The special artist in American culture: A biography of Frank Hamilton Taylor (1846-1927)

As a Special Artist (newspaper illustrator) for papers such as the New York Daily Graphic and Harper\u27s Weekly, author and illustrator of numerous guidebooks, and astute recorder of Philadelphia, Frank Hamilton Taylor left a unique visual and written record of late nineteenth, early twentieth century American life. His work provided the growing, increasingly literate urban middle class with information about their country from the excitement of the Centennial Exposition to the tragedy of lives lost at sea. In addition, Taylor\u27s documentation of leisure pursuits, particularly in the Thousand Islands area of New York, helped define what constituted recreation for the expanding non-manual work force who sought escape from the regiment of daily life. And his Philadelphia series of watercolors and wash drawings provide an almost microscopic view of the urban environment, capturing the city\u27s ethos. Gifted artists, Specials like Taylor went beyond the mere recording of facts. They invested those facts with charm and spirit. Their portrayal of the American scene, and fascination with the country\u27s diversity, foreshadowed important shifts in American art as the historic symbols of Europe were no longer requisite. The growing outdoor movement also owed a dept to the Special Artist who made Americans aware and proud of the country\u27s incomparable landscape. The images of the Special Artist, besides informing, could also be a powerful persuasive tool. Taylor\u27s documentation for Harper\u27s Weekly of Ulysses S. Grant\u27s trip to Florida, Cuba, and Mexico in 1880 for example shows a commanding, decisive figure. Exactly the perception Grant\u27s political advisors wanted in order to distance the former president from his scandal-ridden administration, and allow him to seek a third Republican party nomination. Taylor\u27s tourist guidebooks, often done for the country\u27s burgeoning railroads were arguably equally manipulative, describing where the railroads wanted people to vacation, not just popular tourist destinations. Taylor represents the skilled Special Artist whose contributions to American art, journalism, and the development of American culture have been undervalued. His sketches, watercolors, and engravings are important primary research documents. And his life is a three-dimensional representation of the Gilded Age values he recorded on paper

Iowa and Some Iowans : a Bibliography for Schools and Librarians, 1996

Iowa and Some Iowans is a classed bibliography of materials by Iowans or about Iowa. It is in the same order in which the average school or public library or media center would shelve materials, that is, nonfiction in order using the Dewey Decimal System, and fiction in alphabetical order by author. Biographies and autobiographies are generally entered 920's. A few may be entered under the subject with which the biography is related. An attempt is made to provide most of the information needed to catalog each title including the Iowa-related subject headings, and the joint authors, artists and series titles pertinent to the bibliography. These items are included at the bottom of the entry as numbered “tracings” and are a record of the items included in the indexes. The author or creator of a work and the title of the work are indexed also. Fourth Edition 1996. NOTE: this digital version has some pagination discrepancies in the transition from chapter to chapter, but all content is included

Book Reviews

Weitzel, Journeys with Florida\u27 Indians, by Michelle Ruth Davis; Hudson, Conversations with the High Priest of Coosa, by Greg O\u27Brien; Delfino and Gillespie, eds., Neither Lady Nor Slave: Working Women of the Old South, by Merline Pitre; Berlin, Generations of Captivity: A History of African Americaan Slaves, by Andrew McMichael; Rothman, Notorious in the Neighborhood: Sex and Families across the Color Line in Virginia, 1787-1861, by Patrick O\u27Neil; Schwartz, Baptist Faith in Action: The Private Writings of Maria Baker Taylor, 1813-1895, by Keith Huneycutt; Krick, Staff Officers in Gray: A Biographical Register of the Staff Officers in the Army of Northern Virginia, by Alexander Mendoza; Hubbs, Guarding Greensboro: A Confederate Company in the Making of a Southern Community. Hubbs, Voices from Company D: Diaries by the Greensboro Guards, Fifth Alabama Infantry Regiment, Army of Northern Virginia, by Chad Morgan; Kolchin, A Sphinx on the American Land: The Nineteenth-Century South in Comparative Perspective, by Randall M. Miller; Tetzlaff, Cultivating a New South: Abbie Holmes Christensen and the Politics of Race and Gender, 1852-1938, by J. Michael Butler; McPherson, Reconstructing Dixie: Race, Gender, and Nostalgia in the Imagined South, by Matt J. Harper; Cox, Dixie\u27s Daughters: The United Daughters of the Confedercy and the Preservation of Confederate Culture, by Anne Marshall; Turner, A Short History of Floida\u27s Railroads, by James M. Denham; Ogle, Key West: History of an Island of Dreams, by Consuelo Stebbins; Fogelson, Downtown: Its Rise and Fall, 1880-1950, by Raymond A Mohl; Hunter, From Calusas to Condominiums: A Pictoral History of Longboat Key from the Beginning to 2000, by Cathy Slusser; Bullard, Cumberland Island: A History. Fraser, Savannah in the Old South, by Gene A. Smith; Sanders, Mighty Peculiur Elections: The New South Gubernatorial Campaigns of 1970 and the Changing Politics of Race, by S. Willoughby Anderson; Painter, Southern History Across the Color Line, by Fon Gordon; Riley, Florida\u27s Farmworkerss in the Twenty-First Century, by Robert Ingalls; Black and Black, The Rise of Southern Republicans, by Jonathan Knucke

The Pacific Historian, Volume 20, Number 1 (1976)

The purpose of The Pacific Historian was to promote, through research and study, an interpretation of life in the Western United States, especially California. The articles dealt with social, cultural, political, and economic aspects of Western regional history.https://scholarlycommons.pacific.edu/pac-historian/1107/thumbnail.jp

Survey of sixteen millimeter films available for seven business education subjects taught in high schools

Thesis (Ed.M.)--Boston University, 1946. This item was digitized by the Internet Archive

Edward Hopper beyond the commonplace: a review of his work under the light of Walter Benjamin's concept of poverty of experience

The title of this dissertation —Edward Hopper beyond the commonplace— alludes to the fact that, although the work of Edward Hopper is widely acknowledged in the history of the twentieth century art, critical literature focused on it has resorted to a number of labels (Americanness, alienation, loneliness and the like) which, over time, have become clichés with very little critical insight and with very weak theoretical and visual foundations. My first aim is, therefore, to develop a different critical framework which is up to the task of analysing the indisputable visual relevance of Hopper’s work. I shall argue that this critical support can be found in Walter Benjamin’s concept of “poverty of experience”, which I shall re-examine in the Part I of the dissertation. But my main aim is to test this framework in the analysis of Hopper’s oeuvre, and to show that not only the notion of poverty of experience can enrich this analysis, but also Hopper’s works can enrich the concept coined by Benjamin. So, in the rest of the dissertation, besides reviewing the existing literature, I shall construct an interpretative hypothesis to account for the interactions between technology and tradition underlying the development of American painting (Part II), the complex relationship between painting and technological reproducibility in Hopper’s artistic project (Part III), and the emotional meaning of Hopper’s pictures (part IV). I hope that this critical approach improves the understanding of Hopper’s work and can be useful to a wider treatment of modern art histor