Expanded 2018 Bibliography
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Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
The Domestication of History in American Art: 1848-1876
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1998 The domestication of history in American art: 1848-1876 Jochen Wierich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Wierich, Jochen, "The domestication of history in American art: 1848-1876" (1998). Dissertations, Theses, and Masters Projects. Paper 1539623945. https://dx.doi.org/doi:10.21220/s2-qc92-2y94 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Ti Manno: the Haitian Prophet
Journal of Historical Archaeology & Anthropological Sciences Review Article Open Access Ti Manno: the haitian prophet Abstract Volume 4 Issue 2 - 2019 This work explores the popular view of the constitution of the Haitian Konpa artist, “Ti Manno,” as a prophet, similar to Bob Marley, of the African masses on the island of Haiti. Paul C Mocombe Using a structurationist, structural Marxist, understanding of consciousness constitution, West Virginia State University, the Mocombeian Foundation, phenomenological structuralism, I explore the origins of Haitian consciousness divided Inc., USA between, “the children of Pétion v. the children of Dessalines.” The former representing the racial-neoliberal identity and views of the mulatto/Arab/black elites; and the latter, the Correspondence: Paul C Mocombe, West Virginia State University, The Mocombeian Foundation, Inc., USA, economic reform and social justice of Dessalines as articulated by the African masses in the Email ghettoes, provinces, and mountains. This article suggests that the 1970s and 80s music of Ti Manno speaks to the latter against the ideological positions of the former. Received: April 26, 2019 | Published: May 14, 2019 Keywords: African-Americanization, vodou ethic and the spirit of communism, religiosity, black diaspora, dialectical; anti-dialectical, phenomenological structuralism Introduction the Haitian masses who are exploited by their own brothers and sisters who have allied themselves with their former colonial rulers, France, Born Antoine Rossini Jean-Baptiste, Ti Manno, the Haitian Konpa Canada, and the United States in order to implement neoliberal singer dubbed “the Prophet” in the Haitian community, began his policies of the capitalist world-system that adversely affect the musical career in Goniaves, Haiti, where he had been born on May economy and social conditions of the masses in favor of the French 30, 1953. -
Anti Syllabus
Celebrating Caribbean culture and resistance inspired by Rihanna A B U S S Y L L Created & Curated by @TerahJay ⠠⠗⠊⠓⠁ ⠝⠝⠁⠂ ⠞⠓⠁⠝⠅ ⠽⠕⠥ ⠋⠕⠗ ⠑⠧⠑⠗⠽ ⠞⠓⠊⠝⠛ ⠲ ⠠⠇⠕⠧⠑ y a J h a r e T - . s a y ⠽⠕⠥ w l a u o y e v o L . g n ⠁⠇⠺⠁⠽ i h t y r e v e r o f u o y k ⠎⠂ n a h t a n n a h i R ⠠⠞⠑⠗⠁ ⠓⠠⠚⠁⠽ ⠲ MUST BE LOVE ON THE BRAIN That resistance to conformity, that resistance to needing and pleasing and placating the global marketplace is absolutely very much situated within her context. Anti is actively telling you, song after song, that it's not trying to fit Heather D. Russell On January 28th 2017 Rihanna celebrated her one-year anniversarih, aptly titled ANTiversary. Her highly anticipated 8th studio album was a work of art that upon its release, shifted the course of her craft and career. The eclectic, raw, emotional, album was molecule shifting for Rihanna as well as her fanbase the Rihanna Navy. Rihanna states: "I had no idea how it would be recieved, neither was that something I considered. I just wanted to make a body of work that felt right." In many ways ANTi was not about finding herself as an artist, it was more about creating and re-creating herself as a complete person. Someone unafraid, someone boundless. In her process she trusted the way the music made her feel. As a Black woman from Barbados it is important to situate her life, career, and way of knowing within a specific Caribbean context. -
Of International Publications in Aerospace Medicine
