1.
Williamsport, Pennsylvania
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Williamsport is a city in and the county seat of Lycoming County, Pennsylvania, United States. In 2009, the population was estimated at 29,304 and it is the principal city of the Williamsport, Pennsylvania Metropolitan Statistical Area, which has a population of about 117,000. Williamsport was settled by Americans late in the 18th century, by the early 20th century, the town reached the height of its prosperity and the population has since declined by about a third from its peak of around 45,000 in 1950. Williamsport is the birthplace of Little League Baseball, south Williamsport, a town nearby, is the headquarters of Little League Baseball and annually hosts the Little League World Series in late summer. Colonial settlement in what is today Williamsport dates back to 1786, Williamsport was incorporated as a borough on March 1,1806, and as a city on January 15,1866. In the late 19th century, Williamsport was known as The Lumber Capital of the World because of its lumber industry. The city is the home of Little League Baseball, founded in 1939 as a three-team league. Following World War II the citys population and economic prosperity have declined, in 1763 the Battle of Muncy Hills took place during the French and Indian War. It was a clash between the Native Americans and colonists seeking homestead sites in Native American territory, in 1768, at the Treaty of Fort Stanwix, the British purchased the land that became Lycoming County from the Iroquois Nation who controlled the lands. In 1786 the first house was built in Williamsport, James Russell built his inn on what is now the corner of East Third and Mulberry Streets in downtown. On April 13,1795 Lycoming County was formed from Northumberland County and it encompassed all the lands of Northumberland County situated west of Muncy Hills and was a domain of 12,500 square miles, comprising most of north central Pennsylvania. In 1796 the first recorded childbirth in Williamsport was James Russell the son of Mr. in 1798 the first brick house in Williamsport was erected on Front Street, between Market and Mulberry, by Andrew Tulloh, a lawyer. The bricks were made on the banks of Grafius Run where that stream crossed Hepburn Street. In 1799, a post office opened at the corner of Third and State Streets in what is now downtown, and the following year, the post office was later converted to a saloon, In 1801 the towns first store was opened by William Winter on Third Street. In 1831 Jacob L. Mussina established the Repasz Band, the oldest brass band in America still in existence, on Oct.151834 The West Branch Canal opened and the first boat to pass through the canal en route to Jersey Shore was that of George Aughenbaugh. The first freight carried into town was iron for the foundry of John B. Hall, the same year the enactment of the common school law by Pennsylvania Legislature led to public education here. In May 1835, the first public schools opened in Williamsport and also the towns first bank, in 1849 the Market Street Bridge was built over the West Branch Susquehanna River. It was opened as a bridge to cover the states costs of $23,797
2.
New York City
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The City of New York, often called New York City or simply New York, is the most populous city in the United States. With an estimated 2015 population of 8,550,405 distributed over an area of about 302.6 square miles. Located at the tip of the state of New York. Home to the headquarters of the United Nations, New York is an important center for international diplomacy and has described as the cultural and financial capital of the world. Situated on one of the worlds largest natural harbors, New York City consists of five boroughs, the five boroughs – Brooklyn, Queens, Manhattan, The Bronx, and Staten Island – were consolidated into a single city in 1898. In 2013, the MSA produced a gross metropolitan product of nearly US$1.39 trillion, in 2012, the CSA generated a GMP of over US$1.55 trillion. NYCs MSA and CSA GDP are higher than all but 11 and 12 countries, New York City traces its origin to its 1624 founding in Lower Manhattan as a trading post by colonists of the Dutch Republic and was named New Amsterdam in 1626. The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, New York served as the capital of the United States from 1785 until 1790. It has been the countrys largest city since 1790, the Statue of Liberty greeted millions of immigrants as they came to the Americas by ship in the late 19th and early 20th centuries and is a symbol of the United States and its democracy. In the 21st century, New York has emerged as a node of creativity and entrepreneurship, social tolerance. Several sources have ranked New York the most photographed city in the world, the names of many of the citys bridges, tapered skyscrapers, and parks are known around the world. Manhattans real estate market is among the most expensive in the world, Manhattans Chinatown incorporates the highest concentration of Chinese people in the Western Hemisphere, with multiple signature Chinatowns developing across the city. Providing continuous 24/7 service, the New York City Subway is one of the most extensive metro systems worldwide, with 472 stations in operation. Over 120 colleges and universities are located in New York City, including Columbia University, New York University, and Rockefeller University, during the Wisconsinan glaciation, the New York City region was situated at the edge of a large ice sheet over 1,000 feet in depth. The ice sheet scraped away large amounts of soil, leaving the bedrock that serves as the foundation for much of New York City today. Later on, movement of the ice sheet would contribute to the separation of what are now Long Island and Staten Island. The first documented visit by a European was in 1524 by Giovanni da Verrazzano, a Florentine explorer in the service of the French crown and he claimed the area for France and named it Nouvelle Angoulême. Heavy ice kept him from further exploration, and he returned to Spain in August and he proceeded to sail up what the Dutch would name the North River, named first by Hudson as the Mauritius after Maurice, Prince of Orange
3.
Pennsylvania Academy of the Fine Arts
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The Pennsylvania Academy of the Fine Arts is a museum and art school in Philadelphia, Pennsylvania. It was founded in 1805 and is the first and oldest art museum, the academys museum is internationally known for its collections of 19th- and 20th-century American paintings, sculptures, and works on paper. Its archives house important materials for the study of American art history, museums, the Pennsylvania Academy of the Fine Arts was founded in 1805 by painter and scientist Charles Willson Peale, sculptor William Rush, and other artists and business leaders. The growth of the Academy of Fine Arts was slow and it opened as a museum in 1807 and held its first exhibition in 1811, where more than 500 paintings and statues were on display. The first school classes held in the building were with the Society of Artists in 1810, in 1876, former Academy student Thomas Eakins returned to teach as a volunteer. Fairman Rogers, chairman of the Committee on Instruction from 1878 to 1883, made him a faculty member in 1878, Eakins revamped the certificate curriculum to what it remains today. From 1811 to 1969, the Academy also organized important annual art exhibitions from which significant acquisitions were made, harrison S. Morris, Managing Director from 1892 to 1905, collected contemporary American art for the institution. Among the many masterpieces acquired during his tenure were works by Cecilia Beaux, William Merritt Chase, Frank Duveneck, Thomas Eakins, Winslow Homer, Childe Hassam, and Edmund Tarbell. Work by The Eight, which included former Academy students Robert Henri and John Sloan, is represented in the collection. From 1890 to 1906, Edward Hornor Coates served as the president of the Academy. In 1915, Coates was awarded the Academys gold medal, rich endowments were made to the schools, a gallery of national portraiture was formed, and some of the best examples of Gilbert Stuarts work acquired. The annual exhibitions attained a brilliancy and éclat hitherto unknown, mr. Coates wisely established the schools upon a conservative basis, building almost unconsciously the dykes high against the oncoming flow of insane novelties in art patterns. In this last struggle against modernism the President was ably supported by Eakins, Anschutz, Grafly, Thouron, Vonnoh and his unfailing courtesy, his disinterested thoughtfulness, his tactfulness, and his modesty endeared him to scholars and masters alike. No sacrifice of time or of means was too great, if he thought he could accomplish the end he always had in view—the honour, during World War I, Academy students were actively involved in war work. About sixty percent of the men enlisted or entered Government service. A war service club was formed by students and a monthly publication, George Harding, a former PAFA student, was commissioned Captain during the war and created official combat sketches for the American Expeditionary Forces. Prior to the founding of the Academy, there were limited opportunities for women to receive training in the United States. Realizing the rise in interest of women, this period between the mid-19th and early 20th century shows a remarkable growth of formally trained women artists
4.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
5.
Comics
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Comics is a medium used to express ideas by images, often combined with text or other visual information. Comics frequently takes the form of juxtaposed sequences of panels of images, often textual devices such as speech balloons, captions, and onomatopoeia indicate dialogue, narration, sound effects, or other information. Size and arrangement of panels contribute to narrative pacing, cartooning and similar forms of illustration are the most common image-making means in comics, fumetti is a form which uses photographic images. Common forms of comics include comic strips, editorial and gag cartoons, since the late 20th century, bound volumes such as graphic novels, comic albums, and tankōbon have become increasingly common, and online webcomics have proliferated in the 21st century. The history of comics has followed different paths in different cultures, scholars have posited a pre-history as far back as the Lascaux cave paintings. By the mid-20th century, comics flourished particularly in the United States, western Europe, histories of Japanese comics and cartooning propose origins as early as the 12th century. Comics has had a reputation for much of its history. The English term comics is used as a noun when it refers to the medium. Though the term derives from the work that predominated in early American newspaper comic strips. It is common in English to refer to the comics of different cultures by the used in their original languages, such as manga for Japanese comics. The increasing cross-pollination of concepts from different comics cultures and eras has further made definition difficult, examples of early comics The European, American, and Japanese comics traditions have followed different paths. Japan had a prehistory of satirical cartoons and comics leading up to the World War II era. The ukiyo-e artist Hokusai popularized the Japanese term for comics and cartooning, manga, in the post-war era modern Japanese comics began to flourish when Osamu Tezuka produced a prolific body of work. Illustrated humour periodicals were popular in 19th-century Britain, the earliest of which was the short-lived The Glasgow Looking Glass in 1825, the most popular was Punch, which popularized the term cartoon for its humorous caricatures. American comics developed out of magazines as Puck, Judge. The success of illustrated humour supplements in the New York World and later the New York American, particularly Outcaults The Yellow Kid, early Sunday strips were full-page and often in colour. Between 1896 and 1901 cartoonists experimented with sequentiality, movement, shorter, black-and-white daily strips began to appear early in the 20th century, and became established in newspapers after the success in 1907 of Bud Fishers Mutt and Jeff. In Britain, the Amalgamated Press established a style of a sequence of images with text beneath them, including Illustrated Chips
6.
The Wrestlers (Luks)
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The Wrestlers is a 1905 oil painting by George Luks held at the Museum of Fine Arts, Boston in Massachusetts, United States. The Wrestlers is Luks best-known work, the painting depicts two nude men wrestling. He painted it in order to members of the Pennsylvania Academy of the Fine Arts whom he called pink-and-white idiots. The Wrestlers was displayed at the 1908 Ashcan School exhibition, a 1910 article in New York World about the Exhibition of Independent Artists included an image of Luks The Wrestlers despite the fact that the painting did not appear in that exhibition. In a 1908 diary entry, painter John French Sloan writes that The Wrestlers is among the best paintings he ever encountered. In 1992, art critic Carol Clark identified The Wrestlers as one of Luks best works, calling it raw, roughly painted and reflective of Luks experiences in New York. In the 2009 Dictionary of Modern and Contemporary Art, Ian Chilvers, a Dictionary of Modern and Contemporary Art. What are the Seven Wonders of the World, laFeber, Walter, Richard Polenberg, Nancy Woloch. The American Century, A History of the United States Since the 1890s
7.
