1.
M-1 (Michigan highway)
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M-1, commonly known as Woodward Avenue, is a north–south state trunkline highway in the Metro Detroit area of the US state of Michigan. The highway, called Detroits Main Street, runs from Detroit north-northwesterly to Pontiac, the street is one of the five principal avenues of Detroit, which also include Michigan, Grand River, Gratiot and Jefferson avenues. These streets were platted in 1805 by Judge Augustus B, the US Department of Transportation has listed the highway as the Automotive Heritage Trail, an All-American Road in the National Scenic Byways Program. It has also designated a Pure Michigan Byway by the Michigan Department of Transportation. The roadway was included in the MotorCities National Heritage Area designated by the US Congress in 1998. The trunkline is the line between Detroits East and West sides, and it connects to some of the citys major freeways like Interstate 94. Woodward Avenue exits Detroit at M-102 and runs through the northern suburbs in Oakland County on its way to Pontiac. In between, Woodward Avenue passes through several historic districts in Detroit and provides access to businesses in the area. The name Woodward Avenue has become synonymous with Detroit, cruising culture, Woodward Avenue was created after the Detroit Fire in 1805. It followed the route of the Saginaw Trail, an Indian trail that linked Detroit with Pontiac, Flint, the Saginaw Trail also connected to the Mackinaw Trail, which ran north to the Straits of Mackinac at the tip of the Lower Peninsula of Michigan. In the age of the trails, Woodward Avenue was also part of the Theodore Roosevelt International Highway that connected Portland, Maine, with Portland. It was also a part of the Dixie Highway, which connected Michigan with Florida, Woodward Avenue was the location of the first mile of concrete roadway in the country. When Michigan created the State Trunkline Highway System in 1913, the roadway was included, numbered as part of M-10 in 1919, later, it was part of US Highway 10 following the creation of the United States Numbered Highway System. Since 1970, it has borne the M-1 designation, the roadway carried streetcar lines from the 1860s until the 1950s, a new light rail line will be added in the future. Like other state highways in Michigan, the section of Woodward Avenue designated M-1 is maintained by MDOT, all of M-1 north of I-75 is listed on the National Highway System, a network of roads important to the countrys economy, defense, and mobility. In addition to the sections of Woodward Avenue in Pontiac that are part of Business Loop I-75 and Business US24, all of M-1 is a Pure Michigan Byway, Woodward Avenue is also considered to be the divider between the East and West sides of the city of Detroit. Woodward Avenue starts at an intersection with Jefferson Avenue next to Hart Plaza about 750 feet from the Detroit River, the plaza is regarded as the birthplace of the Ford Motor Company, and it is located near Cobo Center and the Renaissance Center, headquarters for General Motors. Woodward Avenue runs north-northwesterly away from the river through the heart of downtown Detroit, along the way, it passes several important and historic sites, including notable buildings like One Woodward Avenue, the Guardian Building and The Qube
2.
Detroit
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Detroit is the most populous city in the U. S. state of Michigan, the fourth-largest city in the Midwest and the largest city on the United States–Canada border. It is the seat of Wayne County, the most populous county in the state, the municipality of Detroit had a 2015 estimated population of 677,116, making it the 21st-most populous city in the United States. Roughly one-half of Michigans population lives in Metro Detroit alone, the Detroit–Windsor area, a commercial link straddling the Canada–U. S. Border, has a population of about 5.7 million. Detroit is a port on the Detroit River, a strait that connects the Great Lakes system to the Saint Lawrence Seaway. The Detroit Metropolitan Airport is among the most important hubs in the United States, the City of Detroit anchors the second-largest economic region in the Midwest, behind Chicago, and the thirteenth-largest in the United States. Detroit and its neighboring Canadian city Windsor are connected through a tunnel and various bridges, Detroit was founded on July 24,1701 by the French explorer and adventurer Antoine de la Mothe Cadillac and a party of settlers. During the 19th century, it became an important industrial hub at the center of the Great Lakes region, with expansion of the American automobile industry in the early 20th century, the Detroit area emerged as a significant metropolitan region within the United States. The city became the fourth-largest in the country for a period, in the 1950s and 1960s, suburban expansion continued with construction of a regional freeway system. A great portion of Detroits public transport was abandoned in favour of becoming a city in the post-war period. Due to industrial restructuring and loss of jobs in the auto industry, between 2000 and 2010 the citys population fell by 25 percent, changing its ranking from the nations 10th-largest city to 18th. In 2010, the city had a population of 713,777 and this resulted from suburbanization, corruption, industrial restructuring and the decline of Detroits auto industry. In 2013, the state of Michigan declared an emergency for the city. Detroit has experienced urban decay as its population and jobs have shifted to its suburbs or elsewhere, conservation efforts managed to save many architectural pieces since the 2000s and allowed several large-scale revitalisations. More recently, the population of Downtown Detroit, Midtown Detroit, paleo-Indian people inhabited areas near Detroit as early as 11,000 years ago. In the 17th century, the region was inhabited by Huron, Odawa, Potawatomi, for the next hundred years, virtually no British, colonist, or French action was contemplated without consultation with, or consideration of the Iroquois likely response. When the French and Indian War evicted the Kingdom of France from Canada, the 1798 raids and resultant 1799 decisive Sullivan Expedition reopened the Ohio Country to westward emigration, which began almost immediately, and by 1800 white settlers were pouring westwards. By 1773, the population of Detroit was 1,400, by 1778, its population was up to 2,144 and it was the third-largest city in the Province of Quebec
3.
Michigan
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Michigan /ˈmɪʃᵻɡən/ is a state in the Great Lakes and Midwestern regions of the United States. The name Michigan is the French form of the Ojibwa word mishigamaa, Michigan is the tenth most populous of the 50 United States, with the 11th most extensive total area. Its capital is Lansing, and its largest city is Detroit, Michigan is the only state to consist of two peninsulas. The Lower Peninsula, to which the name Michigan was originally applied, is noted to be shaped like a mitten. The Upper Peninsula is separated from the Lower Peninsula by the Straits of Mackinac, the two peninsulas are connected by the Mackinac Bridge. The state has the longest freshwater coastline of any political subdivision in the world, being bounded by four of the five Great Lakes, as a result, it is one of the leading U. S. states for recreational boating. Michigan also has 64,980 inland lakes and ponds, a person in the state is never more than six miles from a natural water source or more than 85 miles from a Great Lakes shoreline. What is now the state of Michigan was first settled by Native American tribes before being colonized by French explorers in the 17th century, the area was organized as part of the larger Northwest Territory until 1800, when western Michigan became part of the Indiana Territory. Eventually, in 1805, the Michigan Territory was formed, which lasted until it was admitted into the Union on January 26,1837, the state of Michigan soon became an important center of industry and trade in the Great Lakes region and a popular immigrant destination. Though Michigan has come to develop an economy, it is widely known as the center of the U. S. automotive industry. When the first European explorers arrived, the most populous tribes were Algonquian peoples, which include the Anishinaabe groups of Ojibwe, Odaawaa/Odawa, the three nations co-existed peacefully as part of a loose confederation called the Council of Three Fires. The Ojibwe, whose numbers are estimated to have been between 25,000 and 35,000, were the largest, French voyageurs and coureurs des bois explored and settled in Michigan in the 17th century. The first Europeans to reach what became Michigan were those of Étienne Brûlés expedition in 1622, the first permanent European settlement was founded in 1668 on the site where Père Jacques Marquette established Sault Ste. Marie, Michigan as a base for Catholic missions, missionaries in 1671–75 founded outlying stations at Saint Ignace and Marquette. Jesuit missionaries were received by the areas Indian populations, with relatively few difficulties or hostilities. In 1679, Robert Cavelier, Sieur de la Salle built Fort Miami at present-day St. Joseph, in 1691, the French established a trading post and Fort St. Joseph along the St. Joseph River at the present day city of Niles. The hundred soldiers and workers who accompanied Cadillac built a fort enclosing one arpent, cadillacs wife, Marie Thérèse Guyon, soon moved to Detroit, becoming one of the first European women to settle in the Michigan wilderness. The town quickly became a major fur-trading and shipping post, the Église de Saint-Anne was founded the same year
4.
Art museum
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An art museum or art gallery is a building or space for the exhibition of art, usually visual art. Museums can be public or private, but what distinguishes a museum is the ownership of a collection, the term is used for both public galleries, which are non-profit or publicly owned museums that display selected collections of art. On the other hand, private galleries refers to the commercial enterprises for the sale of art, however, both types of gallery may host traveling exhibits or temporary exhibitions including art borrowed from elsewhere. In broad terms, in North American usage, the word gallery alone often implies a private gallery, the term contemporary art gallery refers usually to a privately owned for-profit commercial gallery. These galleries are found clustered together in large urban centers. Smaller cities are home to at least one gallery, but they may also be found in towns or villages. Contemporary art galleries are open to the general public without charge, however. They usually profit by taking a portion of art sales, from 25% to 50% is typical, there are also many non-profit or collective galleries. Some galleries in cities like Tokyo charge the artists a flat rate per day, curators often create group shows that say something about a certain theme, trend in art, or group of associated artists. Galleries sometimes choose to represent artists exclusively, giving them the opportunity to show regularly, a gallerys definition can also include the artist cooperative or artist-run space, which often operates as a space with a more democratic mission and selection process. A vanity gallery is an art gallery that charges fees from artists in order to show their work, the shows are not legitimately curated and will frequently or usually include as many artists as possible. Most art professionals are able to identify them on an artists resume, University art museums and galleries constitute collections of art that are developed, owned, and maintained by all kinds of schools, community colleges, colleges, and universities. This phenomenon exists in both the West and East, making it a global practice, although largely overlooked, there are over 700 university art museums in America alone. This number, in comparison to other kinds of art museums, throughout history, large and expensive works of art have generally been commissioned by religious institutions and monarchs and been displayed in temples, churches, and palaces. Although these collections of art were private, they were made available for viewing for a portion of the public. In classical times, religious institutions began to function as a form of art gallery. Wealthy Roman collectors of engraved gems and other precious objects often donated their collections to temples and it is unclear how easy it was in practice for the public to view these items. At the Palace of Versailles, entrance was restricted to wearing the proper apparel – the appropriate accessories could be hired from shops outside
5.
QLine
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Quicken Loans bought the naming rights to the line, and announced the name in March 2016. In December 2011, city and state announced a plan to offer bus rapid transit service for the city. Soon afterwards, M-1 Rail, a consortium of private and public businesses and institutions in the region, the opening is targeted for May 12,2017. Detroits first streetcar service began in 1863 with horsecars, electrification of the streetcar system followed, starting in 1886. Detroits streetcar lines eventually saw their operations consolidated under the privately owned Detroit United Railway, municipal takeover and control of the streetcar network by Detroits Department of Street Railways followed in 1922. But the Department of Street Railways introduction of buses led to the demise of the original streetcar system in 1956. Planning for the return of rapid transit to Detroit began in 2006 when the Detroit Department of Transportation commissioned a study to determine expanded mass transit options along Woodward Avenue. After much wrangling between the investors and the DDOT, the two groups decided to work in tandem on developing DDOTs 9. 3-mile line. The proposed line ran 9.3 miles along Woodward Avenue from the Rosa Parks Transit Center to the old State Fairgrounds along 8 Mile Road, the line would have had 19 stops with 10 cars running at a time in two-car trains, each train would carry 150 people. The trains would run in a dedicated right-of-way in the median from 8 Mile to Adams Street at the end of downtown. South of Adams, the trains would run in traffic along the sides of the street, the estimated cost for the proposed line was $500 million. The Kresge Foundation awarded a $35 million grant to the city for the project in March 2009 and it received $25 million in funding from the United States Department of Transportation in February 2010. The Detroit City Council approved the sale of $125 million in bonds on April 11,2011, the Federal Transit Administration and the City of Detroit signed an environmental impact study on July 1,2011. Finally, on August 31,2011, the FTA signed a record of decision allowing the project to move forward, in December 2011 the federal government withdrew its support for the proposed line, in favor of a bus rapid transit system which would serve the city and suburbs. This decision arose out of discussions between federal Secretary of Transportation Ray LaHood, Detroit Mayor Dave Bing and Governor Rick Snyder. The private investors who had supported the smaller three-mile M-1 Rail line to New Center stated that they would continue developing that project through the nonprofit M-1 Rail Consortium. On January 18,2013, U. S. Department of Transportation Secretary Ray LaHood announced that M-1 Rail would receive $25 million in federal grant support for the streetcar project. He had previously committed to the funds on the condition that a transit authority was created for the Detroit area
6.
