Andrew Michael Dasburg [Herein Called AD], Is Mentioned, Not Too Frequently, Simply As a 20Th Century Southwest Artist
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The Salon of Mabel Dodge
DIVISION OF THE HUMANITIES AND SOCIAL SCIENCES CALIFORNIA INSTITUTE OF TECHNOLOGY PASADENA, CALIFORNIA 91125 THE SALON OF MABEL DODGE Robert A. Rosenstone To be published in Peter Quennell, ed., Salon (London: Weidenfeld and Nicolson, 1980). HUMANITIES WORKING PAPER 24 January 1979 THE SALON OF ~WillEL DODGE Robert A. Rosenstone Mabel Dodge's salon ••• burst upon New York like a rocket. Margaret Sanger It was the only successful salon I have ever seen in America. Lincoln Steffens Many famous salons have been established by women of wit or beauty; Mabel's was the only one ever established by pure will power. And it was no second-rate salon; everybody in the ferment of ideas could be found there. Max Eastman 2 It is indeed the happy woman who has no history, for by happy we mean the loving and beloved, and by history we designate all those relatable occurences on earth caused by the human energies seeking other outlets than the biological one. • . That I have so many pages to write signifies, solely, that I was unlucky in love. Most of the pages are about what I did instead •. Mabel Dodge 1 Mabel Dodge was rich and attractive and more than a little lucky. For two years -- from 1912 to 1914 -- she played hostess to the most famous and no doubt the most interesting salon in American history. This success was no accident, but the result of a subtle interplay between her individual needs and ambitions and the historical moment. It was a very special period in the cultural life of the United States, one when expatriate Irish painter John Butler Yeats cocked an ear and heard "the fiddles • tuning as it were allover America. -
The Founders of the Woodstock Artists Association a Portfolio
The Founders of the Woodstock Artists Association A Portfolio Woodstock Artists Association Gallery, c. 1920s. Courtesy W.A.A. Archives. Photo: Stowall Studio. Carl Eric Lindin (1869-1942), In the Ojai, 1916. Oil on Board, 73/4 x 93/4. From the Collection of the Woodstock Library Association, gift of Judy Lund and Theodore Wassmer. Photo: Benson Caswell. Henry Lee McFee (1886- 1953), Glass Jar with Summer Squash, 1919. Oil on Canvas, 24 x 20. Woodstock Artists Association Permanent Collection, gift of Susan Braun. Photo: John Kleinhans. Andrew Dasburg (1827-1979), Adobe Village, c. 1926. Oil on Canvas, 19 ~ x 23 ~ . Private Collection. Photo: Benson Caswell. John F. Carlson (1875-1945), Autumn in the Hills, 1927. Oil on Canvas, 30 x 60. 'Geenwich Art Gallery, Greenwich, Connecticut. Photo: John Kleinhans. Frank Swift Chase (1886-1958), Catskills at Woodstock, c. 1928. Oil on Canvas, 22 ~ x 28. Morgan Anderson Consulting, N.Y.C. Photo: Benson Caswell. The Founders of the Woodstock Artists Association Tom Wolf The Woodstock Artists Association has been showing the work of artists from the Woodstock area for eighty years. At its inception, many people helped in the work involved: creating a corporation, erecting a building, and develop ing an exhibition program. But traditionally five painters are given credit for the actual founding of the organization: John Carlson, Frank Swift Chase, Andrew Dasburg, Carl Eric Lindin, and Henry Lee McFee. The practice of singling out these five from all who participated reflects their extensive activity on behalf of the project, and it descends from the writer Richard Le Gallienne. -
Crystal Eastman
Wiki Loves Monuments: The world's largest photography competition is now open! Photograph a historic site, learn more about our history, and win prizes. Crystal Eastman From Wikipedia, the free encyclopedia Crystal Eastman Crystal Eastman, feminist and political activist Crystal Catherine Eastman Born June 25, 1881 Marlborough, Massachusetts Died July 8, 1928 (aged 47) Nationality American Occupation Lawyer Feminism, socialism, Congressional Union for Woman Suffrage, The Liberator, and as a co-founder of both Known for the Women's International League for Peace and Freedom and American Union Against Militarism Spouse(s) Wallace Benedict, Walter Fuller Children Jeffrey Fuller and Annis Fuller Samuel Elijah Eastman and Annis Parent(s) Bertha Ford Relatives Max Eastman (brother) Crystal Catherine Eastman (June 25, 1881 – July 8, 1928)[1] was an American lawyer, antimilitarist, feminist, socialist, and journalist. She is best remembered as a leader in the fight for women's suffrage, as a co-founder and co-editor with her brother Max Eastman of the radical arts and politics magazine The Liberator, co-founder of the Women's International League for Peace and Freedom, and co-founder in 1920 of the American Civil Liberties Union. In 2000 she was inducted into the National Women's Hall of Fame in Seneca Falls, New York. Contents 1 Early life and education 2 Social efforts 3 Emancipation 4 Peace efforts 5 Marriage and family o 5.1 Post-War o 5.2 Death 6 Legacy 7 Work o 7.1 Papers o 7.2 Publications 8 Footnotes 9 See also o 9.1 People o 9.2 Political groups o 9.3 Other 10 Additional reading 11 External links Early life and education Crystal Eastman was born in Marlborough, Massachusetts, on June 25, 1881, the third of four children. -