Ashcan School
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The movement has been seen as emblematic of the spirit of political rebellion of the period. The Ashcan School was not an organized movement, the artists who worked in this style did not issue manifestos or even see themselves as a unified group with identical intentions or career goals. Some were politically minded, and others were apolitical and their unity consisted of a desire to tell certain truths about the city and modern life they felt had been ignored by the suffocating influence of the Genteel Tradition in the visual arts. Robert Henri, in ways the spiritual father of this school. He wanted paint to be as real as mud, as the clods of horse-shit and snow and he urged his younger friends and students to paint in the robust, unfettered, ungenteel spirit of his favorite poet, Walt Whitman, and to be unafraid of offending contemporary taste. He believed that working-class and middle-class urban settings would provide material for modern painters than drawing rooms. The first known use of the ash can art is credited to artist Art Young in 1916. Photographers like Jacob Riis and Lewis Hine were also discussed as Ashcan artists, like many art-historical terms, Ashcan art has sometimes been applied to so many different artists that its meaning has become diluted. The advent of modernism in the United States spelled the end of the Ashcan schools provocative reputation and their rebellion was over not long after it had begun. It was the fate of the Ashcan realists to be seen by art lovers as too radical in 1910 and, by many more. The Ashcan school is linked to the group known as The Eight. The other three – Arthur B, reviews were mixed, but interest was high. Sales and exhibition opportunities for these painters increased significantly in the ensuing years, American Painting from the Armory Show to the Depression. New Haven, Yale University Press,1992, william Glackens and the Ashcan School, The Emergence of Realism in American Art. American Visions, The Epic Story of Art in America, Chicago, University of Chicago Press,2009. ISBN 0-8050-5221-6 Perlman, Bennard, introduction by Mrs. John Sloan, revolutionaries of Realism, The Letters of John Sloan and Robert Henri. Documenting the Gilded Age, New York City Exhibitions at the Turn of the 20th Century A New York Art Resources Consortium project, exhibition catalogs, checklists, and photoarchive material
8.
American Realism
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American Realism was a style in art, music and literature that depicted contemporary social realities and the lives and everyday activities of ordinary people. The movement began in literature in the century, and became an important tendency in visual art in the early 20th century. Whether a cultural portrayal or a view of downtown New York City. In America at the beginning of the 20th century a new generation of painters, writers, however they were interested in creating new and more urbane works that reflected city life and a population that was more urban than rural in America as it entered the new century. From the late 19th to the early 20th centuries, the United States experienced enormous industrial, economic, a continuous wave of European immigration and the rising potential for international trade brought increasing growth and prosperity to America. Through art and artistic expression, American Realism attempted to portray the exhaustion and cultural exuberance of the figurative American landscape, artists used the feelings, textures and sounds of the city to influence the color, texture and look of their creative projects. Musicians noticed the quick and fast paced nature of the early 20th century and responded with a fresh, writers and authors told a new story about Americans, boys and girls real Americans could have grown up with. Pulling away from fantasy and focusing on the now, American Realism presented a new gateway and a breakthrough—introducing modernism, the Ashcan School also known as The Eight and the group called Ten American Painters created the core of the new American Modernism in the visual arts. The Ashcan School was a group of New York City artists who sought to capture the feel of early-20th-century New York City and these artists preferred to depict the richly and culturally textured lower class immigrants, rather than the rich and promising Fifth Avenue socialites. One critic of the time did not like their choice of subjects, which included alleys, tenements, slum dwellers and they became known as the revolutionary black gang and apostles of ugliness. George Bellows, painted city life in New York City and his paintings had an expressionist boldness and a willingness to take risks. He had a fascination with violence as seen in his painting, Both Members of this Club, in his painting titled Cliff Dwellers, we find a city-scape that is not one particular view but a composite of many views. Robert Henri was an important American Realist and a member of The Ashcan School, Henri was interested in the spectacle of common life. He focused on individuals, strangers, quickly passing in the streets in towns and his was a sympathetic rather than a comic portrayal of people, often using a dark background to add to the warmth of the person depicted. Henris works were characterized by vigorous brushstrokes and bold impasto which stressed the materiality of the paint, Henri influenced Glackens, Luks, Shinn and Sloan. He would later refer to the Academy as a cemetery of art and he painted theater scenes from London, Paris and New York. He found interest in the spectacle of life, drawing parallels between the theater and crowded seats and life. Unlike Degas, Shinn depicted interaction between the audience and performer, Luks was an Ashcan school artist who lived on the Lower East Side of Manhattan
9.
Genre art
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Genre art is the pictorial representation in any of various media of scenes or events from everyday life, such as markets, domestic settings, interiors, parties, inn scenes, and street scenes. Such representations may be realistic, imagined, or romanticized by the artist, some variations of the term genre art specify the medium or type of visual work, as in genre painting, genre prints, genre photographs, and so on. Rather confusingly, the meaning of genre, covering any particular combination of an artistic medium. Painting was divided into a hierarchy of genres, with painting at the top, as the most difficult and therefore prestigious. But history paintings are a genre in painting, not genre works, the following concentrates on painting, but genre motifs were also extremely popular in many forms of the decorative arts, especially from the Rococo of the early 18th century onwards. Single figures or small groups decorated a huge variety of such as porcelain, furniture, wallpaper. Genre painting, also called genre scene or petit genre, depicts aspects of life by portraying ordinary people engaged in common activities. A work would often be considered as a genre work even if it could be shown that the artist had used a known member of his family. In this case it would depend on whether the work was likely to have intended by the artist to be perceived as a portrait—sometimes a subjective question. The depictions can be realistic, imagined, or romanticized by the artist, because of their familiar and frequently sentimental subject matter, genre paintings have often proven popular with the bourgeoisie, or middle class. Genre themes appear in all art traditions. These were part of a pattern of Mannerist inversion in Antwerp painting, giving low elements previously in the background of images prominent emphasis. The generally small scale of these paintings was appropriate for their display in the homes of middle class purchasers. Often the subject of a painting was based on a popular emblem from an Emblem book. The merry company showed a group of figures at a party, other common types of scenes showed markets or fairs, village festivities, or soldiers in camp. In Italy, a school of painting was stimulated by the arrival in Rome of the Dutch painter Pieter van Laer in 1625. He acquired the nickname Il Bamboccio and his followers were called the Bamboccianti, whose works would inspire Giacomo Ceruti, Antonio Cifrondi, jean-Baptiste Greuze and others painted detailed and rather sentimental groups or individual portraits of peasants that were to be influential on 19th-century painting. Spain had a tradition predating The Book of Good Love of social observation and commentary based on the Old Roman Latin tradition, practiced by many of its painters and illuminators
10.
New Jersey
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New Jersey is a state in the Northeastern and mid-Atlantic regions of the United States. It is bordered on the north and east by New York, on the southeast and south by the Atlantic Ocean, on the west by Pennsylvania, New Jersey is the fourth-smallest state but the 11th-most populous and the most densely populated of the 50 United States. New Jersey lies entirely within the statistical areas of New York City. New Jersey was inhabited by Native Americans for more than 2,800 years, in the early 17th century, the Dutch and the Swedes made the first European settlements. New Jersey was the site of decisive battles during the American Revolutionary War in the 18th century. In the 19th century, factories in cities such as Camden, Paterson, Newark, Trenton, around 180 million years ago, during the Jurassic Period, New Jersey bordered North Africa. The pressure of the collision between North America and Africa gave rise to the Appalachian Mountains, around 18,000 years ago, the Ice Age resulted in glaciers that reached New Jersey. As the glaciers retreated, they left behind Lake Passaic, as well as rivers, swamps. New Jersey was originally settled by Native Americans, with the Lenni-Lenape being dominant at the time of contact, scheyichbi is the Lenape name for the land that is now New Jersey. The Lenape society was divided into clans that were based upon common female ancestors. These clans were organized into three distinct phratries identified by their animal sign, Turtle, Turkey, and Wolf and they first encountered the Dutch in the early 17th century, and their primary relationship with the Europeans was through fur trade. The Dutch became the first Europeans to lay claim to lands in New Jersey, the Dutch colony of New Netherland consisted of parts of modern Middle Atlantic states. Although the European principle of ownership was not recognized by the Lenape. The first to do so was Michiel Pauw who established a patronship called Pavonia in 1630 along the North River which eventually became the Bergen, peter Minuits purchase of lands along the Delaware River established the colony of New Sweden. During the English Civil War, the Channel Island of Jersey remained loyal to the British Crown and it was from the Royal Square in St. Helier that Charles II of England was proclaimed King in 1649, following the execution of his father, Charles I. The North American lands were divided by Charles II, who gave his brother, the Duke of York, the region between New England and Maryland as a proprietary colony. James then granted the land between the Hudson River and the Delaware River to two friends who had remained loyal through the English Civil War, Sir George Carteret and Lord Berkeley of Stratton, the area was named the Province of New Jersey. Since the states inception, New Jersey has been characterized by ethnic, New England Congregationalists settled alongside Scots Presbyterians and Dutch Reformed migrants
11.
Frans Hals
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Frans Hals the Elder was a Dutch Golden Age portrait painter who lived and worked in Haarlem. He is notable for his loose painterly brushwork, and he helped introduce this style of painting into Dutch art. Hals played an important role in the evolution of 17th-century group portraiture, Hals was born in 1582 or 1583 in Antwerp as the son of cloth merchant Franchois Fransz Hals van Mechelen and his second wife Adriaentje van Geertenryck. Like many, Hals parents fled during the Fall of Antwerp from the Spanish Netherlands to Haarlem, Hals studied under Flemish émigré Karel van Mander, whose Mannerist influence, however, is barely noticeable in Hals work. In 1610, Hals became a member of the Haarlem Guild of Saint Luke and he worked on their large art collection that Karel van Mander had described in his Schilderboeck published in Haarlem in 1604. The most notable of these were the works of Geertgen tot Sint Jans, Jan van Scorel, however, the entire collection of paintings was not formally possessed by the city council until 1625, after the city fathers had decided which paintings were suitable for the city hall. The remaining art that was considered too Roman Catholic was sold to Cornelis Claesz van Wieringen and it was in this cultural context that Hals began his career in portraiture, since the market had disappeared for religious themes. The earliest known example of Hals art is the portrait of Jacobus Zaffius and his breakthrough came with the life-sized group portrait The Banquet of the Officers of the St George Militia Company in 1616. His most noted portrait today is the one of René Descartes which he made in 1649, Frans Hals married his first wife Anneke Harmensdochter around 1610. Frans was of Catholic birth, however, so their marriage was recorded in the city hall, unfortunately, the exact date is unknown because the older marriage records of the Haarlem city hall before 1688 have not been preserved. Bavochurch where both are buried, though Frans took over 40 years to join his first wife there, Anneke died in 1615, shortly after the birth of their third child and, of the three, Harmen survived infancy and one had died before Hals second marriage. As biographer Seymour Slive has pointed out, older stories of Frans Hals abusing his first wife were confused with another Haarlem resident of the same name. Indeed, at the time of charges, the artist had no wife to mistreat. After his first wife died, Hals took on the daughter of a fishmonger to look after his children and, in 1617. They married in Spaarndam, a village outside the banns of Haarlem. Frans Hals was a father, and they went on to have eight children. Contemporaries such as Rembrandt moved their households according to the caprices of their patrons, for this reason, we can be sure that all sitters were either from Haarlem or were visiting Haarlem when they had their portraits made. Hals work was in throughout his life, but he lived so long that he eventually went out of style as a painter
12.
