Spring-2007.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Spring-2007.Pdf j C· 1- 1. - 1%*r ......110"119/bille.:.. 1_r'»11 OHIO VALLEY Craig T Friend Vice Chairs Elizabeth York Schiff HISTORY STAFF North Card#n State U,ii.uersity Otto Budig Merrie Stewart Stillpass Jane Garvey Robert Sullivan Senior Editor J.Blaine Hudson Dee Gettler John M.Tcw,Jr.,M.D. Christopher Phillips University of Louisville William C. Portman, III James L.Turner sabbatical) on Richard E.Wirthlin Department ofHistory R. Douglas HuK Treasurer Unircriity of-Cincinitati Pirdue Univmity Mark J. Hauser THE FILSON HISTORICAL Associate Editors James C. Klotter Secretary SOCIETY BOARD OF A. Glenn Crothers G¢ College Martine R. Dunn orgetown DIRECTORS Department of History Uniwrsity ofLouisvilte Bruce Levine President and CEO President University ofMinois Douglass W.McDonald Henrv D. Ormsbv David Stradling Department ofHistory Harry N. Scheibcr Vice President of Vice-President Univenity of Cincinnati Uni·umity ofCalifornia at Museums Berkeley John E. Fleming Orme Wilson Ill Managing Editors Ashley D Graves Steven M. Stowe David Boht Secretary Fe Fihwi Historicd Society Indiana University Cynthia Booth Margaret Barr Kulp Ronald D. Brown Ruby Rogers Roger D.Tate Stephanie Byrd Treasurer Cinciniwiti Museum Center Somerset Commuitity College John E Cassidy J.Walker Stitcs, III Richard 0. Coleman Editorial Assistant Joe W.Trotter,Jr. Bob Coughlin David L Armstrong Brian Gebhart Caritegie David Davis Mello,1 Uiri71(ni ty J· McCarilcy Brown Department of Hi5( Edward D. Diller wy S. Gordon Dabney Uniuersity of Cinei,inti Altina Waller Deanna Donnelly Louise Farnsley Gardner University ofConitecticut Charles H. Gerhardt,III Holly Gathright Editorial Board Leslie Hardy A. Stewart Lussky C] NCINNATI Francine S. Hiltz Thomas T Noland,Jr. Stephen Aron MUSEUM CENTER Greg Kenny Anne Brewer Ogden UitiverSity ofcalifo:,rnia Gt BOARD OF Ronald A. Koetters H. Powell Starks Loi Angeles TRUSTEES Laura Long Dr. R.Ted Steinbock Kenneth W Lowe Joan E.Cashin Chair Craig Maier John R Stern William M. Street Ohio State Uriiversify Keith Harrison Shenan R Murphy Robert W Olson Ettcn T.Eslinger Past Chair Tim A. Peterman Director DePaut Uniq.Mrsify George Vincent Yvonne Robertson Mark V.Wctherington Page composition: Paul Christenson,Blue Mammoth Design Cincinnati Museum Center and' Ihc Filson Historical Society are private non-private organizations supported almost entircly by Obio Valley History (ISSN 746-3472)is published quarterly in gifts, grants, sponsorships, admission, and membership fees. Cincinnati,Ohio,and Louisville, Kentucky,by Cincinnati Museum Center and The Filson Historical Society. Periodical lhe Filson Historical Society membership includes a subscription postage paid at Cincinnati,OH, with an additional entry at to OVH Higher-level Cincinnati Museum Center memberships Louisville, KY also include an OVH subscription. Back issues are 8.$00. Postmaster,send address changes to Ihc· Bison Hisiorical Society, For more information on Cincinnati Museum Center, including S. Third St.,Louisville, KY 1310 40208. membership, visit www.cincymuseum.org or call 513-287-7000 or 1-800-733-2077. Editorial offices are located at the University of Cincinnati, Cincinnati, OH 45221-0373. Contact the editorial offices at For more information on The Filson Historical Society, including david.stradling@uc,edu. membership, visit www.filsonhistorical.org or call 502-635-5083. collaboration ofthe Filson Historical Ohio Valley Hiwory is a © Cincinnati Museum Center and 'Ihe Filson Hisiorical Socieg Society, Cincinnati Museum Center, and the Department of 2007 History, University ofCincinnati. U;AU,»cabiTU HistoricalTbeFilsonSociety AT UNION TERMINAL OHIO VALLEY HISTORY Volume 7, Number 1, Spring 2007 A Journal of the History and Culture of the Ohio Valley and the Upper South, published in Cincinnati,Ohio,and Louisville, Kentucky,by Cincinnati Museum Center and The Filson Historical Societv. Contents Essays 1 The Forging of a Writer Lafcadio Hearn in Cincinnati John Clubbe 32 Proto-Broadcasting in Cincinnati, 1847-1875 Ibe Flow ofTelegrap/0 News to Merchants and the