turn of the 20th Century Biography Thomas Nast 1840–1902 WHY HE MADE HISTORY Thomas Nast has been called the father of modern American political cartooning. He is best known for his cartoons exposing the corruption of Boss Tweed’s political machine. As you read the biography below, think about how Thomas Nast influenced public opinion. How did he use images to communicate? CORBIS © By the late 1800s the governments of most major cities were run by political machines. These informal groups of professional politicians controlled local government. Often these politicians were corrupt and abused the public trust. Thomas Nast, a political cartoonist, exposed the corruption of one of the biggest political machines of his day. His drawings led to the downfall of Boss Tweed’s Tammany Hall political machine. Thomas Nast was born in Germany in 1840, the son of a musician. His family immigrated to the U.S. and settled in New York City when he was six years old. Nast studied art at the National Academy of Design. At the age of 15, he was hired as a staff artist for Frank Leslie’s Illustrated Newspaper. By the time he was 18, Nast was a freelance artist for Harper’s Weekly and the New York Illustrated News. In 1862 Harper’s Weekly hired Nast to draw images of the Civil War. His editors hoped he would draw realistic battle scenes. Instead, Nast drew images that supported the Union and opposed slavery. Nast distorted and exaggerated the physical traits of his subjects to convey strong social and political messages. -
Crystal Anniversary: Nmai Celebrates 15 Years with Gala and Catalog Of
PREVIEWING UPCOMING EXHIBITIONS, EVENTS, SALES AND AUCTIONS OF HISTORIC FINE ART AMrICAN ISSUE 22 July/August 2015 FMAGAZINEI AFA22.indd 2 6/2/15 10:30 AM EVENT PREVIEW: NEWPORT, RI Crystal Anniversary National Museum of American Illustration celebrates 15 years with gala and catalog of Norman Rockwell and His Contemporaries exhibition July 30, 6 p.m. National Museum of American Illustration Vernon Court 492 Bellevue Avenue Newport, RI 02840 t: (401) 851-8949 www.americanillustration.org o commemorate the 15th anniversary of the National TMuseum of American Illustration (NMAI), the museum will host a gala and live auction July 30 in connection with its current exhibition Norman Rockwell and His Contemporaries, running through October 12. The gala features cocktails, dining, dancing and celebrity appearances, while the auction includes work by Rockwell, Maxfield Parrish, and Howard Chandler Christy, among others. An auction highlight is a portrait of former President John F. Kennedy by Rockwell. The illustration was completed for the cover of The Saturday Evening Post and was done during the Cuban missile crisis. By using a three-quarter portrait pose with Kennedy’s chin resting on his hand and a dark background, the artist was able to express the heaviness Norman Rockwell (1894-1978), Portrait of John F. Kennedy, The Saturday Evening Post cover, April 6, of the president’s decisions to the 1963. Oil on canvas, 22 x 18 in., signed lower right. Estimate: $4/6 million viewer. “We lived through it. It was a big The portrait was the second and last Phoebus on Halzaphron, a short story by deal for us. -
Selected Bibliography of American History Through Biography
DOCUMENT RESUME ED 088 763 SO 007 145 AUTHOR Fustukjian, Samuel, Comp. TITLE Selected Bibliography of American History through Biography. PUB DATE Aug 71 NOTE 101p.; Represents holdings in the Penfold Library, State University of New York, College at Oswego EDRS PRICE MF-$0.75 HC-$5.40 DESCRIPTORS *American Culture; *American Studies; Architects; Bibliographies; *Biographies; Business; Education; Lawyers; Literature; Medicine; Military Personnel; Politics; Presidents; Religion; Scientists; Social Work; *United States History ABSTRACT The books included in this bibliography were written by or about notable Americans from the 16th century to the present and were selected from the moldings of the Penfield Library, State University of New York, Oswego, on the basis of the individual's contribution in his field. The division irto subject groups is borrowed from the biographical section of the "Encyclopedia of American History" with the addition of "Presidents" and includes fields in science, social science, arts and humanities, and public life. A person versatile in more than one field is categorized under the field which reflects his greatest achievement. Scientists who were more effective in the diffusion of knowledge than in original and creative work, appear in the tables as "Educators." Each bibliographic entry includes author, title, publisher, place and data of publication, and Library of Congress classification. An index of names and list of selected reference tools containing biographies concludes the bibliography. (JH) U S DEPARTMENT Of NIA1.114, EDUCATIONaWELFARE NATIONAL INSTITUTE OP EDUCATION THIS DOCUMENT HAS BEEN REPRO DUCED ExAC ICY AS RECEIVED FROM THE PERSON OR ORGANIZATIONORIGIN ATING IT POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILYREPRE SENT OFFICIAL NATIONAL INSTITUTEOF EDUCATION POSITION OR POLICY PREFACE American History, through biograRhies is a bibliography of books written about 1, notable Americans, found in Penfield Library at S.U.N.Y. -
View / Open Thesis Final-Bisson.Pdf
NO LAUGHING MATTER: XENOPHOBIA AND ANTI-RADICALISM IN EARLY AMERICAN POLITICAL CARTOONS by BIANCA RENEE BISSON A THESIS Presented to the Department of Political Science and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2014 An Abstract of the Thesis of Bianca Renee Bisson for the degree of Bachelor of Arts in the Department of Political Science to be taken June 2014 Title: No Laughing Matter: Xenophobia and Anti-Radicalism in Early American Political Cartoons Approved: __d_---l ~--~--------- Anita Chari While political cartoons have a reputation for upholding the tenants of democracy and freedom, the editorial images of the late 19th century and early 20th century show quite the contrary. In fact, they promote elements of early American life such as racism, misogyny and anti-radicalism, and make negative statements about the aspects of society that did not conform to conservative White Anglo-Saxon Protestantism. [j Acknowledgements First of all, I would like to thank my thesis advisors, Professors Anita Chari, Alison Gash, and Casey Shoop. Professor Chari is a wonderful instructor, whose class on radical political theory motivated me to continually think critically about the world. Professor Gash teaches in a captivating way that drove me to question the status quo from a legal perspective. Professor Shoop, though I have not had the chance to take a class from him, made me feel at ease and comfortable despite the often high demands of the Clark Honors College. I would also like to thank my parents for supporting my education from afar and my friends for creating a safe and warm environment to come home to at the end of a long day of studying. -
Uniting Mugwumps and the Masses: the Role of Puck in Gilded Age Politics, 1880-1884
Uniting Mugwumps and the Masses: The Role of Puck in Gilded Age Politics, 1880-1884 Daniel Henry Backer McLean, Virginia B.A., University of Notre Dame, 1994 A Thesis presented to 1he Graduate Faculty of the University of Virginia in Candidacy for the Degree of Master of Arts Department of English University of Virginia August 1996 WARNING! The document you now hold in your hands is a feeble reproduction of an experiment in hypertext. In the waning years of the twentieth century, a crude network of computerized information centers formed a system called the Internet; one particular format of data retrieval combined text and digital images and was known as the World Wide Web. This particular project was designed for viewing through Netscape 2.0. It can be found at http://xroads.virginia.edu/~MA96/PUCK/ If you are able to locate this Website, you will soon realize it is a superior resource for the presentation of such a highly visual magazine as Puck. 11 Table of Contents Introduction 1 I) A Brief History of Cartoons 5 II) Popular and Elite Political Culture 13 III) A Popular Medium 22 "Our National Dog Show" 32 "Inspecting the Democratic Curiosity Shop" 35 Caricature and the Carte-de-Viste 40 The Campaign Against Grant 42 EndNotes 51 Bibliography 54 1 wWhy can the United States not have a comic paper of its own?" enquired E.L. Godkin of The Nation, one of the most distinguished intellectual magazines of the Gilded Age. America claimed a host of popular and insightful raconteurs as its own, from Petroleum V. -