Modernism in the Southwest
Modernism in the Southwest Submitted by Dawn Sarah Cohen Department of Art In partial fuifiHment of the requirements for the Degree of Master of Fine Arts Colorado State University Fort Collins, Colorado Spring 2000 1 Modernism in the Southwest " Miles upon miles of level stretches covered with sage brush, with here and there a drop of a few hundred feet that would be a canyon, Hills and Mountains of every color ... A sunset seems to embrace the Earth Big sun heat Big storm Big everything ... " 1 In the 1900's, a group of New York City Modernists made a move to create art in the southwest region of North America. This took place almost simultaneously with the Armory Show in New York in 1913. Well·*known academic artists from different schools in New York were drawn to the relatively unexplored exotic territory. Their paintings bridged the gap between landscape painting and Modernism. These artists presented a 1 John Marin. John Marin, ed. Cleve Gray. (New York: Holt, Rinehardt and Winston, 1974), p. 161. 2 unique view of the landscape and culture of the Southwest. This paper will explore four artists and their responses to the Southwest landscape. In New York City during the 1910s and 1920s, many painters were concerned with the social context of city life and political issues. The role of these artists had been to explore urban culture through the style of genre paintings. Modernist painting, which included Individualism, Cubism, Futurism, Expressionism, and Impressionism was also emerging at this time. Modernist groups were headed by two main schools of art, Alfred Stieglitz's group, and Robert Henri of the Ashcan School. -
28 August, 2000
OWINGS-DEWEY FINE ART A GALLERY FOR TH AND TH CENTURY AMERICAN ART CONSULTATION| SALES| APPRAISAL KENNETH MILLER ADAMS (b. 1897 Topeka, Kansas – d. 1966 Albuquerque, New Mexico) Kenneth M. Adams, the last and youngest member elected to the Taos Society of Artists before it was dissolved in 1927, came to New Mexico three years earlier. Adams first heard of the art colony at Taos while studying painting under Andrew Dasburg at the Art Students League in Woodstock, New York. Dasburg, with whom he studied during the summers of 1919 and 1920 was perhaps the greatest influence on Adams’ style and development. It was Dasburg who introduced him to Cézanne and the inventions made by Picasso and the Cubists. A Kansan by birth, Adams was trained initially by George M. Stone, A Topeka artist. Later he attended the Art Institute of Chicago and the Art Students League in New York. In 1921, he went to Europe for a two-year stay. He spent several months painting landscapes in the south of France. Some of these early scenes, no longer stretched or framed, were found in the Adams estate after his death. They had a muted color scheme, which he eventually abandoned in New Mexico, but there was a blocked-out sense of form in them that was a harbinger of his later development. These landscapes were exhibited in Kansas and Missouri after his return to the States in 1923. A year later, Adams followed Dasburg to Taos. Adams struck out against the prevailing popular taste of his time when he was yet a young man. -
Why So Many Artists Have Been Drawn to New Mexico
C r e at i v i t y W h y S o M a n y Ar t i s t s H a v e Be e n D r a w n t o Ne w Mexico For generations, artists from Georgia O'Keeffe to Ken Price havefollowed New Mexico’s magnetic pull, finding inspiration in the highdesert’s expansive vistas, quietude, and respite from social and market pressures. Alexxa Gotthardt May 17, 2019 5:57 pm Georgia O’Keeffe had an unexpected train detour to thank for her first encounter with New Mexico. Little did she know, it was the land that would free her—both artistically and emotionally. Several months after photographergallerist Alfred Stieglitz presented O’Keeffe’s first New York solo show, in April 1917, the 29yearold painter embarked on a trip across the American West with her youngest sister, Claudia. While they’d planned to head straight from Texas to Colorado, their train detoured to Santa Fe. New Mexico’s vast, mercurial skies and incandescent light mesmerized the artist. “I’m out here in New Mexico—going somewhere—I’m not positive where—but it’s great,” she gushed in a letter to Stieglitz, dated August 15th. “Not like anything I ever saw before.” Portrait of Georgia O’Keeffe in Abiquiu, New Portrait of Bruce Nauman in New Mexico by Mexico, 1974. Photo by Joe Munroe/Hulton Francois Le Diascorn/GammaRapho via Getty Archive/Getty Images. Images. “There is so much more space between the ground and sky out here it is tremendous,” she continued. -
American Communist Idealism in George Cram Cook's the Athenian
