Found 11 Resources containing: William H. Jackson, born Keesville, NY 1843-died New York City 1942
A Democracy of Images: Photographs from the Smithsonian American Art Museum, 2013
Correspondence, financial material, writings and notes, sketchbook, photographs, slides, printed material, and an interview relating to William Baziotes' career as an abstract expressionist painter. The papers of Ethel Baziotes consist of correspondence and writings mostly dated after William's death regarding exhibitions of her husband's work.
Published and unpublished articles on Baziotes, including a literary portrait by Donald Paneth, undated; notes and writings by Baziotes, undated; teaching files from Hunter College, 1957, 1960-1962; letters to Baziotes, 1940-1969, from: Lawrence Alloway, Alfred Barr, Andre Breton, Clement Greenberg, Peggy Guggenheim, David Hare, Jean Helion, Matta, Maria and Robert Motherwell, Charles Peterson, an invitation from Jackson Pollock, WPA Easel Artists Division, 1940-1941; 3 letters (one illustrated) from William to Ethel, 1940-1941; photocopies of a questionnaire prepared for the Museum of Modern Art, regarding Baziotes' painting "Dwarf", circa 1951; letters to Ethel Baziotes, 1961-1969; photographs of Baziotes, Ethel, family and friends, including photographs of Baziotes by Francis P. Lee, Hans Namuth, and Peter A. Juley & Son; exhibition announcements and catalogs; and a scrapbook of clippings, 1944-1969.
Letters from Baziotes to his brother Christos, 1936-1951. Baziotes encourages Christos and another brother Harry in their art, and discusses employment on the WPA Easel Project, the New York art scene, teaching at the Brooklyn Institute of Arts and Sciences and at New York University, his relationships with Paul Bodin, Clement Greenberg, Samuel Kootz, Francis Lee, Joan Miro, and Robert Motherwell.
Business correspondence, mainly with the Samuel M. Kootz Gallery, letters to Ethel Baziotes, 1962-1972, including letters of condolence; photographs of Ethel Baziotes, Rudi Blesh, Nathan Halper, Harriet Janis, Ethel Schwabacher, Maurice Sievan, Clyfford Still, and others; newspaper and magazine articles; and exhibition announcements and catalogs.
Letters to William, circa 1940-1990, including congratulatory notes upon being awarded a prize at the Art Institute of Chicago, 1947; letters to Ethel from John Canaday, John (Giovanni) Castano, Gerome Kamrowski, Gordon Onslow-Ford, Gertrud Schumm, Ethel Schwabacher, Byron Vazakas, and museums and galleries regarding exhibiting William's works of art including the Solomon R. Guggenheim Museum's retrospective, 1964, and Newport Harbor Museum's retrospective exhibition, 1987; business letters and a record of sales from the Samuel M. Kootz Gallery, 1952-1957; writings by William, circa 1950, Ethel, 1972, 1992, and undated, and others, including Schwabacher, 1971, 1972; a sketchbook, 1960-1961; a portrait of William by Peter A. Juley & Son, circa 1953; photographs circa 1900-1978, of family and friends, including Meir Bernstein (Meir BernsÝhtin) and his studio, Paul Bodin, Michel Licht, Maria Motherwell, Pablo and Maya Picasso, Orlando Zulueta, and others; photos of works of art by William including the Crystal Restaurant murals in Reading, Pennsylvania, 1941-1942; exhibition announcements and catalogs 1944-1992; clippings, 1944-1991; and auction catalogs, 1965, 1981-1992.
An untranscribed interview of Harry and Constance Baziotes conducted by Francis Ricci for "Art in Review," 1982 (1 cassette); miscellaneous printed material not related to Baziotes; and slides of the Baziotes residences.
Edward Bates was a representative for Missouri in the mid-1800s. He served in the War of 1812 as a sergeant in a volunteer brigade, studied and practiced law, attended the state constitutional convention, was district attorney from 1821 to 1826, and was a member of the state senate. He declined to serve as Secretary of War for President Fillmore, but was appointed Attorney General of the United States by President Lincoln, and served from March 5, 1861 to September 1864. Bates died on March 25, 1869.
Admiral Charles Henry Davis was born on January 16, 1807, and served as Chief of the Bureau of Navigation between 1862 and 1865. He then served as Superintendent of the Naval Observatory. He had three ships named after him.
