DOCSLIB.ORG

American Images of Childhood in an Age of Educational and Social

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
American Images of Childhood in an Age of Educational and Social AMERICAN IMAGES OF CHILDHOOD IN AN AGE OF EDUCATIONAL AND SOCIAL REFORM, 1870-1915 By AMBER C. STITT Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May 2013 2 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Amber C. Stitt, candidate for the PhD degree*. _________________Henry Adams________________ (chair of the committee) _________________Jenifer Neils_________________ _________________Gary Sampson_________________ _________________Renée Sentilles_________________ Date: March 8, 2013 *We also certify that written approval has been obtained for any proprietary material contained therein. 3 Table of Contents: List of Figures 11. Acknowledgments 38. Abstract 41. Introduction 43. Chapter I 90. Nineteenth-Century Children’s Social Reform 86. The Cruel Precedent. 88. The Cultural Trope of the “Bad Boy” 92. Revelations in Nineteenth-Century Childhood Pedagogy 97. Kindergarten 90. Friedrich Froebel 91. Froebel’s American Champions 93. Reflections of New Pedagogy in Children’s Literature 104. Thomas Bailey Aldrich 104. Mark Twain 107. The Role of Gender in Children’s Literature 110. Conclusions 114. Chapter II 117. Nineteenth-Century American Genre Painters 118. Predecessors 118. Early Themes of American Childhood 120. The Theme of Family Affection 121. 4 The Theme of the Stages of Life 128. Genre Painting 131. George Caleb Bingham 131. William Sidney Mount 137. The Predecessors: A Summary 144. The Innovators: Painters of the “Bad Boy” 145. Eastman Johnson 146. Background 147. Johnson’s Early Images of Children 151. The Iconic Work: Boy Rebellion 160. Johnson: Conclusions 165. Winslow Homer 166. Background 166. The Little Red Schoolhouse Paintings 170. The Gloucester Harbor Paintings 177. Social Commentary: Gender and Race 181. Homer: Conclusions 185. John George Brown 186. Background 187. Brown’s “Happy” Urchins 188. Brown: Conclusions 193. Conclusions: Painters, Pedagogues, and Authors 194. Conclusions: The Genre Painters 198. 5 Chapter III 202. Literature and Painting of the Genteel Tradition 202. A New Aesthetic, a New Mode of Painting Children 205. Thematic Overview: The Issue of Nationality 205. Thematic Overview: Gender-Inclusivity 207. Thematic Overview: A Parallel Literary Tradition 207. Thematic Overview: Ambiguity 209. Plan of Study 209. Literature of the Genteel Tradition 214. Novels and Children’s Literature 210. The Growth of Luxury Magazines 212. What Best-Sellers Revealed 215. Frances Hodgson Burnett: The Model Child 218. Rudyard Kipling: The Little Boy’s Adventure Story 223. Robert Louis Stevenson: Perfect Childhood 225. Louisa May Alcott: Empowering Women and Children 227. Henry James: Childhood “Innocence” Interrogated 231. An Illustrator of Idealized Childhood: Kate Greenaway 233. Painters of the Genteel Tradition 239. Some General Trends and Lesser-Known Practitioners 240. William Merritt Chase 244. Background 244. Chase and His Sheltered Children 248. 6 Abbott Handerson Thayer 256. Background 256. Thayer’s Child Angels 260. The Value of Thayer 263. John Singer Sargent 265. Background 267. Sargent: Painter of Unhappy Children 271. Sargent: Painter of Placating Children 282. Mary Cassatt 287. Background 288. Cassatt: Subversive or Conventional? 290. Cassatt and Candid Childhood 293. Conclusions 299. Burnett and Chase 300. Kipling, Sargent, and Cassatt 304. Stevenson and Thayer 306. Alcott and Cassatt 309. James and Sargent 312. Chapter IV 320. The Art Photographers 320. Pictorialism and Precedents 320. The Photo-Secession 322. 7 Alfred Stieglitz 324. Background 324. Stieglitz Before 1900: in the Manner of Paintings 325. Works Based on Paintings 327. Softened Documentary? 