DOCSLIB.ORG

John Brown (1800 – 1859)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
John Brown (1800 – 1859) IN THE FOOTSTEPS OF OUR “COUSINS” … ABOLITIONIST “FREEDOM FIGHTER” OR “TERRORIST”? John Brown (1800 – 1859) — Bradley Rymph John Brown was born May 9, 1800, in Brown grew up to become a radical Torrington, Connecticut. He was a great-great- abolitionist who practiced armed great-great-great-grandson of immigrant insurrection in the campaign to abolish ancestors Matthew and Priscilla (Grey) Grant slavery in the United States. He led the and a great-great-great-great-grandson of Pottawatomie Massacre in 1856 in Bleeding immigrant ancestor Michael Humphreys and Kansas and made his name in the his wife Priscilla (Grant) Humphreys. unsuccessful raid at Harpers Ferry in 1859. Visits to John Brown Memorial Sites: Harper’s Ferry, West Virginia: July 28, 1995 (with José Baquiran, Albert and Edna Mae Rymph) August 13, 2011 Charles Town, West Virginia: August 2, 2014 Text © 2010‒2014 by Bradley B. Rymph “IN THE FOOTSTEPS OF OUR ANCESTORS …” HOME PAGE: http://www.bradleyrymph.com John Brown, daguerreotype, c. 1856 Illustration, page 1: “Tragic Prelude,” mural of John Brown by John Steuart Curry in Kansas State Capitol building In response, a group of pro-slavery Missourians crossed into Kansas. They seized two of Brown’s sons, destroyed the family homestead, and participated in the Sack of Lawrence. The pre-Civil War hostility known as “Bloody Kansas” had begun. HOW WE’RE RELATED: John Brown Samuel Humphrey = Mary Buell Mills ◄◄◄◄◄ (5/15/1656 – 6/15/1736) = (12/8/1662 – 1730) ▼ ▼ ▼ Samuel Humphrey = Mary Tuller Jonathan Humphrey = Mercy (Mary) Ruggles (5/17/1686 – 1759) = (11/27/1692 – c. 1714) (12/2/1608 – 6/14/1749) = (11/6/1697 – 1761) ▼ ▼ Abel Humphrey = Jemima Warner Oliver Humphrey = Sarah Garrett (3/13/1713-14 – ?) = (? – ?) (9/13/1720 – 10/30/1792) = (1/22/1723 – 11/8/1821) ▼ ▼ Ozias Humphrey = Mary Parsons Gideon Mills = Ruth Humphrey (1753 – 12/22/1826) = (c. 1756 – 2/12/1809) (10/27/1749 – 3/16/1812) = (7/28/1751 – 11/1/1822) ?▼? ▼ Ozias Humphrey = Clarissa Barber Owen Brown = Ruth Mills (c. 1779 – 11/18/1805) = (1780 – 3/18/1805) = (1/26/1772 – 12/13/1808) ?▼? ▼ Ira Walter = Mary (“Polly”) Humphrey John Brown = Dianthe Lusk (11/18/1798 – 3/10/1873) = (c. 1803 – 8/31/1851) = (1/12/1801 – 8/10/1832) ▼ Isaac E. Heath = Caroline Amelia Walter (9/4/1832 – 5/18/1912) = (10/20/1830 – 12/31/1899) ▼ = Harriet Myers (4/14/1858 – 4/26/1944) = (4/22/1858 – 7/20/1930) ▼ = Ethel Catherine Bradley (4/8/1891 – 1/28/1979) = (7/14/1891 – 7/22/1973) ▼ Albert James Rymph = Edna Mae Heath (11/9/1925 – 2/16/2019) = (living) ▼ Bradley Budd Rymph = José Verzosa Baquiran III (living) = (living) In August 1856, a company of more than 300 preparation for the raid[see profile of Missourians entered Kansas intent on Henry Ward Beecher]. The armory was destroying the Free State settlements in the a large complex of buildings that town of Osawatomie. Although they were contained 100,000 muskets and rifles, outnumbered by more than 7 to 1, Brown which Brown planned to seize and use and his forces killed at least 20 of the to arm local slaves. They would then Missourians and wounded at least 40 more. head south, drawing off more and Brown’s men were defeated, and more slaves from plantations, and Missourians did plunder and burn fighting only in self-defense. As Osawatomie, but Brown’s military Frederick Douglass and Brown's family shrewdness made him a hero to many testified, his strategy was essentially to Northern abolitionists. deplete Virginia of its slaves, causing the institution to collapse in one By November 1856, Brown had returned to county after another, until the the East. He spent the next two years movement spread into the South, traveling New England raising funds for his essentially wreaking havoc on the cause. economic viability of the pro-slavery states. Thus, while violence was In June 1859, Brown, his sons, and other men essential to self-defense and in their party began the move south toward advancement of the movement, Harpers Ferry, which was then part of the Brown's hope was to limit and state of Virginia. They arrived in Harpers minimize bloodshed, not ignite a slave Ferry on