John French Sloan
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John French Sloan was a twentieth-century painter and etcher and one of the founders of the Ashcan school of American art. He was also a member of the known as The Eight. He is best known for his genre scenes and ability to capture the essence of neighborhood life in New York City. Sloan grew up in Philadelphia, Pennsylvania, where he lived and worked until 1904 and he and his two sisters were encouraged to draw and paint from an early age. In the fall of 1884 he enrolled at the prestigious Central High School in Philadelphia, where his classmates included William Glackens and Albert C. In the spring of 1888, his father experienced a breakdown that left him unable to work. He dropped out of school in order to work full-time as an assistant cashier at Porter and Coates and his duties were light, allowing him many hours to read the books and examine the works in the stores print department. It was there that Sloan created his earliest surviving works, among which are copies after Dürer. He also began making etchings, which were sold in the store for a modest sum. In 1890, the offer of a higher salary persuaded Sloan to leave his position to work for A. Edward Newton, at Newtons, Sloan designed greeting cards and calendars and continued to work on his etchings. In that same year he attended a night drawing class at the Spring Garden Institute. He soon left Newtons business in quest of greater freedom as a commercial artist. In 1892, he working as an illustrator in the art department of The Philadelphia Inquirer. Later that same year, Sloan began taking evening classes at the Pennsylvania Academy of the Fine Arts under the guidance of the realist Thomas Anshutz, among his fellow students was his old schoolmate William Glackens. In 1892, Sloan met Robert Henri, a painter and charismatic advocate of artistic independence who became his mentor. Henri encouraged Sloan in his work and eventually convinced him to turn to painting. They shared a common outlook and in the coming years promoted a new form of realism. In 1893, Sloan and Henri founded the short-lived Charcoal Club together, whose members would also include Glackens, George Luks, towards the end of 1895, Sloan decided to leave The Philadelphia Inquirer to work in the art department of The Philadelphia Press
13.
William Glackens
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William James Glackens was an American realist painter and one of the founders of the Ashcan School of American art. He is also known for his work in helping Albert C. Barnes to acquire the European paintings that form the nucleus of the famed Barnes Foundation in Philadelphia. His dark-hued, vibrantly painted street scenes and depictions of life in pre-WW I New York. His later work was brighter in tone and showed the influence of Renoir. During much of his career as a painter, Glackens also worked as an illustrator for newspapers and magazines in Philadelphia, Glackens was born in Philadelphia, Pennsylvania, where his family had lived for many generations. William had two siblings, a sister, Ada, and an older brother, cartoonist and illustrator Louis Glackens. He graduated from the prestigious Central High School in 1890, throughout his school years, he showed a great interest in and aptitude for drawing and drafting. After graduation, Glackens became an artist-reporter for The Philadelphia Record, in 1892, he left that newspaper and began illustrating for the Philadelphia Press. He enrolled in evening classes at the Pennsylvania Academy of the Fine Arts, john Sloan also attended the Academy, and he introduced Glackens to Robert Henri, a talented painter and charismatic figure in Philadelphia art circles. Henri played host to regular gatherings at his studio, occasions to socialize, drink, sketch, talk about art. In 1895, Glackens traveled to Europe with several painters, including Henri, to paint. He first visited Holland where he studied the Dutch masters and he then moved to Paris, where he rented a studio for a year with Henri and enjoyed his first exposure to the art of the Impressionists and Post-Impressionists. While in Paris, Glackens painted independently, but did not attend any classes, later in life, a confirmed Francophile, Glackens returned periodically to paint in Paris and the south of France. Glackens later became a sketch artist for the New York Herald and he also worked as an illustrator for various magazines, including McClures Magazine, which sent him to Cuba to cover the Spanish–American War. At this time, Glackens was making a living as a magazine illustrator, in 1901, he exhibited at the Allen Gallery with Henri and Sloan and thereafter gained favorable notice as an up-and-coming artist. In 1904, Glackens married Edith Dimock, the daughter of a wealthy Connecticut family and she was also an artist, and they lived together in a Greenwich Village townhouse, where they raised two children, Lenna and Ira. If many of their artist friends lived a life by the standards of the day, such was not the case with William. In 1957, Ira Glackens published a book about his father
14.
Everett Shinn
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Everett Shinn was an American realist painter and member of the Ashcan School. He also exhibited with the group known as The Eight. He is best known for his robust paintings of life in New York and London, a hallmark of Ashcan art. His style varied considerably over the years, from gritty and realistic to decorative, Shinn was born in Woodstown, New Jersey, a large Quaker-dominated community. His parents Isaiah Conklin Shinn and Josephine Ransley Shinn were rural farmers and their second son, he was named for the author Edward Everett Hale, of whom his father was a great fan. Shinns ability to draw was evident from early childhood. At age 15 he was enrolled at the Spring Garden Institute in Philadelphia, the following year he took classes at the Pennsylvania Academy of the Fine Arts, and by age 17 was working as a staff artist for the Philadelphia Press. Moving to New York City in 1897, he was known as one of the more talented urban realists who were chronicling in paint the energy. In 1898 Shinn married Florence Flossie Scovel, another artist from New Jersey, in 1912 they divorced, by 1933 Shinn had divorced two more wives and was the subject of many tabloid rumors. He died of cancer in New York City in 1953. Shinn was reportedly a model for the talented, promiscuous artist-protagonist of Theodore Dreisers 1915 novel The Genius, with his well-known taste for the good life, Shinn was dubbed by art historian Sam Hunter the dandy of the realists. Most art historians, as well as Shinn himself, consider his employment by the Philadelphia Press the true beginning of his art career and he was entering the field of newspaper illustration in its heyday, and he was a draughtsman of great facility. Shinn moved from paper to paper for the rest of his illustrating career, the ability to convey animated movement and the attention to detail necessary for his newspaper illustrations is reflected in Shinns paintings and pastels, especially those treating urban themes. He ultimately illustrated for a range of popular journals over the next twenty years, including Harpers, Vanity Fair, Life, Look. Shinn also started displaying his paintings and pastels publicly in 1899 to mixed reactions, in 1900, he and Flossie traveled to Europe to allow him an opportunity to study other painters and to prepare to produce enough work for another exhibition. The trip influenced his art in years to come, he was taken with Impressionism. It was during Shinns time in Philadelphia that artists Robert Henri, John Sloan, the club, which was both ribaldly social and intellectual, is often thought of a point of origin for what became known as the Ashcan school of American art. To his friends and fellow artists, Henri urged the study of Whitman, Emerson, Zola, and Ibsen and the need for painters to forge a new style of art that spoke more to their time and experience
15.
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
16.
Walt Whitman
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Walter Walt Whitman was an American poet, essayist, and journalist. A humanist, he was a part of the transition between transcendentalism and realism, incorporating both views in his works, Whitman is among the most influential poets in the American canon, often called the father of free verse. His work was controversial in its time, particularly his poetry collection Leaves of Grass. Born in Huntington on Long Island, Whitman worked as a journalist, a teacher, early in his career, he also produced a temperance novel, Franklin Evans. Whitmans major work, Leaves of Grass, was first published in 1855 with his own money, the work was an attempt at reaching out to the common person with an American epic. He continued expanding and revising it until his death in 1892, after a stroke towards the end of his life, he moved to Camden, New Jersey, where his health further declined. When he died at age 72, his became an public spectacle. Walter Whitman was born on May 31,1819, in West Hills, Town of Huntington, Long Island, to parents with interests in Quaker thought, Walter, the second of nine children, he was immediately nicknamed Walt to distinguish him from his father. Walter Whitman, Sr. named three of his seven sons after American leaders, Andrew Jackson, George Washington, and Thomas Jefferson, the oldest was named Jesse and another boy died unnamed at the age of six months. The couples sixth son, the youngest, was named Edward, at age four, Whitman moved with his family from West Hills to Brooklyn, living in a series of homes, in part due to bad investments. Whitman looked back on his childhood as generally restless and unhappy, one happy moment that he later recalled was when he was lifted in the air and kissed on the cheek by the Marquis de Lafayette during a celebration in Brooklyn on July 4,1825. At age eleven Whitman concluded formal schooling, there, Whitman learned about the printing press and typesetting. He may have written sentimental bits of material for occasional issues. Clements aroused controversy when he and two attempted to dig up the corpse of Elias Hicks to create a plaster mold of his head. Clements left the Patriot shortly afterward, possibly as a result of the controversy, the following summer Whitman worked for another printer, Erastus Worthington, in Brooklyn. His family moved back to West Hills in the spring, but Whitman remained and took a job at the shop of Alden Spooner, at age 16 in May 1835, Whitman left the Star and Brooklyn. He moved to New York City to work as a compositor though, in later years, in May 1836, he rejoined his family, now living in Hempstead, Long Island. Whitman taught intermittently at various schools until the spring of 1838, after his teaching attempts, Whitman went back to Huntington, New York to found his own newspaper, the Long Islander
17.
Ralph Waldo Emerson
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Ralph Waldo Emerson was an American essayist, lecturer, and poet who led the transcendentalist movement of the mid-19th century. Emerson gradually moved away from the religious and social beliefs of his contemporaries, following this work, he gave a speech entitled The American Scholar in 1837, which Oliver Wendell Holmes Sr. considered to be Americas intellectual Declaration of Independence. Emerson wrote most of his important essays as lectures first and then revised them for print and his first two collections of essays, Essays, First Series and Essays, Second Series, represent the core of his thinking. They include the well-known essays Self-Reliance, The Over-Soul, Circles, The Poet, together with Nature, these essays made the decade from the mid-1830s to the mid-1840s Emersons most fertile period. Emersons nature was more philosophical than naturalistic, Philosophically considered, the universe is composed of Nature, Emerson is one of several figures who took a more pantheist or pandeist approach by rejecting views of God as separate from the world. He remains among the linchpins of the American romantic movement, and his work has influenced the thinkers, writers. When asked to sum up his work, he said his doctrine was the infinitude of the private man. Emerson is also known as a mentor and friend of Henry David Thoreau. Emerson was born in Boston, Massachusetts, on May 25,1803, a son of Ruth Haskins and the Rev. William Emerson and he was named after his mothers brother Ralph and his fathers great-grandmother Rebecca Waldo. Ralph Waldo was the second of five sons who survived adulthood, the others were William, Edward, Robert Bulkeley. Three other children—Phebe, John Clarke, and Mary Caroline—died in childhood, Emerson was entirely of English ancestry, and his family had been in New England since the early colonial period. Emersons father died from cancer on May 12,1811. Emerson was raised by his mother, with the help of the women in the family. She lived with the family off and on and maintained a constant correspondence with Emerson until her death in 1863, Emersons formal schooling began at the Boston Latin School in 1812, when he was nine. In October 1817, at 14, Emerson went to Harvard College and was appointed freshman messenger for the president, requiring Emerson to fetch delinquent students and send messages to faculty. Midway through his year, Emerson began keeping a list of books he had read. He took outside jobs to cover his expenses, including as a waiter for the Junior Commons and as an occasional teacher working with his uncle Samuel in Waltham. By his senior year, Emerson decided to go by his middle name, Emerson served as Class Poet, as was custom, he presented an original poem on Harvards Class Day, a month before his official graduation on August 29,1821, when he was 18
18.
Henrik Ibsen
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Henrik Johan Ibsen was a major 19th-century Norwegian playwright, theatre director, and poet. He is often referred to as the father of realism and is one of the founders of Modernism in theatre and he is the most frequently performed dramatist in the world after Shakespeare, and A Dolls House became the worlds most performed play by the early 20th century. Several of his dramas were considered scandalous to many of his era. Ibsens later work examined the realities that lay behind many façades and it utilized a critical eye and free inquiry into the conditions of life and issues of morality. The poetic and cinematic early play Peer Gynt, however, has strong surreal elements, Ibsen is often ranked as one of the most distinguished playwrights in the European tradition. Richard Hornby describes him as a profound poetic dramatist—the best since Shakespeare and he is widely regarded as the most important playwright since Shakespeare. He influenced other playwrights and novelists such as George Bernard Shaw, Oscar Wilde, Arthur Miller, James Joyce, Eugene ONeill, Ibsen was nominated for the Nobel Prize in Literature in 1902,1903, and 1904. Ibsen wrote his plays in Danish and they were published by the Danish publisher Gyldendal, born into a merchant family connected to the patriciate of Skien, Ibsen shaped his dramas according to his family background. He was the father of Prime Minister Sigurd Ibsen, Ibsens dramas continue in their influence upon contemporary culture and film with notable film productions including A Dolls House featuring Jane Fonda and A Master Builder featuring Wallace Shawn. Ibsen was born to Knud Ibsen and Marichen Altenburg, in a merchant family, in the small port town of Skien in Telemark county. Ibsens grandfather, ship captain Henrich Ibsen, had died at sea in 1797, Knud Ibsens paternal ancestors were ship captains of Danish origin, but he decided to become a merchant, having initial success. His marriage to Marichen Altenburg, a daughter of ship-owner Johan Andreas Altenburg, theodore Jorgenson points out that Henriks ancestry reached back into the important Telemark family of Paus both on the fathers and on the mothers side. Hedvig Paus must have well known to the young dramatist. Henrik Ibsen was fascinated by his parents strange, almost incestuous marriage, Henriks sister Hedvig would write about their mother, She was a quiet, lovable woman, the soul of the house, everything to her husband and children. She sacrificed herself time and time again, There was no bitterness or reproach in her. The Ibsen family eventually moved to a city house, Snipetorp, owned by Knud Ibsens half-brother, Ibsen would both model and name characters in his plays after his own family. At fifteen, Ibsen was forced to leave school and he moved to the small town of Grimstad to become an apprentice pharmacist and began writing plays. In 1846, when Ibsen was age 18, a liaison with a servant produced a child, whose upbringing Ibsen had to pay for until the boy was in his teens
19.