329. Stieglitz After 1900: Psychological Portraits 334. Clarence White 339. Background 339. White, Aesthetics, and Domesticity 340. Nudity and Soft-Focus 346. Lewis Carroll 342. White and Child Nudity 345. Child Nudity as a Subversive Device? 346. In the Tradition of Child Postmortem Portraits? 347. Peers Who Painted Children 349. White as a Teacher 351. What White’s Students Show Us 352. Gertrude Käsebier 354. Women and Art Photography 354. Background 356. Images That Conceal Childhood Suffering 360. Images of Ordinary Child Activities 363. Peers Who Painted Children 365. 8 Käsebier and Vanguard Child Reform 367. Conclusions 370. Chapter V 372. Twentieth-Century Children’s Social Reform 372. Demographics 372. Forerunners: “Deserving Poor” and Capitalist Self-Reliance 375. Defining Progressives 381. Who Were the Reformers? 385. Child Labor Reform 386. Theodore Roosevelt 390. Child Labor Strikes Organized By Children 396. Florence Kelley 402. The National Child Labor Committee, 1904 404. The Chicago Child Welfare Exhibit, 1911 405. Complications to Child Labor Reform: Race and Labor 407. Children’s Pedagogy Reform 414. Jane Addams 414. John Dewey 416. Helen Bradford Thompson Wooley 419. The Modern (Ferrer) School of New York 420. Compulsory Education Legislation 422. Other Societies and Institutions for Children’s Social Reform 423. Chapter VI 426. 9 Social Reform Photographers 426. European Antecedents 427. Jacob Riis 429. Background: The Early Career of Jacob Riis 430. The Making of An American 432. The Legacy of Jacob Riis 433. Jacob Riis: The Photographs 435. The Role of Improved Camera Technology 440. Jacob Riis: The Living Conditions of His Subjects 445. Riis: a Summary 451. Lewis Hine 453. Background 456. Hine and the National Child Labor Committee 460. Hine: A Chronology of Child Labor Photographs 462. Lewis Hine: Conclusions 478. Chapter VII 483. Twentieth-Century American Realist Painters 483. The Problem of “Realism” 486. The Eight: The First American Staged Art Controversy 492. The Ashcan School and Children 496. Robert Henri 497. Background 497. 10 Often Noted, Rarely Understood 501. Henri’s Portraits of African-American Children 502. Robert Henri: Reforming Prior Research 517. Robert Henri: Conclusions 521. George Luks 522. Background 523. George Luks: The Comic Strips 526. Luks’s Cartoons: Conclusions 534. George Luks: The Paintings 534. George Bellows 536. Background 536. Bellows’s Art of Children: Counter-Playing Tensions 539. Portraiture 539. Cityscapes 544. Conclusion 551. Appendix 557. Figures 597. Bibliography 623. 11 List of Figures: Intro.1, Winslow Homer, Snap the Whip, 1872. 43. Oil on canvas. Homer painted two versions of this canvas, the first larger and with some details not present in the second. The first: 22 x 36 ½ in. Butler Institute of American Art, Youngstown, Ohio. The second: 12 x 20 in. The Metropolitan Museum of Art, New York. Intro.2, George Bellows, Forty-Two Kids, 1907. 43. Oil on canvas. 42 x 60 ¼ in. Corcoran Gallery of Art, Washington D.C. Intro.3, Eastman Johnson, The Old Stagecoach, 1871. 47. Oil on canvas, 36 ¼ x 60 ⅛ in. Milwaukee Art Museum, Milwaukee, Wisconsin. Intro.4, William Merritt Chase, Elsie Lyde as Little Lord Fauntleroy, 1889. 59. Oil on canvas, 69 ¼ x 39 ½ in. Museo Thyssen-Bornemisza, Madrid. Intro.5, John Singer Sargent, Caspar Goodrich, 1887. 60. Oil on canvas, 26 ⅛ x 19 ⅛ in. Private Collection. Intro.6, John Singer Sargent, The Daughters of Edward Darley Boit, 1882. 60. Oil on canvas, 87 ⅜ x 87 ⅝ in. Museum of Fine Arts, Boston. Intro.7, Mary Cassatt, Young Mother Sewing, ca.1900. 60. Oil on canvas, 36 ⅜ x 29 in. The Metropolitan Museum of Art, New York. Intro.8, Winslow Homer, How Many Eggs?, 1873. 68. Watercolor and gouache on cardboard, 13 x 9 in. PriVate Collection. Intro.9, William Merritt Chase, Children Playing Parlor Croquet, ca. 1888. 