Forbes Watson was an art critic, lecturer, and administrator in New York City in the early 20th century. He served as art critic for the New York Evening Post. In 1933 he was appointed Technical Director of the first New Deal art program, the Public Works of Art Project, which provided work for artists in the decoration of non-federal buildings. He later worked at the Treasury Department of Painting and Sculpture, which administered funding for decorating federal buildings. Watson finally served in the Treasury Department's War Finance Division, where he organized exhibitions and posters by combat artists to promote the sale of war bonds. Forbes Watson's papers are held in the Archives of American Art.
Gifford Beal was an American artist who worked with many organizations for the advancements of the arts, finding inspiration from a wide variety of sources, including holiday scenes, every-day life, and landscapes. Beal loved spontaneity and was influenced by French Impressionists. He was commissioned by the government to paint two murals: one on the post office in Allentown, Pennsylvania, and one in the Main Interior Building in Washington, D.C. Beal's papers are held in the Archives of American Art.
Aaron Bohrod was born in Chicago, Illinois on November 21, 1907, where he studied art at the Art Institute of Chicago. He worked for a while in the advertising art department at the Fair Department Store in Chicago, but eventually moved to New York City, where he joined the Art Students League. He died on April 3, 1992. During World War II, Bohrod worked as an artist for the United States Army Corps of Engineer and Life magazine in Europe.
Carroll Cloar was an American realist and surrealist who lived from 1913 to 1993. He grew up in Arkansas, but later moved to Tennessee, travelled Europe, and joined the Art Students League in New York City. During World War II, he joined the U.S. Army Air Corps, and although he did complete some artwork during this period, none of it survives. Cloar then settled in Memphis. One of his paintings was chosen to commemorate President Clinton's inauguration in 1993. Cloar died of a self-inflicted gunshot wound on April 10, 1993, after a long battle with cancer.
Samuel Colman was an American painter who belonged to the Hudson River School, and is most well-remembered for his landscapes. He was born in Portland, Maine, in 1832, and began exhibiting at the young age of 18. At 27 he was elected an associate of the National Academy, and later studied abroad in Paris and Spain. He was made a full Academician upon his return to the United States, and both founded and served as the first president of the American Water-color Society. He continued to both study in Europe and exhibit artwork, moving from New York to Rhode Island. Colman is represented in the metropolitan Museum, Chicago Art Institute, and many other collections. He died in New York City in 1920.
Josephine Daskam Bacon was an American writer known for writing about "women's issues" and using female protagonists. She wrote a series of juvenile mysteries and helped pioneer the Girl Scouts movement, writing a guidebook for the organization.
Daniel Denison Rogers is perhaps most widely remembered for the painting that John Singleton Copley completed of his wife, Abigail Bromfield.
Ithiel Town was an American architect and civil engineer who lived from October 3, 1784 to June 13, 1844. He worked in the Federal and revivalist Greek and Gothic styles, and was widely copied. He was born in Connecticut, and built both Center Church and Trinity Church in New Haven. Town patented a wooden lattice truss bridge, which made him quite wealthy. He formed a professional architecture firm with Alexander Jackson Davis. One of Town's most amazing feats was the construction of the Potomac Aqueduct in Washington, D.C., which allowed fully loaded canal boats to cross the Potomac River.
William Parker Elliot designed the old U.S. Patent Office, a very important Greek Revival building, with Ithiel Town.
George de Forest Brush was an American painter who grew up in Connecticut and is typified by his paintings and drawings of Native Americans. Even after moving from Wyoming, where he met the Native Americans, back to the East, Brush still occasionally enjoyed living in a teepee. Brush's artistic style later developed into Renaissance-inspired portraits. He was friends with Abbott H. Thayer, and along with Brush's wife, Mary, and son, Gerome, they all contributed to early camouflage designs. Brush died in New Hampshire in 1941.
Chester Harding was an American portrait painter born in Massachusetts in 1792. He worked in many different professions, finally becoming a self-taught itinerant portrait painter. Harding settled in Beacon Hill, Boston, Massachusetts, in a building that now houses the Boston Bar Association (the Chester Harding House, a Historic National Landmark). He studied at the Philadelphia School of Design, later setting up a studio in London, where he befriended and painted for royalty and nobility. Harding finally returned to Boston, where he died in 1866.