Press Bradford W. Scharlott and Mary Carmen Cupito 47 The Persistence of Place Alice Cary's Authentic Rural Settings Robert T Rhode Collections 60 Edmund Dexterk Residence, Essays A Lithograph by Ehrgott, ForbrigerCo. & 63 Humphrey Marshall Papers at 1[he Bison Historical Society Book 69 Reviews On the cover:Lafcadio Hearn in Japanese Costume,The Life and Letters of Lafcadio Hearn 0 906).CINCINNATI MUSEUM CENTER. CINCINNATI HISTORICAL SOCIETY LIBRARY Contributors John Clubbe has a longstanding interest in cultural history with a particular focus the Ohio on Valley. In 2004 the( centenary of Hearn's death)he was an invited speaker to Lafcadio" Hearn in International Perspectives"at the University ofTokyo. Among his books are Cincinnati Obserged.·Architecture and History 1992)and Byron,Sully,and tbe Power of Portraiture 2005).He lives in Santa Fe. Bradford W.Scharlott is associate professor at Northern Kentucky Uni- versity, where he serves as coordinator of the journalism program. His publications on the social and economic impact of the telegraph in the nine- teenth-century Midwest have appeared in a variety of publications,includ- ing Ohio History,and Journalism 8 Mass Communication Quarterly. Mary Carmen Cupito is associate professor of communication at Northern Kentucky University. Her entry on "Newspapers in Northern Kentucky" is in press for the Encyclopedia ofNorthern Kentucky Lexington: University Press of Kentucky,2008). Robert T.Rhode is professor of English at Northern Kentucky University. He is the author of 7be Harvest Story:Recollections of Old-Time Ibresbermen' Classic American Steamrollers 2001)and, with Raymond Drake, 2001),as well as over one hundred and fifty articles,two-thirds of them on the sub- Black Earth and Duo- ject of rural history and literature. His work appears in ry Toiuer 2005),an anthology of contemporary writers on the present rural experience. 41- t\ 1 The Forging of a Writer Lafcadio Hearn in Cincinnati John Clubbe it 9 t'. nt> f f the many travelers who have visited 0 and written about Cincinnati during its more than two hundred years of exis- and tence, none has left more probing, piquant, even seatidalous observations about the city than 1 FC\ I>IC) 1 ILRN Lafcadio Hearn (1850-1904) Ifhis greatest fame U.ut 1873 lies as a ghoulish interpreter of the city's under- side, Hearn also limned its cultural scene Most Lafcadio Hearn, ca 1873, The Life and Letters oflafcad/o Hearn (1906) CINCINNATIMUSEUM travelers passed through Cincinnati quickly, but CENTER CINCINNATI HISTORICAL SOCIETY LIBRARY Hearn remained for over eight years from 1869 to 1877, and his stay had significant repercussions in his own life and for Cincinnati Along with the Now,in those days there was Beechers-sisters Harriet and Catharine, father a young man connected with Lyman and brother Henry Ward-he remains whose the Daily Enquirel tastes the best-known writer associated with Cincinnati were whimsically grotesque and But whereas the Beechers had little specifically to arabesque, He by about the Hearn had deal. Uncle 3 was nature a say city, a great fervent admirer of He Tomk Cabin extremes draws upon Harriet Beecher Stowe's believed only the Revoltingly of Cincinnati but does not address fl#{, in experiences ltS 1 't Horrible the Excruciatingly life directly,while Hearn' by offer or 5,i{}1*i s essays, contrast, f ;i. Beautiful He worshipped the the' *#fullest account of Cincinnati during a time- French school of sensation,and .»the mid-187Os-when the city was undergoing reveled in thrusting a reeking t, ' rapid change Although historians have intermit- Lk',. i'2 ar mixture of bones,blood and hair tently recognized the value and extent of his Cin- 5 Lt-:C under people' at breakfast cinnati writings-well four hundred s noses St over essays, time He was only known to sketches,or notes-they are still little known to tri:,=2 fame by the name of The" Ghoul " Linannatians an d largely unknown to the larger American public They remain,to this day,unsur- Lafcadio Hearn, ' passed for their perspicuity and Insight Through Fttoj. self-description in 18741 them the city comes vibrantly alive 2 i.. 5=.., 1kt{'9 5'1'''2», . 