69. Oil on canvas. Private Collection. Intro.10, John Singleton Copley, The Copley Family, 1776-77. 75. 12 Oil on canvas, 72 ½ x 90 ¼ in. National Gallery of Art, Washington, D.C. Intro.11, William Sidney Mount, School Boys Quarrelling, 1830. 75. Oil on canvas, 20 ¼ x 25 in. The Long Island Museum, Stony Brook, New York. Intro.12, Winslow Homer, The Blackboard, 1877. 76. Watercolor. National Gallery of Art, Washington, D.C. Intro.13, Winslow Homer, The Boat Builders, 1873. 76. Oil on panel, 6 x 10 ¼ in. Indianapolis Museum of Art, Indianapolis, Indiana. Intro.14, Winslow Homer, Dad’s Coming!, 1873. 76. Oil on panel, 9 x 13 ¼ in. National Gallery of Art, Washington, D.C. Intro.15, John George Brown, The Teacher, ca. 1866-68. 77. Oil on canvas, 16 x 26 in. Private Collection. Intro.16, John George Brown, Perfectly Happy, 1885. 77. Watercolor on paper, 20 x 13 in. Butler Institute of American Art, Youngstown, Ohio. Intro.17, Alfred Stieglitz, A Venetian Gamin, 1894. 78. Platinum print, 6 ¾ x 5 ⅛ in. National Gallery of Art, Washington, D.C. Intro.18, Alfred Stieglitz, Kitty, 1905. 78. Platinum print processed with mercury, 9 x 7 ¼ in. National Gallery of Art, Washington, D.C. Intro.19, Clarence White, Nude with Baby, 1912. 79. Gum bichromate print, 9 ⅝ x 6 ⅝ in. Library of Congress, Washington, D.C. Intro.20, Gertrude Käsebier, Lolly Pops, 1910. 79. Gelatin silver print, 11 ⅝ x 9 ¾ in. George Eastman House, Rochester, New York. 13 Intro.21, Gertrude Käsebier, The Picture Book (Beatrice Baxter Ruyl and Charles O’Malley), 1903. 79. Platinum print, 9 ½ x 13 ⅝ in. Museum of Modern Art, New York. Intro.22, Gertrude Käsebier, Blessed Art Thou Among Women, 1899-1900. 79. Platinum print, 9 1/16 x 5 3/16 in. Alfred Stieglitz Collection, Metropolitan Museum of Art. Intro.23, Jacob Riis, Street Arabs, ca. 1890. 80. Photographic negative, gelatin dry plate. TheMuseum of the City of New York, New York. Intro.24, Lewis Hine, The Newsboy Asleep on the Steps, 1AM, ca.1912. 80. Gelatin silver print, 5 x 7 in. George Eastman House, Rochester, New York. Intro.25, Lewis Hine, Incorrect sitting position for postural deformity and dorsal curvature cases... Boston, Massachusetts, 1917. 81. Photographic print. Library of Congress, Washington, D.C. Intro.26, Robert Henri, Portrait of Willie Gee, 1904. 82. Oil on canvas, 31 ¼ x 26 ¼ in. Newark Museum, Newark, New Jersey. Intro.27, George Luks, “Valentine’s Day in Hogan’s Alley,” New York World, February 14, 1897. 82.
Load more

Recommended publications
  • Oral History Interview with Frederick A. Sweet, 1976 February 13-14
    Oral history interview with Frederick A. Sweet, 1976 February 13-14 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Frederick Sweet on February 13 & 14, 1976. The interview took place in Sargentville, Maine, and was conducted by Robert Brown for the Archives of American Art, Smithsonian Institution. Interview February 13, 1976. ROBERT BROWN: Could you begin, perhaps, by just sketching out a bit of your childhood, and we can pick up from there. FREDERICK SWEET: I spent most of my early childhood in this house. My father, a doctor and tenth generation Rhode Islander, went out to Bisbee, Arizona, a wild-west copper-mining town, as the chief surgeon under the aegis of the Company. My mother always came East at pregnancy and was in New York visiting relatives when my father died very suddenly of cerebral hemorrhage. My mother was seven months pregnant with me. Since I was to be a summer baby, she ended up by coming to this house and being a cook and being a cook and a nurse with her there. The local doctor came and said nothing was going to happen for quite a long time and went off in his horse and buggy. I was promptly delivered by the cook and a nurse.