Detroit Department of Transportation
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The Detroit Department of Transportation is the public transportation operator of city bus service in Detroit, Michigan. In existence since 1922, it has headquarters in the Midtown section of Detroit and is a department of the city government. DDOT partners with the Suburban Mobility Authority for Regional Transportation, bus service generally operates between 5 a. m. and 12,30 a. m. Monday through Saturday, while Sunday service starts approximately 7 a. m. on Woodward Avenue, Dexter Avenue, Gratiot Avenue, and Grand River Avenue bus service operates 24/7 service. Along with operating fixed-route bus service, DDOT also operates MetroLift, DDOT contracts with three providers for this service, Checker Cab, Enjoi Transportation, and Lakeside Divisions. The DSR added bus service when it created the Motorbus Division in 1925, at the height of its operation in 1941, the DSR operated 20 streetcar lines with 910 streetcars. By 1952, only four streetcar lines remained, Woodward, Gratiot, Michigan, streetcar services was discontinued in April 1956 with the decommissioning of the Woodward line. The DSR formally became the DDOT in 1974 under the Detroit City Charter, between 2009 and 2012, the systems seven remaining limited and express bus routes were discontinued. Starting January 1,2012, management of DDOT was contracted out to Parsons Brinckerhoff, the firm subsequently subcontracted the management of the system to Envisurage, LLC a consultancy run by the former CEO of the Rochester-Genesee Regional Transportation Authority. On March 3,2012, 24-hour service was discontinued, and other weekday and weekend routes and services were pared down, or eliminated entirely, in August 2013, management of DDOT was contracted out to MV Transportation under the direction of Paul Toliver until September 2014. Dan Dirks was appointed director of the department by mayor Mike Duggan on January 9,2014 for the duration of MV Transportations contract, MV Transportations contract was extended for another two years on August 12,2014. On January 23,2016 DDOT reintroduced 24-hour service on three routes along with other smaller service changes. The Detroit Downtown Trolley was a heritage trolley built in 1976 as a U. S, most of the Detroit cars that saw service from 1976 to 2003 had been acquired from Lisbon, Portugal. For all transfers round trips & stopovers are prohibited, and are good for 2 hours upon boarding, ^To receive discounted fares, seniors and disabled passengers must present either DDOT Special Fares ID CARD or State ID with Visual impairment designation. ^^Medicare cardholders pay one-half fare for all fixed-route service, Detroit People Mover Detroit Department of Transportation Official Website SMART home Transportation Riders United
7.
Historic districts in the United States
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Buildings, structures, objects and sites within a historic district are normally divided into two categories, contributing and non-contributing. Districts greatly vary in size, some have hundreds of structures, the U. S. federal government designates historic districts through the United States Department of Interior under the auspices of the National Park Service. Federally designated historic districts are listed on the National Register of Historic Places, state-level historic districts may follow similar criteria or may require adherence to certain historic rehabilitation standards. Local historic district designation offers, by far, the most legal protection for historic properties because most land use decisions are made at the local level, local districts are generally administered by the county or municipal government. The first U. S. historic district was established in Charleston, South Carolina in 1931, Charleston city government designated an Old and Historic District by local ordinance and created a board of architectural review to oversee it. New Orleans followed in 1937, establishing the Vieux Carré Commission, other localities picked up on the concept, with the city of Philadelphia enacting its historic preservation ordinance in 1955. The Supreme Court case validated the protection of resources as an entirely permissible governmental goal. In 1966 the federal government created the National Register of Historic Places, conference of Mayors had stated Americans suffered from rootlessness. By the 1980s there were thousands of federally designated historic districts, Historic districts are generally two types of properties, contributing and non-contributing. In general, contributing properties are integral parts of the historic context, in addition to the two types of classification within historic districts, properties listed on the National Register of Historic Places are classified into five broad categories. They are, building, structure, site, district and object, all but the eponymous district category are also applied to historic districts listed on the National Register. A listing on the National Register of Historic Places is governmental acknowledgment of a historic district, however, the Register is an honorary status with some federal financial incentives. The National Register of Historic Places defines a historic district per U. S. federal law, a district may also comprise individual elements separated geographically but linked by association or history. Districts established under U. S. federal guidelines generally begin the process of designation through a nomination to the National Register of Historic Places, the National Register is the official recognition by the U. S. government of cultural resources worthy of preservation. While designation through the National Register does offer a district or property some protections, if the federal government is not involved, then the listing on the National Register provides the site, property or district no protections. If, however, company A was under federal contract the Smith House would be protected, a federal designation is little more than recognition by the government that the resource is worthy of preservation. Usually, the National Register does not list religious structures, moved structures, reconstructed structures, however, if a property falls into one of those categories and are integral parts of districts that do meet the criteria then an exception allowing their listing will be made. Historic district listings, like all National Register nominations, can be rejected on the basis of owner disapproval, in the case of historic districts, a majority of owners must object in order to nullify a nomination to the National Register of Historic Places
8.
Contributing property
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Government agencies, at the state, national, and local level in the United States, have differing definitions of what constitutes a contributing property but there are common characteristics. Local laws often regulate the changes that can be made to contributing structures within designated historic districts, the first local ordinances dealing with the alteration of buildings within historic districts was in Charleston, South Carolina in 1931. Properties within a district fall into one of two types of property, contributing and non-contributing. A contributing property, such as a 19th Century mansion, helps make a historic district historic, while a non-contributing property, such as a medical clinic. The contributing properties are key to a districts historic associations, historic architectural qualities. A property can change from contributing to non-contributing and vice versa if significant alterations take place, the ordinance declared that buildings in the district could not have changes made to their architectural features visible from the street. By the mid-1930s, other U. S. cities followed Charlestons lead, an amendment to the Louisiana Constitution led to the 1937 creation of the Vieux Carre Commission, which was charged with protecting and preserving the French Quarter in the city of New Orleans. The city then passed an ordinance that set standards regulating changes within the quarter. Other sources, such as the Columbia Law Review in 1963, the Columbia Law Review gave dates of 1925 for the New Orleans laws and 1924 for Charleston. The same publication claimed that two cities were the only cities with historic district zoning until Alexandria, Virginia adopted an ordinance in 1946. The National Park Service appears to refute this, in 1939, the city of San Antonio, Texas, enacted an ordinance that protected the area of La Villita, which was the citys original Mexican village marketplace. In 1941 the authority of local controls on buildings within historic districts was being challenged in court. In City of New Orleans vs Pergament Louisiana state appellate courts ruled that the design, beginning in the mid-1950s, controls that once applied to only historic districts were extended to individual landmark structures. The United States Congress adopted legislation that declared the Georgetown neighborhood in Washington, by 1965,51 American communities had adopted preservation ordinances. By 1998, more than 2,300 U. S. towns, contributing properties are defined through historic district or historic preservation zoning laws, usually at the local level. Zoning ordinances pertaining to historic districts are designed to maintain a historic character by controlling demolition and alteration to existing properties. It can be any property, structure or object that adds to the integrity or architectural qualities that make the historic district, either local or federal. Definitions vary but, in general, they maintain the same characteristics, another key aspect of a contributing property is historic integrity
9.
Paul Philippe Cret
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Paul Philippe Cret was a French-born Philadelphia architect and industrial designer. For more than thirty years, he taught a studio in the Department of Architecture at the University of Pennsylvania. Born in Lyon, France, Cret was educated at that citys École des Beaux-Arts, then in Paris and he came to the United States in 1903 to teach at the University of Pennsylvania. Although settled in America, he happened to be in France at the outbreak of World War I and he enlisted and remained in the French army for the duration, for which he was awarded the Croix de Guerre and made an officer in the Legion of Honor. Crets practice in America began in 1907, some of Crets work is remarkably streamlined and forward-thinking, and includes collaborations with sculptors such as Alfred Bottiau and Leon Hermant. In the late 1920s the architect was brought in as consultant on Fellheimer and Wagners Cincinnati Union Terminal. He became an American citizen in 1927, in 1931, the regents of The University of Texas at Austin commissioned Cret to design a master plan for the campus, and build the Beaux-Art Main Building, the universitys signature tower. Cret would go on to collaborate on about twenty buildings on the campus, in 1935, he was elected into the National Academy of Design as an Associate member, and became a full Academician in 1938. Crets contributions to the industry also included the design of the side fluting on the Burlingtons Pioneer Zephyr. Cret won the Gold Medal of the American Institute of Architects in 1938, ill health forced his resignation from teaching in 1937. Commission of Fine Arts from 1940 to 1945, after years of limited activity, Cret died in Philadelphia of heart disease. Crets work was displayed in the exhibit, From the Bastille to Broad Street, The Influence of France on Philadelphia Architecture, an exhibit of his train designs, All Aboard. Paul P. Crets Train Designs, was at the Athenaeum of Philadelphia from July 5,2012 to August 24,2012. With a collection of 17,000 drawings and more than 3,000 photographs, louis Kahn studied at the University of Pennsylvania under Cret, and worked in Crets architectural office in 1929 and 1930. Other notable architects who studied under Cret include Alfred Easton Poor, barber, William Ward Watkin, and Chinese architect Lin Huiyin. On the 75th anniversary of the Battle of Gettysburg, President Franklin D. Roosevelt dedicated Crets Eternal Light Peace Memorial. Following Crets death in 1945, his four partners assumed the practice under the partnership Harbeson, Hough, Livingston & Larson, the firm officially adopted this nickname as its formal title in 1976. H2L2 celebrated 100 years in 2007, 1908–10 – Organization of American States Building, Washington, D. C. C
10.
Beaux-Arts architecture
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Beaux-Arts architecture expresses the academic neoclassical architectural style taught at the École des Beaux-Arts in Paris. The style of instruction that produced Beaux-Arts architecture continued without interruption until 1968. The Beaux-Arts style heavily influenced the architecture of the United States in the period from 1880 to 1920, in contrast, many European architects of the period 1860–1914 outside France gravitated away from Beaux-Arts and towards their own national academic centers. American architects of the Beaux-Arts generation often returned to Greek models, for the first time, repertories of photographs supplemented meticulous scale drawings and on-site renderings of details. Beaux-Arts training emphasized the production of quick conceptual sketches, highly finished perspective presentation drawings, close attention to the program, site considerations tended toward social and urbane contexts. In the façade shown to the right, Diana grasps the cornice she sits on in an action typical of Beaux-Arts integration of sculpture with architecture. A sense of appropriate idiom at the craftsman level supported the teams of the first truly modern architectural offices. The prestige of the École gave the style Beaux-Arts a second wind in combining the new manner with the traditional training and they were followed by an entire generation. Henry Hobson Richardson absorbed Beaux-Arts lessons in massing and spatial planning and his Beaux-Arts training taught him to transcend slavish copying and recreate in the essential fully digested and idiomatic manner of his models. Richardson evolved a personal style freed of historicism that was influential in early Modernism. The White City of the Worlds Columbian Exposition of 1893 in Chicago was a triumph of the movement, the Beaux-Arts curriculum was subsequently begun at Columbia University, the University of Pennsylvania, and elsewhere. From 1916, the Beaux-Arts Institute of Design in New York City schooled architects, painters, bosworth, Carnegie Mellon University, designed by Henry Hornbostel, and the University of Texas, designed by Paul Philippe Cret. Beaux-Arts architecture also brought a civic face to the railroad, two of the best American examples of the Beaux-Arts tradition stand within a few blocks of each other, Grand Central Terminal and the New York Public Library. Another prominent U. S. example of the style is the largest academic dormitory in the world, in the late 1800s, during the years when Beaux-Arts architecture was at a peak in France, Americans were one of the largest groups of foreigners in Paris. Many of them were architects and students of architecture who brought this back to America. Beaux-Arts was very prominent in public buildings in Canada in the early 20th century, notably all three prairie provinces legislative buildings are in this style. Buenos Aires is a center of Beaux-Arts architecture which continued to be built as late as the 1950s, national Theatre, Melbourne General Post Office building, Forrest Place, Perth Argus Building. Beaux-Arts Architecture in New York, A Photographic Guide United States, sixteenth Street Architecture – profiles of Beaux-Arts architecture in Washington D. C
11.