This folder is an amalgamation of letters written and recieved by prominent figures in 19th and 20th century American art. Included in the folder are letters by Ambrose Andrews, Edward Bates, Gifford Beal, Aaron Bohrod, Carroll Clear, Samuel Colman, Josephine Daskam, Daniel Denison Rogers, William Elliot, George de Forest Brush, and Chester Harding. The letters' subjects cover a wide range of topics, including the buying and selling of art, invitations to dinner, and general correspondence.
The papers of sculptor and instructor Chaim Gross (1904-1991) measure 10.4 linear feet and date from 1920-2001. The papers contain biographical material, correspondence, business records, notes, writings, exhibition and event files, photographs, art work, and printed material. An addition of 11.5 linear feet donated 2016 and 2017 includes 105 sketchbooks, 1933-1991; awards and honors; condolence letters to Renee Gross on the death of her husband, Chaim; professional correspondence; photographs of Chaim Gross, his family, friends, colleagues, events and works of art; writings about Gross; files on exhibitions and events; and printed material including magazines, newsletters, articles, catalogs, brochures, and bulletins and audio visual material.
Circa 900 letters and greeting cards, 1939-1963, to Gross from collectors, museums, art organizations, and colleagues; contracts and receipts, 1941-1959; a drawing of African sculptures; 4 sketches drawn on envelopes and letters received; minutes of an exhibit committee meeting, 1962; and printed material, mainly exhibition announcements and catalogs, 1942-1962, and invitations to art-related events, 1948-1959. Correspondents include: John I. H. Baur, Isabel Bishop, Cornelia Van Auken Chapin, Henry Di Spirito, Eliot Elisofon, Juliana Force, Hy Freilicher, Al Hise, Edward Hopper, Mervin Jules, Benjamin Kopman, Leon Kroll, Paul Manship, Frances M. Morgan, Arnold Newman, Elias Newman, Abbo Ostrowsky, Ann Cole Phillips, Edna Reindel, Hugo Robus, Edward Rowan, Charles Salerno, Paul Sample, Mitchell Siporin, Henry Strater, Isaac Stern, Egon Weiner, Anita Weschler, Warren F. Wheelock, Harry H. Wickey, Carl Zigrosser, and William Zorach.
Ten record books of Gross' sculpture, 1926-1975, containing rough drawings of works, dimensions, titles, dates, materials, production locations, and information regarding owners.
Eighty sketchbooks, 1920-1968.
Letters, 1942-1969, from universities, museums, galleries, and colleagues including Ben-Zion, George Biddle, Peter Blume, Federico Castellon, Joseph Floch, Jo Hopper, Karl Knaths, Arnold Newman, Elliot Offner, Paul Suttman, Stuyvesant Van Veen, and William Zorach; miscellaneous writings by Gross and others; 3 lists of works; and printed material.
Letters and postcards, 1934-1974, many illustrated, from Mimi Gross and her husband, Red Grooms; eight illustrated letters and two envelopes from Mimi Gross to her parents Renee and Chaim Gross, written while she was traveling in Italy, Macedonia, Greece, and Yugoslavia in 1961 and 1968; 3 sketches; 2 clippings; and an exhibition announcement for Red Grooms, undated.
Thirteen postcards, 1951-1954, from friends who were traveling.
Primarily correspondence (7.2 linear feet), 1926-1983, with galleries, philanthropic organizations, and colleagues, including Isabel Bishop, Peter Blume, Jose De Creeft, Allen Ginsberg, John Graham, Joseph Hirsch, Joseph and Olga Hirshhorn, Jacob Kainen, Leon Kroll, Arnold Newman, Elias Newman, Abraham Rattner, Warren Robbins, Edward Rowan, Isaac Singer, Moses Soyer, Raphael Soyer, Isaac Stern, William Zorach, and an undated letter containing a photograph of Merce Cunningham.