DOT/FAA/AM-07/2 Office of Aerospace Medicine Washington, DC 20591 Index of International Publications in Aerospace Medicine Melchor J. Antuñano Katherine Wade Civil Aerospace Medical Institute Federal Aviation Administration Oklahoma City, OK 73125 January 2007 Final Report NOTICE This document is disseminated under the sponsorship of the U.S. Department of Transportation in the interest of information exchange. The United States Government assumes no liability for the contents thereof. ___________ This publication and all Office of Aerospace Medicine technical reports are available in full-text from the Civil Aerospace Medical Institute’s publications Web site: www.faa.gov/library/reports/medical/oamtechreports/index.cfm Technical Report Documentation Page 1. Report No. 2. Government Accession No. 3. Recipient's Catalog No. DOT/FAA/AM-07/2 4. Title and Subtitle 5. Report Date Index of International Publications in Aerospace Medicine January 2007 6. Performing Organization Code 7. Author(s) 8. Performing Organization Report No. Antuñano MJ, Wade K 9. Performing Organization Name and Address 10. Work Unit No. (TRAIS) FAA Civil Aerospace Medical Institute P.O. Box 25082 Oklahoma City, OK 73125 11. Contract or Grant No. 12. Sponsoring Agency name and Address 13. Type of Report and Period Covered Office of Aerospace Medicine Federal Aviation Administration 800 Independence Ave., S.W. Washington, DC 20591 14. Sponsoring Agency Code 15. Supplemental Notes 16. Abstract The 3rd edition of the Index of International Publications in Aerospace Medicine is a comprehensive listing of international publications in clinical aerospace medicine, operational aerospace medicine, aerospace physiology, environmental medicine/physiology, diving medicine/physiology, aerospace human factors, as well as other topics directly or indirectly related to aerospace medicine. -
Selected Works Selected Works Works Selected
Celebrating Twenty-five Years in the Snite Museum of Art: 1980–2005 SELECTED WORKS SELECTED WORKS S Snite Museum of Art nite University of Notre Dame M useum of Art SELECTED WORKS SELECTED WORKS Celebrating Twenty-five Years in the Snite Museum of Art: 1980–2005 S nite M useum of Art Snite Museum of Art University of Notre Dame SELECTED WORKS Snite Museum of Art University of Notre Dame Published in commemoration of the 25th anniversary of the opening of the Snite Museum of Art building. Dedicated to Rev. Anthony J. Lauck, C.S.C., and Dean A. Porter Second Edition Copyright © 2005 University of Notre Dame ISBN 978-0-9753984-1-8 CONTENTS 5 Foreword 8 Benefactors 11 Authors 12 Pre-Columbian and Spanish Colonial Art 68 Native North American Art 86 African Art 100 Western Arts 264 Photography FOREWORD From its earliest years, the University of Notre Dame has understood the importance of the visual arts to the academy. In 1874 Notre Dame’s founder, Rev. Edward Sorin, C.S.C., brought Vatican artist Luigi Gregori to campus. For the next seventeen years, Gregori beautified the school’s interiors––painting scenes on the interior of the Golden Dome and the Columbus murals within the Main Building, as well as creating murals and the Stations of the Cross for the Basilica of the Sacred Heart. In 1875 the Bishops Gallery and the Museum of Indian Antiquities opened in the Main Building. The Bishops Gallery featured sixty portraits of bishops painted by Gregori. In 1899 Rev. Edward W. J. -
Master Drawings from the Courtauld Gallery
WORKS BY LEONARDO DA VINCI, MICHELANGELO, DÜRER, REMBRANDT, WATTEAU, GOYA, GAINSBOROUGH, TURNER, VAN GOGH, SEURAT, PICASSO & OTHERS INCLUDED IN UNPRECEDENTED LOAN EXHIBITION MANTEGNA TO MATISSE: MASTER DRAWINGS FROM THE COURTAULD GALLERY October 2, 2012, through January 27, 2013 In keeping with its tradition of presenting masterworks from collections outside of New York, this fall The Frick Collection presents fifty-eight drawings from The Courtauld Gallery, London. This exhibition marks the first time that so many of the principal drawings in The Courtauld’s renowned collection—one of Britain’s most important—have been made available for loan. The prized sheets—many of which have never been shown in New York— represent a survey of the extraordinary draftsmanship of Italian, Dutch, Flemish, German, Spanish, British, and French artists Peter Paul Rubens (1577–1640), Helena Fourment, c. 1630, black, red, and white chalk and pen and ink, 24 x 21 ½ inches; © The active between the late Middle Ages and Samuel Courtauld Trust, The Courtauld Gallery, London the early twentieth century. The exhibition features works executed in a range of techniques and styles and for a variety of purposes, including preliminary sketches, practice studies, aide-mémoires, designs for other artworks, and finished pictures meant to be appreciated as independent works of art. Among the artists whose drawings will be shown are Andrea Mantegna, Leonardo da Vinci, Albrecht Dürer, Michelangelo Buonarroti, Peter Paul Rubens, Jusepe de Michelangelo Buonarroti (1475–1564), The Dream (Il Sogno), c. 1533, graphite, 15.6 x 11 inches; © The Samuel Ribera, Rembrandt van Rijn, Jean-Antoine Watteau, Charles-Joseph Natoire, Courtauld Trust, The Courtauld Gallery, London 1 Thomas Gainsborough, Francisco Goya y Lucientes, Joseph Mallord William Turner, Théodore Géricault, Edgar Degas, Paul Cézanne, Vincent van Gogh, Georges Seurat, Henri Matisse, and Pablo Picasso. -