July 3, 1859. Brown rented a insurrection as many have charged. farmhouse in nearby Maryland to await the From the Southern point of view, of arrival of his recruits, who never materialized course, any effort to arm the enslaved in the numbers he had expected. Brown’s was perceived as a definitive threat. plan for attacking Harpers Ferry had called for 4,500 men. In the end, he had only 21 men Initially, the raid went well, and they — 16 white and 5 black, (three of whom met no resistance entering the town. were free blacks, one freed slave, and one They cut the telegraph wires and easily fugitive slave). Twelve of them had been with captured the armory, which was being Brown in Kansas raids. defended by a single watchman. They next rounded up hostages from nearby As described in Wikipedia’s biographical farms, including Colonel Lewis profile of Brown: Washington, great-grandnephew of On October 16, 1859, Brown (leaving George Washington. They also spread three men behind as a rear guard) led the news to the local slaves that their 18 men in an attack on the Harpers liberation was at hand. Things started Ferry Armory. He had received 200 to go wrong when an eastbound Beecher's Bibles — breechloading .52 Baltimore & Ohio train approached the caliber Sharps rifles— and pikes from town. The train's baggage master tried northern abolitionist societies in to warn the passengers. Brown's men John Brown’s Fort, Harpers Ferry, West Virginia yelled for him to halt and then opened He had the doors and windows barred fire. The baggage master, Hayward and loopholes were cut through the Shepherd, became the first casualty of brick walls. The surrounding forces John Brown's war against slavery. barraged the engine house, and the Ironically, Shepherd was a free black men inside fired back with occasional man. Two of the hostages' slaves also fury. Brown sent his son Watson and died in the raid. For some reason, after another supporter out under a white the shooting of Shepherd, Brown flag, but the angry crowd shot them. allowed the train to continue on its Intermittent shooting then broke out, way…. and Brown's son Oliver was wounded. His son begged his father to kill him News of the raid reached Baltimore and end his suffering, but Brown said early that morning and then on to “If you must die, die like a man.” A few Washington by late morning. minutes later he was dead. The exchanges lasted throughout the day. In the meantime, local farmers, shopkeepers, and militia pinned down By the morning of October 18 the the raiders in the armory by firing from engine house, later known as John the heights behind the town. Some of Brown's Fort, was surrounded by a the local men were shot by Brown's company of U.S. Marines under the men. At noon, a company of militia command of Colonel Robert E. Lee of seized the bridge, blocking the only the United States Army. A young Army escape route. Brown then moved his lieutenant, J.E.B. Stuart, approached prisoners and remaining raiders into under a white flag and told the raiders the engine house, a small brick that their lives would be spared if they building at the entrance to the armory. surrendered. Brown refused, saying, Top left: Wagon in which John Brown was carried to Charles Town's gallows to be hung. While being transported in the wagon, he sat on his coffin. (Exhibit in collection of Jefferson County Museum, Charles Town, West Virginia) Center left: John Brown-related artifacts on display at Jefferson County Museum, Charles Town, including trunk owned by Brown, two pikes made by Brown for use by slaves in their uprising, desk in Charles Town jail when Brown was a prisoner there (and on which he is believed to have written his final letters), door from jail at time Brown was a prisoner there, and pine table in Jefferson County Court House at time of Brown’s trial. Bottom left: Jefferson County Court House, Charles Town, West Virginia, in which John Brown was tried and convicted for treason, conspiracy, and murder. Bottom right: Historical marker, commemorating the site where John Brown was hung after his conviction for treason, conspiracy, and murder. “No, I prefer to die here.” Stuart then general Stonewall Jackson and John gave a signal. The Marines used