Thomas Nast.” Prints & Photographs Online Catalog
Annotated Bibliography Primary Sources: Archives: “Thomas Nast.” Prints & Photographs Online Catalog. Lib. of Cong., n.d. Web. 11 Nov. 2014. The Library of Congress Prints and Photographs Division collection of Thomas Nast images is the largest online resource for Nast’s work and related materials. This archive was invaluable in providing high resolution primary source illustrations for all sections of our exhibit. It also includes some contemporary cartoons inspired by Nast’s work. Thomas Nast Papers. Billy Ireland Cartoon Library and Museum, The Ohio State University, Columbus, Ohio. The Nast material available at the Billy Ireland Cartoon Library and Museum Reading Room includes all of Nast’s Harper’s Weekly illustrations from 1871, the height of the campaign against the Tweed Ring, as well as contemporary takes on his work such as a play on “Who Stole the People’s Money?” created by Jim Borgman during the Carter Administration. Thomas Nast Papers, 1860-1902. Gilded Age Collection, Rutherford B. Hayes Presidential Center, Fremont, Ohio. This collection includes correspondence, photographs, personal journals from Nast’s travel in Europe, the Nast family scrapbook of newspaper clippings, and published works from various magazines as well as numerous original sketches. Of particular interest were the sketches in which Nast seemed to be developing ideas for famous cartoons such as “The ‘Brains.’” Books: Paine, Albert Bigelow. Thomas Nast, His Period and His Pictures. 1904. Broomall: Chelsea, 1997. Print. Paine’s biography, based on interviews with Nast and originally published shortly after Nast’s death, is an essential resource. It provided a wealth of information about Nast’s life and work as well as a number of useful quotes illustrating Nast’s influence and legacy. -
Journal of the Thomas Nast Society Vol
Journal of The Thomas Nast Society Vol. 13 No. 1 1999 President's Message ALICE CAULKINS Nast on the Cover of Time RICHARD SAMUEL WEST Thomas Nast's Holidays JEFFREY EGER Dearest Sallie... Sarah Nast, the Woman Who Inspired Thomas Nast CHRISTINE JOCHEM 3D from 2D: An Authentic Re-creation of JOHN BATTRAM Thomas Nast's Santa Claus Costume AND JEFFREY EGER Clement Moore and Thomas Nast: Santa Claus in the Big Apple JEFFREY EGER Update: The World of Thomas Nast JOHN ADLER Thomas Nast and David Ross Locke: Mocking Birds of a Feather PAUL P. SOMERS, JR. Thomas Nast and the New York Illustrated News, Part IV: The War Between the States JEFFREY EGER Allusion and Illusion: The Robinson Crusoe of Thomas Nast JEFFREY EGER Contributors ii; Journal of The Thomas Nast Society Vol. 13 No. 1 1999 The Journal of The Thomas Nast Society is published annually by The Thomas Nast Society, a non-profit, tax-exempt organization. Its address is the Morristown-Morris Township Public Library, 1 Miller Road, Morristown, N.J. 07960, (Telephone: 973-538- 3473). The Journal is a benefit of membership in the Society. All correspondence should be sent to the Morristown address. Manuscripts are welcome. Please contact the editor for more information. Officers of the Society: Alice Caulkins, President; Christine Jochem, Treasurer. Board of Trustees: William R. Battey (honorary), Alice Caulkins, Chris Jochem, Jeffrey Eger, Marian R. Gerhart (honorary), Draper Hill (honorary), Ken Miller, Nancy Miller, Thomas Nast III (honorary), Michael Rockland, and Richard Simon. Editor: Jeffrey Eger Researcher: Asa Eger Layout and Design: Shalit Design Works © 1999 by The Thomas Nast Society V. -
The Illustration Game: Quotes & Notes