William Morris Hunt
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William Morris Hunt, American painter, was born at Brattleboro, Vermont to Jane Maria Hunt and Hon. Jonathan Hunt, who raised one of the preeminent families in American art, William Morris Hunt was the leading painter of mid-19th-century Boston, Massachusetts. Hunts fathers family, the Hunt family of Vermont, were among Vermonts founders and largest landowners, his mothers a family of wealth, Hunt attended Harvard College but withdrew in his junior year. The Hunt family remained in Europe for a dozen years, from the training and inspiration each of the brothers was to experience in the next several years in France would come great strides for each in his work, writes historian David McCullough. Mr. William Hunt is our most promising artist here, reported Thomas Appleton to his father, the companionship of Millet had a lasting influence on Hunts character and style, and his work grew in strength, in beauty and in seriousness. He was among the biggest proponents of the Barbizon school in America, benjamin wrote in a posthumous assessment of Hunt, To the late William M. Hunt that we must ascribe. The general impulse toward foreign styles now modifying the arts of design in this country, the power of Mr. Hunt was. Felt in directing a number of young art-students to visit Paris. On his return in 1855 he painted some of his most handsome canvases, all reminiscent of his life in France and of Millets influence. Evarts, Mrs Charles Francis Adams, the Rev. James Freeman Clarke, Senator Charles Sumner, William H. Gardner, Chief Justice Shaw and Judge Horace Gray. Sadly, many of Hunts paintings and sketches, together with five large Millets, Hunt owned many canvases by Millet, including Millets The Sower, for which Millet somewhat unwillingly accepted a payment of $60 from Hunt. Among his later works American landscapes predominated, in the summer of 1878, the year before his death, Hunt painted a series of sweeping views of Niagara Falls. His book, Talks about Art, was well received. Nor did Hunt confine himself to oil painting and he was prolific, working as a lithographer and sculptor as well. From 1850 to 1877 the Vermont native was Bostons leading portrait and landscape painter, Hunt is widely credited for having influenced the styles of Winslow Homer, Childe Hassam and John Joseph Enneking. Hunts signature lively brushwork, partly derived from study of contemporary European painting, marked a new phase in oil sketching that was carried on by Homer, other friends and associates included artist Frank Hill Smith. While a friend and student of Millet, Hunt is an original artist. In a bit of art history revisionism, some scholars are now re-examining Hunts powerful pull on other early New England artists, many better-known
20.
George Moore (novelist)
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George Augustus Moore was an Irish novelist, short-story writer, poet, art critic, memoirist and dramatist. Moore came from a Roman Catholic landed family who lived at Moore Hall in Carra and he originally wanted to be a painter, and studied art in Paris during the 1870s. There, he befriended many of the leading French artists and writers of the day, as a naturalistic writer, he was amongst the first English-language authors to absorb the lessons of the French realists, and was particularly influenced by the works of Émile Zola. George Moores family had lived in Moore Hall, near Lough Carra, the house was built by his paternal great-grandfather—also called George Moore—who had made his fortune as a wine merchant in Alicante. The novelists grandfather was a friend of Maria Edgeworth, and author of An Historical Memoir of the French Revolution and his great-uncle, John Moore, was president of the Province of Connacht in the short-lived Irish Republic of 1798 during the Irish Rebellion of 1798. George Henry was renowned as a landlord, fought to uphold the rights of tenants. His estate consisted of 5000 ha in Mayo, with a further 40 ha in County Roscommon, George Moore was born in Moore Hall in 1852. As a child, Moore enjoyed the novels of Walter Scott and he spent a good deal of time outdoors with his brother, Maurice George Moore, and also became friendly with the young Willie and Oscar Wilde, who spent their summer holidays at nearby Moytura. Oscar was to later quip of Moore, He conducts his education in public, for a while George was left at Cliffs stables until his father decided to send George to his alma mater facilitated by his winnings. Moores formal education started at St. Marys College, Oscott and he spent all of 1864 at home, having contracted a lung infection brought about by a breakdown in his health. His academic performance was poor while he was hungry and unhappy, in January 1865, he returned to St. Marys College with his brother Maurice, where he refused to study as instructed and spent time reading novels and poems. That December the principal, Spencer Northcote, wrote a report that, by the summer of 1867 he was expelled, for idleness and general worthlessness, and returned to Mayo. His father once remarked, about George and his brother Maurice, in 1868, Moores father was again elected MP for Mayo and the family moved to London the following year. He was freed from any burden of education when his father died in 1870, Moore, though still a minor, inherited the family estate that was valued at £3,596. He handed it over to his brother Maurice to manage and in 1873, on attaining his majority and it took him several attempts to find an artist who would accept him as a pupil. Monsieur Jullian, who had previously been a shepherd and circus masked man, at Académie Jullian he met Lewis Weldon Hawkins who became Moores flat-mate and whose trait, as a failed artist, show up in Moores own characters. While still in Paris his first book, a collection of poems called The Flowers of Passion, was self-published in 1877. The poems were derivative, maliciously reviewed by the critics who were offended by some of the depravities in store for moralistic readers and was withdrawn by Moore
21.
Joseph Pulitzer
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Joseph Pulitzer was a Hungarian-American newspaper publisher of the St. Louis Post Dispatch and the New York World. Pulitzer introduced the techniques of yellow journalism to the newspapers he acquired in the 1880s and he became a leading national figure in the Democratic Party and was elected congressman from New York. He crusaded against big business and corruption, and helped keep the Statue of Liberty in New York. Today, he is best known for the Pulitzer Prizes, which were established in 1917 by money he bequeathed to Columbia University to recognize artistic and journalistic achievements in the United States. The prizes are given annually to award achievements in American journalism and photography, as well as literature and history, poetry, music, Pulitzer founded the Columbia School of Journalism by his philanthropic bequest, it opened in 1912. He was born as Pulitzer József in Makó, about 200 km south-east of Budapest in Hungary, the Pulitzers were among several Jewish families living in the area, and had established a reputation as merchants and shopkeepers. Josephs father was a businessman, regarded as the second of the foremost merchants of Makó. Their ancestors emigrated from Moravia to Hungary at the end of the 18th century, in 1853, Fülöp Pulitzer was rich enough to retire. He moved his family to Pest, where he had the children educated by private tutors, in 1858, after Fülöps death, his business went bankrupt, and the family became impoverished. Joseph attempted to enlist in various European armies for work before emigrating to the United States, Pulitzer arrived in Boston in 1864 at the age of 17, his passage having been paid by Massachusetts military recruiters who were seeking soldiers for the long American Civil War. Learning that the recruiters were pocketing the lions share of his enlistment bounty, Pulitzer snuck away from the Deer Island recruiting station and he was paid $200 to enroll in the Lincoln Cavalry on September 30. He was a part of Sheridans troopers, in the First New York Lincoln Cavalry in Company L. where he served for eight months. Although he spoke three languages, German, Hungarian, and French, Pulitzer learned little English until after the war because his regiment was composed mostly of German immigrants, after the war, Pulitzer returned to New York City, where he stayed briefly. He moved to New Bedford, Massachusetts for the whaling industry and he returned to New York with little money. Flat broke, he slept in wagons on cobblestone side streets and he decided to travel by side-door Pullman to St. Louis, Missouri. He sold his one possession, a handkerchief, for 75 cents. When Pulitzer arrived at the city, he recalled, The lights of St. Louis looked like a land to me. In the city, his German was as useful as it was in Munich because of the large ethnic German population, in the Westliche Post, he saw an ad for a mule hostler at Benton Barracks
22.
New York World
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The New York World was a newspaper published in New York City from 1860 until 1931. The paper played a role in the history of American newspapers. It was a national voice of the Democratic Party. From 1883 to 1911 under publisher Joseph Pulitzer, it became a pioneer in yellow journalism, capturing readers attention, the World was formed in 1860. From 1862 to 1876, it was edited by Manton Marble, in 1864, the World was shut down for three days after it published forged documents purportedly from Abraham Lincoln. But Scott was unable to meet the newspapers growing losses, Gould, like Scott, used the paper for his own purposes, employing it to help him take over Western Union. But Gould could not turn the state of the newspaper around. Joseph Pulitzer bought the World in 1883 and began an era of circulation building. Reporter Nellie Bly became one of Americas first investigative journalists, often working undercover, as a publicity stunt for the paper, inspired by the Jules Verne novel Around the World in Eighty Days, she traveled around the planet in 72 days in 1889-1890. In 1890, Pulitzer built the New York World Building, the tallest office building in the world at the time, in 1889, Julius Chambers was appointed by Pulitzer as managing editor of the New York World, he served until 1891. In 1896, the World began using a printing press, it was the first newspaper to launch a color supplement. It joined a battle with William Randolph Hearsts New York Journal American. The World was attacked for being sensational, and its battles with Hearsts Journal American gave rise to the term yellow journalism. The charges of sensationalism were most frequently leveled at the paper by more established publishers, and while the World presented its fair share of crime stories, it also published damning exposés of tenement abuses. After a heat wave in 1883 killed a number of poor children. Its coverage spurred action in the city for reform, hearst reproduced Pulitzers approach in the San Francisco Examiner and later in the Journal American. Frank Irving Cobb was employed on a basis as the editor of the World in 1904 by publisher Pulitzer. Cobb was a fiercely independent Kansan who resisted Pulitzers attempts to run the office from his home, the elder man was so invested in the paper that he continually meddled with Cobbs work
23.