1 4,'P'. 4 *3 ht. ' t'4{* '* w = THE FORGING OF A WRITER Hearn ended his life a professor of Eng- lish literature the University of To- liI at kyo and briefly at Waseda University. He achieved personal happiness as well, 1 1 - marrying a Japanese woman,with whom It. he had four children. The Japanese of today recognize Hearn as the most acute and understanding foreign interpreter of I , 111 their customs, legends, and traditions. Achieving in their day wide popularity both in Japan and in the Western world, Hearn's Japanese books have maintained their appeal. Almost all of them, print 1-* C in f' :- both in Japan and in the United States, continue to attract new readers. This paper makes an additionalclaim: 4. Namely,that Hearn's American experi- ences,particularly the years he spent in 1 Cincinnati,enabled him to become the Lafcadio Hearn s In Ghostly Japan 1899) UNCINNAT, MUSEUMCENTER CINCINNATIH STOR CAL SOCI[TY LIBRARY writer he became in Japan.'Ihe transition from youth to first manhood can be de- cisive. Hearn in Cincinnati underwent an astonishing maturation. Arriving in the city a bewildered, penniless youth of nineteen, he departed a grown man of twenty-seven, a respected if controversial reporter whose revelatory journalism had attracted local and even national attention. His .journalism reflected the enthusiasm and exuberance of a young writer encountering the richness and variety of the world around him. lhe city fostered the matu- ration of Hearn the man and Hearn the journalist. In Cincinnati his writ- ing underwent its first flowering;when he left,he was already an author of marked, if unusual, distinction. His Cincinnati work may not often rise to the level of the mature masterpieces he wrote in Japan but it can be daz- zling in its own right.
Recommended publications
  • American Art New York | November 19, 2019
    American Art New York | November 19, 2019 AMERICAN ART | 39 2 | BONHAMS AMERICAN ART | 3 American Art at Bonhams New York Jennifer Jacobsen Director Aaron Anderson Los Angeles Scot Levitt Vice President Kathy Wong Specialist San Francisco Aaron Bastian Director American Art New York | Tuesday November 19, 2019 at 4pm BONHAMS BIDS INQUIRIES ILLUSTRATIONS 580 Madison Avenue +1 (212) 644 9001 Jennifer Jacobsen Front Cover: Lot 15 New York, New York 10022 +1 (212) 644 9009 fax Director Inside Front Cover: Lots 47 and 48 bonhams.com [email protected] +1 (917) 206 1699 Inside Back Cover: Lot 91 [email protected] Back Cover: Lot 14 PREVIEW To bid via the internet please visit Friday, November 15, 10am - 5pm www.bonhams.com/25246 Aaron Anderson Saturday, November 16, 10am - 5pm +1 (917) 206 1616 Sunday, November 17, 12pm - 5pm Please note that bids should be [email protected] Monday, November 18, 10am - 5pm summited no later than 24hrs prior to the sale. New Bidders must REGISTRATION also provide proof of identity when IMPORTANT NOTICE SALE NUMBER: 25246 submitting bids. Failure to do this Please note that all customers, Lots 1 - 101 may result in your bid not being irrespective of any previous processed. activity with Bonhams, are CATALOG: $35 required to complete the Bidder LIVE ONLINE BIDDING IS Registration Form in advance of AUCTIONEER AVAILABLE FOR THIS SALE the sale. The form can be found Rupert Banner - 1325532-DCA Please email bids.us@bonhams. at the back of every catalogue com with “Live bidding” in the and on our website at www.
    [Show full text]
  • Proquest Dissertations
    Charles Frederick Ulrich in New York, 1882 to 1884 Item Type text; Thesis-Reproduction (electronic) Authors Meislin, Andrea Popowich, 1960- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 02:56:37 Link to Item http://hdl.handle.net/10150/291430 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly finm the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter &ce, wfafle others may be from any type of computer printer. The quality of this reproductiDii 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., nu^s, 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. Each original is also photographed in one ecposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy.