The Physicality of Rubens‟ Human Bodies: Visuality And
THE PHYSICALITY OF RUBENS‟ HUMAN BODIES: VISUALITY AND MEDICINE IN EARLY MODERN EUROPE AIKATERINI GEORGOULIA TWO VOLUMES VOLUME I PH.D. UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2014 ABSTRACT This thesis presents new textual and visual source material for our understanding of Rubens‟ painted human bodies. It identifies hitherto unexamined socio-cultural contexts, as well as contests and revises scholarly assumptions. I maintain that Rubens‟ bodies were informed by early modern scientific practices and medical discourses. The central argument is that Rubens‟ understanding of human physicality and the contemporary engagement with basic biological processes converge in his painted bodies. The medical view of the body as a psychosomatic unity – a nexus of material and immaterial properties – opens a new investigative avenue to studies of cultural materialism. The exploration of the enmeshment of materiality and immateriality gives an insight into how and in what ways matter and image acquire meaning. I argue that the immaterial characteristics of the human body are visually integrated in canvas and paper, pigments, oils and chalk. By exploring visual and textual sources, this study proposes a larger methodological framework. It brings together visuality, materiality and textuality, providing a cross-referential reading of text and image, and using both of them as core primary material with an argumentative voice. The analysis of the visual case studies (portraiture, history and religious painting) does not draw on a larger pre-determined and extraneous context, but context is produced by the image. Therefore, I perceive context as multifarious and wide-ranging. My approach responds to the previous lack of a broader study of Rubens‟ bodies via a medical perspective. -
Imaginary Portraits
Imaginary Portraits Walter Pater Imaginary Portraits Table of Contents Imaginary Portraits..................................................................................................................................................1 Walter Pater....................................................................................................................................................1 i Imaginary Portraits Walter Pater CHAPTER I. A PRINCE OF COURT PAINTERS EXTRACTS FROM AN OLD FRENCH JOURNAL Valenciennes, September 1701. They have been renovating my father's large workroom. That delightful, tumble−down old place has lost its moss−grown tiles and the green weather−stains we have known all our lives on the high whitewashed wall, opposite which we sit, in the little sculptor's yard, for the coolness, in summertime. Among old Watteau's workpeople came his son, "the genius," my father's godson and namesake, a dark−haired youth, whose large, unquiet eyes seemed perpetually wandering to the various drawings which lie exposed here. My father will have it that he is a genius indeed, and a painter born. We have had our September Fair in the Grande Place, a wonderful stir of sound and colour in the wide, open space beneath our windows. And just where the crowd was busiest young Antony was found, hoisted into one of those empty niches of the old Hotel de Ville, sketching the scene to the life, but with a kind of grace−−a marvellous tact of omission, as my father pointed out to us, in dealing with the vulgar reality seen from one's own window−−which has made trite old Harlequin, Clown, and Columbine, seem like people in some fairyland; or like infinitely clever tragic actors, who, for the humour of the thing, have put on motley for once, and are able to throw a world of serious innuendo into their burlesque looks, with a sort of comedy which shall be but tragedy seen from the other side. -
Jag Final Draft