Renaissance Revival architecture
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The divergent forms of Renaissance architecture in different parts of Europe, particularly in France and Italy, has added to the difficulty of defining and recognizing Neo-Renaissance architecture. The movement grew from scientific observations of nature, in human anatomy. Neo-Renaissance architecture is formed by not only the original Italian architecture, in England the Renaissance tended to manifest itself in large square tall houses such as Longleat House. Often these buildings had symmetrical towers which hint at the evolution from medieval fortified architecture and this is particularly evident at Hatfield House built between 1607 and 1611, where medieval towers jostle with a large Italian cupola. If this were not confusing enough, the new Neo-Renaissance then frequently borrowed architectural elements from the succeeding Mannerist period, mannerism and Baroque being two very opposing styles of architecture. Mannerism was exemplified by the Palazzo del Te and Baroque by the Wurzburg Residenz, as a consequence a self-consciously Neo-Renaissance manner first began to appear circa 1840. By 1890 this movement was already in decline, the Hagues Peace Palace completed in 1913, in a heavy French Neo-Renaissance manner was one of the last notable buildings in this style. Charles Barry introduced the Neo-Renaissance to England with his design of the Travellers Club, the style is characterized by original Renaissance motifs, taken from such Quattrocento architects as Alberti. These motifs included rusticated masonry and quoins, windows framed by architraves and doors crowned by pediments, if a building were of several floors the uppermost floor usually had small square windows representing the minor mezzanine floor of the original Renaissance designs. However, the Neo-renaissance style later came to incorporate Romanesque and Baroque features not found in the original Renaissance architecture which was more severe in its design. Like all architectural styles the Neo-Renaissance did not appear overnight fully formed but evolved slowly, one of the very first signs of its emergence was the Würzburg Womens Prison, which was erected in 1809 designed by Peter Speeth. This building foreshadows similar effects in the work of the American architect Henry Hobson Richardson whose work in the Neo-Renaissance style was popular in the USA during the 1880s, richardsons style at the end or the revival era was a severe mix of both Romanesque and Renaissance features. This was exemplified by his Marshall Field Warehouse in Chicago, however, while the beginning of Neo-Renaissance period can be defined by its simplicity and severity, what came between was far more ornate in its design. This period can be defined by some of the opera houses of the Europe, such as Gottfried Sempers Burgtheater in Vienna. This ornate form of the Neo-Renaissance, originating from France, is known as the Second Empire style. By 1875 it had become the style in Europe for all public and bureaucratic buildings. In England, where Sir George Gilbert Scott designed the London Foreign Office in this style between 1860 and 1875, it also incorporated certain Palladian features. In Austria, it was pioneered by such names as Rudolf Eitelberger
12.
Michael Graves
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Michael Graves was an American architect. His recognition grew through designing domestic products sold by premium Italian housewares maker Alessi and he was a representative of New Urbanism and New Classical Architecture and formerly designed postmodern buildings, and was recognized as a major influence in all three movements. Graves was born in Indianapolis, Indiana and he attended Broad Ripple High School, receiving his diploma in 1952. He earned a degree from the University of Cincinnati where he also became a member of the Sigma Chi fraternity. He earned a degree in architecture from Harvard University in 1959. Graves won the Rome Prize in 1960 and spent the two years at the American Academy in Rome. From 2003, Graves was paralyzed from the waist down as a result of a spinal cord infection and he died at his home in Princeton, New Jersey on March 12,2015 at the age of 80. From 1964 until the end of his life, Graves was an architect in practice in Princeton. He directed the firm Michael Graves & Associates, which has offices in Princeton, in contrast to his later career, Graves spent much of the 1970s designing modernist residences, such as the Snyderman House in Fort Wayne, Indiana. For most of his career, however, Graves shifted away from modernism toward postmodernism, one of his most famous works, the Portland Building, which opened in 1982 in Portland, Oregon, is regarded as the first major built example of postmodern architecture. The celebrated but controversial building, composed of offices, is subject to an ongoing preservation debate. It was added to the National Register of Historic Places in 2011, Graves subsequently received a number of major commissions. Some of his most notable completed buildings include the Humana Building, the Denver Public Library, in the 1980s, he also designed an expansion for the Whitney Museum of American Art in New York City, but the highly contested design went unbuilt due to local opposition. Graves also received recognition for his renovation of his personal residence in Princeton. In 1985, Graves designed a stainless steel teakettle featuring a red whistle shaped like a bird for the Italian company Alessi, Graves designed the scaffolding used for the restoration of the Washington Monument in Washington DC. During that assignment, which Target Corp sponsored, he met a Target executive who appreciated his product design and he began designing consumer products for the mass market and Target sold his products through their stores. By 2009, however, he noted the house doesnt have a wow factor, the partnership went from less than a dozen objects in 1997 to more than 2,000 when the partnership with Target ended in 2012. By 2013, concerned about Targets partnerships with other designers with less-successful outcomes, when a former Target executive became CEO of J. C. Penney, Graves products began being sold exclusively through J. C. Penney
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Midtown Detroit
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The community area of neighborhoods is bounded by the Chrysler Freeway on the east, the Lodge Freeway on the west, the Edsel Ford Freeway on the north, and the Fisher Freeway on the south. The area includes several historic districts, the Detroit Medical Center, the Midtown area is a general mixed-use community area of neighborhoods containing successive waves of development that have transformed the area multiple times since it was first platted. The neighborhoods are dominated by the thoroughfare of Woodward Avenue, which runs north and south through the heart of Midtown, Woodward Avenue, running north and south through the center of the neighborhood, is primarily inhabited by commercial businesses, public-oriented/cultural institutions, and religious buildings. The heart of the center is located directly on Woodward in the northern part of Midtown. Wayne State Universitys campus covers 203 acres in the section of Midtown. Waynes campus is irregular, and parts extend south of Warren and north of I-94, out of Midtown, Wayne is one of Michigans three research institutions and serves over 32,000 students. The first portion of what later became Wayne State University was the Detroit Medical College, the school of education was begun in 1881. In 1896, Old Main was built as Detroits Central High School, College classes were added in 1913, and these Liberal Arts classes evolved into Detroit Junior College in 1917. The school began offering degrees in 1923 and graduate courses were added in 1930. In 1933, the previously disparate colleges were united under one administration into Wayne University, in 1956, the school was renamed Wayne State University. Since the early 1940s, Wayne State University, backed by the City Planning Commission, has shaped the development of the area through its plan for growth. The availability of urban redevelopment grants beginning in the 1950s became an important funding resource for expansion of the university, the size of the campus has continued to expand, with the University constructing new building as well as repurposing older buildings located in the area. As of Fall 2015, nearly 30,000 students were enrolled at Wayne State, over 18,000 undergraduate students andover 8000 graduates students, with the remainder enrolled in professional programs. The Art Center is centered on the Cultural Center Historic District, the Detroit Public Library, the Detroit Institute of Arts, the district contains several cultural attractions. The library and art museum were built in the 1920s, heralding a City Beautiful movement in Detroit that aimed to establish the area along Woodward as the center of the city. Wayne State University, then housed in the former Central High School, the Charles H. Wright Museum of African American History, the Detroit Science Center, and the Museum of Contemporary Art Detroit also are located in the Art Center area. These neighborhoods have been infilled with townhomes and other residential developments, south of Wayne State University, the North Cass area contains a substantial number of multi-unit apartment houses, many mixed with earlier single-family homes. There are also a number of buildings, particularly along the Cass Corridor just west of Woodward
14.
Museum
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Most large museums are located in major cities throughout the world and more local ones exist in smaller cities, towns and even the countryside. Museums have varying aims, ranging from serving researchers and specialists to serving the general public, the goal of serving researchers is increasingly shifting to serving the general public. There are many types of museums, including art museums, natural history museums, science museums, war museums, the city with the largest number of museums is Mexico City with over 128 museums. According to The World Museum Community, there are more than 55,000 museums in 202 countries, the English museum comes from the Latin word, and is pluralized as museums. The first museum/library is considered to be the one of Plato in Athens, however, Pausanias gives another place called Museum, namely a small hill in Classical Athens opposite to the Akropolis. The hill was called Mouseion after Mousaious, a man who used to sing on the hill, the purpose of modern museums is to collect, preserve, interpret, and display items of artistic, cultural, or scientific significance for the education of the public. The purpose can also depend on ones point of view, to a family looking for entertainment on a Sunday afternoon, a trip to a local history museum or large city art museum could be a fun, and enlightening way to spend the day. To city leaders, a healthy museum community can be seen as a gauge of the health of a city. To a museum professional, a museum might be seen as a way to educate the public about the museums mission, Museums are, above all, storehouses of knowledge. In 1829, James Smithsons bequest, that would fund the Smithsonian Institution, stated he wanted to establish an institution for the increase, Museums of natural history in the late 19th century exemplified the Victorian desire for consumption and for order. Gathering all examples of classification of a field of knowledge for research. As American colleges grew in the 19th century, they developed their own natural history collections for the use of their students, while many large museums, such as the Smithsonian Institution, are still respected as research centers, research is no longer a main purpose of most museums. While there is a debate about the purposes of interpretation of a museums collection, there has been a consistent mission to protect. Much care, expertise, and expense is invested in efforts to retard decomposition in aging documents, artifacts, artworks. All museums display objects that are important to a culture, as historian Steven Conn writes, To see the thing itself, with ones own eyes and in a public place, surrounded by other people having some version of the same experience can be enchanting. Museum purposes vary from institution to institution, some favor education over conservation, or vice versa. For example, in the 1970s, the Canada Science and Technology Museum favored education over preservation of their objects and they displayed objects as well as their functions. One exhibit featured a printing press that a staff member used for visitors to create museum memorabilia
15.
United States dollar
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The United States dollar is the official currency of the United States and its insular territories per the United States Constitution. It is divided into 100 smaller cent units, the circulating paper money consists of Federal Reserve Notes that are denominated in United States dollars. The U. S. dollar was originally commodity money of silver as enacted by the Coinage Act of 1792 which determined the dollar to be 371 4/16 grain pure or 416 grain standard silver, the currency most used in international transactions, it is the worlds primary reserve currency. Several countries use it as their currency, and in many others it is the de facto currency. Besides the United States, it is used as the sole currency in two British Overseas Territories in the Caribbean, the British Virgin Islands and Turks and Caicos Islands. A few countries use the Federal Reserve Notes for paper money, while the country mints its own coins, or also accepts U. S. coins that can be used as payment in U. S. dollars. After Nixon shock of 1971, USD became fiat currency, Article I, Section 8 of the U. S. Constitution provides that the Congress has the power To coin money, laws implementing this power are currently codified at 31 U. S. C. Section 5112 prescribes the forms in which the United States dollars should be issued and these coins are both designated in Section 5112 as legal tender in payment of debts. The Sacagawea dollar is one example of the copper alloy dollar, the pure silver dollar is known as the American Silver Eagle. Section 5112 also provides for the minting and issuance of other coins and these other coins are more fully described in Coins of the United States dollar. The Constitution provides that a regular Statement and Account of the Receipts and that provision of the Constitution is made specific by Section 331 of Title 31 of the United States Code. The sums of money reported in the Statements are currently being expressed in U. S. dollars, the U. S. dollar may therefore be described as the unit of account of the United States. The word dollar is one of the words in the first paragraph of Section 9 of Article I of the Constitution, there, dollars is a reference to the Spanish milled dollar, a coin that had a monetary value of 8 Spanish units of currency, or reales. In 1792 the U. S. Congress passed a Coinage Act, Section 20 of the act provided, That the money of account of the United States shall be expressed in dollars, or units. And that all accounts in the offices and all proceedings in the courts of the United States shall be kept and had in conformity to this regulation. In other words, this act designated the United States dollar as the unit of currency of the United States, unlike the Spanish milled dollar the U. S. dollar is based upon a decimal system of values. Both one-dollar coins and notes are produced today, although the form is significantly more common
16.