Photographs, 1935-1982, are of Gross, his children, art-related events, gallery receptions, gatherings at Gross' home, exhibition installations, of art work executed between 1920 and 1979, and colleagues, including Sam Adler, George Constant, José De Creeft, Alexander Dobkin, Philip Evergood, Ernest Fiene, Joseph Floch, Eugenie Gershoy, Vincent Glinsky, Aaron Goodelman, Adolph Gottlieb, Lena Gurr, Cleo Hartwig, Joseph Hirshhorn, Leon Kroll, Jack Levine, Louise Nevelson, Arnold Newman, Warren Robbins, Nelson Rockefeller, Isaac Soyer, Raphael Soyer, Stuyvesant Van Veen, Karl Knaths posing for Gross, and Joseph Stella posing for Moses Soyer.
Other material includes contracts, loan agreements, receipts; minutes of meetings; lists of art work and people; writings by Gross and others; 2 drawings; clippings; exhibition announcements and catalogs, 1935-1982; a catalog, 1977, for "The Sculptor's Eye," an exhibition of African art from Gross' collection; press releases; programs; brochures; 2 books, "Chaim Gross: The Jewish Holidays" (1972) and "The Sculpture Reliefs of the Ten Commandments by Chaim Gross" (1973); and reproductions of art works.
The women’s marches in Washington, D.C. and a number of other cities shined a spotlight on the struggle for equal rights. Women’s history sites found throughout the United States offer another way to contemplate the fight for women’s rights and the contributions of women to the nation’s history.
You will have to work a little harder to find these monuments, though. Women are grossly under-represented when it comes to recognition in public places. For example, of the hundreds of statues in New York City, only five depict women, and only three of those— Harriet Tubman, Gertrude Stein, and Eleanor Roosevelt—are American. (Joan of Arc and Golda Meir are the others.)
But they are out there, if you know where to look. A few suggestions to get you started:
The Women’s Rights National Historical Park, Seneca Falls, New YorkA statue in the interpretive center for the Women’s Rights National Historical Park depicts the first wave of suffragettes along with ally Frederick Douglass. (Sophia Dembling)
As the historic epicenter of the suffrage movement, upstate New York is worthy of a trip for women’s history alone. That the Finger Lakes region is also exquisitely beautiful with abundant opportunities to enjoy the outdoors, fine wine and excellent restaurants is a happy bonus.
Start by visiting The Women’s Rights National Historical Park in Seneca Falls, a collection of sites where the movement was born. The park includes the homes of two leading suffragettes, Elizabeth Cady Stanton and Mary Ann McClintock. The Declaration of Sentiments—the first women’s rights statement—was drafted in McClintock’s home. The remains of the Wesleyan Chapel, where the First Women’s Rights Convention was held on June 19 and 20, 1848 is nearby. While the homes and chapel themselves don’t offer much in the way of background material, the ranger-led tours are informative, and there’s an extensive and absorbing interpretive center.
The suffrage and abolitionist movements were closely entwined, thanks, in part, to Quaker involvement in both. From Seneca Falls, you can drive 15 miles east to Auburn, NY to visit Harriet Tubman’s grave and the building that was formerly the Harriet Tubman Home for the Aged, a National Historic Landmark that contains a few precious artifacts from her life. Here, Tubman spent her later years caring for elderly, low-income African Americans, and it is where she died in 1913 at the age of 92 or 93.
Susan B. Anthony Museum & House, Rochester, New YorkA horse chestnut tree outside of Susan B. Anthony’s home in Rochester, New York is the last living witness to the suffragette’s life. (Sophia Dembling)
Anthony was famous in her lifetime, which was a boon to archivists who were able to collect materials from her contemporaries who realized there was value to saving items related to her. This house museum is full of mementos of Susan B. Anthony’s remarkable, laser-focused life. Susan lived here with her sister, Mary, who owned the property and supported her sister’s activism. It was in this doily-strewn parlor that Susan, at the age of 52, was arrested for illegally casting a vote. You can see her signature alligator purse and one of her dresses, which hangs in the bedroom where she died in 1906. Annie Callanan, director of program and visitor services for the house, says that Susan, hurt by depictions of suffragettes as ugly and mannish, took pains with her appearance and urged other suffragettes to do the same. Although Susan traveled to Congress every year for decades, the ban against women’s suffrage outlived her. The 19th amendment granting women the right to vote was ratified in 1920.