    [Show full text]
  • Travelling in a Palimpsest
    MARIE-SOFIE LUNDSTRÖM Travelling in a Palimpsest FINNISH NINETEENTH-CENTURY PAINTERS’ ENCOUNTERS WITH SPANISH ART AND CULTURE TURKU 2007 Cover illustration: El Vito: Andalusian Dance, June 1881, drawing in pencil by Albert Edelfelt ISBN 978-952-12-1869-9 (digital version) ISBN 978-952-12-1868-2 (printed version) Painosalama Oy Turku 2007 Pre-print of a forthcoming publication with the same title, to be published by the Finnish Academy of Science and Letters, Humaniora, vol. 343, Helsinki 2007 ISBN 978-951-41-1010-8 CONTENTS PREFACE AND ACKNOWLEDGEMENTS. 5 INTRODUCTION . 11 Encountering Spanish Art and Culture: Nineteenth-Century Espagnolisme and Finland. 13 Methodological Issues . 14 On the Disposition . 17 Research Tools . 19 Theoretical Framework: Imagining, Experiencing ad Remembering Spain. 22 Painter-Tourists Staging Authenticity. 24 Memories of Experiences: The Souvenir. 28 Romanticism Against the Tide of Modernity. 31 Sources. 33 Review of the Research Literature. 37 1 THE LURE OF SPAIN. 43 1.1 “There is no such thing as the Pyrenees any more”. 47 1.1.1 Scholarly Sojourns and Romantic Travelling: Early Journeys to Spain. 48 1.1.2 Travelling in and from the Periphery: Finnish Voyagers . 55 2 “LES DIEUX ET LES DEMI-DIEUX DE LA PEINTURE” . 59 2.1 The Spell of Murillo: The Early Copies . 62 2.2 From Murillo to Velázquez: Tracing a Paradigm Shift in the 1860s . 73 3 ADOLF VON BECKER AND THE MANIÈRE ESPAGNOLE. 85 3.1 The Parisian Apprenticeship: Copied Spanishness . 96 3.2 Looking at WONDERS: Becker at the Prado. 102 3.3 Costumbrista Painting or Manière Espagnole? .
    [Show full text]
  • American Art New York | May 22, 2019
    American Art New York | May 22, 2019 American Art at Bonhams New York Los Angeles San Francisco Jennifer Jacobsen Director Scot Levitt Vice President Kathy Wong Specialist Aaron Bastian Director American Art New York | Wednesday, May 22, 2019 at 4pm BONHAMS BIDS INQUIRIES ILLUSTRATIONS 580 Madison Avenue +1 (212) 644 9001 Jennifer Jacobsen Front Cover: Lot 11 (detail) New York, New York 10022 +1 (212) 644 9009 fax Director Inside Front Cover: Lot 10 bonhams.com [email protected] +1 (917) 206 1699 Inside Back Cover: Lot 17 [email protected] Back Cover: Lot 26 PREVIEW To bid via the internet please visit Friday, May 17, 10am - 5pm www.bonhams.com/25174 Administrator Saturday, May 18, 10am - 5pm +1 (212) 710 1307 Sunday, May 19, 12pm - 5pm Please note that bids should be [email protected] Monday, May 20, 10am - 5pm summited no later than 24hrs prior Tuesday, May 21, 10am - 5pm to the sale. New Bidders must also provide proof of identity when REGISTRATION SALE NUMBER: 25174 submitting bids. Failure to do this IMPORTANT NOTICE Lots 1 - 55 may result in your bid not being Please note that all customers, processed. irrespective of any previous CATALOG: $35 activity with Bonhams, are LIVE ONLINE BIDDING IS required to complete the Bidder AVAILABLE FOR THIS SALE Registration Form in advance of Please email bids.us@bonhams. the sale. The form can be found com with “Live bidding” in the at the back of every catalogue subject line 48hrs before the and on our website at www. auction to register for this service.