Downtown Detroit
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Downtown Detroit is the central business district and a residential area of the city of Detroit, Michigan, United States. Detroit is the city in the larger Metro Detroit region. Downtown Detroit is bordered by M-10 to the west, Interstate 75 to the north, I-375 to the east, the citys main thoroughfare M-1 links Downtown to Midtown, New Center, and the North End. Downtown contains much historic architecture and many of the prominent skyscrapers in Detroit, including the Renaissance Center, the Penobscot Building, One Detroit Center, Historic churches, theatres, and commercial buildings anchor the various downtown districts. Downtown has a number of parks including those linked by a promenade along the International Riverfront and its central square is Campus Martius Park. In recent years the area has seen tremendous growth and redevelopment. Since 2000 a number of construction projects have been completed including the new Compuware Headquarters at Campus Martius Park. General Motors moved their headquarters into the Renaissance Center, and the Detroit Lions have relocated from Pontiac to Downtown Detroit. High-profile events like the 2005 MLB All-Star Game, Super Bowl XL, as a result, new residents are moving into Detroit in the assortment of new lofts that are opening. An example of these trends is the Westin Book-Cadillac Hotel, in 2006, the Cleveland-based Ferchill Group began the $180 million redevelopment of the historic Book Cadlliac Hotel at the corner of Washington Blvd. and Michigan Avenue. DTE Energy Headquarters features an urban oasis of parks, walkways, in 2007, Downtown Detroit was named among the best big city neighborhoods in which to retire by CNN Money Magazine editors. Downtown contains popular destinations including, the International Riverfront, the MGM Grand Detroit, Greektown Casino Hotel, Downtown Detroit hosts over 92,000 workers which make up about one-fifth of the citys total employment base, in addition, it is home to about 5,300 residents. Downtown offers a number of high rises, including Riverfront Towers, The Albert. The Renaissance Center contains the Detroit Marriott hotel, General Motors headquarters, as well as many shops, Compuware has its headquarters in the Compuware World Headquarters building by Campus Martius Park in Downtown Detroit. Compuware moved its headquarters and 4,000 employees to Downtown Detroit in 2003, Little Caesars and Olympia Entertainment have their headquarters in the Fox Theatre. Ernst & Young has offices in One Kennedy Square on Campus Martius Park, pricewaterhouse Coopers has offices in a building across from Ford Field. Chrysler maintains executive offices at Chrysler House in the citys Financial District, in 2011, Quicken Loans moved its headquarters and 4,000 employees to downtown. Comerica Bank and Blue Cross Blue Shield of Michigan are also major employers downtown, as of the 2010 Census, there were 5,287 people residing in the district
17.
Detroit Public Library
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The Detroit Public Library is the largest library system in the U. S. state of Michigan by volumes held and is the 20th largest library system in the United States. It is composed of the Main Library on Woodward Avenue, which houses DPL administration offices, designed by Cass Gilbert, the Detroit Public Library was constructed with Vermont marble and serpentine Italian marble trim in an Italian Renaissance style. His son, Cass Gilbert, Jr. was a partner with Francis J. Keally in the design of the additional wings added in 1963. Among his other buildings, Cass Gilbert designed the United States Supreme Court Building in Washington, DC, the Minnesota State Capitol, a stand-alone public library in Detroit dates back to 1865. An 1842 state law requiring the Detroit Board of Education to open a library resulted in a reading room opening on March 25,1865 in the old Capitol High School at State. In 1872, the Centre Park Library opened across the street from the current location of the Skillman Branch in downtown Detroit at Gratiot and Library Street. The first branch opened in 1897 when the Detroit Water Commission library was opened to the public. Several additional branches opened shortly afterwards, including one in the Old Main building of Wayne State University, property near Woodward and Kirby was purchased and in 1912 Cass Gilbert was commissioned to construct his design of a three-floor, early Italian Renaissance-style building. Due to delays and World War I, the Main Library did not open until March 21,1921 and it was dedicated June 3,1921. The library systems bookmobile service began in 1940, the north and south wings opened on June 23,1963 and added a significant amount of space to the building. The wings were connected along the rear of the original building, above this entrance is a mosaic by Millard Sheets entitled The River of Knowledge. As part of the addition, a mural was added to the west wall of Adam Strohm Hall on the third floor. The mural by local artist John Stephens Coppin is entitled Mans Mobility and this mural compliments a tryparch mural on the opposite wall completed in 1921 by Gari Melchers depicting Detroits early history. Detroit Public Library is also a member of the Detroit area library network. The library continues to be a partner in the consortium. The Detroit Public Library is a funded, independent, municipal corporation. The Detroit Public Library Commission, whose members are appointed by the Detroit Public Schools Board of Education, is the authority for the system. The commission establishes policies and administers funds, there are 7 Library Commissioners, with the seventh commissioner being the current president of the Board of Education, who is an ex-offico commissioner
18.
Wayne State University
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Wayne State University is an American public research university located in the Midtown Cultural Center Historic District of Detroit, Michigan. Founded in 1868, WSU consists of 13 schools and colleges offering more than 380 programs to nearly 28,000 graduate and undergraduate students and it is currently Michigans third-largest university and one of the 100 largest universities in the United States. The WSU main campus encompasses 203 acres linking more than 100 education and it also has six extension centers in the metro Detroit area providing access to a limited selection of courses. The first component of the modern Wayne State University was established in 1868 as the Detroit Medical College, in 1881, the Detroit Normal Training School was established, now known as the College of Education. Old Main Hall was built in 1896 as Central High School and those classes evolved into the Detroit Junior College in 1917, the Colleges of the City of Detroit in 1923 and now WSUs College of Liberal Arts and Sciences. With Mackenzie at the helm, Detroit Junior College grew to become the third-largest institution of learning in Michigan. The college was granted four-year degree status in 1923, becoming the College of the City of Detroit, Mackenzie continued as dean until his death in 1926. In 1920, the Merrill-Palmer Institute for Child Development was founded and it is now known as the Merrill-Palmer Skillman Institute. In 1927, the Detroit Board of Education dedicated its newest high school to the memory of Mackenzie, the three-story structure stood on the citys west side at 9275 Wyoming Avenue, Mackenzie High School closed its doors in June 2007 and was demolished in 2012. A new pre-kingergarten-to-eighth-grade Mackenzie School opened near the school site in 2012. In 1933, the Detroit Board of Education organized the six colleges it ran — liberal arts, medical, education, pharmacy, engineering, in January 1934, that institution was officially named Wayne University, taking its name from the county in which it is located. Wayne University continued to grow, adding its Law School in 1927, its School of Social Work in 1935, Wayne University was renamed Wayne State University in 1956 and the institution became a constitutionally established university by a popularly adopted amendment to the Michigan Constitution in 1959. The Wayne State University Board of Governors created the Institute of Gerontology in 1965 in response to a State of Michigan mandate, the primary mission in that era was to engage in research, education and service in the field of aging. The university libraries have grown to seven, including desks at the universitys extension centers in Oakland. More than 500 researchers, staff and principal investigators work out of the building, on June 5,2013, the Board of Governors unanimously elected M. Roy Wilson as Wayne States 12th president. He was sworn in on August 1,2013, in 2015, WSU bestowed its first posthumous honorary doctorate degree on Viola Liuzzo. In 2015, the School of Business administration was renamed the Mike Ilitch School of Business, the name was changed in recognition of a $40 million grant from Mike and Marian Ilitch. In gift will go toward building a new, state-of-the-art business school facility in Detroit, Wayne States campus is located in the heart of Detroits Cultural Center Historic District, home of renowned museums, galleries and theatres
19.
National Register of Historic Places
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The National Register of Historic Places is the United States federal governments official list of districts, sites, buildings, structures, and objects deemed worthy of preservation. The passage of the National Historic Preservation Act in 1966 established the National Register, of the more than one million properties on the National Register,80,000 are listed individually. The remainder are contributing resources within historic districts, each year approximately 30,000 properties are added to the National Register as part of districts or by individual listings. For most of its history the National Register has been administered by the National Park Service and its goals are to help property owners and interest groups, such as the National Trust for Historic Preservation, coordinate, identify, and protect historic sites in the United States. While National Register listings are mostly symbolic, their recognition of significance provides some financial incentive to owners of listed properties, protection of the property is not guaranteed. During the nomination process, the property is evaluated in terms of the four criteria for inclusion on the National Register of Historic Places, the application of those criteria has been the subject of criticism by academics of history and preservation, as well as the public and politicians. Occasionally, historic sites outside the proper, but associated with the United States are also listed. Properties can be nominated in a variety of forms, including individual properties, historic districts, the Register categorizes general listings into one of five types of properties, district, site, structure, building, or object. National Register Historic Districts are defined geographical areas consisting of contributing and non-contributing properties, some properties are added automatically to the National Register when they become administered by the National Park Service. These include National Historic Landmarks, National Historic Sites, National Historical Parks, National Military Parks/Battlefields, National Memorials, on October 15,1966, the Historic Preservation Act created the National Register of Historic Places and the corresponding State Historic Preservation Offices. Initially, the National Register consisted of the National Historic Landmarks designated before the Registers creation, approval of the act, which was amended in 1980 and 1992, represented the first time the United States had a broad-based historic preservation policy. To administer the newly created National Register of Historic Places, the National Park Service of the U. S. Department of the Interior, hartzog, Jr. established an administrative division named the Office of Archeology and Historic Preservation. Hartzog charged OAHP with creating the National Register program mandated by the 1966 law, ernest Connally was the Offices first director. Within OAHP new divisions were created to deal with the National Register, the first official Keeper of the Register was William J. Murtagh, an architectural historian. During the Registers earliest years in the late 1960s and early 1970s, organization was lax and SHPOs were small, understaffed, and underfunded. A few years later in 1979, the NPS history programs affiliated with both the U. S. National Parks system and the National Register were categorized formally into two Assistant Directorates. Established were the Assistant Directorate for Archeology and Historic Preservation and the Assistant Directorate for Park Historic Preservation, from 1978 until 1981, the main agency for the National Register was the Heritage Conservation and Recreation Service of the United States Department of the Interior. In February 1983, the two assistant directorates were merged to promote efficiency and recognize the interdependency of their programs, jerry L. Rogers was selected to direct this newly merged associate directorate
20.
C. Howard Crane
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Charles Howard Crane was an American architect. Born in Hartford, Connecticut, Crane moved to Detroit in 1904 and he worked as a draftsman for several architectural firms, including Albert Kahn Associates, Smith, Hinchman & Grylls, and the office of Gustave A. Mueller, before opening his own office in 1908. Like Thomas W. Lamb and John Eberson, Crane specialized in the design of palaces in North America. Cranes career would include some 250 theaters in total, with 62 of them in the Detroit area and his 5174-seat Detroit Fox Theatre was the largest of the Fox Theatres. The 4,500 seat Fox Theatre in St. Louis was its slightly smaller architectural near twin and these were considered to have been his architectural masterpieces. Among the 5 massive Fox theatres, Crane also designed the Brooklyn Fox, Crane was a genius at giving his venues great acoustics. Among his best theatres were Orchestra Hall, the former and once home of the Detroit Symphony Orchestra. Crane also designed Olympia Stadium, which eventually had seating for 13,375 plus standing room for 3,300, Olympia, used by the Detroit Red Wings, was razed in 1987. Crane also designed many office buildings, most of his many downtown Detroit movie palaces had attached office towers that he designed. However, Cranes office tower masterpiece is the 47 story 555 ft. tall LeVeque Tower in Columbus, due to the 1929 Great Depression, Cranes theatre and office building commissions dried up. He became disillusioned and in 1930 moved to London, England, Crane designed many cinemas across Britain, but in much tamer designs than his American movie palaces. Cranes most famous U. K. commission was Earls Court Exhibition Centre and it closed in 2014 and is due to be demolished in 2015. Crane returned to visit Detroit once or twice a year until World War II and he then remained in London, where he died and was buried in 1952. His namesake descendants now live in the Detroit area, all buildings are located in Detroit, unless otherwise indicated. C. Meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, cS1 maint, Multiple names, authors list Perkins, Michael A. Leveque, The First Complete Story of Columbus Greatest Skyscraper. List of cinemas designed by C. Howard Crane Detroit Symphony Orchestra Hall Detroit Opera House
21.
Howdy Doody
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It was a pioneer in childrens television programming and set the pattern for many similar shows. Bob Smith created Howdy Doody during his days as an announcer on WNBC. At that time, Howdy Doody was only a voice Smith performed on the radio, Frank Paris, a puppeteer whose puppets appeared on the program, was asked to create a Howdy Doody puppet. Bob Smith, the shows host, was dubbed Buffalo Bob early in the shows run, at first the set was supposed to be a circus tent, but soon was changed, during the show, to a western town. Smith wore cowboy garb, and the name of the star was derived from the American expression howdy doody/howdy do. Used in the western United States Smith, who had gotten his start as a radio personality in Buffalo. Cast members Lew Anderson and Robert Nick Nicholson were both experienced jazz musicians, as both the character and television program grew in popularity, demand for Howdy Doody related merchandise began to surface. By 1948, toymakers and department stores had been approached with requests for Howdy Doody dolls, macys department store contacted Frank Paris, the creator of the puppet, to ask about rights for a Howdy Doody doll. With Paris past disappearances, impromptu excuses regarding the whereabouts of Howdy Doody had been hastily concocted and this time, an elaborate explanation was offered—that Howdy was busy with the elections on the campaign trail. NBC hurriedly constructed a map of the United States, which allowed viewers, with the help of Smith, the explanation continued that while on the campaign trail, Howdy decided to improve his appearance with some plastic surgery. Since Paris did not provide the voice of the character, Howdys voice would stay the same after his appearance changed, the puppet which is remembered as the original Howdy Doody replaced the actual original made by Frank Paris. Howdy Doody himself is a freckle-faced boy marionette with 48 freckles, one for state of the union. The Howdy Doody shows various marionettes were created and built by puppeteers Velma Wayne Dawson, Scott Brinker and Rufus Rose throughout the shows run. The redheaded Howdy marionette on the show was operated with 11 strings. Three strings were added when the show returned—two elbows and one nose, the original Howdy Doody marionette now resides at the Detroit Institute of Arts. Double Doody, the Howdy stand-in puppet, is now in the collection of the Division of Culture, photo Doody is the near-stringless marionette that was used in personal appearances, photos, parades, and the famed NBC test pattern. He was sold by Lelands Sports Auction House in 1997 for more than $113,000 to an art collector. There were also two other marionettes, Don José, and Hector Hamhock Bluster, brothers of Phineas T, one of Semoks marionette duplicates appears on a 2005 cover of TV Guide magazine as part of a series recreating classic covers from the magazines history
22.
