Charles Demuth is widely recognized as one of the most significant American modernists. His precisionist cityscapes, exquisite flowers, and free-wheeling watercolors of vaudeville performers, homosexual bathhouses, and cabaret scenes hang in many of the country's most prestigious collections, including the Metropolitan Museum of Art, the Philadelphia Museum of Art, the Columbus Museum of Art, the Amon Carter Museum in Fort Worth, the Art Institute of Chicago, and in Demuth's Lancaster, Pennsylvania, family residence, now home of the Demuth Foundation. At a time when many American artists remained tied to Europe, Demuth "Americanized" European modernism. This collection of 155 of his letters offers valuable views of the arts and letters colonies in Provincetown, New York, and Paris. Besides offering information on Demuth's own works, the letters also shed light on the output of his contemporaries, as well as references to their trips, liaisons, and idiosyncrasies. Demuth numbered among his correspondents some of the most famous artists and writers of his time, inluding Georgia O'Keeffe, Eugene O'Neill, John Reed, Gertrude Stein, Alfred Stieglitz, Carl Van Vechten, and William Carlos Williams. In his travels in the United States and abroad, he encountered many other talented contemporaries: Peggy Bacon, Muriel Draper, Marcel Duchamp, the Stettheimer sisters, artists and writers, patrons, and gallery owners. Whether he is offering to pick up a copy of Joyce'sUlyssesfor Eugene O'Neill or trying to convince Georgia O'Keeffe to decorate his music room ("just allow that red and yellow 'canna' one to spread until it fills the room"), Demuth is always in the thick of art and literary life. Flamboyant in attire but descreet in his homosexuality, Demuth also reveals in his letters the life of a talented homosexual in the teens and twenties. With his best friends Robert Locher and Marsden Hartley, he circulated through the art colonies of Greenwich Village, Provincetown, and Paris, meeting everyone. The book also contains reprints of some short appraisals of Demuth and his work that were published during his lifetime, long out of print, including pieces by A. E. Gallatin, Angela E. Hagen, Marsden Hartley, Helen Henderson, Henry McBride, Carl Van Vechten, Rita Wells, and Willard Huntington Wright. Author note:Bruce Kellneris Emeritus Professor of English, Millersville University, and a member of the Demuth Foundation Board of Directors. He is the author or editor of 10 other books.
Charles Demuth is widely recognized as one of the most significant American modernists. His precisionist cityscapes, exquisite flowers, and free-wheeling watercolors of vaudeville performers, homosexual bathhouses, and cabaret scenes hang in many of the country's most prestigious collections, including the Metropolitan Museum of Art, the Philadelphia Museum of Art, the Columbus Museum of Art, the Amon Carter Museum in Fort Worth, the Art Institute of Chicago, and in Demuth's Lancaster, Pennsylvania, family residence, now home of the Demuth Foundation. At a time when many American artists remained tied to Europe, Demuth "Americanized" European modernism. This collection of 155 of his letters offers valuable views of the arts and letters colonies in Provincetown, New York, and Paris. Besides offering information on Demuth's own works, the letters also shed light on the output of his contemporaries, as well as references to their trips, liaisons, and idiosyncrasies. Demuth numbered among his correspondents some of the most famous artists and writers of his time, inluding Georgia O'Keeffe, Eugene O'Neill, John Reed, Gertrude Stein, Alfred Stieglitz, Carl Van Vechten, and William Carlos Williams. In his travels in the United States and abroad, he encountered many other talented contemporaries: Peggy Bacon, Muriel Draper, Marcel Duchamp, the Stettheimer sisters, artists and writers, patrons, and gallery owners. Whether he is offering to pick up a copy of Joyce'sUlyssesfor Eugene O'Neill or trying to convince Georgia O'Keeffe to decorate his music room ("just allow that red and yellow 'canna' one to spread until it fills the room"), Demuth is always in the thick of art and literary life. Flamboyant in attire but descreet in his homosexuality, Demuth also reveals in his letters the life of a talented homosexual in the teens and twenties. With his best friends Robert Locher and Marsden Hartley, he circulated through the art colonies of Greenwich Village, Provincetown, and Paris, meeting everyone. The book also contains reprints of some short appraisals of Demuth and his work that were published during his lifetime, long out of print, including pieces by A. E. Gallatin, Angela E. Hagen, Marsden Hartley, Helen Henderson, Henry McBride, Carl Van Vechten, Rita Wells, and Willard Huntington Wright. Author note:Bruce Kellneris Emeritus Professor of English, Millersville University, and a member of the Demuth Foundation Board of Directors. He is the author or editor of 10 other books.
Chimneys and Towers focuses on Demuth's late paintings of industrial sites in Lancaster. Depicting the warehouses and factories of the city's tobacco and linoleum industries in sharp, geometric forms, these paintings bring to the depiction of his hometown the style of the American avant-garde that he helped create.