Rhode Island School of Design DigitalCommons@RISD Faculty & Librarian Work RISD Faculty & Librarians 1-1-2019 The Illustration Game: Quotes & Notes Jaleen Grove Rhode Island School of Design, [email protected] Illustration Department Rhode Island School of Design, [email protected] Follow this and additional works at: https://digitalcommons.risd.edu/faculty_work Part of the Illustration Commons Recommended Citation Grove, Jaleen and Department, Illustration, "The Illustration Game: Quotes & Notes" (2019). Faculty & Librarian Work. 4. https://digitalcommons.risd.edu/faculty_work/4 This Book is brought to you for free and open access by the RISD Faculty & Librarians at DigitalCommons@RISD. It has been accepted for inclusion in Faculty & Librarian Work by an authorized administrator of DigitalCommons@RISD. For more information, please contact [email protected]. The Illustration Game: Quotes and Notes Jaleen Grove The Illustration Game, published in Communication Arts magazine, is an artwork that critically evaluates and satirizes the illustration industry 1959-2019. It conceives of the time period in the form of a board game in which players roll a die to advance along a path, accumulating points or losing them according to typical events of each decade. The path winds through a forest of quotations that were said in print at the time or shortly after by leading illustrators and critics. For the quotations to read properly and succinctly, wording was very slightly modified in some cases. The sources and the quotes without modification are given here for those who wish to see context and origin. This document only discusses the quotations that appear in the black background. -
8Th Annual MARIN FAIR PLEIN
Adult Department – Special One Day Contest 8th Annual MARIN FAIR PLEIN AIR Coordinator: Ellen Campbell, Novato Judges: Jocelyn Audette, Calistoga Jocelyn Audette is an artist and plein air landscape painter whose work depicts the beauty of the western United States. She is a vivid colorist with a deft abstract touch that points to the dialogue on canvas. Most of her paintings are plein air with a wonderful quality of spontaneity and sense of mystery that come of grappling directly with evanescent nature. Her work also includes the figure, animals, and still lifes, pursuing an interest in the illumination of detail. Her paintings are oils on linen, canvas, board, or paper as well as watercolor, encaustic, gouache, charcoal, ink, and other mediums. “To me, being an artist is all about visually expressing my own experiences and perceptions...and as I love new discoveries and am stimulated by variety.” She studied under William Wheeler, has had numerous exhibitions, and is represented by galleries across the United States. Clark Mitchell, Cotati Northern California artist Clark Mitchell, known for his evocative landscapes in pastels, has been designated Master Pastelist by the Pastel Society of America and Distinguished Pastelist by the Pastel Society of the West Coast. He has had numerous feature articles printed, most notably in American Artist, Southwest Art, Pastel Journal and Artist's Magazine. He has also been included in Rockport Publications Best of Pastel, Best of Pastel 2, and Landscape Inspirations. Mitchell paints both in the studio as well as en plein air and teaches throughout the area. His recent work may be seen at: cgmitchell.com Charles “Chuck” Pyle, Petaluma Chuck Pyle is the Director of the School of Illustration, Academy of Art University, San Francisco. -
The Mentor Magazine. October 1923. Vol. 11, No. 9
Consistency Consistency in the assembling of the fur nishings, proper relation in the form and size, harmony in color— all combine to make the veil furnished, livable room. These require no unusual outlay of money, because with taste and knowledge great expense is not always necessary. Our collection of Antique and Modem Furniture offers an unlimited selection— and our experts are at your service. W. & J. SLOANE FIFTH AVENUE a n d 4 7 t h STREET, NEW YORK WASHINGTON SAN FRANCISCO TELE MENTOR, published monthly, on the first of the month, by The Crowell Publishing? Company at Springfield, Ohio, U. S. A. Subscrip tion, $4.00 a year in the United States and Canada; foreign postage, 50 cents extra. Single copies, 35 cents. Subscribers are notified that change of address must reach us five weeks in advance of the next day of issue. October, 1923. Serial No. 248. Entered as second-class matter at the post office at Springfield, Ohio, under the act of March 3, 1879. FOUR-MINUTE ESSAYS, by DR. FRANK CRANE THE MAN WITH A MILLION FRIENDS Dr. Frank Crane was not known outside of a small circle of friends ten years ago when he began writing for one daily newspaper. To-day 50 of the great metropolitan papers publish his daily messages which are read by millions of men and women who are doing the world’s work. In a decade he has won a million friends through his helpful philosophy. Here are 400 of his Four-Minute Essays—his masterpieces—selected by Dr. Crane himself. -