Diego Rivera
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Diego María de la Concepción Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodríguez, known as Diego Rivera was a prominent Mexican painter. His large frescoes helped establish the Mexican mural movement in Mexican art, between 1922 and 1953, Rivera painted murals among others in Mexico City, Chapingo, Cuernavaca, San Francisco, Detroit, and New York City. In 1931, a exhibition of his works was held at the Museum of Modern Art in New York. Rivera had a marriage with fellow Mexican artist Frida Kahlo. Rivera was born in Guanajuato, Mexico, to a well-to-do family, Diego had a twin brother named Carlos, who died two years after they were born. Rivera was said to have Converso ancestry, Rivera wrote in 1935, My Jewishness is the dominant element in my life. Rivera began drawing at the age of three, a year after his brothers death. He had been drawing on the walls. His parents, rather than punishing him, installed chalkboards and canvas on the walls, as an adult, he married Angelina Beloff in 1911, and she gave birth to a son, Diego. Maria Vorobieff-Stebelska gave birth to a daughter named Marika in 1918 or 1919 when Rivera was married to Angelina and he married his second wife, Guadalupe Marín, in June 1922, with whom he had two daughters, Ruth and Guadalupe. He was still married when he met art student Frida Kahlo and they married on August 21,1929 when he was 42 and she was 22. Their mutual infidelities and his violent temper led to divorce in 1939, Rivera later married Emma Hurtado, his agent since 1946, on July 29,1955, one year after Kahlos death. His mural Dreams of a Sunday in the Alameda depicted Ignacio Ramírez holding a sign which read and this work caused a furor, but Rivera refused to remove the inscription. The painting was not shown for nine years – until Rivera agreed to remove the inscription. He stated, To affirm God does not exist, I do not have to hide behind Don Ignacio Ramírez, I am an atheist, from the age of ten, Rivera studied art at the Academy of San Carlos in Mexico City. He was sponsored to study in Europe by Teodoro A. Dehesa Méndez. In those years, Paris was witnessing the beginning of Cubism in paintings by such eminent painters as Pablo Picasso, Georges Braque, from 1913 to 1917, Rivera enthusiastically embraced this new school of art. Around 1917, inspired by Paul Cézannes paintings, Rivera shifted toward Post-Impressionism with simple forms and his paintings began to attract attention, and he was able to display them at several exhibitions
23.
Detroit Industry Murals
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The Detroit Industry Murals are a series of frescoes by the Mexican artist Diego Rivera, consisting of twenty-seven panels depicting industry at the Ford Motor Company. Together they surround the Rivera Court in the Detroit Institute of Arts, painted between 1932 and 1933, they were considered by Rivera to be his most successful work. On April 23,2014, the Detroit Industry Murals were given National Historic Landmark Status, the two main panels on the North and South walls depict laborers working at Ford Motor Companys River Rouge Plant. Other panels depict advances made in scientific fields, such as medicine. The series of murals, taken as a whole, represents the idea that all actions, in 1932 Wilhelm Valentiner commissioned Diego Rivera for an ambitious project. The plan for the project was to have Diego Rivera paint 27 fresco murals in the Detroit Institute of Art and they also wanted Rivera to incorporate the industry of Detroit as a whole, and not just the automobile industry. Rivera was perfect for the job, before accepting Valentiers proposal Rivera had just completed a mural at the California School of Fine Arts. The mural that he created there clearly displayed his ability as well as his interest towards the modern industrial culture in the United States. In the agreement for the commission, the DIA was expected to pay all expenses towards materials while Rivera was expected to pay for his own assistance, at the time materials were incredibly expensive and the agreement that the DIA and Rivera settled on was considered a great deal. Edsel Ford contributed $20,000 to make the deal possible, excerpt from commission proposal to Diego Rivera from Wilhelm Valentiner. From the 27 murals that Rivera painted at the Detroit Institute of Art, the murals depict the workers at the Ford River Rouge Complex in Dearborn Michigan. During the time Detroit was an industrial complex, and was home to the largest manufacturing industry of the world. In 1927, the Ford Motor Company was introducing advanced technological improvements for their line, one of which was the revolutionary automated car assembly line. The automotive industry in Detroit was capable of manufacturing every single component for their motor cars, Detroit had factories that produced diverse goods ranging from steel, electric power, and cement. Although Detroit was well known for the production of motor cars, they also manufactured ships, tractors. When Rivera started the project he began researching the facilities at the Ford River Rouge Complex. He spent three months touring all of the plants, and prepared hundreds of sketches and concepts for the mural and he also had his own photographer that was assigned to him as aid for Rivera’s research in finding visual reference material. The photographers name was W. J. Stettler, and was also the photographer for the River Rouge plant
24.
Fresco
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Fresco is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting. Buon fresco pigment mixed with water of temperature on a thin layer of wet, fresh plaster, for which the Italian word for plaster. Because of the makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will sink into the intonaco. The pigment is absorbed by the wet plaster, after a number of hours, many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. Later, new techniques for transferring paper drawings to the wall were developed. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, if the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. This area is called the giornata, and the different day stages can usually be seen in a large fresco, buon frescoes are difficult to create because of the deadline associated with the drying plaster. Once a giornata is dried, no more buon fresco can be done, if mistakes have been made, it may also be necessary to remove the whole intonaco for that area—or to change them later, a secco. An indispensable component of this process is the carbonatation of the lime, the eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark outlining of his central figures within his frescoes, in a wall-sized fresco, there may be ten to twenty or even more giornate, or separate areas of plaster. After five centuries, the giornate, which were nearly invisible, have sometimes become visible, and in many large-scale frescoes. Additionally, the border between giornate was often covered by an a secco painting, which has fallen off. One of the first painters in the period to use this technique was the Isaac Master in the Upper Basilica of Saint Francis in Assisi. A person who creates fresco is called a frescoist, a secco or fresco-secco painting is done on dry plaster. The pigments thus require a medium, such as egg. Blue was a problem, and skies and blue robes were often added a secco, because neither azurite blue nor lapis lazuli. By the end of the century this had largely displaced buon fresco
25.
William Randolph Hearst
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Hearst entered the publishing business in 1887 after being given control of The San Francisco Examiner by his wealthy father. Acquiring more newspapers, Hearst created a chain that numbered nearly 30 papers in major American cities at its peak and he later expanded to magazines, creating the largest newspaper and magazine business in the world. Politically he espoused the Progressive Movement, speaking on behalf of the working class and he controlled the editorial positions and coverage of political news in all his papers and magazines and thereby exercised enormous political influence. He also called for war in 1898 against Spain—as did many other newspaper editors—but he did it in sensational fashion, after 1918, he called for an isolationist foreign policy to avoid any more entanglement in what he regarded as corrupt European affairs. He was at once a militant nationalist, a fierce anti-communist, and deeply suspicious of the League of Nations and of the British, French, Japanese, and Russians. He was a supporter of Franklin Roosevelt in 1932–34, but then broke with FDR. His life story was the inspiration for Charles Foster Kane. His famous mansion, Hearst Castle, on a hill overlooking the Pacific Ocean near San Simeon, is now a State Historical Monument and a National Historic Landmark. William R. Hearst was born in San Francisco, to mining engineer, goldmine owner and U. S. senator George Hearst. His paternal great-grandfather was John Hearst, of Ulster Protestant origin and he migrated to America from Ballybay, County Monaghan as part of the Cahans Exodus with his wife and six children in 1766 and settled in South Carolina. Their immigration to South Carolina was spurred in part by the governments policy that encouraged the immigration of Irish Protestants. The names John Hearse and John Hearse Jr, the Hearse spelling of the family name never was used afterward by the family members themselves, or any family of any size. Hearsts mother, née Phoebe Elizabeth Apperson, was also of Irish ancestry and she was the first woman regent of University of California, Berkeley, funded many anthropological expeditions and founded the Phoebe A. Hearst Museum of Anthropology. Following preparation at St. Pauls School in Concord, New Hampshire, while there he was a member of Delta Kappa Epsilon, the A. D. Searching for an occupation, in 1887, Hearst took over management of a newspaper, the San Francisco Examiner, a self-proclaimed populist, Hearst went on to publish stories of municipal and financial corruption, often attacking companies in which his own family held an interest. Within a few years, his paper dominated the San Francisco market, outcault, the inventor of color comics, and all of Pulitzers Sunday staff as well. Another prominent hire was James J. Montague, who came from the Portland Oregonian, Hearst imported his best managers from the San Francisco Examiner and quickly established himself as the most attractive employer among New York newspapers. Hearsts activist approach to journalism can be summarized by the motto, While others Talk, the New York Journal and its chief rival, the New York World, mastered a style of popular journalism that came to be derided as yellow journalism, after Outcaults Yellow Kid comic
26.
Visual art of the United States
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Visual art of the United States or American art is visual art made in the United States or by American artists. Early colonial art on the East Coast initially relied on artists from Europe, in the late 18th and early 19th centuries, artists primarily painted portraits, and some landscapes in a style based mainly on English painting. American artists who remained at home became increasingly skilled, although there was awareness of them in Europe. The American Revolution produced a demand for art, especially history painting. A parallel development taking shape in rural America was the American craft movement, which began as a reaction to the industrial revolution. After 1850 Academic art in the European style flourished, and as richer Americans became very wealthy, the flow of European art, new and old, to the US began, museums began to be opened to display much of this. Developments in modern art in Europe came to America from exhibitions in New York City such as the Armory Show in 1913, after World War II, New York replaced Paris as the center of the art world. Since then many American movements have shaped Modern and Postmodern art, Art in the United States today covers a huge range of styles. One of the first painters to visit British America was John White, eventually the English settlements grew large enough to support professional artists, mostly portrait-painters, often largely self-taught. Among the earliest was John Smybert, a trained artist from London who emigrated in 1728 intending to be a professor of fine art and his friend Peter Pelham was a painter and printmaker. Both needed other sources of income and had shops, most of early American art consists of history painting and especially portraits. As in Colonial America, many of the painters who specialized in portraits were essentially self-taught, notable among them are Joseph Badger, John Brewster, Jr. and William Jennys. The young nations artists generally emulated the style of British art, which they knew through prints, Robert Feke, an untrained painter of the colonial period, achieved a sophisticated style based on Smiberts example. Charles Willson Peale, who gained much of his earliest art training by studying Smiberts copies of European paintings, Peales younger brother James Peale and four of Peales sons—Raphaelle Peale, Rembrandt Peale, Rubens Peale and Titian Peale—were also artists. John Singleton Copley painted emblematic portraits for the prosperous merchant class. Benjamin West painted portraits as well as paintings of the French. John Trumbull painted large battle scenes of the Revolutionary War, when landscape was painted it was most often done to show how much property a subject owned, or as a picturesque background for a portrait. Americas first well-known school of painting—the Hudson River School—appeared in 1820, Thomas Cole pioneered the movement which included Albert Bierstadt, Frederic Edwin Church, Thomas Doughty and several others
27.