    [Show full text]
  • Baby-Farming’ in England and Wales in the Wake of the Children Act 1908
    Crimes and Misdemeanours 3/2 (2009) ISSN 1754-0445 ‘MORE IGNORANT AND STUPID THAN WILFULLY CRUEL’: HOMICIDE TRIALS AND ‘BABY-FARMING’ IN ENGLAND AND WALES IN THE WAKE OF THE CHILDREN ACT 1908 Daniel Grey1 Abstract This article examines the impact of the Children Act 1908 on longstanding concerns that foster or informally 'adoptive' parents were uniquely likely to murder the children in their care. Making particular reference to the last two high-profile cases of 'baby-farmers' tried for homicide on the Welsh and English Assize circuits (in 1907 and 1919, respectively) it argues that the infant life protection provisions in the 1908 Act had a dramatic and immediate impact on such prosecutions, removing the automatic presumption of malice in cases where fostered or adopted children died in suspicious circumstances. Keywords: baby-farming, Infant Life Protection Acts, child homicide Introduction Harry William George Roberts, son of a labourer also named Harry Roberts, was born on 19 December 1909 at the Dorset harbour town of Weymouth. His mother had died within four days of giving birth – presumably from puerperal fever, which remained a major cause of maternal mortality until the development of sulphonamide drugs in the 1930s.2 When Roberts looked for a family to care for his son, Robert Flann, a 41 year old labourer, and his 43 year old wife Annie agreed to look after him. Initially they did so free of charge, and when Roberts found work and offered to pay towards his son‟s upkeep, he was assured by Flann that the offered sum of half-a- crown was unnecessary, and „two shillings would do.‟3 None of this suggests a pecuniary motivation for taking in the little boy, and indeed, the baby‟s aunt later testified that the Flanns had always seemed very loving adoptive parents as she regularly saw Robert Flann nursing and fussing over him.
    [Show full text]
  • Building Cold War Warriors: Socialization of the Final Cold War Generation
    BUILDING COLD WAR WARRIORS: SOCIALIZATION OF THE FINAL COLD WAR GENERATION Steven Robert Bellavia A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2018 Committee: Andrew M. Schocket, Advisor Karen B. Guzzo Graduate Faculty Representative Benjamin P. Greene Rebecca J. Mancuso © 2018 Steven Robert Bellavia All Rights Reserved iii ABSTRACT Andrew Schocket, Advisor This dissertation examines the experiences of the final Cold War generation. I define this cohort as a subset of Generation X born between 1965 and 1971. The primary focus of this dissertation is to study the ways this cohort interacted with the three messages found embedded within the Cold War us vs. them binary. These messages included an emphasis on American exceptionalism, a manufactured and heightened fear of World War III, as well as the othering of the Soviet Union and its people. I begin the dissertation in the 1970s, - during the period of détente- where I examine the cohort’s experiences in elementary school. There they learned who was important within the American mythos and the rituals associated with being an American. This is followed by an examination of 1976’s bicentennial celebration, which focuses on not only the planning for the celebration but also specific events designed to fulfill the two prime directives of the celebration. As the 1980s came around not only did the Cold War change but also the cohort entered high school. Within this stage of this cohorts education, where I focus on the textbooks used by the cohort and the ways these textbooks reinforced notions of patriotism and being an American citizen.
    [Show full text]
  • Download The
    MAS Context Issue 22 / Summer ’14 Surveillance MAS Context Issue 22 / Summer ’14 Surveillance 3 MAS CONTEXT / 22 / SURVEILLANCE / 22 / CONTEXT MAS Welcome to our Surveillance issue. This issue examines the presence of surveillance around us— from the way we are being monitored in the physical and virtual world, to the potential of using the data we generate to redefine our relationship to the built environment. Organized as a sequence of our relationship with data, the contributions address monitoring, collecting, archiving, and using the traces that we leave, followed by camouflaging and deleting the traces that we leave. By exploring different meanings of surveillance, this issue seeks to generate a constructive conversation about the history, policies, tools, and applications of the information that we generate and how those aspects are manifested in our daily lives. MAS Context is a quarterly journal that addresses issues that affect the urban context. Each issue delivers a comprehensive view of a single topic through the active participation of people from different fields and different perspectives who, together, instigate the debate. MAS Context is a 501(c)(3) not for profit organization based in Chicago, Illinois. It is partially supported by a grant from the Graham Foundation for Advanced Studies in the Fine Arts. MAS Context is also supported by Wright. With printing support from Graphic Arts Studio. ISSN 2332-5046 5 “It felt more like a maximum security prison than a gated community SURVEILLANCE / 22 / CONTEXT MAS when the Chicago Housing Authority tried to beef up the safety of the neighborhood. Our privacy was invaded with police cameras Urban watching our every move.
