Pacific Grove, in the pine forests on the westernmost tip of Monterey Bay, is a magnet for wildlife, tourists, and scientists. Site of the first operational lighthouse in California and the first marine laboratory on the Pacific Coast, its beaches attracted camp meetings in the 19th century. Rows of tent housing that lined the original streets grew into charming neighborhoods of seaside cottages, lit annually by the Feast of Lanterns since 1905. Botanical and biological splendor attracted scientists like Edward Flanders Ricketts, made famous by his friend and one-time Pacific Grove resident John Steinbeck. Each year hundreds of groups use its famous conference center, Asilomar, and each fall tens of thousands of Monarch butterflies make a 2,500-mile journey to hang from the pines in great clusters of wafting wings.
Carmel is a microcosm of California's architectural heritage, sited at one of the most scenic meetings of land and sea in the world. Mission San Carlos Borromeo became a root building for California's first regional building style, the Mission Revival. "Carmel City," as it was called in the 1880s, was marketed as a seaside resort for Catholics. Its pine-studded sand dunes survived the imposition of a standard American gridiron street pattern, with a Western, false-front main street, to become "Carmel-by-the-Sea." Artists, academics, and writers embraced the arts-and-crafts aesthetic of handcrafted homes built from native materials, informally sited in the landscape. In the mid-1920s, Tudor Revival and Spanish Romantic Revival styles enhanced the storybook quality of the community. Carmel's architectural character is primarily the product of working builders. Its design traditions have been interpreted and modified for modern times by noted architects, building designers, and craftsmen. Individual expression continues as an ongoing aesthetic theme.
Carmel is a microcosm of California's architectural heritage, sited at one of the most scenic meetings of land and sea in the world. Mission San Carlos Borromeo became a root building for California's first regional building style, the Mission Revival. "Carmel City," as it was called in the 1880s, was marketed as a seaside resort for Catholics. Its pine-studded sand dunes survived the imposition of a standard American gridiron street pattern, with a Western, false-front main street, to become "Carmel-by-the-Sea." Artists, academics, and writers embraced the arts-and-crafts aesthetic of handcrafted homes built from native materials, informally sited in the landscape. In the mid-1920s, Tudor Revival and Spanish Romantic Revival styles enhanced the storybook quality of the community. Carmel's architectural character is primarily the product of working builders. Its design traditions have been interpreted and modified for modern times by noted architects, building designers, and craftsmen. Individual expression continues as an ongoing aesthetic theme.
Pacific Grove, in the pine forests on the westernmost tip of Monterey Bay, is a magnet for wildlife, tourists, and scientists. Site of the first operational lighthouse in California and the first marine laboratory on the Pacific Coast, its beaches attracted camp meetings in the 19th century. Rows of tent housing that lined the original streets grew into charming neighborhoods of seaside cottages, lit annually by the Feast of Lanterns since 1905. Botanical and biological splendor attracted scientists like Edward Flanders Ricketts, made famous by his friend and one-time Pacific Grove resident John Steinbeck. Each year hundreds of groups use its famous conference center, Asilomar, and each fall tens of thousands of Monarch butterflies make a 2,500-mile journey to hang from the pines in great clusters of wafting wings.
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This extensively researched volume offers fresh insights into the spiritual and intellectual influences guiding Kent, including his early study with Arthur Wesley Dow, a key proponent of innovative theories of design and composition. It disentangles the strands of Kent's diverse stylistic achievements and exposes his double identity as Jazz Age humorist. As "Hogarth, Jr." he contributed sparkling ink drawings of modern life that captivated readers of Harper's Weekly, the New York Tribune, and Vanity Fair. Rounding out this wide-ranging study is a full list of Kent's solo exhibitions and a detailed chronology of his life."--BOOK JACKET.
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