John James Audubon
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John James Audubon was an American ornithologist, naturalist, and painter. He was notable for his extensive studies documenting all types of American birds and his major work, a color-plate book entitled The Birds of America, is considered one of the finest ornithological works ever completed. Audubon was born in Les Cayes in the French colony of Saint-Domingue on his fathers sugarcane plantation and he was the son of Lieutenant Jean Audubon, a French naval officer from the south of Brittany, and his mistress Jeanne Rabine, a 27-year-old chambermaid from Les Touches, Brittany. They named the boy Jean Rabin and his mother died when the boy was a few months old, as she had suffered from tropical disease since arriving on the island. His father already had an number of mixed-race children, some by his mulatto housekeeper. Following Jeanne Rabins death, Jean Audubon renewed his relationship with Sanitte Bouffard and had a daughter by her, Bouffard also took care of the infant boy Jean. The senior Audubon had commanded ships, during the American Revolution, he had been imprisoned by Britain. After his release, he helped the American cause and he had long worked to save money and secure his familys future with real estate. In 1791 he arranged for his natural children Jean and Muguet, the children were raised in Couëron, near Nantes, France, by Audubon and his French wife Anne Moynet Audubon, whom he had married years before his time in Saint-Domingue. In 1794 they formally adopted both his children to regularize their legal status in France. They renamed the boy Jean-Jacques Fougère Audubon and the girl Rose, when Audubon, at age 18, boarded ship in 1803 to immigrate to the United States, he changed his name to an anglicized form, John James Audubon. From his earliest days, Audubon had an affinity for birds, I felt an intimacy with them. bordering on frenzy must accompany my steps through life. His father encouraged his interest in nature, He would point out the elegant movement of the birds, and he called my attention to their show of pleasure or sense of danger, their perfect forms and splendid attire. He would speak of their departure and return with the seasons, in France during the chaotic years of the French Revolution and its aftermath, the younger Audubon grew up to be a handsome and gregarious man. He played flute and violin, and learned to ride, fence, a great walker, he loved roaming in the woods, often returning with natural curiosities, including birds eggs and nests, of which he made crude drawings. His father planned to make a seaman of his son, at twelve, Audubon went to military school and became a cabin boy. He quickly found out that he was susceptible to seasickness and not fond of mathematics or navigation, after failing the officers qualification test, Audubon ended his incipient naval career. He was cheerfully back on solid ground and exploring the fields again, in 1803, his father obtained a false passport so that Audubon could go to the United States to avoid conscription in the Napoleonic Wars
28.
George Bellows
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George Wesley Bellows was born and raised in Columbus, Ohio. He was the child of George Bellows and Anna Wilhelmina Smith Bellows. He was born four years after his parents married, at the ages of fifty and forty and his mother was the daughter of a whaling captain based in Sag Harbor, Long Island, and his family returned there for their summer vacations. He began drawing well before kindergarten, and his elementary–school teachers often asked him to decorate their classroom blackboards at Thanksgiving, at age 10 George decided to become an athlete, and trained himself to become a popular baseball and basketball player. He became good enough at both sports to play ball for years afterward. During his senior year, a scout from the Indianapolis team made him an offer. He declined, opting to enroll at The Ohio State University, there he played for the baseball and basketball teams, and provided illustrations for the Makio, the schools student yearbook. He was encouraged to become a baseball player, and he worked as a commercial illustrator while a student. Despite these opportunities in athletics and commercial art, Bellows desired success as a painter and he left Ohio State in 1904 just before he was to graduate and moved to New York City to study art. Bellows was soon a student of Robert Henri, before the later-famous artist had set up his own famous school, while studying there, Bellows became associated with Henris The Eight and the Ashcan School, a group of artists who advocated painting contemporary American society in all its forms. By 1906, Bellows and fellow art student Edward Keefe had set up a studio at 1947 Broadway Street, Bellows first achieved widespread notice in 1908, when he and other pupils of Henri organized an exhibition of mostly urban studies. While many critics considered these to be painted, others found them welcomely audacious. Bellows taught at the Art Students League of New York in 1909 and his fame grew as he contributed to other nationally recognized juried shows. Bellows urban New York scenes depicted the crudity and chaos of people and neighborhoods. From 1907 through 1915, he executed a series of paintings depicting New York City under snowfall, however, Bellows series of paintings portraying amateur boxing matches were arguably his signature contribution to art history. They are characterized by dark atmospheres, through which the bright, growing prestige as a painter brought changes in his life and work. Though he continued his earlier themes, Bellows also began to receive commissions, as well as social invitations. Additionally, he followed Henris lead and began to summer in Maine, painting seascapes on Monhegan and Matinicus islands
29.
George Caleb Bingham
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George Caleb Bingham was an American artist whose paintings of American life in the frontier lands along the Missouri River exemplify the Luminist style. Left to languish in obscurity, Binghams work was rediscovered in the 1930s, by the time of his bicentennial in 2011, he was considered one of the greatest American painters of the 19th century. As of June 2015, a total of twenty-three newly discovered paintings by Bingham have been authenticated and are listed with the GCBCRS, born in Augusta County, Virginia, George Caleb Bingham was the second of seven children of Mary Amend and Henry Vest Bingham. Henry Bingham offered the land and mill as surety for a debt and. The Bingham family soon moved to Franklin, Missouri where the land was said to be bountiful, fertile, George Bingham was a self-taught artist. George assisted Harding during his stay, an experience that left a powerful impression. In 1823, Binghams father Henry, then judge of Howard County Court, to keep the family going, Mary Bingham opened a school for girls, George, then twelve, worked as school janitor to help keep the family afloat. At age sixteen, the young Bingham apprenticed with the cabinet maker Jesse Green, after Green moved away, Bingham apprenticed with another cabinet maker, Justinian Williams. While under their tutelage, Bingham studied religious texts, preached at camp meetings and he also considered becoming a lawyer. By age nineteen, Bingham was painting portraits for $20.00 apiece, soon Bingham was ready to travel to St. Louis to ply his trade but contracted measles. The illness left him weak and permanently bald, in 1836, Bingham married Sarah Elizabeth Hutchison, who bore him four children over the next twelve years. From 1837 to 1845 they lived in Arrow Rock, Saline County and she died in 1848 at the age of twenty-nine. Binghams mother Mary helped him raise his children before she died in 1851, Bingham married twice more, first to Eliza K. Thomas. After several years, she had to be institutionalized and died in an asylum in 1876. He next married the widow Martha Lykins, who lived until 1890, while he frequently worked in the city, Bingham kept his principal residence in Arrow Rock for years. To further his education, Bingham spent three months in Philadelphia, Pennsylvania before continuing on to New York City to visit the National Academy of Design exhibition. After moving his family to St. Louis permanently, Bingham was elected to the Missouri House of Representatives in 1848 and his interest in politics was reflected in his paintings of the vivid political life on the frontier. Bingham later took several state political appointments as well, in 1856 Bingham moved to Europe with his second wife Eliza and youngest daughter
30.
Alexander Calder
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Calder’s monumental stationary sculptures are called stabiles. He also produced wire figures, which are like drawings made in space, Alexander Sandy Calder was born in 1898 in Lawnton, Pennsylvania. His actual birthday, however, remains a source of much confusion, according to Calders mother, Nanette, Calder was born on August 22, yet his birth certificate at Philadelphia City Hall, based on a hand-written ledger, stated July 22. When Calders family learned about the certificate, they reasserted with certainty that city officials had made a mistake. His father, Alexander Stirling Calder, was a sculptor who created many public installations. Calders mother was a portrait artist, who had studied at the Académie Julian. She moved to Philadelphia, where she met Stirling Calder while studying at the Pennsylvania Academy of the Fine Arts, Calders parents married on February 22,1895, his sister, Mrs. Margaret Calder Hayes, was instrumental in the development of the UC Berkeley Art Museum. In 1902, Calder posed nude for his father’s sculpture The Man Cub and that same year he also completed his earliest sculpture, a clay elephant. Three years later, Stirling Calder contracted tuberculosis, and Calders parents moved to a ranch in Oracle, Arizona, the children were reunited with their parents in late March 1906 and stayed at the ranch in Arizona until fall of the same year. After Arizona, the Calder family moved to Pasadena, California, the windowed cellar of the family home became Calders first studio and he received his first set of tools. He used scraps of copper wire that he found in the street to make jewelry for his sisters dolls, on January 1,1907, Nanette Calder took her son to the Tournament of Roses Parade in Pasadena, where he observed a four-horse-chariot race. This style of event later became the finale of Calders miniature circus performances, in the fall of 1909, the Calder family moved back to Philadelphia, where Calder briefly attended Germantown Academy, then moved to Croton-on-Hudson, New York. That Christmas, he sculpted a dog and an out of sheet brass as gifts for his parents. The sculptures are three-dimensional and the duck is kinetic because it rocks when gently tapped, in Croton, during his early high school years, Calder was befriended by his fathers painter friend Everett Shinn with whom he built a gravity powered system of mechanical trains. Calder described it, We ran the train on wooden rails held by spikes and we even lit up some cars with candle lights. After Croton, the Calders moved to Spuyten Duyvil to be closer to New York City, while living in Spuyten Duyvil, Calder attended high school in nearby Yonkers. During Calders high school years, the family moved back and forth between New York and California, in each new location, Calders parents reserved cellar space as a studio for their son. Toward the end of period, Calder stayed with friends in California while his parents moved back to New York
31.
Mary Cassatt
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Mary Stevenson Cassatt was an American painter and printmaker. She was born in Pennsylvania, but lived much of her life in France. Cassatt often created images of the social and private lives of women and she was described by Gustave Geffroy in 1894 as one of les trois grandes dames of Impressionism alongside Marie Bracquemond and Berthe Morisot. Cassatt was born in Allegheny City, Pennsylvania, which is now part of Pittsburgh and she was born into an upper-middle-class family, Her father, Robert Simpson Cassat, was a successful stockbroker and land speculator. He was descended from the French Huguenot Jacques Cossart, who came to New Amsterdam in 1662 and her mother, Katherine Kelso Johnston, came from a banking family. Katherine Cassatt, educated and well-read, had a influence on her daughter. The ancestral name had been Cossart, a distant cousin of artist Robert Henri, Cassatt was one of seven children, of whom two died in infancy. One brother, Alexander Johnston Cassatt, later president of the Pennsylvania Railroad. The family moved eastward, first to Lancaster, Pennsylvania, then to the Philadelphia area, Cassatt grew up in an environment that viewed travel as integral to education, she spent five years in Europe and visited many of the capitals, including London, Paris, and Berlin. While abroad she learned German and French and had her first lessons in drawing and it is likely that her first exposure to French artists Ingres, Delacroix, Corot, and Courbet was at the Paris World’s Fair of 1855. Also in the exhibition were Degas and Pissarro, both of whom were later her colleagues and mentors, though her family objected to her becoming a professional artist, Cassatt began studying painting at the Pennsylvania Academy of the Fine Arts in Philadelphia at the early age of 15. Part of her parents concern may have been Cassatts exposure to feminist ideas, although about 20 percent of the students were female, most viewed art as a socially valuable skill, few of them were determined, as Cassatt was, to make art their career. She continued her studies from 1861 through 1865, the duration of the American Civil War, among her fellow students was Thomas Eakins, later the controversial director of the Academy. Impatient with the pace of instruction and the patronizing attitude of the male students and teachers. She later said, There was no teaching at the Academy, female students could not use live models, until somewhat later, and the principal training was primarily drawing from casts. Cassatt decided to end her studies, At that time, no degree was granted, after overcoming her fathers objections, she moved to Paris in 1866, with her mother and family friends acting as chaperones. The museum also served as a place for Frenchmen and American female students. In this manner, fellow artist and friend Elizabeth Jane Gardner met, toward the end of 1866, she joined a painting class taught by Charles Chaplin, a noted genre artist
32.
Dale Chihuly
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Dale Chihuly is an American glass sculptor and entrepreneur. His works are considered unique to the field of blown glass, the technical difficulties of working with glass forms are considerable, yet Chihuly uses it as the primary medium for installations and environmental artwork. Chihuly was born in Tacoma, Washington, to George and Viola Magnuson Chihuly, in 1956, his older brother and only sibling, George, died in a Navy Air Force training accident in Pensacola, Florida. Two years later, in 1957, Chihulys father died of an attack at the age of 52. Initially, Chihuly had no interest in continuing his education after graduating from Woodrow Wilson High School in 1959. However, at his mothers urging, he enrolled at the College of Puget Sound, a year later, he transferred to the University of Washington in Seattle to study interior design. In 1961, he joined the Delta Kappa Epsilon fraternity and that same year he learned how to melt and fuse glass. Chihuly became disillusioned with his studies, and in 1962 he dropped out of school to art in Florence. He later traveled to the Middle East and met architect Robert Landsman and their meeting and his time abroad spurred Chihuly to return to his studies. In 1963, he took a class where he incorporated glass shards into tapestries. He received an award for his work from the Seattle Weavers Guild in 1964, Chihuly graduated from the University of Washington in 1965 with a Bachelor of Arts degree in interior design. Chihuly began experimenting with glassblowing in 1965, and in 1966 he received a scholarship to attend the University of Wisconsin–Madison. He studied under Harvey Littleton, who had established the first glass program in the United States at the university, in 1967, Chihuly received a Master of Science degree in sculpture. After graduating, he enrolled at the Rhode Island School of Design, Chihuly earned a Master of Fine Arts degree in sculpture from the RISD in 1968. That same year, he was awarded a Louis Comfort Tiffany Foundation grant for his work in glass and he traveled to Venice to work at the Venini factory on the island of Murano, where he first saw the team approach to blowing glass. After returning to the United States, Chihuly spent the first of four consecutive summers teaching at the Haystack Mountain School of Crafts in Deer Isle, in 1969, he traveled to Europe, in part to meet Erwin Eisch in Germany and Stanislav Libenský and Jaroslava Brychtová in Czechoslovakia. In 1971, with the support of John Hauberg and Anne Gould Hauberg, Chihuly cofounded the Pilchuck Glass School near Stanwood, Chihuly also founded the HillTop Artists program in Tacoma, Washington at Jason Lee Middle School and Wilson High School. In 1976, while Chihuly was in England, he was involved in a car accident during which he flew through the windshield
33.