    [Show full text]
  • James G. Lydon Duquesne University Pittsburgh, Pennsylvania
    168 BOOK REVIEWS APRIL and was a major trader in opium smuggled in from the Near East and India. Though some historians have suggested that drug smuggling re- flected racist attitudes, the author concludes rather that it fitted the moral standards of the day. Defense of opium smuggling was defense of free-trade principles. Despite the corruption of government officials which itoccasioned, the Chinese did not have the same antipathy for American traders as they directed toward the British who fought two wars to continue the trade. What Britain attained by war, America gained by diplomacy, without creating hatreds. While they treated Chinese law casually, Americans greatly respected Chinese merchants for their honesty and high ethical standards. Though the outlines of American contacts withAsia have been thoroughly sketched by others, Goldstein makes an important contribution inrelating the social issues connected with the trade to questions of cultural exchange and racist relationships. Some minor carping: the author might have concentrated a bit more attention on the importance of Chinese styles to eighteenth- century Europeans, the era of "Chinoiserie." That Asian culture was in the mode undoubtedly encouraged American interest in the China trade. The archaic spelling used for St. Eustatius (St. Eustacia) was bothersome. Is it George Chinery (illustration opposite p. 36) or George Chinnery (p. 38) ? References to American war vessels as USF Congress and USF Vincennes are confusing. Does the "F" sig- nify frigate ? Ifso, it is a new usage since frigates were ship-rigged ; thus USS serves. Allin all,however, this small study is very well done ;it is well written, very well researched, very nicely and profusely illustrated, very neatly packaged and published.
    [Show full text]
  • Subjectivity in American Popular Metal: Contemporary Gothic, the Body, the Grotesque, and the Child
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Glasgow Theses Service Subjectivity In American Popular Metal: Contemporary Gothic, The Body, The Grotesque, and The Child. Sara Ann Thomas MA (Hons) Submitted in fulfilment for the Degree of Doctor of Philosophy Faculty of Arts University of Glasgow January 2009 © Sara Thomas 2009 Abstract This thesis examines the subject in Popular American Metal music and culture during the period 1994-2004, concentrating on key artists of the period: Korn, Slipknot, Marilyn Manson, Nine Inch Nails, Tura Satana and My Ruin. Starting from the premise that the subject is consistently portrayed as being at a time of crisis, the thesis draws on textual analysis as an under appreciated approach to popular music, supplemented by theories of stardom in order to examine subjectivity. The study is situated in the context of the growing area of the contemporary gothic, and produces a model of subjectivity specific to this period: the contemporary gothic subject. This model is then used throughout to explore recurrent themes and richly symbolic elements of the music and culture: the body, pain and violence, the grotesque and the monstrous, and the figure of the child, representing a usage of the contemporary gothic that has not previously been attempted. Attention is also paid throughout to the specific late capitalist American cultural context in which the work of these artists is situated, and gives attention to the contradictions inherent in a musical form which is couched in commodity culture but which is highly invested in notions of the ‘Alternative’. In the first chapter I propose the model of the contemporary gothic subject for application to the work of Popular Metal artists of the period, drawing on established theories of the contemporary gothic and Michel Foucault’s theory of confession.