Hogan's Alley (comic strip)
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The Yellow Kid was the name of a lead American comic strip character that ran from 1895 to 1898 in Joseph Pulitzers New York World, and later William Randolph Hearsts New York Journal. Created and drawn by Richard F. Outcaults use of balloons in the Yellow Kid influenced the basic appearance and use of balloons in subsequent newspaper comic strips. Although a cartoon, Outcaults work aimed its humor and social commentary at Pulitzers adult readership, the strip has been described as. The Yellow Kid is also famous for its connection to the coining of the yellow journalism. Hogans Alley was filled with odd characters, mostly other children. With a goofy grin, the Kid habitually spoke in a ragged, peculiar slang, which was printed on his shirt, a device meant to lampoon advertising billboards. The Yellow Kids head was drawn wholly shaved as if having been recently ridden of lice and his nightshirt, a hand-me-down from an older sister, was white or pale blue in the first color strips. The character who would become the Yellow Kid first appeared on the scene in a minor supporting role in cartoon panel published in Truth magazine in 1894 and 1895. The World published another, newer Hogans Alley cartoon less than a later. Hogans Alley gradually became a full-page Sunday color cartoon with the Yellow Kid as its lead character, lukss version of the Yellow Kid introduced a pair of twins, Alex and George, also dressed in yellow nightshirts. Publication of both versions stopped abruptly after three years in early 1898, as circulation wars between the rival papers dwindled. Moreover, Outcault may have lost interest in the character when he realized he couldnt retain exclusive control over it. The Yellow Kids last appearance is most often noted as 23 January 1898 in a strip about hair tonic, the Yellow Kid appeared now and then in Outcaults later cartoon strips, most notably Buster Brown. The two newspapers which ran the Yellow Kid, Pulitzers World and Hearsts Journal American, quickly known as the yellow kid papers. With the Yellow Kids merchandising success as an icon, the strip came to represent the crass commercial world it had originally lampooned. Entertainment entrepreneur Gus Hill staged vaudeville plays based on the Yellow Strip and his version of McFaddens Flats was made into silent films in 1927 and 1935. The Yellow Kid made an appearance in the Marvel Universe in the Joss Whedon-written Runaways story, in this take on the character, he exhibits superhuman powers. The Yellow Kid Awards, an Italian comics award that is presented by the Italian International Comics, histoire de M. Vieux Bois Max and Moritz The Katzenjammer Kids Alfred E. F. Outcault Societys Yellow Kid site Yellow Kid Pinbacks
24.
Richard F. Outcault
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Richard Felton Outcault was an American cartoonist. He was the creator of the series The Yellow Kid and Buster Brown, Richard Felton Outcault was born on January 14,1863, in Lancaster, Ohio, to Catherine Davis and Jesse P. Outcalt—spelled without the u their son later added. He attended McMicken Universitys school of design in Cincinnati from 1878 to 1881, Outcault painted electric light displays for Edison Laboratories for the 1888 Centennial Exposition of the Ohio Valley and Middle Atlantic States in Cincinnati. This led to work with Edison in West Orange, New Jersey, doing mechanical drawings. Edison appointed him official artist for the traveling exhibition in 1889–90. While there he studied art in the Latin Quarter and added the u to his surname, in 1890 Outcault returned to the US, married, and moved to Flushing in New York City. He worked making technical drawings to Street Railway Journal and Electrical World, on the side he contributed to the humor magazines Truth, Puck, Judge and Life. The New York World newspaper began publishing cartoons in 1889, a color Sunday humor supplement began to run in the World in Spring 1893. The supplements editor Morrill Goddard contacted Outcault via Roy McCardell on the staff of Puck, Outcaults first cartoon for the paper appeared on September 16,1894, a six-panel, full-page comic strip titled Uncle Ebens Ignorance of the City. Though not the first strips to employ multi-panel narrative strips—even at the World—Outcaults were among the earliest and his primary subjects were African Americans who lived in a town called Possumville and Irish immigrants who lived in tenement slums. An Outcault cartoon from the June 2,1894, issue of Judge featured a big-eared, Outcault continued to the character, who made his debut in the World on January 13,1895. The kid appeared in color for the first time in the May 5 issue in a cartoon titled At the Circus in Hogans Alley. Outcault weekly Hogans Alley cartoons appeared from then on in color, starring rambunctious slum kids in the streets, in particular the bald kid, in the January 5 episode of Hogans Alley, Mickeys gown appeared in bright yellow. He soon became the star of the strip and became known as the Yellow Kid, the strips popularity drove up the Worlds circulation and the Kid was widely merchandised. Its level of success drove other papers to publish such strips, Outcault may not have benefited from the strips merchandise revenue. Though he applied at least three times, but does not appear to have granted a copyright on the strip. Common practice at the time would have given the publisher the copyrights to the strips they printed on a work-for-hire basis, a Californian newspaperman named William Randolph Hearst set up offices in New York after buying the failing New York Morning Journal, which he renamed the New York Journal. He bought a press and hired away the Worlds Sunday supplement staff, including Outcault
25.
Hunter Museum of American Art
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The Hunter Museum of American Art is an art museum in Chattanooga, Tennessee. The museum is situated on an 80-foot bluff overlooking the Tennessee River, the Faxon House, built in 1904, was built where a Confederate battery had been fought. Once a prestigious address for Victorian houses, the area is now home to the Bluffview Art District, the museum sits on a bluff that overlooks the Walnut Street Bridge. The Ruth S. and A. William Holmberg Pedestrian Bridge provides a connection to the nearby Walnut Street Bridge. The Hunter Museum is named after George Hunter, who inherited the Coca-Cola Bottling empire from his uncle Benjamin Thomas, Thomas was one of the entrepreneurs who created Chattanoogas Coca-Cola bottling empire. Their nephew, George Hunter, later joined Anne Thomas to create an organization in Hunters memory named the Benwood Foundation. The foundations mission was to promote religious, charitable, scientific, literary, the centerpiece of the Benwood Foundations gifts to the community of Chattanooga is the Hunter Museum of American Art, originally known as the Ross Faxon House. In 2002 the Hunter Museum of American Art partnered with the City of Chattanooga, the Tennessee Aquarium, the Hunter Museum portion of the project included a $22 million expansion and renovation, designed by Randall Stout that was completed in 2005. The Hunter Museum of American Art includes 100 years of architectures, the museum also travels nationally for exhibits and curated shows. The collection spans from the period to present day and covers a wide variety of media including painting, sculpture, contemporary studio glass. In 2006 the museum received national recognition from the Innovative Design in Engineering, the award recognizes outstanding achievements in engineering and architecture on structural steel projects around the country. The Hunter Museum project earned Merit Award recognition in the category of Projects $15-$75 million, in June 2015, the Hunter Museum of Art announced on their official website that they had chosen a new executive director, Virginia Ann Sharber. Hunter Museum of American Art website Benwood Foundation Website http, //www. benwood. org/
26.
National Academy Museum and School
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Durand, Thomas Cole, Martin E. Thompson, and others to promote the fine arts in America through instruction and exhibition. The Academy is an honorary organization, a school. The school offers instruction, master classes, intensive critiques, various workshops. The museum houses a collection of over 7,000 works of American art from the 19th, 20th. The Academy has been located at several locations over the years, notable among them was a building built during 1863-1865, designed by architect P. B. Wight in Venetian Gothic style, which was modeled on the Doges Palace in Venice, another locale was at West 109th Street and Amsterdam Avenue in Manhattan. Since 1942 the academy has occupied a mansion that was the home of sculptor Anna Hyatt Huntington and Archer Milton Huntington at Fifth Avenue. The original founders of the National Academy of Design were students of the American Academy of the Fine Arts, samuel F. B. Morse and other students set about forming the drawing association to meet several times each week for the study the art of design. Still, the association was viewed as a dependent organization of the American Academy, an attempt was made to reconcile the difference and maintain a single academy by appointing six of the artists from the association as directors of the American Academy. When four of the nominees were not elected, however, the frustrated artists resolved to form a new academy, among the teaching staff were numerous artists, including Will Hicok Low, who taught from 1889 to 1892. The famous American poet William Cullen Bryant also gave lectures, architect Alexander Jackson Davis taught at the Academy. Painter Lemuel Wilmarth was the first full-time instructor Gulian C, verplanck, a Congressman and a man of letters, gave an address at the school in 1824. and Silas Dustin was a curator
27.
Arthur Bowen Davies
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Arthur Bowen Davies was an avant-garde American artist and influential advocate of modern art in the United States c. Davies was born in Utica, New York, the show had a profound effect on him. He was especially impressed by Innesss tonalist landscapes and he worked as a magazine illustrator before devoting himself to painting. In 1892, Davies married Virginia Meriwether, one of New York States first female physicians, appearances notwithstanding, they were anything but a conventional couple, even aside from the fact that Davies was of a philandering nature. An urbane man with a formal demeanor, Arthur B, Davies was famously diffident and retiring. He would rarely invite anyone to his studio and, later in life, would go out of his way to old friends. Within a year of his marriage, Davies paintings began to sell, in turn-of-the-century America, he found a market for his gentle, expertly painted evocations of a fantasy world. Regular trips to Europe, where he immersed himself in Dutch art and came to love the work of Corot and Millet, helped him to hone his color sense and refine his brushwork. By the time he was in his forties, Davies had definitively proved his in-laws wrong and, represented by a prestigious Manhattan art dealer, William Macbeth, was making a comfortable living. His reputation at the time, and still today, rests on his figure paintings. In the 1920s, his works commanded high prices and he was recognized as one of the most respected. He was prolific, consistent, and highly skilled, Art history texts routinely cited him as one of Americas greatest artists. Important collectors like Duncan Phillips were eager to buy his latest drawings, watercolors and his friend Alfred Stieglitz, patron to many modern artists, regarded Davies as more broadly knowledgeable about contemporary art than anyone he knew. Davies also served as an advisor to many wealthy New Yorkers who wanted guidance about making purchases for their art collections, two of those collectors were Lizzie P. Bliss and Abby Aldrich Rockefeller, two of the founders of the Museum of Modern Art, whose Davies-guided collections eventually became a part of that museum. Davies was quietly but remarkably generous in his support of fellow artists and he was a mentor to the gifted but deeply troubled sculptor John Flannagan, whom he rescued from dire poverty and near-starvation. He helped finance Marsden Hartleys 1912 trip to Europe, which resulted in a phase of Hartleys career. He recommended to his own dealer financially strapped artists whose talent he believed in, yet Davies made enemies as well
28.
Ernest Lawson
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Though Lawson was primarily a landscape painter, he also painted a small number of realistic urban scenes. His painting style is influenced by the art of John Henry Twachtman, J. Alden Weir. Though considered an American Impressionist, Lawson falls stylistically between Impressionism and realism, Ernest Lawson was born in 1873 in Halifax, Nova Scotia, and arrived in the United States in 1888 and settled in Kansas City. He later continued to study with Twachtman and with J. Alden Weir at their Cos Cob, to some degree, one art historian has noted, Lawson was a product of the art colony movement. Lawson visited France in 1893 and studied at the Académie Julian with Jean-Joseph Benjamin-Constant and he practiced plein air painting in southern France and at Moret-sur-Loing, where he met the English Impressionist Alfred Sisley. In 1894, Lawson exhibited two paintings in the Salon. Lawson shared a Paris studio that year with W, upon his return to the United States in 1896, Lawson began developing his own aesthetic. He was further encouraged by Robert Henri, William Glackens, and his paintings form a procession of lonely vistas devoid of people, but are filled with an almost tactile sense of paint and an understated chromatic brilliance. The following year, he joined the group that would become known as The Eight, whose members included Robert Henri, William Glackens, John Sloan, George Luks, Everett Shinn. In many ways, Ernest Lawson was an unlikely rebel, unlike Henri, Sloan, and Luks, who were teachers as well, he had no worshipful student-following nor was he well-placed in art-political circles in New York, like Arthur B. He had his devoted fans—the Manhattan restaurateur James Moore owned a collection of Lawsons—but no one thought of him as a radical in any way. If anything, he had more in common with the member of the group, Maurice Predergast, in his steady reserve. The exhibition that the Eight staged at the prestigious Macbeth Galleries in New York in 1908 did just that, the exhibition of The Eight was the success de scandal its organizers hoped for. If sales did not quite measure up to their expectations, the painters nonetheless became centers of attention for some time. Conservative tastes were affronted, and young artists flocked to the Macbeth Galleries to see a range of modern representational art. The show later traveled to Chicago and Boston, where it occasioned more press coverage, Lawson and his friends had played a role in an important cultural event and in initiating debate about a needed diversity of style and subject matter in American art. At the same time, though, it was possible for people to wonder to what extent Lawson was an outsider at all. Later that year, he was named a member of the National Academy of Design. He exhibited as a member of the Canadian Art Club from 1911 to 1915 and he benefited from regular gallery representation, won many prizes throughout his career, and was highly regarded by his peers
29.