Chimneys and Towers focuses on Demuth's late paintings of industrial sites in Lancaster. Depicting the warehouses and factories of the city's tobacco and linoleum industries in sharp, geometric forms, these paintings bring to the depiction of his hometown the style of the American avant-garde that he helped create.
Grapples with the problems of identifying homosexual content in a work of art, showing how artists often used sexual codes to communicate to their subculture. The major part of the book is a discussion of Demuth's and Hartley's lives and works.
When Charles Lindbergh landed at LeBourget Airfield on May 21, 1927, his transatlantic flight symbolized the new era-not only in aviation but also in American culture. The 1920s proved to be a transitional decade for the United States, shifting the nation from a production-driven economy to a consumption-based one, with adventurous citizens breaking new ground even as many others continued clinging to an outmoded status quo. In his new book, Charles Shindo reveals how one year in particular encapsulated the complexity of this transformation in American culture. Shindo's absorbing look at 1927 shatters the stereotypes of the Roaring '20s as a time of frivolity and excess, revealing instead a society torn between holding on to its glorious past while trying to navigate a brave new world. His book is a compelling and entertaining dissection of the year that has come to represent the apex of 1920s culture, combining references from popular films, music, literature, sports, and politics in a captivating look back at change in the making. As Shindo notes, while Lindbergh's flight was a defining event, there were others: The Jazz Singer, for example, brought sound to the movies, and the 15 millionth Model T rolled off of Ford's assembly line. Meanwhile, the era's supposed live-for-today frivolity was clouded by Prohibition, the revival of the Ku Klux Klan, and the execution of Sacco and Vanzetti. Such events, Shindo explains, reflected a fundamental disquiet running beneath the surface of a nation seeking to accommodate and understand a broad array of changes—from new technology to natural disasters, from women's forays into the electorate to African-Americans' migration to the urban north. Shindo, however, also notes that this was an era of celebrity. He not only examines why Lindbergh and Ford were celebrated but also considers the rise and growing popularity of the infamous, like convicted murderers Ruth Snyder and Judd Gray, and he illuminates the explosive growth of professional sports and stars like baseball's Babe Ruth. In addition, he takes a close look at cinematic heroines like Mary Pickford and the "It" girl Clara Bow to demonstrate the conflicting images of women in popular culture. Distinctive and insightful, Shindo's richly detailed analysis of 1927's key events and personalities reveals the multifaceted ways in which people actually came to grips with change and learned to embrace an increasingly modern America.
This volume is part of a four-volume series about art and its interpretation in the 19th and 20th centuries. The books provide an introduction to modern European and American art and criticism that should be valuable both to students and to the general reader.
This book features fifty-four paintings, photographs, and drawings of the calla lily dating from the 1860s to 1940. It includes nine of O'Keeffe's most renowned paintings of the flower as well as works by Imogen Cunningham, Charles Demuth, Marsden Hartley, John La Farge, Man Ray, Joseph Stella, and Edward Weston. The book includes an introduction by esteemed O'Keeffe scholar Barbara Buhler Lynes and essays on various aspects of the flower in American art by Charles C. Eldredge and James Moore."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Bringing together a broad group of leading scholars, government officials, and corporate representatives, this book provides a critical analysis of recent regulatory reform efforts. The contributors focus on social and environmental regulation as they evaluate problems of costly and ineffective regulatory measures. They argue that, although some pr
An investigation of how children balance rules and exceptions when they learn languages. All languages have exceptions alongside overarching rules and regularities. How does a young child tease them apart within just a few years of language acquisition? In this book, drawing an economic analogy, Charles Yang argues that just as the price of goods is determined by the balance between supply and demand, the price of linguistic productivity arises from the quantitative considerations of rules and exceptions. The learner postulates a productive rule only if it results in a more efficient organization of language, with the number of exceptions falling below a critical threshold. Supported by a wide range of cases with corpus evidence, Yang's Tolerance Principle gives a unified account of many long-standing puzzles in linguistics and psychology, including why children effortlessly acquire rules of language that perplex otherwise capable adults. His focus on computational efficiency provides novel insight on how language interacts with the other components of cognition and how the ability for language might have emerged during the course of human evolution.
In late 1991, the Soviet Union was officially dissolved. Over the next 12 years, the Hoover Institution microfilmed and published the newly opened records of the Soviet Communist Party and the Soviet State. Among the 10 million pages were records of the central organs of the Communist Party; the NKVD, which regulated the ordinary lives of the Russian people; the GULAG, the secret police department that ran the forced labor camps; and the 1992 trial of the Communist Party. Charles Palm, who led this mission, details how he and his colleagues secured a historic agreement with the Russian Federation, then launched and successfully carried out the joint project with the Russian State Archives and their partner, Chadwyck-Healey Ltd. The success of the project hinged on managing logistics among the three partners across three continents, facing down critics in Russia and elsewhere, and navigating the unstable political terrain that prevailed in Russia during the 1990s. The Hoover Institution's decisive action during a brief window of opportunity preserved on microfilm and provided worldwide access to the records of Soviet Communism and helped bring to account one of the most consequential ideologies of the 20th century.
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