sledge Wilkes Booth, who borrowed a militia hammers and a make-shift battering- uniform to gain admission to the ram to break down the engine room execution. The poet Walt Whitman, in door. Lieutenant Israel Greene “Year of Meteors,” claims to have cornered Brown and struck him several viewed the execution. times, wounding his head. In three minutes Brown and the survivors were Brown was accompanied by the sheriff captives. Altogether Brown's men and his assistants, but no minister killed four people, and wounded nine. since he had consistently rejected the Ten of Brown's men were killed ministrations of pro-slavery clergy. (including his sons Watson and Oliver). Since the region was in the grips of Five of Brown's men escaped (including virtual hysteria, most northerners, his son Owen), and seven were including journalists, were run out of captured along with Brown. town, and it is unlikely any anti-slavery clergyman would have been safe, even Brown and the others captured were held in if one were to have sought to visit the office of the armory.
Load more

Recommended publications
  • 2014 National History Bee National Championships Round
    2014 National History Bee National Championships Bee Finals BEE FINALS 1. Two men employed by this scientist, Jack Phillips and Harold Bride, were aboard the Titanic, though only the latter survived. A company named for this man was embroiled in an insider trading scandal involving Rufus Isaacs and Herbert Samuel, members of H.H. Asquith's cabinet. He shared the Nobel Prize with Karl Ferdinand Braun, and one of his first tests was aboard the SS Philadelphia, which managed a range of about two thousand miles for medium-wave transmissions. For the point, name this Italian inventor of the radio. ANSWER: Guglielmo Marconi 048-13-94-25101 2. A person with this surname died while piloting a plane and performing a loop over his office. Another person with this last name was embroiled in an arms-dealing scandal with the business Ottavio Quattrochi and was killed by a woman with an RDX-laden belt. This last name is held by "Sonia," an Italian-born Catholic who declined to become prime minister in 2004. A person with this last name declared "The Emergency" and split the Congress Party into two factions. For the point, name this last name shared by Sanjay, Rajiv, and Indira, the latter of whom served as prime ministers of India. ANSWER: Gandhi 048-13-94-25102 3. This man depicted an artist painting a dog's portrait with his family in satire of a dog tax. Following his father's commitment to Charenton asylum, this painter was forced to serve as a messenger boy for bailiffs, an experience which influenced his portrayals of courtroom scenes.
    [Show full text]
  • John Steuart Curry and the Kansas Mural Controversy and Grant Wood: a Study in American Art and Culture
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for 1988 Review of Rethinking Regionalism: John Steuart Curry and the Kansas Mural Controversy and Grant Wood: A Study in American Art and Culture. Richard W. Etulain University of New Mexico Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Etulain, Richard W., "Review of Rethinking Regionalism: John Steuart Curry and the Kansas Mural Controversy and Grant Wood: A Study in American Art and Culture." (1988). Great Plains Quarterly. 360. https://digitalcommons.unl.edu/greatplainsquarterly/360 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 234 GREAT PLAINS QUARTERLY, FALL 1988 statehouse in Topeka. Emphasizing the details of Curry's life and how they interlocked with national, historical, and political happenings between 1937 and 1942, Kendall focuses par­ ticularly on the ideological and cultural atti­ tudes that embroiled Curry, newspaper editors, and thousands of Kansans in the mural contro­ versy. Most of this smoothly written and adequately illustrated study centers on the cultural back­ grounds of the Coronado and John Brown panels in the Kansas murals, with less analysis of other sections and details. Placing her art history at the vortex of popular culture, the author pro­ vides revealing insights into the varied milieus of the 1930s, Curry's intellectual backgrounds, and Kansas history and experience that caused the debate.