Frederic Edwin Church
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Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. Churchs paintings put an emphasis on light and a respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes, Church was the son of Eliza and Joseph Church. The familys wealth came from Churchs father, a silversmith and watchmaker in Hartford, Joseph, in turn, was the son of Samuel Church, who founded the first paper mill in Lee, Massachusetts in the Berkshires. Joseph later became an official and a director of The Aetna Life Insurance Company, the familys wealth allowed Frederic Church to pursue his interest in art from a very early age. At eighteen years of age, Church became the pupil of Thomas Cole in Catskill, New York after Daniel Wadsworth, in May 1849, Church was elected as the youngest Associate of the National Academy of Design and was promoted to Academician the following year. Soon after, he sold his first major work to Hartfords Wadsworth Athenaeum, Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains, both Cole and Church were devout Protestants and the latters beliefs played a role in his paintings especially his early canvases. Cole, along with his friend Asher Durand, started school in New York. The paintings were characterized by their focus on traditional American pastoral settings, especially the Catskill Mountains and this style attempted to capture the wild realism of an unsettled America that was quickly disappearing, and the feelings of discovery and appreciation for natural beauty. His American frontier landscapes show the expansionist and optimistic outlook of the United States in the mid-nineteenth century, Church did differ from Cole in the topics of his paintings, he preferred natural and often majestic scenes over Coles propensity towards allegory. Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature and this tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The technical skill comes in the form of luminism, a Hudson River School innovation particularly present in Churchs works, luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes, ” which makes the scene more realistic. Most importantly is the emphasis on light in these scenes, the several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting. Church began his career by painting classic Hudson River School scenes of New York and New England, Church’s method consisted of creating paintings in his studio based on sketches created of views in the summer months. In these earlier years of his career, Church’s style was reminiscent of that of his teacher, Thomas Cole, Church’s work was immediately divergent from Cole’s focus on ethereal, almost mythological, scenes, but his early work did resemble Cole’s tone
34.
Thomas Cole
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Thomas Cole was an English-born American artist known for his landscape and history paintings. He is regarded as the founder of the Hudson River School, Coles work is known for its romantic portrayal of the American wilderness. Born in Bolton le Moors, Lancashire, in 1801, Coles family emigrated to the United States in 1818, settling in Steubenville, at the age of twenty-two Cole moved to Philadelphia, and later, in 1825, to New York City with his family. Cole found work early on as an engraver and he was largely self-taught as a painter, relying on books and by studying the work of other artists. In 1822 Cole started working as a painter, and later on gradually shifted his focus to landscape. This garnered Cole the attention of John Trumbull, Asher B, among the paintings was a landscape called View of Fort Ticonderoga from Gelyna. Cole was primarily a painter of landscapes, but he also painted allegorical works, there are two versions of the latter, one at the National Gallery in Washington, D. C. the other at the Munson-Williams-Proctor Arts Institute in Utica, New York. Among Coles other famous works are the Oxbow, the Notch of the White Mountains, Daniel Boone at his cabin at the Great Osage Lake and he also painted The Garden of Eden, with lavish detail of Adam and Eve living amid waterfalls, vivid plants, and deer. In 2014, friezes painted by Cole on the walls of his home, Cole influenced his artistic peers, especially Asher B. Durand and Frederic Edwin Church, who studied with Cole from 1844 to 1846, Cole spent the years 1829 to 1832 and 1841 to 1842 abroad, mainly in England and Italy. Thomas Cole is best known for his work as an American landscape artist, however, he also produced thousands of sketches of varying subject matter. Over 2,500 of these sketches can be seen at The Detroit Institute of Arts, in 1842, Cole embarked on a Grand Tour of Europe in an effort to study in the style of the Old Masters and to paint its scenery. Most striking to Cole was Europes tallest active volcano, Mount Etna, Cole was so moved by the volcanos beauty that he produced several sketches and at least six paintings of it. The most famous of these works is A View from Mount Etna from Taormina which is a 78-by-120-inch oil on canvas. Cole also produced a detailed sketch View of Mount Etna which shows a panoramic view of the volcano with the crumbling walls of the ancient Greek theatre of Taormina on the far right. After 1827 Cole maintained a studio at the farm called Cedar Grove in the town of Catskill and he painted a significant portion of his work in this studio. In 1836 he married Maria Bartow of Catskill, a niece of the owner, Thomas Cole had a sister, Sarah, who was also a landscape painter. Additionally, Thomas Cole held many friendships with important figures in the art world including Daniel Wadsworth, with whom he shared a close friendship, proof of this friendship can be seen in the letters that were unearthed in the 1980s by the Trinity College, Watkinson Library
35.
John Singleton Copley
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John Singleton Copley RA was an American painter, active in both colonial America and England. He was probably born in Boston, Massachusetts, to Richard and Mary Singleton Copley and he is famous for his portrait paintings of important figures in colonial New England, depicting in particular middle-class subjects. His portraits were innovative in their tendency to depict artifacts relating to these individuals lives, Copleys mother owned a tobacco shop on Long Wharf. His father was from Limerick, his mother, of the Singletons of County Clare, Letters from John Singleton, Mrs. Copleys father, are in the Copley-Pelham collection. Richard Copley, described as a tobacconist, is said by biographers to have arrived in Boston in ill health and to have gone, about the time of Johns birth, to the West Indies. William H. Whitmore gives his death as of 1748, the year of Mrs. Copleys remarriage, james Bernard Cullen says, Richard Copley was in poor health on his arrival in America and went to the West Indies to improve his failing strength. No contemporary evidence has been located for either year, except for a family tradition that speaks of his precocity in drawing, nothing is known of Copleys schooling or of the other activities of his boyhood. His letters, the earliest of which is dated September 30,1762, in such a household young Copley may have learned to use the paintbrush and the engravers tools. The family lived next to the occupied by japanner Thomas Johnston and his family. His son, Lord Lyndhurst, wrote that he was entirely self taught, variants of this thesis are found almost everywhere in his earlier letters. They suggest that, while Copley was industrious and an executant, he was physically unadventurous and temperamentally inclined toward brooding. He could have seen at least a few paintings and many good prints in the Boston of his youth. The excellence of his own portraits was not accidental or miraculous and it is a remarkable work to have come from so young a hand. No other engraving has been attributed to Copley, such painting would obviously advertise itself anywhere. Without going after business, for his letters do not indicate that he was ever aggressive or pushy, besides painting portraits in oil, doubtless after a formula learned from Peter Pelham, Copley was a pioneer American pastellist. He wrote, on September 30,1762, to the Swiss painter Jean-Étienne Liotard, the requested pastels were duly received and used by Copley in making many portraits in a medium suited to his talent. By this time he had begun to demonstrate his genius for rendering surface textures and capturing emotional immediacy. Copleys fame was established in England by the exhibition, in 1766, of A Boy with a Squirrel, which depicted his half-brother, Henry Pelham, seated at a table and playing with a pet squirrel
36.
Robert Colescott
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Robert H. Colescott, was an American painter. He is known for genre and crowd subjects, often conveying his exuberant, comical. He studied with Fernand Léger in Paris, Colescott developed a deep love of music early on. His mother was a pianist and his father was an accomplished classical and they moved from New Orleans to Oakland, California, where Colescott was born in 1925. He took up drumming at an age and seriously considered pursuing a career as a musician before settling instead on art. The sculptor Sargent Claude Johnson was a friend who was a role model to Colescott growing up. He was also a connection to the Harlem Renaissance and artwork dealing with African-American experience, in 1940, Colescott watched as the Mexican muralist Diego Rivera painted a mural at the Golden Gate International Exposition on Treasure Island near San Francisco. Colescott went on to absorb the Western art historical canon and to explore the art of Africa and he would always be acutely aware what was going on in the contemporary art world. Nonetheless, these early experiences remained touchstones, as a budding artist, Colescott was drafted into the U. S. Army in 1942 and served in Europe until the end of World War II. His tour of duty took him to Paris, then the capital of the art world, back home, he enrolled at UC Berkeley, which granted him a bachelors degree in drawing and painting in 1949. He spent the year in Paris, studying with French artist Fernand Léger, then returned to UC Berkeley. Like many artists of his generation, Colescott maintained parallel careers as a committed and influential educator and he moved to the Pacific Northwest after graduation from UC Berkeley and began teaching at Portland State University. He was on there from 1957 to 1966. In 1964 he took a sabbatical with a grant from the American Research Center in Cairo. He returned to Portland for a year but went back to Egypt as a professor at the American University of Cairo from 1966 to 1967. When war broke out, he and his moved to Paris for three years. They returned to California in 1970 and he spent the next 15 years painting and teaching art at Cal State, Stanislaus, UC Berkeley, Colescott accepted a position as a visiting professor at the University of Arizona in Tucson in 1983, and joined the faculty in 1985. In 1990 he became the first art department faculty member to be honored with the title of Regents Professor, Colescotts work was included in the gallerys inaugural exhibition in 1961, and he was given his first solo show there in 1963
37.
Leon Dabo
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Leon Dabo was an American tonalist landscape artist best known for his paintings of New York, particularly the Hudson Valley. His paintings were known for their feeling of spaciousness, with areas of the canvas that had little but land, sea. During his peak, he was considered a master of his art, earning praise from such luminaries as John Spargo, Bliss Carman, Benjamin De Casseres, Edwin Markham and his brother, Scott Dabo, was also a noted painter. Dabo, the eldest of three brothers, was born in Paris, France but recently available documents state he was born in Saverne. His father Ignace Scott Dabo was a professor of aesthetics and a classical scholar and he supplemented Leons formal education with Latin, French, and drawing. He then became a student of John LaFarge, and the two of them would remain friends until LaFarges death. He also studied part-time at the Académie Colarossi and the École des Beaux-Arts, although Impressionism was gaining hold at this time, Dabo did not find that movement to his taste. Dabo also studied briefly at the Academy of Fine Arts Munich, but the nascent form of German Expressionism did not appeal to him and he moved on to Italy and this was followed by a year in Nancy, France, studying color with Émile Lauge, a physicist. Whistler would have an influence on Dabos style. While in London, Dabo met Mary Jane Jennie Ford, they married in 1889, after Jennies death in 1945, Dabo officially married his wife since the 1930s, Stephanie Ofenthal. He returned in New York in 1890 and began his career as a muralist, noted critics such as Sadakichi Hartmann, Royal Cortissoz and J. Nilson Laurvik showered praise on his paintings. As Dabos success grew, it was met with by jealousy on the part of Scott, by all accounts, Leon consistently championed his brothers work and the two of them often exhibited together. He even held power of attorney to act as Scotts representative with prospective buyers in Europe, when Scott went to study in Paris in 1902, Leon wrote letters of introduction on his behalf. However, reviews in the press were more favorable to Leon, buyers were more interested in Leons work. Although the Dabo sisters sided with Louis and Scott, Leon simply refuted the charges, aligning himself with the insurgents of the art world, Dabo participated in the Exhibition of Contemporary Art at the National Arts Club in 1908. Later that year he showed with the Allied Artists Association, a newly organized artist group in London mounting non-juried exhibitions, in that same year Dabo became the leader of The Pastellists, a somewhat radical artist exhibition society. He was an exhibitor at the MacDowell Club in their non-juried exhibitions. A charter member of the Association of American Painters and Sculptors, Dabo was an organizer of the International Exhibition of Modern Art in 1913
38.