Maurice Prendergast
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Maurice Brazil Prendergast was an American Post-Impressionist artist who worked in oil, watercolor, and monotype. He exhibited as a member of The Eight, though the delicacy of his compositions and mosaic-like beauty of his style differed from the artistic intentions and philosophy of the group. Maurice Prendergast and his sister, Lucy, were born at their familys subarctic trading post in the city of St. Johns, in Newfoundland. After the trading post failed, the moved to Boston. He grew up in the South End and was apprenticed as a youth to a commercial artist and this conditioned him from the start to the brightly colored, flat patterning effects that characterized his mature work. He was also inspired by the example of Boston Impressionist Childe Hassam, a shy individual who experienced increasing deafness in his later years, Prendergast remained a bachelor throughout his life. He became closely attached to his younger brother Charles, who was also a post-impressionist painter, Prendergast studied in Paris from 1891 to 1895, at the Académie Colarossi with Gustave Courtois and Jean-Joseph Benjamin-Constant and at the Académie Julian. A further acquaintance with Édouard Vuillard and Pierre Bonnard placed him firmly in the Post-Impressionist camp and he also studied the work of Vincent van Gogh and Georges Seurat at retrospectives held in Paris in 1891 and 1892. Prendergast was additionally one of the first Americans to espouse the work of Paul Cézanne and to understand and utilize his expressive use of form, Prendergast returned to Boston in 1895 and worked mainly in watercolor and monotyping. A trip to Venice in 1898 exposed him to the scenes of Vittore Carpaccio and encouraged him to experiment with even more complex. His inventive watercolors of Venice are among his most appreciated works today, in 1900, he had major exhibitions at the Art Institute of Chicago and at Macbeth Galleries in New York, which earned him critical acclaim. He showed in a National Arts Club exhibition in 1904, through which he befriended the painters William Glackens, Robert Henri and he exhibited with them in 1908 at Macbeth Galleries, along with George Luks, Everett Shinn, and Arthur B. Davies, a group collectively known after the show as The Eight, Glackens in particular became a lifelong friend. Despite poor health that hindered his work, Prendergast continued to show in major exhibitions throughout the remainder of his life, important collectors like Albert Barnes and Ferdinand Howald became his patrons after his shows at the Carroll Gallery and the Daniel Gallery. His seven works at the landmark Armory Show of 1913 presented examples of his stylistic maturity and his first New York memorial exhibition was held ten years later at the Whitney Museum of American Art. He believed in a no jury, no prizes openness that would allow independent or unconventional artists greater opportunities to find a wider, Prendergast was far more a Modernist than any of the other seven members of The Eight. His ties to The Eight did not necessarily help his reputation in the long run, a true independent, he fits into no particular category of modern American art. Prendergasts work was associated from the beginning with leisurely scenes set on beaches
30.
Houston Street
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The streets name is pronounced HOW-stən, unlike the city of Houston in Texas, which is pronounced HYOO-stən. This is because the street was named for William Houstoun, whereas the city was named for Sam Houston, at its east end, Houston Street meets FDR Drive in an interchange at East River Park. West of FDR Drive it intersects with Avenue D, further west, other streets, including First Avenue, the Bowery, Lafayette Street and Broadway, intersect Houston Street. The Broadway intersection is the point between East Houston Street and West Houston Street. Sixth Avenue intersects Houston Street at a curve in the road in Greenwich Village, East of Sixth Avenue, Houston street is bidirectional and separated by a median, west of Sixth, the street is narrower and unidirectional westbound. West Houston Street terminates at an intersection with West Street near Pier 40 on the Hudson River, Houston Street is named for William Houstoun, who was a delegate from State of Georgia to the Continental Congress from 1784 through 1786 and to the Constitutional Convention in 1787. The street was christened by Nicholas Bayard III, whose daughter, the couple met while Houstoun, a member of an ancient and aristocratic Scottish family, was serving in the Congress. In those years, the Texas hero Sam Houston, for whom the street is sometimes said to have been named, was an unknown teenager in Tennessee. Also mistaken is the explanation that the name derives from the Dutch words huis for house and it later came to be regarded as the Villages southern boundary. In 1891, Nikola Tesla established his Houston Street laboratory, much of Teslas research was lost in an 1895 fire. The street, originally narrow, was widened from Sixth Avenue to Essex Street in the early 1930s during construction of the Independent Subway Systems Sixth Avenue Line. The street widening involved demolition of buildings on both sides of the street, resulting in small, empty lots. Although some of these lots have been redeveloped, many of them are now used by vendors, a reconstruction project has been rebuilding parts of the street since 2005, it is nearly complete as of 2014. As of 2010, Houston Street is served by the M21 New York City Bus route from the FDR Drive to Washington Street, the bus route itself had replaced an earlier streetcar line, which is now the M9 from Avenues A to C. Additionally, there is a station at Seventh Avenue, for the Houston Street, the Bleecker Street station has station entrances on the north side of Houston Street, due to its connection with the Broadway – Lafayette Street station as part of a larger station complex. Exit 5 on the FDR Drive is on Houston Street, the street also connects directly with West Street and the West Side Highway, however, by then, Houston Street is westbound-only. The New York Times, October 17,2004, forgotten New York - Street Scenes. Media related to Houston Street at Wikimedia Commons
31.
Saint Louis Art Museum
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The Saint Louis Art Museum is one of the principal U. S. art museums, with paintings, sculptures, cultural objects, and ancient masterpieces from all corners of the world. Its three-story building stands in Forest Park in St. Louis, Missouri, admission is free through a subsidy from the cultural tax district for St. Louis City and County. In addition to the exhibitions, the museum offers rotating exhibitions and installations. These include the Currents series, which features artists, as well as regular exhibitions of new media art. The museum was founded in 1881 as the Saint Louis School and Museum of Fine Arts, the school, led by directory Halsey C. Ives, educated two generations of St. Louis artists and craftspeople and offered studio and art history classes supported by a museum collection. After the school moved to Washington Universitys campus and the moved to Forest Park. The museum moved after the 1904 Worlds Fair, also known as the Louisiana Purchase Exposition, to the Palace of Fine Arts, the building was designed by architect Cass Gilbert, who took inspiration from the Baths of Caracalla in Rome, Italy. The Mildred Lane Kemper Art Museum remained part of Washington University, in 1908, the museums first director, Halsey Cooley Ives, arranged for a municipal tax to support the museum. The following year, the museum separated from Washington University and was renamed the City Art Museum, an organizing board was assigned to take control in 1912. During the 1950s, the added an extension to include an auditorium for films, concerts. In 1971, efforts to secure the financial future led voters in St. Louis City and County to approve the creation of the Metropolitan Zoological Park. This expanded the tax base for the 1908 tax to include St. Louis County, in 1972, the museum was again renamed, to the Saint Louis Art Museum. Today, the museum is supported financially by the tax, donations from individuals and public associations, sales in the Museum Shop, the St. Louis-based firm, Hellmuth, Obata, and Kassabaum was the architect of record to work with the construction team. On November 5,2007, museum officials released the plans to the public. A model of the new building was displayed in the museums Sculpture Hall throughout the construction project, in 2008, citing the declining state of the economy, the museum announced that it would delay the start of the expansion, whose cost was then estimated at $125 million. Construction began in 2009, the museum remained open, the expansion added more than 224,000 square feet of gallery space, including an underground garage, within the lease lines of the property. Money for the project was raised through private gifts to the campaign from individuals, foundations and corporations
32.
Brooklyn Museum
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The Brooklyn Museum is an art museum located in the New York City borough of Brooklyn. At 560,000 square feet, the museum is New York Citys third largest in physical size, the museum initially struggled to maintain its building and collection, only to be revitalized in the late 20th century, thanks to major renovations. Significant areas of the collection include antiquities, specifically their collection of Egyptian antiquities spanning over 3,000 years, African, Oceanic, and Japanese art make for notable antiquities collections as well. American art is represented, starting at the Colonial period. Artists represented in the collection include Mark Rothko, Edward Hopper, Norman Rockwell, Winslow Homer, Edgar Degas, Georgia OKeeffe, the museum also has a Memorial Sculpture Garden which features salvaged architectural elements from throughout New York City. The roots of the Brooklyn Museum extend back to the 1823 founding by Augustus Graham of the Brooklyn Apprentices’ Library in Brooklyn Heights, in 1890, under its director Franklin Hooper, Institute leaders reorganized as the Brooklyn Institute of Arts and Sciences and began planning the Brooklyn Museum. The initial design for the Brooklyn Museum was four times as large as the actualized version, Daniel Chester French, the noted sculptor of the Lincoln Memorial, was the principal designer of the pediment sculptures and the monolithic 12. 5-foot figures along the cornice. The figures were created by 11 sculptors and carved by the Piccirilli Brothers, by 1920, the New York City Subway reached the museum with a subway station, this greatly improved access to the once-isolated museum from Manhattan and other outer boroughs. The Brooklyn Institutes director Franklin Hooper was the museums first director and he was followed by Philip Newell Youtz, Laurance Page Roberts, Isabel Spaulding Roberts, Charles Nagel, Jr. and Edgar Craig Schenck. Thomas S. Buechner became the director in 1960, making him one of the youngest directors in the country. Buechner oversaw a major transformation in the way the museum displayed art and brought some one thousand works that had languished in the museums archives and put them on display. Buechner played a role in rescuing the Daniel Chester French sculptures from destruction due to an expansion project at the Manhattan Bridge in the 1960s. The Brooklyn Museum changed its name to Brooklyn Museum of Art in 1997, on March 12,2004, the museum announced that it would revert to its previous name. In April 2004, the museum opened the James Polshek-designed entrance pavilion on the Eastern Parkway façade, in September 2014, Lehman announced that he was planning to retire around June 2015. In May 2015, Creative Time president and artistic director Anne Pasternak was named the Museums next director, member institutions occupy land or buildings owned by the City of New York and derive part of their yearly funding from the City. The Brooklyn Museum also supplements its earned income with funding from Federal and State governments, as well as donations by individuals. Major benefactors include Frank Lusk Babbott, the museum is the site of the annual Brooklyn Artists Ball which has included celebrity hosts such as Sarah Jessica Parker and Liv Tyler. The Brooklyn Museum exhibits collections that seek to embody the rich heritage of world cultures
33.