    [Show full text]
  • “What Are Marines For?” the United States Marine Corps
    “WHAT ARE MARINES FOR?” THE UNITED STATES MARINE CORPS IN THE CIVIL WAR ERA A Dissertation by MICHAEL EDWARD KRIVDO Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2011 Major Subject: History “What Are Marines For?” The United States Marine Corps in the Civil War Era Copyright 2011 Michael Edward Krivdo “WHAT ARE MARINES FOR?” THE UNITED STATES MARINE CORPS IN THE CIVIL WAR ERA A Dissertation by MICHAEL EDWARD KRIVDO Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Chair of Committee, Joseph G. Dawson, III Committee Members, R. J. Q. Adams James C. Bradford Peter J. Hugill David Vaught Head of Department, Walter L. Buenger May 2011 Major Subject: History iii ABSTRACT “What Are Marines For?” The United States Marine Corps in the Civil War Era. (May 2011) Michael E. Krivdo, B.A., Texas A&M University; M.A., Texas A&M University Chair of Advisory Committee: Dr. Joseph G. Dawson, III This dissertation provides analysis on several areas of study related to the history of the United States Marine Corps in the Civil War Era. One element scrutinizes the efforts of Commandant Archibald Henderson to transform the Corps into a more nimble and professional organization. Henderson's initiatives are placed within the framework of the several fundamental changes that the U.S. Navy was undergoing as it worked to experiment with, acquire, and incorporate new naval technologies into its own operational concept.
    [Show full text]
  • Curry, John Steuart American, 1897 - 1946
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Curry, John Steuart American, 1897 - 1946 Peter A. Juley & Son, John Steuart Curry Seated in Front of "State Fair," Westport, Connecticut, 1928, photograph, Peter A. Juley & Son Collection, Smithsonian American Art Museum BIOGRAPHY John Steuart Curry was one of the three major practitioners of American regionalist painting, along with Thomas Hart Benton (American, 1889 - 1975) and Grant Wood (American, 1891 - 1942). Curry was born on a farm near Dunavant, Kansas, on November 14, 1897. His parents had traveled to Europe on their honeymoon, and his mother, Margaret, returned with prints of European masterworks that hung on the walls of the family home. She enrolled her son in art lessons at a young age, and his family supported his decision to drop out of high school in 1916 to study art. Curry worked for the Missouri Pacific Railroad and attended the Kansas City Art Institute for a month before moving to Chicago, where he studied at the Art Institute for two years. In 1918 he enrolled at Geneva College in Beaver Falls, Pennsylvania. Curry decided to pursue commercial illustration, and in 1919 he began to study with illustrator Harvey Dunn in Tenafly, New Jersey. From 1921 to 1926, Curry’s illustrations appeared in publications such as the Saturday Evening Post and Boy’s Life. In 1923, while living in New York City, he married Clara Derrick; shortly thereafter he bought a studio at Otter Ponds near the art colony in Westport, Connecticut. In 1926 Curry stopped producing illustrations and left for Paris, where he took classes in drawing with the Russian teacher Vasili Shukhaev and studied old master paintings at the Louvre.
    [Show full text]
  • BIOGRAPHIES John Antrobus
    BIOGRAPHIES John Antrobus (1837–1907): Sculptor and painter of portraits, landscapes, and genre scenes (showing everyday life). Antrobus was born in England but came to Philadelphia in 1850. During his travels through the American West and Mexico, he worked as a portraitist before opening a studio in New Orleans. He served briefly with the Confederate Army during the Civil War before moving to Chicago. Antrobus sculpted both Abraham Lincoln and Stephen Douglas and was the first artist to paint a portrait of Ulysses S. Grant (in 1863). Edward Atkinson (1827–1905): American political leader and economist who began his political career as a Republican supporter of the Free Soil movement. Atkinson fought slavery before the Civil War by helping escaped slaves and raising money for John Brown. After the Civil War, in 1886, Atkinson campaigned for future President Grover Cleveland and worked against imperialism (the movement to expand a nation’s territorial rule by annexing territory outside of the main country) after the Spanish-American War. Baker & Co (active, 19th century): Lithography firm associated with Louis Kurz. Thomas Ball (1819–1911): American sculptor who gained recognition for his small busts before creating more monumental sculptures. Notable works include one of the first statues portraying Abraham Lincoln as the Great Emancipator (1876), paid for by donations from freed slaves and African American Union veterans, which stands in Washington D.C.’s Lincoln Park. Ball also created a heroic equestrian statue of George Washington for the Boston Public Garden (1860–1864). He joined an expatriate community in Italy, where he received many commissions for portrait busts, cemetery memorials, and heroic bronze statues.