    [Show full text]
  • A Journal Devoted to the Fine Arts
    A Journal devoted to the Fine Arts. NEW SERIES : April 5, 1890. Vol. V.—No. ι Price 30 cents. WITH TWO FULL-PAGE SUPPLEMENTS. —CONTENTS:— 1. AN IVORY CASKET PRESENTED TO CHRISTOPHER COLUMBUS of "Rembrandt's Model." The Etching Club of BY FERDINAND AND ISABELLA. With a Full-page Sup- Brooklyn, Ν. Y. The Soldiers and Sailors Monument plement. FRONTISPIECE. at Newport, R. I. Request for the free entry of an oil- 2. THE ACADEMY OF DESIGN EXHIBITION. painting of foreign production denied. A movement 3. THE GABALDA COLLECTION. to endow Brooklyn, Ν. Y., with an Institute of Arts and 4. THE TERRA-COTTAS OF TANAGRA AND ASIA MINOR. ARE ·,-- Sciences. Opening, in Paris, of a gallery for the ex- THEY FORGERIES ? A LETTER FROM SALOMON REINACH. clusive display of the works of American Artists. The 5. "THE DESCENT OF THE GYPSIES." From the picture by Association of Canadian Etchers. Edward Kemeys, Diaz in the Secretan Collection. With a Full-page Jr., the American Sculptor. The Artists' Fund Society Supplement. of Brooklyn, Ν. Y. The Gump Collection of Paint- 6. THE RESTORATION OF THE PALAZZO DUCALE, VENICE. Il- ings. Authors' Club of New York. The World's Fair lustrated. Executive Committee of New York. Report of the 7. THE ROYAL SOCIETY OF PAINTER-ETCHERS OF LONDON Annual Meeting of the Art Association of San Fran- ANNUAL EXHIBITION. cisco, Cal, etc., etc. 8. ANCIENT EMPLOYMENT, OF ALABASTER IN ARCHITECTURAL 1.2. Foreign Notes. Exhibition of Whistler's Etchings. DECORATION IN ENGLAND. Prince Eugene of Sweden as an Amateur. The forth- 9.
    [Show full text]
  • The Art of Etching Gallery
    The Art of Etching Gallery Muirhead Bone Scottish, 1876 – 1953 Constantinople, 1934 etching and drypoint Museum Purchase Reading Public Museum, Reading, Pennsylvania 1968.461.1 This view of Constantinople, which shows the Süleymaniye Mosque, was completed in November, 1934 after a drawing Bone had executed in 1929. Bone, born in 1876 Glasgow, Scotland, had first trained as an architect before turning to art, specializing in watercolor and printmaking. Bone trained at the Glasgow School of Art before moving to London in 1901. There he continued to study alongside artists such as William Strang and Alphonse Legros, eventually joining the New English Art Club. Bone traveled and exhibited extensively, including in London and New York. Joseph Pennell American, 1857 – 1926 Culebra Cut from the Vista d'Oro Panama Canal Series, 1912 etching Museum Purchase Reading Public Museum, Reading, Pennsylvania 1928.56.1 Joseph Pennell, born in Philadelphia, was best known for his prints of historic landmarks used in books and travel articles. He and his wife, writer Elizabeth Robins Pennell, published numerous books including The Life of James McNeill Whistler (1908), who was a close friend of the couple. Shortly before the completion of the canal in 1914, Pennell created a portfolio in 1912 titled Building of the Panama Canal. In it, the artist noted how impressed he was with the colossal scale of the construction, but he was equally impressed by the commitment of the workers who, he observed, “worked as if to work was neither a hardship nor an imposition.
    [Show full text]
  • Download the Pdf File
    The Renaissance of Pastel Societies Elizabeth Vose Frey Metropolitan Museum of Art, is dated 1758, and he went on to produce fifty-five known portraits until his emigration to Although pastel had been used for sketching, England in 1774.2 preliminary studies and portraiture since the 16th century, it wasn’t until 1882 that a professional pastel society was By the middle of the 19th century, pastel had almost founded. Most of the celebrated pastellists were historically completely fallen out of favor with the general public-in English and French, or American expatriates, but it was both the United States and abroad-and was considered a a group of New York artists who formed the first pastel sketching or preparatory medium. Fortunately, there were society, The American Society of Painters in Pastel. With a few key artists who championed the medium and became only seven founding members and a total of four shows the catalyst for pastel’s renaissance after the turn of the during their existence, the American Society of Painters century. in Pastel contributed greatly to a renewed interest in the Jean-François Millet (1814-1875) and other members of medium, and inspired the formation of countless pastel the avant-garde French Barbizon School were some of the societies in both the United States and abroad. earliest artists to renew the use of alternative mediums such Pastel portraiture gained immense popularity in Europe as pastel and watercolor in exhibition quality paintings. Edgar Degas (1834-1917), Waiting, Pastel on paper, 19 x 24 inches, ca. early in the 18th century primarily from the influence of From 1865 until 1869, Millet worked almost exclusively 1882, Owned jointly by the J.
