Commerce in the Gilded Age, Part 2

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Art of the United States March 2, 2017 Lecture 8: Art & Commerce in the Gilded Age, Part 2 Gilded Age Environments, Domestic & Public Eastman Johnson, Christmastime – The Blodgett Family, 1864. Oil on canvas. Eastman Johnson, Not at Home, 1873. Oil on canvas. Left: Mary Cassatt, Little Girl in a Blue Armchair, 1878. Oil on Canvas. Right: Mary Cassatt, Woman and a Girl Driving, 1881. Oil on canvas. John Singer Sargent, Madame X, 1883-84. Oil on canvas. John Singer Sargent, Mr. and Mrs. I. N. Phelps- Stokes, 1897. Oil on canvas. Childe Hassam, Washington Arch, Spring, 1890. Oil on canvas. William Merritt Chase, In the Studio, c. 1880. Oil on canvas. Thomas Dewing, After Sunset (Summer Evening), 1892. Oil on canvas. James Abbott McNeill Whistler, Arrangement in Gray and Black (Portrait of the Artist’s Mother), 1871. Oil on canvas. Architectural Revivalism Henry Hobson Richardson, Trinity Church, Boston, Massachusetts, 1875. Frank Furness and George W. Hewitt, Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1871-76. John A. Roebling, Brooklyn Bridge, New York, 1869-83. Above left: Richard Morris Hunt, Biltmore, Asheville, North Carolina, 1895. Below left: James Abbott McNeill Whistler, Harmony in Blue and Gold: The Peacock Room, 1876-77. The White City William Le Baron Jenney, Home Insurance Building, Chicago, Illinois, 1884-85. Henry Hobson Richardson, Marshall Field Warehouse, Chicago, Illinois, 1885- 87. William Holabird and Martin Roche, Tacoma Building, Chicago, Illinois, 1887-89. Daniel Burnham and John Wellborn Root, Monadnock Building, Chicago, Illinois, 1884-92. Left: Louis Sullivan, Wainwright Building, St. Louis, Missouri, 1890-91. Center: Louis Sullivan, Carson Pirie Scott Store, Chicago, Illinois, 1899-1904. Right: Louis Sullivan, architectural detail, Carson Pirie Scott Store, Chicago, Illinois, 1899-1904. Adler and Sullivan, Entrance to the Transportation Building, Chicago, Illinois, 1893. World’s Columbian Exposition, Chicago, Illinois, looking west (seen from rear, Daniel Chester French’s Republic; in the distance Frederick William MacMonnies’s The Triumph of Columbia), 1893..

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333 North Michigan Buildi·N·G- 333 N
PRELIMINARY STAFF SUfv1MARY OF INFORMATION 333 North Michigan Buildi·n·g- 333 N. Michigan Avenue Submitted to the Conwnission on Chicago Landmarks in June 1986. Rec:ornmended to the City Council on April I, 1987. CITY OF CHICAGO Richard M. Daley, Mayor Department of Planning and Development J.F. Boyle, Jr., Commissioner 333 NORTH MICIDGAN BUILDING 333 N. Michigan Ave. (1928; Holabird & Roche/Holabird & Root) The 333 NORTH MICHIGAN BUILDING is one of the city's most outstanding Art Deco-style skyscrapers. It is one of four buildings surrounding the Michigan A venue Bridge that defines one of the city' s-and nation' s-finest urban spaces. The building's base is sheathed in polished granite, in shades of black and purple. Its upper stories, which are set back in dramatic fashion to correspond to the city's 1923 zoning ordinance, are clad in buff-colored limestone and dark terra cotta. The building's prominence is heightened by its unique site. Due to the jog of Michigan Avenue at the bridge, the building is visible the length of North Michigan Avenue, appearing to be located in the center of the street. ABOVE: The 333 North Michigan Building was one of the first skyscrapers to take advantage of the city's 1923 zoning ordinance, which encouraged the construction of buildings with setback towers. This photograph was taken from the cupola of the London Guarantee Building. COVER: A 1933 illustration, looking south on Michigan Avenue. At left: the 333 North Michigan Building; at right the Wrigley Building. 333 NORTH MICHIGAN BUILDING 333 North Michigan Avenue Architect: Holabird and Roche/Holabird and Root Date of Construction: 1928 0e- ~ 1QQ 2 00 Cft T Dramatically sited where Michigan Avenue crosses the Chicago River are four build ings that collectively illustrate the profound stylistic changes that occurred in American architecture during the decade of the 1920s.
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ORAL HISTORY of JOHN AUGUR HOLABIRD Interviewed by Susan S
ORAL HISTORY OF JOHN AUGUR HOLABIRD Interviewed by Susan S. Benjamin Compiled under the auspices of the Chicago Architects Oral History Project The Ernest R. Graham Study Center for Architectural Drawings Department of Architecture The Art Institute of Chicago Copyright © 1993 Revised Edition © 2003 The Art Institute of Chicago This manuscript is hereby made available to the public for research purposes only. All literary rights in the manuscript, including the right to publication, are reserved to the Ryerson and Burnham Libraries of The Art Institute of Chicago. No part of this manuscript may be quoted for publication without the written permission of The Art Institute of Chicago. ii TABLE OF CONTENTS Preface iv Outline of Topics vi Oral History 1 Selected References 194 Appendix: Curriculum Vitæ 195 Index of Names and Buildings 196 iii PREFACE Surrounded by four generations of memorabilia, John Holabird and I recorded his recollections in six sessions from October 29 to December 3, 1992. We sat in the library of his home of forty years, a wonderful 1872 house in Chicago filled with books, family photos and drawings. The overwhelming sense was one of continuity. And this is appropriate, for John, who retired from the firm in 1987, is the last in the line of Holabirds at Holabird and Root. With warmth and humility he shared his family memories, his love of the theater and many stories that reveal the persona of the office. In discussing the firm’s beginnings in the 1890s as Holabird and Roche through his own handsome design for the pavilion at Ravinia Park, one hundred years of history came alive during our sessions.
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