    [Show full text]
  • MISSOURI ART,ARTISTS, and ARTIFACTS
    MISSOURI ART,ARTISTS, And ARTIFACTS A Fourth Grade Social Studies Curricular Tour A Docent Guide to Selected Works from The Museum of Art and Archaeology University of Missouri-Columbia *Not all images are on display in the Museum* 2 Museum of Art and Archaeology University of Missouri-Columbia 1 Pickard Hall Columbia, MO 65211 Phone: 573-882-3591 Fax: 573-884-4039 Website http:/maa.missouri.edu/ Museum Hours Tuesday – Friday: 9 a.m. – 4 p.m. Saturday – Sunday: Noon – 4 p.m. Closed Mondays, University of Missouri-Columbia Holidays, and Christmas Day through New Year’s Day Admission is FREE and open to the public. The Museum is ADA accessible. The Museum is a member of AAM – American Association of Museums. 3 MISSOURI ART, ARTISTS, & ARTIFACTS A Fourth Grade Social Studies Curricular Tour Works from the Museum’s permanent collection along with items and works from relevant exhibitions have been organized into a resource book for a Docent tour focusing on Missouri Grade-Level Expectations for Fourth Grade Social Studies. What’s included in this guide? This guide includes images of the relevant art works for this tour. Teaching information includes detailed descriptions of the objects, background about their historical context, and discussions of their iconography (symbolic importance), as well as questions designed to encourage students to look more closely at the work of art and to share their responses. Tour Overview Students step back in time when they walk through the doors of the Museum of Art and Archaeology to take part in the Fourth Grade Curricular Tour.
    [Show full text]
  • Chitlin Circuit at Kennedy Farm Long Version
    (3200+ words) The Kennedy Farm From John Brown to James Brown A Place Ringing with Hope and History (Note: Because of the historical aspects of this article, and with the permission of several senior members of the Hagerstown African-American community, some dated synonyms for “African-Americans” have been employed.) The year is 1959. Negroes from Hagerstown, Winchester, Martinsburg and Charles Town have traveled over dark and potentially dangerous back-country roads to a common destination in southern Washington County, MD. Unbeknown to virtually the entire white community of the area, hundreds of colored people gather every weekend for a vital mission: to let the good times roll! Music-lovers spill out of jam-packed cars and stream toward the rhythmic sounds throbbing from a low-lying block building. Paying the cover charge (tonight it is $3), they duck inside to find the place in full swing. The large dance floor is packed with swaying bodies. Chairs ring the outside of the rectangular room, accommodating groups of young people engaged in lively conversation. The bartenders manning the long bar struggle to keep pace serving all the people eager to spend their hard-earned pay. At the far end of the long narrow structure, an electrifying entertainer dominates the scene. James Brown is on stage with his background vocalists, the Famous Flames. His instrumentalists, studded with pioneering rhythm and blues musicians from Little Richard’s former band, are laying down a funky groove. Brown’s footwork testifies that he once was an accomplished boxer. His sweat-drenched face gives credence to the claim that he is indeed the hardest working man in show business.