    [Show full text]
  • A New Internationalism New A
    A New Internationalism Cecilia Beaux (Philadelphia, PA, 1855–1942 Gloucester, MA) Self-Portrait 1894 Oil on canvas ANA diploma presentation, May 13, 1895 As a single woman from an old family but with a distinct lack of fortune, Beaux made her way in her professional life as a portraitist, one of the best of her era. Society portraiture is today a vanished art. But Beaux had perceived a need: both newly minted millionaires and well-to-do scions of aristocratic families were seeking a contemporary read on the ancestral claims that commissioned portraits offered. She !lled that niche with a panache both traditional and new—brighter chroma, brilliant brushwork, and psychological immediacy. Her self- portrait is an advertisement. She is declaring: others may be able to depict stout, successful businessmen, but come to me for sympathetic views of men, women, and children. —Robert Kushner, NA 2.1 For America: Paintings from the National Academy of Design New Mexico Museum of Art · October 24, 2020 – January 17, 2021 A New Internationalism Wyatt Eaton (Phillipsburg, Quebec, 1849–1896 Middletown, RI) The Artist in His Studio 1873 Oil on canvas Gift of John Elderkin, May 14, 1902 2.2 For America: Paintings from the National Academy of Design New Mexico Museum of Art · October 24, 2020 – January 17, 2021 A New Internationalism William J. Whittemore (New York City, 1860–1955 East Hampton, NY) Charles Courtney Curran 1888–89 Oil on canvas ANA diploma exchange presentation, May 7, 1934 Original ANA diploma presentation May 6, 1889 Painted representations of palettes make me very happy.
    [Show full text]
  • Robert Frederick Blum
    ROBERT FREDERICK BLUM AN APPRECIATION BY MARTIN BIRNBAUM 47f*{ NEW YORK BERLIN PHOTOGRAPHIC COMPANY 305 MADISON AVENUE 1013 ROBERT FREDERICK BLUM FROM A PAINTING BY WILLIAM M. CHASE CATALOGUE OF A MEMORIAL LOAN EXHIBITION OF THE WORKS OF ROBERT FREDERICK BLUM WITH AN INTRODUCTION BY MARTIN BIRNBAUM NEW YORK BERLIN PHOTOGRAPHIC COMPANY 305 MADISON AVENUE 1913 Thanks are due the institutions and col­ lectors who kindly consented to lend their possessions for this exhibition, and we are especially indebted to Mrs. Henrietta Haller, the sister of the artist, and William J. Baer, Esq., Robert Blum's devoted friend and executor, whose sympathetic co-operation made the collection of the works a possibility. It is hoped that from the proceeds of the sale of some of the pic­ tures a fund may be started with which to found a scholarship in memory of the artist, or to erect a suitable memorial. Copyright, 1913, by Martin Birnbaum. ROBERT FREDERICK BLUM Born in Cincinnati, July 9,1857. Died at New York, June 8,1903. IN an unpublished letter to a friend who was about to enter an art school, Robert Blum wrote in a vein that is fashionable at this mo­ ment. "You know what I think of schools gen­ erally—they prove disastrous to the majority. I have come to look on them as I do on the schools where Spencerian penmanship is taught,—where you put up each letter in curl papers before you are expected to write a word. Good pictures are the best lessons you can get. My God! When I think of the few things I hugged to my heart and branded on my brain in those dark days when I was strug­ gling with appalling ignorance! Two pictures, —a Fortuny and a Boldini at an exhibition in Cincinnati, and which I saw probably three times,—the volume of Gazette des Beaux Arts in which cartoons of Baudry's work were reproduced, and which I was too timid to go to see more often than once in two weeks,—is all I can remember of cheering and helping me in that dreadful period of my life.
    [Show full text]
  • M. Knoedler & Co. Records
    http://oac.cdlib.org/findaid/ark:/13030/c8sq91rk Online items available Finding aid for the M. Knoedler & Co. records, approximately 1848-1971 Alexis Adkins, Silvia Caporaletti, Judy Chou, Sarah Glover, Erin Hurley, Jasmine Larkin, Emmabeth Nanol and Karen Meyer-Roux Finding aid for the M. Knoedler & 2012.M.54 1 Co. records, approximately 1848-1971 Descriptive Summary Title: M. Knoedler & Co. records Date (inclusive): approximately 1848-1971 Number: 2012.M.54 Creator/Collector: M. Knoedler & Co Physical Description: 3042.6 Linear Feet(5554 boxes, 17 flat file folders) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: The records of M. Knoedler & Co. document the business of the prominent American art dealer from the mid-19th century to 1971. The archive traces the development of the once provincial American art market into one of the world's leading art centers and the formation of the private art collections that would ultimately establish many of the nation's leading art museums, such as the Frick Collection and the National Gallery of Art. It contains crucial provenance information on numerous artworks in private and public collections in the United States. The archive includes stock books, sales books and commission books; correspondence with collectors, artists, art dealers and other associates; photographs of the artworks sold by the gallery; records from the firm's offices in London, Paris and other cities; exhibition files; framing and restoration records, and records of the firm's Print Department.