10Th Annual MARIN FAIR PLEIN AIR
Adult Department – Special One Day Contest 10th Annual MARIN FAIR PLEIN AIR Coordinator: Ellen Campbell, Novato Judges: Tim Brody, Rohnert Park Born into a musical family, Tim began clarinet studies at age 7. He earned his Bachelor’s degree in fine art from Illinois State University (painting & printmaking) in 1975. Tim has worked in the healing arts (Neuromuscular therapy) for the past 30 years. “Being present to natures healing influence is the guiding principle of my life and art. My intention is to invoke a contemplative presence-freeing the busy, self-contracted, grasping mind into wakefulness, spaciousness, and clarity. The “quality of light” that permeates and suffuses the scene conveys feeling, emotion, mood, and mystery. I work entirely in pastel which with its multiple layering techniques is the perfect medium to convey these qualities.” His paintings have garnered many awards including first prize and best in show. Charles Chuck Pyle, Petaluma Chuck Pyle is the Director of the School of Illustration, Academy of Art University, San Francisco. He was trained as an illustrator at the Academy, and comes from an impressive freelance career. Chuck drew pictures from an early age and still remembers fondly the unique aroma of warm crayons and manila paper. Early artistic influences were Thomas Nast, Charles Dana Gibson, Mort Drucker, Jack Davis, Wally Wood, James R. Neill, and the great editorial cartoonists like Oliphant, Herblock, and Daumier. Art school broadened Chuck's palette of influences and interests to the great painter illustrators including Rockwell, Cornwell, Pyle and Tepper. He is an internationally sought-after artist, working with clients from New York to Tokyo. -
Judith Goffman Cutler and Laurence S. Cutler Usher In
IJudithIllustriousllustrious Goffman Cutler and Laurence S. Cutler usher in a new Achievements “Golden Age” of American illustration. By Margie Goldsmith ou know how Imelda Marcos collects shoes?” asks Y Laurence S. Cutler, in ref- erence to his wife, Judith Goffman Cutler. “That’s how Judy collects American illustration.” Judy, known as the doyenne of the American illustra- tion market, and Laurence, a former professor of architecture and urban design at Harvard, MIT and the Rhode Island School of Design, are the driving forces behind the National Museum of American Illustration in Newport, Rhode Island. The first museum of its kind dedicated to American illustra- tion art, NMAI also has another distinction: It is the Cutlers’ home. The Cutlers’ blue-chip collection, which focuses on the Golden Age of American Illustration (1870–1965), represents the greatest assemblage of Maxfield Parrish works in the world: 68 illustrations. The museum also houses the largest collection of works by J.C. Leyendecker, James Montgomery Flagg and Charles Dana Gibson. The astounding inventory: roughly 2,000 paintings, 80,000 works on paper and limited-edition prints by 80 illustrators, among which is the second- largest collection of Norman Rockwell pieces after the Norman Rockwell, “Miss Liberty,” 1943, oil on canvas, 41 3/4” x 31 1/4”. FACING: Treillage Loggia, featuring murals by Tiffany Studios’ James Wall Finn (above). Maxfield Parrish, “A Florentine Fête” (middle), 1916, oil on canvas, 126” x 207”. Treillage Loggia with the American Imagist Collection. 60 ART & ANTIQUES ss Achievements Rockwell Museum. The couple also has amassed key pieces of illustration memo- rabilia, such as Parrish’s various pens and Rockwell’s first paint box with his name stenciled on the front from which he derived his unique signature.