    [Show full text]
  • Review of John Steuart Curry and Grant Wood: a Portrait of Rural America by Joseph S
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Winter 1985 Review of John Steuart Curry and Grant Wood: A Portrait of Rural America By Joseph S. Czestochowski Robert Spence University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Spence, Robert, "Review of John Steuart Curry and Grant Wood: A Portrait of Rural America By Joseph S. Czestochowski" (1985). Great Plains Quarterly. 1821. https://digitalcommons.unl.edu/greatplainsquarterly/1821 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 70 GREAT PLAINS QUARTERLY, WINTER 1985 John Steuart Curry and Grant Wood: A Portrait tive" (p. 12). But a three-legged stool stands of Rural America. By Joseph S. Czestochow­ uncertainly on two legs, and Mr. Czestochowski ski. Columbia: University of Missouri Press, is impelled to lay in some underpinning by 1981. Photographs, illustrations, notes, bib­ citing Benton continuously and by including as liography, index. 224 pp. $32.00. an Afterword (pp. 213-17) his autobiographical reflections "On Regionalism." This catalogue was assembled to coincide with Other underpinning, in the consolidation of an exhibition of "the best works" (p. 5) of two the text portion of the volume, is comprised of our most famous American scene painters, of a perceptive analysis by Sue Kendall (pp.
    [Show full text]
  • AMERICAN PAINTING 1910-1940 Frye Art Museum
    INTRODUCTION TO ART HISTORY: AMERICAN PAINTING 1910-1940 Frye Art Museum Instructor: Rebecca Albiani DATES: July 28-31, 2009, 10:15 am-12:45 pm PREREQUISITES: None NUMBER OF CREDITS OR CEU’s: One credit or 10 clock hours COURSE DESCRIPTION: An introductory class designed to introduce the major trends in American painting from about 1910 to 1940. This course will discuss the impact of European modernism on the American art scene in the early years of the 20th century and the efforts made by many artists in the U.S. to be both “American” and “modern.” Furthermore, we will examine the impact of major social forces – the Great War, increasing urbanization and industry, the Jazz Age, the Great Depression – on art- making in America. COURSE OBJECTIVES: The participant will acquire a vocabulary for discussing early 20th century painting. The participant will gain a basic familiarity with a number of artistic movements including the Ashcan School, Cubism, Futurism, Precisionism, Regionalism, and Social Realism. With a heightened understanding of the social forces that shaped this art, the participant will be well positioned to use this fall’s “American Modernism” exhibition at the Frye Art Museum as a tool in his or her own teaching. STUDENT EXPECTATIONS: 1. Attend all sessions 2. Participate in discussions as appropriate 3. For credit, research one artistic development and present this research in written form INSTRUCTOR: Rebecca Albiani, formerly a Ph.D. candidate in Renaissance art history, received her M.A. from Stanford University and her B.A. from U.C. Berkeley. She has taught aesthetics and introductory art history courses covering from ancient Egypt to the 20th century.
    [Show full text]
  • Kansas Notable Books 2017-2006 (By Title)
    Kansas Notable Books 2017-2006 (by title) Ordered Cost Year Title Author 2012 8 Wonders of Kansas! Guidebook Marci Penner 2015 999 Kansas Characters : Ad Astra, a Biographical Series Dave Webb, et al 2010 Addie of the Flint Hills: A Prairie Child During the Depression Adaline Sorace, D. Prutzman 2013 Adventures of Beanboy, The Lisa Harkrader 2007 Afoot: A Tale of the Great Dakota Turkey Drive George Brandsberg 2012 Afterlives of Trees, The Wyatt Townley 2006 Airball: My Life in Briefs L.D. Harkrader 2016 Alphabet School Stephen T. Johnson 2009 Amelia Earhart: The Legend of the Lost Aviator Shelley Tanaka 2012 Amelia Lost: The Life and Disappearance of Amelia Earhart Candace Fleming 2008 American Shaolin: Flying Kicks, Buddhist Monks, and the Legend of Iron Crotch Matthew Polly 2011 Amy Barickman's Vintage Notions Amy Barickman 2011 And Hell Followed