    [Show full text]
  • Reclaiming American Art 18Th Annual American Art Conference
    Reclaiming American Art 18TH ANNUAL AMERICAN ART CONFERENCE FRIDAy – SATURDAY, MAy 17 – 18, 2013 In this conference focusing on the period from 1700 to the 1930s and beyond, we explore American artists once well-known but now obscure. We consider too the work of well-known artists that have, since their creation, been eclipsed by cycles of taste, or aspects of an artist’s oeuvre that have fallen out of favor. Why do artistic stars dim? What causes tastes to change and works to be consigned to museum basements? In confronting these questions, we will look at the vagaries of the marketplace, the effects of Alfred H. Maurer, Le Bal au Moulin Rouge, 1902 – 1904, oil on canvas, 36½ x 32½ in. Curtis choices made by museums in Galleries, Minneapolis, MN. exhibiting and acquiring, and the roles of individual collectors, dealers, and the critical establishment in defining and redefining the cannon over time. We look as well at how the specifics of artists’ careers—the company they kept, the diversity of their output, and how much they left behind—affect their fates and that of their works. In the end, this process of rediscovery is made possible by new generations of dealers, scholars, and collectors, whose professional and personal efforts make once-forgotten works resonate in new ways, bringing them in tune with our time and place. Leadership funding has been provided by The Louis and Lena Minkoff Foundation. Funding at the Partner Level has been provided by Jonathan Boos, Debra Force Fine Art, and by Julius Lowy Frame & Restoring Company.
    [Show full text]
  • American Impressionist and Realist Paintings and Drawings from the Collection of Mr
    from the Collection of Mr. & Mrs. Raymond ]. Horowitz American Impressionist and Realist Paintings and Drawings from the Collection of Mr. & Mrs. Raymond]. Horowitz Introduction by JOHN K. HOWAT Curator, Department of American Paintings and Sculpture DIANNE H. PILGRIM Research Consultant, Department of American Paintings and Sculpture Catalogue by DIANNE H. PILGRIM American Impressionist and Realist Paintings and Drawings from the Collection of Mr. &-'Mrs. Raymond]. Horowitz EXHIBITED AT THE METROPOLITAN MUSEUM OF ART APRIL 19 THROUGH JUNE 3, 1973 ON THE COVER: detail from The Fairy Tale, by William Merritt Chase, no.6 All color photography by Malcolm Varon, New York. All black-and-white photographs by William F. Pons, The Metropolitan Museum of Art, except: nos. 30,46 by Malcolm Varon; no. 24 by Taylor & Dull, Inc., New York. Designed by Peter Oldenburg Type set by Finn Typographic Service, Inc. Printed by Jaylen Offset Lithography Company, Inc. COPYRIGHT @ I 973 BY THE METRO PO LIT AN MUSEUM OF ART LIBRARY OF CONGRESS CATALOGING IN PUBLICATION DATA Pilgrim, Dianne H American Impressionist and realist paintings & drawings from the collection of Mr. and Mrs. Raymond J. Horowitz. Includes bibliographies. x. Paintings, American- Exhibitions. 2. Drawings, American­ Exhibitions. 3· Impressionism (Art)-United States. 4· Realism in art. 5· Horowitz, Raymond J.-Art collections. I. New York (City). Metropolitan Museum of Art. II. Title. ND 210.5.I4P54 ISBN o-87099-122-1 Foreword In recent years American painting has enjoyed one of the most lively, interesting, and deserved revivals in the art world. Museums all over the country have redis­ covered, dusted off, and added to their American collections, installed them hand­ somely, and presented them in numerous worthwhile exhibitions, thereby helping to reopen the eyes of Americans to an immensely appealing and important part of their artistic heritage.
    [Show full text]