DOI: https://doi.org/10.4312/keria.20.3.7-25 Edith Hall American Communist Idealism in George Cram Cook’s The Athenian Women (1918) The distinctive history of ancient drama in pro-Soviet, Communist, Marxist, and workers’ theatres outside the Soviet Union and the “Eastern Bloc” is iden- tifiable almost immediately after the Russian revolution of 1917. In the USA it was launched by The Athenian Women, written by the American George Cram Cook, with input from his long-term lover, whom he had recently married, the novelist Susan Glaspell.1 The Athenian Women is a serious, substantial three-act drama set in Periclean Athens, but drawing on Aristophanes’ “women” plays produced from 411 onwards, Lysistrata, Thesmophoriazusae and Ecclesiazusae. Although it is a new work, The Athenian Women also engages with Thucydides’ account of the Peloponnesian war, and with the figure of Socrates as portrayed in both Plato and Xenophon. According to Glaspell, when Cook was writing the play during the summer of 1917, he was filtering the daily news from Europe through the lens of Thucydides, often quoting the historian’s dictum that “in all human probability these things will happen again”.2 The play states its socialist and feminist politics in the mouths of the two main revolutionary characters, Lysicles and Aspasia respectively. Although the play was not particularly suc- cessful, its 1918 production by the Provincetown Players had an indirect im- pact on the future directions taken by progressive and political theatre in the USA, especially through the subsequent dramas of Glaspell and the soon-to-be- world-famous playwright she and Cook mentored, Eugene O’Neill.3 1 On Glaspell’s fiction cf. -
New York ABAA Book Fair 2017
Lux Mentis, Booksellers 110 Marginal Way #777 Portland, ME 04101 Member: ILAB/ABAA T. 207.329.1469 [email protected] www.luxmentis.com New York ABAA Book Fair 2017 1. Abiel, Dante. Necromantic Sorcery: The Forbidden Rites Of Death Magick. Presented by E.A. Koetting. Become a Living God, 2014. First Edition. Minimal shelf/edge wear, else tight, bright, and unmarred. Black velvet boards, silver gilt lettering and decorative elements, black endpages. 8vo. 279pp. Illus. (b/w plates). Glossary. Limited edition of 300. Near Fine. No DJ, as Issued. Hardcover. (#9093) $750.00 The 'fine velvet edition" (there was a smaller edition bound in leather). "Necromantic Sorcery is the FIRST grimoire to ever expose the most evil mysteries of death magick from the Western, Haitian Vodoun, and Afrikan Kongo root currents. In it, you are going to learn the most extreme rituals for shamelessly exploiting the magick of the dead, and experiencing the damnation of Demonic Descent on the Left Hand Path." (from the publisher) A provokative approach to Saturnian Necromancy. Rather scarce in the market. 2. Adams, Evelyn. Hollywood Discipline: A Bizarre Tale of Lust and Passion. New York: C-L Press, 1959. Limited Edition. Minor shelf/edge wear, minor discoloration to newsprint, else tight, bright, and unmarred. Color pictorial wraps with artwork of illustrious BDSM artist Gene Bilbrew, also known as “Eneg.” 8vo. 112pp. Illus. (b/w plates). Very Good in Wraps. Original Wraps. (#9086) $150.00 Limited illustrated first edition paperback, Inside cover black and white illustration art also by Bilbrew. Unusual in the slew of BDSM publications to come out in the 1950s and 1960s Irving Klaw era of bondage pulps. -
The Power of Place: Structure, Culture, and Continuities in U.S. Women's Movements
The Power of Place: Structure, Culture, and Continuities in U.S. Women's Movements By Laura K. Nelson A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kim Voss, Chair Professor Raka Ray Professor Robin Einhorn Fall 2014 Copyright 2014 by Laura K. Nelson 1 Abstract The Power of Place: Structure, Culture, and Continuities in U.S. Women's Movements by Laura K. Nelson Doctor of Philosophy in Sociology University of California, Berkeley Professor Kim Voss, Chair This dissertation challenges the widely accepted historical accounts of women's movements in the United States. Second-wave feminism, claim historians, was unique because of its development of radical feminism, defined by its insistence on changing consciousness, its focus on women being oppressed as a sex-class, and its efforts to emphasize the political nature of personal problems. I show that these features of second-wave radical feminism were not in fact unique but existed in almost identical forms during the first wave. Moreover, within each wave of feminism there were debates about the best way to fight women's oppression. As radical feminists were arguing that men as a sex-class oppress women as a sex-class, other feminists were claiming that the social system, not men, is to blame. This debate existed in both the first and second waves. Importantly, in both the first and the second wave there was a geographical dimension to these debates: women and organizations in Chicago argued that the social system was to blame while women and organizations in New York City argued that men were to blame. -
Georgia O'keeffe and Agnes Pelton