With It: Life and Death in a Kansas Tornado Bonar Menninger 2007 Angle of Yaw Ben Lerner Appetite for America: How Visionary Businessman Fred Harvey Built a Railroad Hospitality 2011 Empire That Civilized the Wild West Stepher Fried 2009 Artfully Done : Across Generations Roxann Banks Dicker 2011 Baking With Friends: Recipes, Tips, and Fun Facts for Teaching Kids to Bake Sharon Davis, Charlene Patton 2007 Ballots and Bullets: The Bloody County Seat Wars of Kansas Robert K. DeArment 2012 Bent Road: A Novel Lori Roy 2013 Beyond Cold blood: The KBI from Ma Barker to BTK Larry Welch 2014 Biting Through the Skin Nina Mukerjee Furstenau 2016 Bitter Magic, A Roderick Townley 2014 Black Country, The
    [Show full text]
  • History of the United States Marine Corps
    BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF Mtnvu W. Sage 1891 .AU.(^-7^-^-^- g..f..5.J4..^..Q: Cornell University Library VE23 .C71 1903 History of the United States marine corp 3 1924 030 896 488 olin The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924030896488 FRANKLIN WHARTON, Lieutenant-Colonel U. S. Marine Corps. Commandant March 7, 1804. DiEO September 1, 1818 : HISTORY OF THE United States Marine Corps RICHARD S. COIvIvUM:, Major U. S. M. C. NEW YORK L,. R. Hamersly Co. 1903. T Copyright, 1903, by L. R- HamERSLV Co. TO THE CITIZENS OF THE UNITED STATES THIS WORK IS RESPECTFULI,Y DEDICATED ; WITH A DESIRE THAT THE SERVICES OF THH UNITED STATES MARINE CORPS MAY BE INTEI,I,IGENTI,Y APPRECIATED, AND THAT THE NATION MAY RECOGNIZE THE DEBT IT OWES TO THE OFFICERS AND ENLISTED MEN, WHO, IN ALL THE TRYING TIMES IN OUR COUNTRY'S HISTORY HAVE NOBLY DONE THEIR DUTY. ' ' From the establishment of the Marine Corps to the present time it has constituted an integral part of the Navy, has been identified with it in all its achievements, ashore and afloat, and has continued to receive from its most distinguished commanders the expression of their appreciation of its effectiveness as a part of the Navy." —Report of House Committee on Naval Affairs ; Thir- ty-ninth Congress, Second Session. PREFACE. A CUSTOM has prevailed throughout the armies of Europe to keep regular record of the services and achievements of their regi- ments and corps.
    [Show full text]
  • “BY POPULAR DEMAND”: the HERO in AMERICAN ART, C. 1929-1945
    “BY POPULAR DEMAND”: THE HERO IN AMERICAN ART, c. 1929-1945 By ©2011 LARA SUSAN KUYKENDALL Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Charles C. Eldredge, Ph.D. ________________________________ David Cateforis, Ph.D. ________________________________ Marni Kessler, Ph.D. ________________________________ Chuck Berg, Ph.D. ________________________________ Cheryl Lester, Ph.D. Date Defended: April 11, 2011 The Dissertation Committee for LARA SUSAN KUYKENDALL certifies that this is the approved version of the following dissertation: “BY POPULAR DEMAND”: THE HERO IN AMERICAN ART, c. 1929-1945 ________________________________ Chairperson Charles C. Eldredge, Ph.D. Date approved: April 11, 2011 ii Abstract During the 1930s and 1940s, as the United States weathered the Great Depression, World War II, and dramatic social changes, heroes were sought out and created as part of an ever-changing national culture. American artists responded to the widespread desire for heroic imagery by creating icons of leadership and fortitude. Heroes took the form of political leaders, unionized workers, farmers, folk icons, historical characters, mothers, and women workers. The ideas they manifest are as varied as the styles and motivations of the artists who developed them. This dissertation contextualizes works by such artists as Florine Stettheimer, Philip Evergood, John Steuart Curry, Palmer Hayden, Dorothea Lange, Norman Rockwell, and Aaron Douglas, delving into the realms of politics, labor, gender, and race. The images considered fulfilled national (and often personal) needs for pride, confidence, and hope during these tumultuous decades, and this project is the first to consider the hero in American art as a sustained modernist visual trope.
    [Show full text]