Copyright by Jason Alan Goldstein 2017 The Dissertation Committee for Jason Alan Goldstein Certifies that this is the approved version of the following dissertation: Translating Art into Words: The Work of Claude Monet in the Writings of Gustave Geffroy and Octave Mirbeau Committee: Richard Shiff, Supervisor Michael Charlesworth Kurt Heinzelman Linda Dalrymple Henderson Alexandra Wettlaufer Translating Art into Words: The Work of Claude Monet in the Writings of Gustave Geffroy and Octave Mirbeau by Jason Alan Goldstein Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2017 Dedication To my parents Acknowledgements In these rather uncertain times, I consider myself particularly fortunate to devote my life to the study and teaching of art and literature. Careful looking and close reading slow down our frenetic pace and encourage creative thought. I have found few things more rewarding than spending an unbroken hour in front of one of Claude Monet’s magnificent canvases. Experiencing Monet through the eyes and words of two of his staunchest critical supporters Gustave Geffroy and Octave Mirbeau has enriched my understanding of his paintings in ways I never could have imagined. I would have lacked the means to complete a project of this nature without the following magnanimous individuals and institutions. The libraries and the remarkable people who keep them running at the University of Texas at Austin deserve a great deal of credit for my ability to research and write this dissertation. -
I Notice. . . I Wonder. . . I Notice
ICELAND Cfsjoh!Tfb GREENLAND J!opujdf/!/!/ U.S.A. J!opujdf/!/!/ Tlingit Country CANADA Trail of Lewis and Clarke 1804–1806 Maine 1820 Ottawa Vermont 1791 New Hampshire 1788 Massachusetts 1788 Rhode Island 1790 Louisiana Connecticut 1788 Purchase New York 1788 Washington D.C. New Jersey 1787 1803 Pennsylvania 1787 Delaware 1787 U.S.A. Maryland 1788 Ohio 1803 Virginia 1788 Kentucky 1792 North Carolina 1788 Tennessee 1796 Georgia 1788 MEXICO BAHAMAS CUBA DOM. REP. Psjhjobm!Tubuft! St. Thomas New Spain Mexico City Mpvjtjbob!Qvsdibtf Puerto Rico St. Croix HAITI JAMAICA (U.S.) Ofx!Tqbjo BELIZE GUATEMALA HONDURAS Usbjm!pg! Netherlands Antilles (NETH.) NICARAGUA Mfxjt!boe!Dmbslf EL SALVADOR Umjohju!Dpvousz COSTA RICA PANAMA Volopxo His Excellency Señor Doctor Don Pedro Moya de Contreras, 19th century Oil on canvas, 47 x 40 in. (119.4 x 101.6 cm) Gift of Mrs. Otis Wheeler Pollock 44969 J!xpoefs/!/!/ Colonial Object Information Sheet 5th Grade 1 Ijt!Fydfmmfodz!Tfps! Epdups!Epo!Qfesp! NEW SPAIN History connection Npzb!ef!Dpousfsbt The writing at the bottom of this painting states that Señor Moya became the wjtjubeps, wjdfspz, and bsdicjtipq of New Spain on August 18, wjtjubeps; head wjdfspz; the 1570. As archbishop and visitador, Señor Moya was the head of the Catholic of the Catholic top government Church in New official in the Your Historic Compass: Church in the areas we now know as Arizona, New Mexico, Mexico, Cuba, Spain Spanish colonies “His Excellency arrives in and Florida. Señor Moya had three main responsibilities. First, he helped the church to grow by sending priests to convert the native people of bsdicjtipq; an official in the Catholic Mexico City to oversee the Mexico. -
Atlantic Crossings: Race, Gender, and the Construction of Families in Eighteenth-Century La Rochelle
ATLANTIC CROSSINGS: RACE, GENDER, AND THE CONSTRUCTION OF FAMILIES IN EIGHTEENTH-CENTURY LA ROCHELLE By Jennifer L. Palmer A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History and Women’s Studies) in The University of Michigan 2008 Doctoral Committee: Professor Dena Goodman, Chair Professor Susan L. Siegfried Associate Professor Joshua H. Cole Associate Professor Martha S. Jones © Jennifer L. Palmer 2008 Dedication For Amy… still shining. ii Acknowledgements I have accrued many debts on my intellectual journey to eighteenth-century La Rochelle. This project has received funding support from a number of institutions. The Council for European Studies and the University of Michigan International Institute funded pre-dissertation research. A Bourse Châteaubriand enabled me to spend a year in the archives in La Rochelle. The Michigan Society of Fellows and the Michigan Institute for the Humanities provided support, invaluable critique, and intellectual community while I wrote the dissertation. The Women’s Studies Department at the University of Michigan offered summer support, funding for conferences, and encouragement throughout this process, and the History Department offered fellowship and teaching support. I thank both departments for the diverse academic communities they fostered. I also appreciate the willingness of archivists to share their expertise. In France, archivists at the Archives départementales de la Charente Maritime and the Archives municipales de La Rochelle made every effort to help me in what occasionally seemed a futile search for people of color in the eighteenth century. The Musée du Nouveau Monde kindly opened its collection to me, and gave me permission to reproduce images from it.