Thomas Wilmer Dewing
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Thomas Wilmer Dewing was an American painter working at the turn of the 20th century. Schooled in Paris, Dewing was noted for his paintings of aristocratic women. He was a member of the Ten American Painters and taught at the Art Students League of New York. The Freer Gallery of Art at the Smithsonian Institution has a collection of his works and he was the husband of fellow artist Maria Oakey Dewing. He was born in Boston, Massachusetts and was an apprentice as a boy or young man. He studied at the Académie Julian in Paris with Gustave Boulanger, there he learned an academic technique, the careful delineation of volumetric form and meticulous but subtle evocation of texture were to be constant features of his work. He moved to New York in 1880 where he met and married Maria Oakey Dewing and they had a son who died while an infant. In 1885 their daughter Elizabeth was born, the Dewings spent their summers at the Cornish Art Colony in New Hampshire from 1885 to 1905. Upon his return to the United States from France in 1878 and he began teaching at the Art Students League of New York in 1881, the same year he married Maria Oakley. He is best known for his tonalist paintings, a genre of American art that was rooted in English Aestheticism, Dewings preferred vehicle of artistic expression is the refined, aristocratic female figure situated in a moody and dreamlike surrounding. He was elected into the National Academy of Design in 1888, Dewing was a founding member of the Ten American Painters in 1898, a group of artists who seceded from the Society of American Artists in 1897. He joined the Society of Landscape Painters, founded in 1899, key collectors of his works were John Gellatly and Charles Lang Freer. He did not paint much after 1920 and lived out his years in his Cornish. His wife died in 1927 in New York City and Dewing died in New York in 1938, C. and the Detroit Institute of Arts. The shows ran from March 1996 through January 1997, the exhibition was made possible from funding from The Overbrook Foundation, the David Schwartz Foundation, and the National Endowment for the Arts. His works are in collections and museums in the United States. At the Freer Gallery of the Smithsonian Institution, a room is devoted to Dewings paintings, works by or about Thomas Dewing at Internet Archive Major body of Dewings work located at the Smithsonian Institution, Washington, D. C
39.
Thomas Eakins
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Thomas Cowperthwait Eakins was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important artists in American art history and he painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the offer an overview of the intellectual life of Philadelphia in the late 19th and early 20th centuries, individually. These active outdoor venues allowed him to paint the subject which most inspired him, in the process he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Eakins also took a keen interest in the new technologies of motion photography, No less important in Eakins life was his work as a teacher. As an instructor he was an influential presence in American art. Eakins was a figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as the strongest, most profound realist in nineteenth-, Eakins was born and lived most of his life in Philadelphia. He was the first child of Caroline Cowperthwait Eakins, a woman of English and Dutch descent, and Benjamin Eakins, Benjamin Eakins grew up on a farm in Valley Forge, Pennsylvania, the son of a weaver. He was successful in his profession, and moved to Philadelphia in the early 1840s to raise his family. Thomas Eakins observed his father at work and by twelve demonstrated skill in precise line drawing, perspective, and he was an athletic child who enjoyed rowing, ice skating, swimming, wrestling, sailing, and gymnastics—activities he later painted and encouraged in his students. Eakins attended Central High School, the public school for applied science and arts in the city. He studied drawing and anatomy at the Pennsylvania Academy of the Fine Arts beginning in 1861, for a while, he followed his fathers profession and was listed in city directories as a writing teacher. His scientific interest in the body led him to consider becoming a surgeon. Eakins then studied art in Europe from 1866 to 1870, notably in Paris with Jean-Léon Gérôme, being only the second American pupil of the French realist painter, famous as a master of Orientalism. He also attended the atelier of Léon Bonnat, a realist painter who emphasized anatomical preciseness, a method adapted by Eakins. A letter home to his father in 1868 made his aesthetic clear, She is the most beautiful thing there is in the world except a naked man, already at age 24, nudity and verity were linked with an unusual closeness in his mind. Yet his desire for truthfulness was more expansive, and the home to Philadelphia reveal a passion for realism that included, but was not limited to
40.
Childe Hassam
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Frederick Childe Hassam was an American Impressionist painter, noted for his urban and coastal scenes. Along with Mary Cassatt and John Henry Twachtman, Hassam was instrumental in promulgating Impressionism to American collectors, dealers, and museums. He produced over 3,000 paintings, oils, watercolors, etchings, and lithographs over the course of his career, Hassam was born in his family home on Olney Street in Dorchester, Boston, in 1859. His father Frederick was a moderately successful cutlery businessman with a collection of art. He descended from a line of New Englanders. His mother, Rosa, a native of Maine, shared an ancestor with American novelist Nathaniel Hawthorne and his father claimed descent from a seventeenth-century English immigrant whose name, Horsham, had been corrupted over time to Hassam. With his dark complexion and heavily lidded eyes, many took Childe Hassam to be of Middle Eastern descent - speculation which he enjoyed stoking, Hassam demonstrated an interest in art early. He had his first lessons in drawing and watercolor while attending The Mather School, as a child, Hassam excelled at boxing and swimming at Dorchester High School. A disastrous fire in November 1872 wiped out much of Bostons commercial district, Hassam left high school after two years despite his uncles offer to pay for a Harvard education. Hassam preferred to support his family by working. His father arranged a job in the department of publisher Little. During that time, Hassam studied the art of engraving and found employment with George Johnson. He quickly proved an adept draftsman and he produced designs for commercial engravings such as letterheads, around 1879, Hassam began creating his earliest oil paintings, but his preferred medium was watercolor, mostly outdoor studies. In 1882, Hassam became an illustrator, and established his first studio. He specialized in illustrating childrens stories for such as Harpers Weekly, Scribners Monthly. He continued to develop his technique while attending drawing classes at the Lowell Institute and at the Boston Art Club, by 1883, Hassam was exhibiting publicly and had his first solo exhibition, of watercolors, at the Williams and Everett Gallery in Boston. The following year, his friend Celia Thaxter convinced him to drop his first name and he also began to add a crescent symbol in front of his signature, the meaning of which remains unknown. Having had relatively little formal art training, Hassam was advised by his friend Edmund H. Garrett to take a study trip with Garrett to Europe during the summer of 1883
41.
Robert Henri
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Robert Henri was an American painter and teacher. Robert Henri was born Robert Henry Cozad in Cincinnati, Ohio to Theresa Gatewood Cozad and John Jackson Cozad, Henri was a distant cousin of the painter Mary Cassatt. In 1871, Henris father founded the town of Cozaddale, Ohio, in 1873, the family moved west to Nebraska, where John J. Cozad founded the town of Cozad. In October 1882, Henris father became embroiled in a dispute with a rancher, Alfred Pearson, when the dispute turned physical, Cozad shot Pearson fatally with a pistol. Cozad was eventually cleared of wrongdoing, but the mood of the town turned against him and he fled to Denver, Colorado, and the rest of the family followed shortly afterwards. In order to themselves from the scandal, family members changed their names. The father became known as Richard Henry Lee, and his sons posed as adopted children under the names Frank Southern, in 1883, the family moved to New York City, then to Atlantic City, New Jersey, where the young artist completed his first paintings. In 1886, Henri enrolled at the Pennsylvania Academy of the Fine Arts in Philadelphia, where he studied under Thomas Anshutz, a protege of Thomas Eakins and his European study had helped Henri develop rather catholic tastes in art. He was admitted into the École des Beaux Arts and he visited Brittany and Italy during this period. At the end of 1891, he returned to Philadelphia, studying under Robert Vonnoh at the Pennsylvania Academy, in 1892, he began teaching at the Philadelphia School of Design for Women. A born teacher, Henry enjoyed immediate success at the school and they called themselves the Charcoal Club. Their gatherings featured life drawing, raucous socializing, and readings and discussions of Ralph Waldo Emerson, Walt Whitman, Émile Zola, Henry David Thoreau, William Morris Hunt, by 1895, Henri had come to reconsider his earlier love of Impressionism, calling it a new academicism. He was urging his friends and proteges to create a new, more realistic art that would speak directly to their own time and he believed that it was the right moment for American painters to seek out fresh, less genteel subjects in the modern American city. The paintings by Henri, Sloan, Glackens, Luks, Shinn and they spurned academic painting and Impressionism as an art of mere surfaces. Art critic Robert Hughes declared that, Henri wanted art to be akin to journalism. He wanted paint to be as real as mud, as the clods of horse-shit and snow, for several years, Henri divided his time between Philadelphia and Paris, where he met the Canadian artist James Wilson Morrice. Morrice introduced Henri to the practice of painting pochades on tiny wood panels that could be carried in a coat pocket along with a kit of brushes. This method facilitated the kind of spontaneous depictions of scenes which would come to be associated with his mature style
42.
Winslow Homer
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Winslow Homer was an American landscape painter and printmaker, best known for his marine subjects. He is considered one of the foremost painters in 19th-century America, largely self-taught, Homer began his career working as a commercial illustrator. He subsequently took up oil painting and produced major studio works characterized by the weight and he also worked extensively in watercolor, creating a fluid and prolific oeuvre, primarily chronicling his working vacations. Born in Boston, Massachusetts in 1836, Homer was the second of three sons of Charles Savage Homer and Henrietta Benson Homer, both from long lines of New Englanders and his mother was a gifted amateur watercolorist and Homers first teacher. She and her son had a relationship throughout their lives. Homer took on many of her traits, including her quiet, strong-willed, terse, sociable nature, her dry sense of humor, Homer had a happy childhood, growing up mostly in then rural Cambridge, Massachusetts. He was a student, but his art talent was evident in his early years. Homers father was a volatile, restless businessman who was looking to make a killing. When Homer was thirteen, Charles gave up the store business to seek a fortune in the California gold rush. When that failed, Charles left his family and went to Europe to raise capital for other schemes that didnt materialize. After Homers high school graduation, his father saw a newspaper advertisement, Homers apprenticeship at the age of 19 to J. H. Bufford, a Boston commercial lithographer, was a formative but treadmill experience. He worked repetitively on sheet music covers and other work for two years. By 1857, his career was underway after he turned down an offer to join the staff of Harpers Weekly. From the time I took my nose off that lithographic stone, Homer later stated, I have had no master, Homers career as an illustrator lasted nearly twenty years. His quick success was due to this strong understanding of graphic design. Before moving to New York in 1859, Homer lived in Belmont and his uncles Belmont mansion, the 1853 Homer House, was the inspiration for a number of his early illustrations and paintings, including several of his 1860s croquet pictures. The Homer House, owned by the Belmont Womans Club, is open for public tours, in 1859, he opened a studio in the Tenth Street Studio Building in New York City, the artistic and publishing capital of the United States. Until 1863, he attended classes at the National Academy of Design, and studied briefly with Frédéric Rondel, in only about a year of self-training, Homer was producing excellent oil work
43.
George Inness
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George Inness was a prominent American landscape painter and georgist activist. Neither pure realist nor impressionist, Inness was a figure who intended for his works to combine both the earthly and the ethereal in order to capture the complete essence of a locale. In Inness’s words, he attempted through his art to demonstrate the reality of the unseen”, within his own lifetime, art critics hailed Inness as one of Americas greatest artists. George Inness was born in Newburgh, New York and he was the fifth of thirteen children born to John William Inness, a farmer, and his wife, Clarissa Baldwin. His family moved to Newark, New Jersey when he was five years of age. In 1839 he studied for months with an itinerant painter. In his teens, Inness worked as a map engraver in New York City, during this time he attracted the attention of French landscape painter Régis François Gignoux, with whom he subsequently studied. He debuted his work at the National Academy in 1844, Inness opened his first studio in New York in 1848. In 1849, he married Delia Miller, who died a few months later, the next year he married Elizabeth Abigail Hart, with whom he would have six children. In 1851 a patron named Ogden Haggerty sponsored Inness first trip to Europe to paint, Inness spent fifteen months in Rome, where he studied landscapes by Claude Lorrain and Nicolas Poussin. He also rented a studio there above that of painter William Page, in 1853 he was elected into the National Academy of Design as an Associate member and became a full Academician in 1868. During trips to Paris in the early 1850s, Inness came under the influence of working in the Barbizon school of France. Barbizon landscapes were noted for their looser brushwork, darker palette, Inness quickly became the leading American exponent of Barbizon-style painting, which he developed into a highly personal style. In 1854 his son George Inness, Jr. who also became a painter of note, was born in Paris. In the mid-1850s, Inness was commissioned by the Delaware, Lackawanna, Inness moved from New York City to Medfield, Massachusetts in 1860, where he converted a barn into a studio. In 1862-63, he was an art teacher to Charles Dormon Robinson and he then to Eagleswood, New Jersey in 1864. He returned to Europe in the spring of 1870, living in Rome and touring Tivoli, Lake Albano, in 1878, he returned to New York, taking a studio in the New York University Building. The same year, he participated in the Universal Exposition in Paris
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