Art and Life Illuminated: Georgia O’Keeffe and Agnes Pelton, Agnes Martin and Florence Miller Pierce Karen Moss alter De Maria’s Lightning Field, installed in a remote area of the high desert in western New Mexico in 1977, is composed of four hundred 20-foot-high (6.06 m) polished stainless-steel poles situated 220 feet W(66.73 m) apart in a 1 x 0.62 mile (1.6 x 1 km) grid. De Maria’s intent is for the viewer to experience the “field” of this expansive land project both temporally and physically, preferably during the peak of the monsoon season, when one is most likely to encounter a thunderstorm. Given the project’s title and now well-known photographic documentation, the visitor eagerly anticipates a decisive moment when lightning strikes along the vast horizon, momentarily connecting this sculptural intervention with the mercurial forces of nature, but in reality this occurs rather infrequently. What one discovers, however, in watching the distant sun rise and set against the dark silhouetted hills and primordial plateaus, or in closely observing the field by walking among the poles, is that the most significant aspect of De Maria’s project is not the sudden spectacle of lightning, but the more subtle and utterly sublime quality of the constantly changing light. In an essay on New Mexico, Libby Lumpkin discusses how many modern artists have been attracted to the sublime light and landscape of the state. While some arrived as early as the 1880s, when the Santa Fe railroad was built, it was in the 1920s that writer and art patron Mabel Dodge Luhan (Sterne until 1923) began hosting artists and painters at her home in Taos. -
Other Artist Bios
CSFINEARTSCENTER.ORG Contact: Warren Epstein, Media Relations and Community Outreach Manager 719.477.4316; [email protected] Other Artist Bios Jozef Bakos (1891–1977) The Polish artist founded Los Cinco Pintores (the five painters) , Santa Fe's first Modernist art group, and was dedicated to works that depicted specifically American subjects, such as the New Mexico landscape, local adobe architecture and Native American dances. He studied art with John E. Thompson at the Albright Art Institute in Buffalo, New York, and taught at the University of Colorado in Boulder. In 1920, during a break from teaching, Bakos visited Walter Mruk, a childhood friend and artist who was living in Santa Fe. During his stay he exhibited some paintings together with Mruk at the Museum of Fine Arts in Santa Fe. Gustave Baumann (1881–1971) Baumann was one of the leading figures of the color-woodcut revival in America. Born in Magdeburg, Germany, Baumann moved to the U.S. at the age of 10 and by 17, attended night classes at the Art Institute of Chicago. After spending time in Brown County, Ind., as a member of the Brown County Art Colony, Baumann headed to the Southwest in 1918. He found Taos to be too crowded and social but eventually ended up settling in Santa Fe, where he became known as a master of woodcuts, while also producing oils and sculpture. Tom Benrimo (1887 – 1958) A self-taught artist, Benrimo was born in San Francisco and lived there until the San Francisco earthquake and fire of 1906 destroyed his home. Relocating to New York with his family, he worked as a scenic designer for theatrical shows and created illustrations for various advertising companies. -
Big House 2. Loca
*USDI/NPS NRHP Registration Form Luhan, Mabel Dodge, House Page # 1 *********** (Rev. 8-86) United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES REGISTRATION FORM __________________________________ 1. Name of Property historic name: Mabel Dodge Luhan House other name/site number: Big House 2. Location Morada Lane, Taos, New Mexico street & number: Morada Lane not for publ ication:N/A city/town: Taos vicinity:N/A state:NM county: Taos code: 055 zip code: 87571 3. Classification Ownership of Property: private Category of Property: building Number of Resources within Property: Contributing Noncontributing 0 buildings 0 sites 0 structures 0 objects 0 Total Number of contributing resources previously listed in the National Register: 1 Name of related multiple property listing: 4. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1986, as amended, I hereby certify that this __ nomination __ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property__meets _ does not meet the National Register Criteria. __ See continuation sheet. Signature of certifying official Date State or Federal agency and bureau In my opinion, the property __ meets __ does not meet the National Register criteria. __ See continuation sheet. Signature of commenting or other official Date State or Federal agency and bureau 5. National Park Service Certification I, hereby certify that this property is: entered in the National Register __ See continuation sheet, determined eligible for the National Register __ See continuation sheet, determined not eligible for the National Register removed from the National Register other (explain): ___________ Signature of Keeper Date of Action *USDI/NPS NRHP Registration Form Luhan, Mabel Dodge, House Page # 3 6.