Art Young
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Art Young is also the name of a DC Comics editor who co-founded the Vertigo imprint. Arthur Henry Art Young was an American cartoonist and writer and he is most famous for his socialist cartoons, especially those drawn for the left wing political magazine The Masses between 1911 and 1917. Art Young was born January 14,1866, near Orangeville, in Stephenson County and his family moved to Monroe, Wisconsin, when he was a year old. He enrolled in the Chicago Academy of Design in 1884, where he studied under J. H. Vanderpoel and his first published cartoon appeared the same year in the trade paper, Nimble Nickel. Also in that year, he began working for a succession of Chicago newspapers including the Evening Mail, the Daily News. In 1888, Young resumed his studies, first at the Art Students League of New York, following a long convalescence, he joined the Chicago Inter-Ocean, to which he contributed political cartoons and drawings for its Sunday color supplement. In 1895 he married Elizabeth North, from 1902 to 1906, Young studied rhetoric at Cooper Union in order to improve his skills as a cartoonist. Young started out as a generally apolitical Republican, but gradually became interested in left wing ideas, Young would begin increasingly to associate with such political leftist as John Sloan and Piet Vlag, both of whom he would work with at the radical socialist monthly, The Masses. He became firmly ensconced in the environment of Greenwich Village after moving there in 1910. He became politically active, and by 1910, racial and sexual discrimination, in an attempt to curb this abuse, Young ran for the New York State Assembly on the ticket of the Socialist Party of New York City in 1913 but was unsuccessful. One facet of the establishment Young challenged in his cartoons and drawings was the Associated Press and his attacks became overt and damning once he joined the staff of the Masses as a co-editor and contributor. He held this position from 1911 to 1918, Young was one of the few original editorial members that stayed with the magazine for its entire run until it folded in December 1917. In July 1913, the magazine published Youngs cartoon Poisoned at the Source, noyes, poisoning a well labeled The News with lies, suppressed facts, slander, and prejudice. The cartoon was a response to the lack of news coverage on the Paint Creek-Cabin Creek strike of 1912 in Kanawha County. The strike had lasted more than a year, and was characterized by deadly clashes between miners and militia hired by the coal companies. The coal companies were successful in having the Federal government declare martial law under a military tribunal, the fact that little had been heard about these occurrences outside of West Virginia troubled those on the magazines staff. Youngs cartoon and Max Eastmans editorial, published in the same issue, the AP responded in kind with two suits of libel against Eastman and Young on November 1913 and January 1914. In 1918 Young subsequently helped to establish a publication to the Masses
34.
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
35.
Jerome Myers
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Jerome Myers was an American artist and writer associated with the Ashcan School, particularly known for his sympathetic depictions of the urban landscape and its people. He was one of the organizers of the 1913 Armory Show. Born in Petersburg, Virginia and raised in Philadelphia, Trenton and Baltimore, Myers worked briefly as an actor and scene painter. He then studied art for a year at Cooper Union followed by study at the Art Students League over a period of eight years where his teacher was George de Forest Brush. In 1896 he went to Paris, but only stayed a few months, in a 1923 magazine article he explained why cities were his greatest source of inspiration, “All my life I had lived, worked and played in the poorest streets of American cities. I knew them and their population and was one of them, others saw ugliness and degradation there, I saw poetry and beauty, so I came back to them. I took a chance of saying something out of my own experience. That is all any artist can do. ”Born in Petersburg, Virginia, Jerome Myers was one of Abram and his brother, Gustavus Myers, later became a prominent muckraking journalist, socialist activist, and historian. As their father was absent, the Myers children were raised by their mother and eventually lived in Trenton, New Jersey. From time to time, the siblings were placed in foster homes when their mother was ill, given these family hardships, Myers began taking odd jobs at a young age, living in Baltimore, Maryland, before moving on to New York City. Arriving in Manhattan in 1886 at the age of nineteen, Myers worked for years as a scene painter and later for the Moss Engraving Company. During this time he began attending evening art classes at Cooper Union, even then, his interest in urban subjects was evident. Similarly, around 1893, after sketching a boat during a day trip along the Morris and Essex Canal. In 1895, Myers found work in the art department of the New York Tribune, with savings of two hundred and fifty dollars from this job, he traveled to Paris in 1896. There, his next door neighbor was Edward Adam Kramer, a painter just one year older than Myers himself and it was Kramer who ushered Myers into the world of the professional artist. One day, when the art dealer William Macbeth arrived at Kramers studio to view work, Macbeth purchased two small paintings of his early New York street scenes from Myers on the spot, and simultaneously recommended that he bring additional work to the gallery. Macbeth thought highly of these two paintings and, taking them to his gallery, soon sold one to the banker, as an early critic for the New York Globe stated, Myers reputation dates from that purchase. Macbeth also suggested that Myers relinquish drawing in pencil and pastel, in the years following 1902, Myers sold work through the Macbeth Gallery and exhibited in group shows at other venues
36.
Gifford Beal
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Gifford Beal was an American artist noted for his work as a painter, watercolorist, printmaker and muralist. Born in New York City, Gifford Beal was the youngest son in a family of six surviving children, between 1892 and 1901 he studied with William Merritt Chase on weekends in New York City and during the summer at Chase’s School in Shinnecock Hills, Long Island. After graduating from Princeton University in 1900 he studied at the Art Students League of New York from 1901 to 1903 with George Brandt Bridgman, in 1903 Beal won his first award in a competitive exhibition, held at Worcester Art Museum, Massachusetts. He taught at The Art Students’ League in 1931 and 1932, in 1920 Beal held his first one-man exhibition at Kraushaar Galleries in New York City. It was the beginning of a relationship he would have with the gallery. His work was exhibited continuously in the country, Beal’s involvement with organizations for the advancement of the arts began in 1908 when he was elected to Associate by the National Academy of Design, in 1914 he was elected to National Academician. In 1923 he became a member of the National Institute of Arts and Letters and he was a National Academician of the American Watercolor Society from 1910 until 1955. He was also a member of the Century Association, a New York City club founded in 1847 for artists, Beal also taught, and among his pupils was the painter Ann Brockman. C. C. This collection has been digitized and is available online. He found inspiration not only in holiday spectacle and pageantry but also in the natural, some of his best known pictures are of holiday crowds, circus performers and hunting scenes. Yet, Beal enjoyed painting the Caribbean Islands and the landscape along the Hudson River and in Gloucester and Rockport, Massachusetts and he depicted many scenes of the fishermen who worked there. The French Impressionists use of color and light to create form, as his personal style developed, other elements of painting were emphasized, compositions were built on line and form thereby adding more solidity to the work. For example, he depended on balanced, rhythmic elements to depict motion in riding or fishing scenes, Beal believed in the power of spontaneity and would sometimes rework a dead area of color with line in order to revitalize it. Beals style underwent a simplification in the 1930s, his austere phase which coincided with American regionalism, as he grew older, his work became increasingly free and spirited, in part due to his exploration of different media, especially egg/oil tempera and brush and ink. These changes increased his sense of color and gesture, and he began to emphasize the abstract qualities of his subject and he did some of his boldest and brightest work during the last years of his life. Gifford Beal-An Appreciation, by Barry Faulkner for the Memorial Exhibition of Paintings by Gifford Beal and his Art Was Joyful, Death of Gifford Beal,14 Years President of the League, Art Students League News 9, No.3. Chase the Artist, by Gifford Beal, Scribners Magazine 61,258, Gifford Beal, Perennially Youthful Painter of the Good Life, American Artist,24. Gifford Beal’s Versatility, Helen Comstock, International Studio,242, a Collection in the Making”, Duncan Phillips 1926, E
37.
Mabel Dwight
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Mabel Dwight was an American artist whose lithographs showed scenes of ordinary life with humor and compassion. Between the mid-1920s and the early 1940s she achieved popularity and critical success. In 1936 Prints magazine named her one of the best living printmakers, born in Cincinnati and raised in New Orleans, she moved to San Francisco in the late 1880s. There, she studied with Arthur Mathews at the Mark Hopkins Institute, in her mid-20s she traveled extensively, visiting Egypt, Ceylon, India, and Java. Returning to the United States in 1903, she settled in Greenwich Village, for the next few years she tried to establish herself as a professional artist and was listed in the American Art Annual from 1903 to 1906 as a painter and illustrator. She met and in 1906 married fellow artist Eugene Patrick Higgins, although they were both socialists, and hence espoused equality of the sexes, Dwight fell into the role of help mate and stopped painting. In 1917 Dwight and Higgins separated and she resumed her painting career, the following year she joined Gertrude Vanderbilt Whitneys newly founded Whitney Studio Club and became secretary to Juliana Force, the clubs director. Over the next few years she attended life drawing sessions and showed at annual exhibitions that the club held, although she made some experiments with etching, she worked mainly in watercolor at this time. Dwight reached the age of 50 in 1925, in their posture and gestures as much as their facial expressions, the characters she depicted show their personalities and individual foibles. This aspect of Dwights mature style is seen in Boulevard des Italiens of 1927 where the temperament of each person is made distinct. From her earliest efforts onward, her pictures were artful celebrations of ordinariness, in them, Dwights empathy for her subjects is apparent as well as her droll sense of humor. While most of her prints were black and white, a few, within a year of her return, the Paris prints and the ones she began to make in New York established her as one of Americas best lithographic artists. In 1928, Zigrosser gave her a first solo exhibit at the Weyhe Gallery and she would later say that she chose print making so as to make her art available to a broad audience at reasonable cost. In 1929 the Print Club of Philadelphia gave her a solo exhibition including all the prints she had made in Paris, Chartres. Dwight liked to portray New Yorkers in public places and frequently worked in theaters and she would conceal her pencil and paper behind a large handbag in order to sketch performers and members of the audience. She made drawings of circus performances for an article in the April 1930 issue of Fortune magazine, in the latter she showed watercolors and drawings as well as lithographic prints. Her lithograph Night Work is literally dark, but the composition is pleasing rather than jarring and she maintained radical political views throughout her adult life. During the 1930s, she joined one of the Marxist John Reed Clubs and supported another Popular Front organization, the American Artists Congress
38.
Jacob Riis
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Jacob August Riis was a Danish-American social reformer, muckraking journalist and social documentary photographer. He endorsed the implementation of model tenements in New York with the help of humanitarian Lawrence Veiller, while living in New York, Riis experienced poverty and became a police reporter writing about the quality of life in the slums. He attempted to alleviate the bad living conditions of people by exposing their living conditions to the middle. Born in Ribe, Denmark, Jacob Riis was the third of the 15 children of Niels Edward Riis, a schoolteacher and occasional writer for the local Ribe newspaper, and Carolina Riis, a homemaker. Among the 15, only Jacob, one sister and the foster sister survived into the twentieth century, Riis was influenced by his father, whose school Riis delighted in disrupting. His father persuaded him to read Charles Dickenss magazine All the Year Round, Jacob had a happy childhood, but experienced tragedy at the age of eleven when his brother Theodor, a year younger, drowned. He never forgot his mothers grief, at age eleven or twelve, he donated all the money he had and gave it to a poor Ribe family living in a squalid house if they cleaned it. The tenants took the money and obliged, when he told his mother, though his father had hoped that Jacob would have a literary career, Jacob wanted to be a carpenter. When he was 16, he became fond of Elisabeth Gjørtz, the father disapproved of the boys blundering attentions, and Riis was forced to complete his carpentry apprenticeship in Copenhagen. Riis returned to Ribe in 1868 at age 19, discouraged by poor job availability in the region and Gjørtzs disfavor of his marriage proposal, Riis decided to emigrate to the United States. Riis immigrated to America in 1870, when he was 21 years old and he first traveled in a small boat from Copenhagen to Glasgow, where on May 18 he boarded the steamer Iowa, traveling in steerage. Riis disembarked in New York on June 5, on that day spending half of the $40 his friends had him on a revolver for defense against human or animal predators. Twenty-four million people relocated to areas, causing their population to increase eightfold. The demographics of American urban areas became more heterogeneous as many immigrants arrived. In the 1880s 334,000 people were crammed into a square mile of the Lower East Side. They were packed into filthy, disease-ridden tenements,10 or 15 to a room, after five days, during which he used almost all his money, Riis found work as a carpenter at Bradys Bend Iron Works on the Allegheny River above Pittsburgh. After a few days of that he began mining for increased pay, learning on July 19,1870, that France had declared war on Germany, he expected that Denmark would join France to avenge the Prussian seizure of Schleswig, and determined to fight for France. Pawning his revolver, he walked out of New York until he collapsed from exhaustion, on waking, Riis rushed there to enlist, but the editor claimed or affected ignorance but offered the famished Riis a dollar for breakfast, Riis indignantly refused
39.