    [Show full text]
  • VOL 1, No 69 (69) (2021) the Scientific Heritage (Budapest, Hungary
    VOL 1, No 69 (69) (2021) The scientific heritage (Budapest, Hungary) The journal is registered and published in Hungary. The journal publishes scientific studies, reports and reports about achievements in different scientific fields. Journal is published in English, Hungarian, Polish, Russian, Ukrainian, German and French. Articles are accepted each month. Frequency: 24 issues per year. Format - A4 ISSN 9215 — 0365 All articles are reviewed Free access to the electronic version of journal Edition of journal does not carry responsibility for the materials published in a journal. Sending the article to the editorial the author confirms it’s uniqueness and takes full responsibility for possible consequences for breaking copyright laws Chief editor: Biro Krisztian Managing editor: Khavash Bernat • Gridchina Olga - Ph.D., Head of the Department of Industrial Management and Logistics (Moscow, Russian Federation) • Singula Aleksandra - Professor, Department of Organization and Management at the University of Zagreb (Zagreb, Croatia) • Bogdanov Dmitrij - Ph.D., candidate of pedagogical sciences, managing the laboratory (Kiev, Ukraine) • Chukurov Valeriy - Doctor of Biological Sciences, Head of the Department of Biochemistry of the Faculty of Physics, Mathematics and Natural Sciences (Minsk, Republic of Belarus) • Torok Dezso - Doctor of Chemistry, professor, Head of the Department of Organic Chemistry (Budapest, Hungary) • Filipiak Pawel - doctor of political sciences, pro-rector on a management by a property complex and to the public relations
    [Show full text]
  • The SSAFA Reading Gurkha Project – Update 2018
    No 645 Caversham Bridge www.cavershambridge.org Price 40p November 2018 The SSAFA Reading Gurkha Project – update 2018 he SSAFA (The Armed Forces Charity) which has grown out of the Soldiers, confidence in the town - so different Seaman and Air Force Association has a local presence in its Berkshire from the rather withdrawn, sad, quiet branch. The SSAFA helps veterans and service personnel, and their families, ladies of the past. As their confidence in the local community and relies on public donations to continue its work. has grown, they no longer need a man SSAFA has a commitment to provide support with experienced, non- to accompany them and they love Tjudgemental and friendly advice, as well as a variety of practical services which cover a their new freedom. We hear that the range of social, family and financial issues. One of the main local activities supported community is having to get used to the is the SSAFA Reading Gurkha Ladies Project which supports women in the Nepali women’s new attitude! community and provides opportunities All of this is due in no small part for developing literacy and for facilitating to the enthusiastic volunteers who community integration. work with them each week increasing The last week in September is the first their ability in the English language, Sharing a group activity week of term for the SSAFA Reading understanding, cultural awareness and so much more. Many volunteers have been Gurkha Ladies Project. The volunteers with the project since it started seven years ago, most of whom read about it in have returned from their holidays fresh, the Caversham Bridge, so this publication can really feel some responsibility for its energetic and ready to go.
    [Show full text]
  • Destabilizing Shakespeare: Reimagining Character Design in 1 Henry VI
    Connecticut College Digital Commons @ Connecticut College Self-Designed Majors Honors Papers Self-Designed Majors 2021 Destabilizing Shakespeare: Reimagining Character Design in 1 Henry VI Carly Sponzo Follow this and additional works at: https://digitalcommons.conncoll.edu/selfdesignedhp Part of the Literature in English, British Isles Commons, and the Theatre and Performance Studies Commons This Honors Paper is brought to you for free and open access by the Self-Designed Majors at Digital Commons @ Connecticut College. It has been accepted for inclusion in Self-Designed Majors Honors Papers by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. Connecticut College Destabilizing Shakespeare: Reimagining Character Design in 1 Henry VI A Thesis Submitted to the Department of Student-Designed Interdisciplinary Majors and Minors in partial fulfillment of the requirements for the Degree in Costume Design by Carly Sponzo May 2021 Acknowledgements I could not have poured my soul into the following pages had it not been for the inspiration and support I was blessed with from an innumerable amount of individuals and organizations, friends and strangers. First and foremost, I would like to extend the depths of my gratitude to my advisor, mentor, costume-expert-wizard and great friend, Sabrina Notarfrancisco. The value of her endless faith and encouragement, even when I was ready to dunk every garment into the trash bin, cannot be understated. I promise to crash next year’s course with lots of cake. To my readers, Lina Wilder and Denis Ferhatovic - I can’t believe anyone would read this much of something I wrote.
    [Show full text]
  • Gallery Notes
    Gallery Notes JOHN MITCHELL FINE PAINTINGS LONDON September 2011 Gallery Notes is published to acquaint readers with the paintings and drawings offered for sale by JOHN MITCHELL FINE PAINTINGS 44 O LD BOND STREET , L ONDON W1S 4GB TEL : +44 (0)20 7493 7567 www.johnmitchell.net FOREWORD In February we held our sixth James Hart Dyke exhibition, which proved to be nothing less than a sensation, even by the standards of the modern art world. In a striking departure from James’s previous work , A Year with MI6 brought together seventy-five paintings and drawings which had been commissioned from him to commemorate the centenary of the Secret Intelligence Service. The fact that James had spent most of the previous eighteen months working within MI6 heightened the media’s interest in the exhibition, and culminated in its being reviewed for over two minutes on the ten o’clock news. The artist gained considerable insight into the day-to-day workings of the Service, and his observations were reflected in his direct yet enigmatic pictures. That so many of them sold, so quickly and often to new collectors, is a tribute to James’s artistic accomplishment rather than to the éclat of the subject matter. We look forward to hosting his next exhibition of landscape paintings soon. This summer has seen our participation (simultaneously) in Masterpiece and in Master Paintings Week . The organisers of the former are to be congratulated on their achievement in setting up the prestigious and stylish art fair that London has conspicuously lacked for a long time, and even after only two years it looks set to become an established fixture of the social season and of the international art world calendar.
    [Show full text]
  • Download Heroic Grace: the Chinese Martial Arts Film Catalog (PDF)
    UCLA Film and Television Archive Hong Kong Economic and Trade Office in San Francisco HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Front and inside cover: Lau Kar-fai (Gordon Liu Jiahui) in THE 36TH CHAMBER OF SHAOLIN (SHAOLIN SANSHILIU FANG ) present HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Heroic Grace: The Chinese Martial Arts Film catalog (2003) is a publication of the UCLA Film and Television Archive, Los Angeles, USA. Editors: David Chute (Essay Section) Cheng-Sim Lim (Film Notes & Other Sections) Designer: Anne Coates Printed in Los Angeles by Foundation Press ii CONTENTS From the Presenter Tim Kittleson iv From the Presenting Sponsor Annie Tang v From the Chairman John Woo vi Acknowledgments vii Leaping into the Jiang Hu Cheng-Sim Lim 1 A Note on the Romanization of Chinese 3 ESSAYS Introduction David Chute 5 How to Watch a Martial Arts Movie David Bordwell 9 From Page to Screen: A Brief History of Wuxia Fiction Sam Ho 13 The Book, the Goddess and the Hero: Sexual Bérénice Reynaud 18 Aesthetics in the Chinese Martial Arts Film Crouching Tiger, Hidden Dragon—Passing Fad Stephen Teo 23 or Global Phenomenon? Selected Bibliography 27 FILM NOTES 31-49 PROGRAM INFORMATION Screening Schedule 51 Print & Tape Sources 52 UCLA Staff 53 iii FROM THE PRESENTER Heroic Grace: The Chinese Martial Arts Film ranks among the most ambitious programs mounted by the UCLA Film and Television Archive, taking five years to organize by our dedicated and intrepid Public Programming staff.
    [Show full text]
  • Friday, October 29Th
    fridayprogramming fridayprogramming FRIDAY, OCTOBER 29TH 2 p.m.-2:45 p.m. Jackendoff as he talks with comic kingpin Marv WEBCOMICS: LIGHTING ROUND! Wolfman (Teen Titans), veteran comic writer WRITERS WORKSHOP PRESENTED by Seaside Lobby and editor Barbara Randall Kesel (Watchman, ASPEN Comics Thinking of starting a webcomic, or just curious Hellboy), comic writer Jimmy Palmiotti (Jonah Room 301 as to how the world of webcomics differs Hex), Tom Pinchuk (Hybrid Bastards) and Mickey Join comic book writers J.T. Krul, Scott Lobdell, from print counter-parts? Join these three Neilson (World of Warcraft). David Schwartz, David Wohl, Frank Mastromauro, webcomics pros [Harvey-nominated Dave Kellett and Vince Hernandez as they discuss the ins and (SheldonComics.com /DriveComic.com), Eisner- HOW TO SURVIVE AS AN ARTIST outs of writing stories for comics. Also, learn tips nominated David Malki (Wondermark.com) and WITH Scott Koblish of the trade firsthand from these experienced Bill Barnes (Unshelved.com / NotInventedHere. Room 301 writers as they detail the pitfalls and challenges of com)] as they take you through a 25-minute A panel focusing on the lifelong practical questions breaking into the industry. Also, they will answer guided tour of how to make webcomics work an artist faces. Scott Koblish gives you tips on questions directly in this special intimate workshop as a hobby, part-time job, or full-time career. how to navigate a career that can be fraught with that aspiring writers will not want to miss. Then the action really heats up: 20 minutes of unusual stress. With particular attention paid to fast-paced Q&A, designed to transmit as much thinking about finances in a realistic way, stressing 5 p.m.-7 p.m.
    [Show full text]