Lewis Hine
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Lewis Wickes Hine was an American sociologist and photographer. Hine used his camera as a tool for social reform and his photographs were instrumental in changing child labor laws in the United States. Hine was born in Oshkosh, Wisconsin, on September 26,1874, after his father was killed in an accident, Hine began working and saved his money for a college education. He studied sociology at the University of Chicago, Columbia University and he became a teacher in New York City at the Ethical Culture School, where he encouraged his students to use photography as an educational medium. Hine led his classes to Ellis Island in New York Harbor. Between 1904 and 1909, Hine took over 200 plates and came to the realization that documentary photography could be employed as a tool for social change, in 1908 Hine became the photographer for the National Child Labor Committee, leaving his teaching position. Over the next decade, Hine documented child labor, with focus on the use of labor in the Carolina Piedmont. In 1913, he documented child laborers among cotton mill workers with a series of Francis Galtons composite portraits, Hines work for the NCLC was often dangerous. As a photographer, he was threatened with violence or even death by factory police. At the time, the immorality of child labor was meant to be hidden from the public, photography was not only prohibited but also posed a serious threat to the industry. To gain entry to the mills, mines and factories, Hine was forced to assume many guises, at times he was a fire inspector, postcard vendor, bible salesman, or even an industrial photographer making a record of factory machinery. During and after World War I, he photographed American Red Cross relief work in Europe, in the 1920s and early 1930s, Hine made a series of work portraits, which emphasized the human contribution to modern industry. In 1930, Hine was commissioned to document the construction of the Empire State Building and he photographed the workers in precarious positions while they secured the steel framework of the structure, taking many of the same risks that the workers endured. In order to obtain the best vantage points, Hine was swung out in a specially-designed basket 1,000 ft above Fifth Avenue and he also served as chief photographer for the Works Progress Administrations National Research Project, which studied changes in industry and their effect on employment. Hine was also a faculty member of the Ethical Culture Fieldston School, in 1936, Hine was selected as the photographer for the National Research Project of the Works Projects Administration, but his work there was not completed. The last years of his life were filled with professional struggles by loss of government, few people were interested in his work, past or present, and Hine lost his house and applied for welfare. He died on November 3,1940 at Dobbs Ferry Hospital in Dobbs Ferry, New York, after Hines death, his son Corydon donated his prints and negatives to the Photo League, which was dismantled in 1951. The Museum of Modern Art was offered his pictures and did not accept them, the Library of Congress holds over 5,000 Hine photographs, including examples of his child labor and Red Cross photographs, his work portraits, and his WPA and TVA images
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Addison Gallery of American Art
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The Addison Gallery of American Art, as a department of Phillips Academy in Andover, Massachusetts, is an academic museum dedicated to collecting American art. Phillips Academy alumnus Thomas Cochran created the Addison Gallery of American Art at Phillips Academy in 1931 as the most extraordinary of his gifts to the school. Guided by Cochrans goal to enrich permanently the lives of the students, the museum is a teaching resource for Phillips Academy students and faculty as well as an art center for the greater Boston area and the nation at large. In recent years, the Gallery has acquired significant contemporary works by Emery Bopp, Carroll Dunham, Kerry James Marshall, Joel Shapiro, another strength is in decorative arts, with silver and furniture dating back to pre-colonial America, and a collection of American Colonial model ships. A rotating schedule of exhibitions is open to students and the public alike, the Addison Gallery has long served as a proving ground for new approaches to learning about art and as a national model for arts education. The Addisons education outreach program combines the experience of art with its practice, tours, classroom instruction, gallery talks, lectures, teacher workshops, and a film series are offered to area public schools and the general public. More than 6,000 students participate in the outreach program annually. The Addison was also one of the first American museums to actively exhibit photography, presenting images by such as Berenice Abbott, Walker Evans. In the spring of 2006, the Phillips Academy Board of Trustees approved a $30 million campaign to renovate, construction on the Addison began in the middle of 2008 and was completed in 2010. Council on Museums and Education in the Visual Arts, Addison Gallery of American Art, Video for Special Audiences. The Art Museum as Educator, A Collection of Studies as Guides to Practice, Addison Gallery of American Art - official site Addison Gallery of American Art sound recordings, 1970-1991, Smithsonian Institution, Archives of American Art
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Otis Skinner
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Otis Skinner was a popular American stage actor active during the late nineteenth and early twentieth centuries. Otis A. Skinner was born on June 28,1858, in Cambridge and he was later brought up in Hartford, Connecticut where Charles Skinner served as a Universalist minister. His older brother, Charles Montgomery Skinner, became a noted journalist and critic in New York, Skinner was educated in Hartford with an eye towards a career in commerce but a visit to the theater left him stage-struck. He secured his fathers blessing for a career, and his father not only approved. Davidge employed him at eight dollars a week, and Skinners career was launched, in the latter half of the 1870s, he played various bit roles in stock companies, and alongside stars such as John Edward McCullough. He built up his repertoire for years in New York and Boston. By the mid-1880s, he was touring first with Augustin Daly, then, in 1889, with the troupe of Edwin Booth, after that season, he played Romeo in London opposite Margaret Mather. His association with Mather lasted two years, after, with Booth dead, he returned to Modjeska, starring opposite her in her most famous roles and he also originated the role of Schwartz in Hermann Sudermanns Magda, and played Armand in Dumass Camille. By the mid-1890s, he was a star in his own right, in 1894, he produced and starred in Clyde Fitchs His Grace de Grammont, the same year, he performed in his brothers translation of Victor Hugos Le roi samuse. In 1895 in Chicago, he succeeded as Hamlet, from 1895, he was associated with the troupe of Joseph Jefferson. Skinner was a writer whose books included Footlights and Spotlights. His daughter, Cornelia, an actress and writer, was born in 1899, otis Skinner was portrayed onscreen by Charlie Ruggles in the film version of his daughters autobiography, Our Hearts Were Young and Gay. Shine on then Peer of Peers, Move us to smiles and tears Out of the File and he was a devout Episcopalian and a member of the Episcopal Actors Guild. Otis Skinner died at his home in New York City on January 4,1942 and he had last appeared on stage in 1935, reciting the Forward in a revival of George M. Cohans Seven Keys to Baldpate. Actress Maud Durbin, his wife for over forty years, died on Christmas Day,1936
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Visual perception
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Visual perception is the ability to interpret the surrounding environment using light in the visible spectrum reflected by the objects in the environment. The resulting perception is known as visual perception, eyesight, sight. The visual system in animals allows individuals to assimilate information from their surroundings, the act of seeing starts when the cornea and then the lens of the eye focuses light from its surroundings onto a light-sensitive membrane in the back of the eye, called the retina. The retina is actually part of the brain that is isolated to serve as a transducer for the conversion of light into neuronal signals. These signals are processed via complex feedforward and feedback processes by different parts of the brain, signals from the retina can also travel directly from the retina to the superior colliculus. The perception of objects and the totality of the scene is accomplished by the visual association cortex. The visual association cortex combines all sensory information perceived by the cortex which contains thousands of modules that are part of modular neural networks. The neurons in the cortex send axons to the extrastriate cortex. The major problem in perception is that what people see is not simply a translation of retinal stimuli. Thus people interested in perception have long struggled to explain what visual processing does to create what is actually seen, there were two major ancient Greek schools, providing a primitive explanation of how vision is carried out in the body. The first was the theory which maintained that vision occurs when rays emanate from the eyes and are intercepted by visual objects. If an object was seen directly it was by means of coming out of the eyes. This theory was championed by scholars like Euclid and Ptolemy and their followers, the second school advocated the so-called intro-mission approach which sees vision as coming from something entering the eyes representative of the object. Plato makes this assertion in his dialogue Timaeus, as does Aristotle, alhazen carried out many investigations and experiments on visual perception, extended the work of Ptolemy on binocular vision, and commented on the anatomical works of Galen. Leonardo da Vinci is believed to be the first to recognize the special qualities of the eye. He wrote The function of the human eye, was described by a large number of authors in a certain way. But I found it to be completely different and his main experimental finding was that there is only a distinct and clear vision at the line of sight—the optical line that ends at the fovea. Although he did not use these words literally he actually is the father of the distinction between foveal and peripheral vision
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Sadakichi Hartmann
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Carl Sadakichi Hartmann was a photography critic and poet of German and Japanese descent. An important early participant in modernism, Hartmann was a friend of such figures as Walt Whitman, Stéphane Mallarmé. His poetry, deeply influenced by the Symbolists as well as orientalist literature, includes 1904s Drifting Flowers of the Sea and Other Poems, 1913s My Rubaiyat and his works of criticism include Shakespeare in Art and Japanese Art. During the 1910s, Hartmann let himself be crowned King of the Bohemians by Guido Bruno in New Yorks Greenwich Village, Hartmann wrote some of the earliest English language haiku. He was one of the first critics to write about photography, Hartmann published criticism and conducted lecture tours under the pseudonym Sidney Allen. He made a appearance in the Douglas Fairbanks film The Thief of Bagdad as the court magician. Later years found him living in Hollywood and, by 1942, on his daughters ranch outside Banning, in 1944, he died while visiting another daughter in St. Petersburg, Florida. A collection of his papers is held at the University of California, Riverside, including correspondence related to his obtaining permission to remain in Banning during the war
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Bellevue Hospital
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NYC Health + Hospitals/Bellevue, formerly Bellevue Hospital Center, was founded on March 31,1736 and is the oldest public hospital in the United States. Located on First Avenue in the Kips Bay neighborhood of Manhattan, New York City, Bellevue Hospital is also home to FDNY EMS Station 08, formerly NYC*EMS Station 13. It handles nearly 670,000 non-ER outpatient clinic visits, nearly 116,000 emergency visits, more than 80 percent of Bellevue’s patients come from the city’s medically underserved populations. The hospital currently occupies a 25-story patient care facility with an ICU, digital radiology communication, the hospital has an attending physician staff of 1,800 and an in-house staff of about 5,500. Bellevue was renamed in November 2015 as a reflection of its parent organizations rebranding, Bellevue traces its origins to the citys first permanent almshouse, a two-story brick building completed in 1736 on the city common, now New York City Hall. When the grid system of streets was established in 1811, the survey had to take the hospital account. The hospital was formally named Bellevue Hospital in 1824, by 1787 Columbia University’s College of Physicians and Surgeons had assigned faculty and medical students to Bellevue. Columbia faculty and students would remain at Bellevue for the next 181 years, New York University faculty began to conduct clinical instruction at the hospital in 1819. In 1849, an amphitheater for teaching and surgery opened. In 1861, the Bellevue Hospital Medical College, the first medical college in New York with connections to a hospital, was founded, for this reason the name Bellevue is sometimes used as a metonym for psychiatric hospitals. Bellevue initiated a training program in 1883, it is still the model for surgical training worldwide. The Carnegie Laboratory, the nations first pathology and bacteriology laboratory, was founded there a year later, by 1892, Bellevue established a dedicated unit for alcoholics. In 1902, the administrative Bellevue and Allied Hospitals organization were formed by the city, b&AH also included Gouverneur Hospital, Harlem Hospital, and Fordham Hospital. BA&H opened doors to female and black physicians, in the midst of a tuberculosis epidemic a year later, the Bellevue Chest Service was founded. Bellevue opened the nations first ambulatory cardiac clinic in 1911, followed by the Western Hemispheres first ward for metabolic disorders in 1917, New York Citys Office of the Chief Medical Examiner began on the second floor in 1918. German spy and saboteur Fritz Joubert Duquesne escaped the prison ward in 1919 after having feigned paralysis for nearly two years. PS106, the first public school for the emotionally disturbed children located in a public hospital, in 1939, David Margolis began work on nine Work Projects Administration murals in entrance rotunda titled Materials of Relaxation, which were completed in 1941. New York Citys Office of the chief Medical Examiner moved out of the floor and into its new building at 520 First Avenue
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