First Ladies National Historic Site, Canton, OhioThe main entrance of the First Ladies National Historic Site at the 1895 City National Bank Building in Canton, Ohio (Wikimedia Commons)
It’s perhaps unsurprising that the Pro Football Hall of Fame, in the same town, is considerably glitzier and better funded than this Victorian house museum and research center. The Ida Saxton McKinley House focuses on the life of the wife of President William McKinley, who served from 1897 until his assassination in 1901. After a docent-led tour of the home, you reach the third-floor ballroom, which is lined with portraits and brief biographies of all the nation’s first ladies—not all of whom were presidents’ wives. Dolley Madison, who is credited with establishing the role of first lady as hostess-in-chief, co-hosted with widower Thomas Jefferson, the third president of the U.S, before her own husband became the fourth. And you can learn here about some of the more outspoken first ladies of history, like Florence Harding, who said of her husband, “I put him in the White House. He does well when he listens to me and poorly when he does not.” The nearby research center also houses revolving exhibits, and maintains an informative website.
Women in Military Service for America Memorial, Alexandria, VirginiaA view of the Women in Military Service for America Memorial. Originally known as the Hemicycle, this ceremonial entrance to Arlington National Cemetery was opened in 1932. (Wikimedia Commons)
The Women in Military Service for America Memorial was dedicated in October 1997, more than 200 years after Margaret Corbin picked up her fallen husband’s gun and fought on in the Revolutionary War. She became the first woman ever to receive a pension from the government for military service.
The curved neoclassical memorial is just inside the ceremonial entrance to Arlington National Cemetery. A walkway atop the building includes, etched in glass, inspirational and slightly indignant quotes: “The qualities that are most important in all military jobs—things like integrity, moral courage and determination—have nothing to do with gender,” said Major Rhonda Cornum, who served in the medical corps in Desert Storm.
Exhibits inside the building are engrossing and informative, if still a little makeshift looking. The memorial is also collecting oral histories from women who served; many of these are available online.
Ninety-Nines Museum of Women Pilots, Oklahoma City, OklahomaBessie Coleman, the first female African-American licensed pilot, is remembered at the Museum of Women Pilots in Oklahoma City. (Sophia Dembling)
Amelia Earhart may be the most famous female pilot, but she was not the first. Harriet Quimby got her license in 1911, but died in 1912 when she was thrown out of her plane over Boston Harbor. A similar fate was met by Bessie Coleman, the first African-American female pilot, in 1926. (Seatbelts became standard equipment in 1930s.)
Learn about these and other intrepid female fliers in this warren of rooms in an obscure building on the grounds of Will Rogers International Airport. Here is the design by Edith Foltz (first licensed woman pilot in Oregon) for the Foltz Up dress, which folded up for flying, since long skirts got so inconveniently tangled in the controls. Learn about Jacqueline Cochran, the first woman to break the sound barrier and who, at the time of her death, held more speed, altitude and distance records than any other pilot, male or female. And dig into the papers of Jean Parker Rose, who saved a complete archive of her time with the Women Airforce Service Pilots (WASP), from her acceptance letter as one of 1,900 women out of 25,000 who applied; to a letter from TWA after the war, advising her that while they didn’t hire women as co-pilots, former WASPs “would get first crack at that when they do.”
If you have time, head north on I-35 about 90 minutes to the Pioneer Woman Museum in Ponca City, which has exhibits about the lives and times of Oklahoma’s pioneering women, from ranchers to rockabilly queen Wanda Jackson and Wilma Mankiller, first female chief of the Cherokee Nation.
Emily Roebling Plaque, Brooklyn BridgeEmily Roebling plaque, Brooklyn Bridge (Wally Gobetz via Flickr)
The Brooklyn Bridge was an engineering marvel of its time, and when it opened on May 24, 1883, Emily Roebling sat in a carriage alongside President Chester Arthur, the very first people to cross the iconic span. Roebling earned this honor by effectively acting as chief engineer on the project.
After her husband, engineer Augustus Roebling (son of John Augustus Roebling, who conceived the bridge), suffered a near-fatal case of decompression sickness supervising underwater construction of the towers, Emily stepped in. For the next 11 years, she was the conduit between her ailing husband and the construction crew. But no mere mouthpiece, Emily educated herself on such things as stress analysis and cable construction, and was on the work site daily. Today plaques on each tower honor her contribution.
Bright Angel Lodge, Grand Canyon, ArizonaBright Angel Lodge, main building (Wikimedia Commons)
Architect Mary Jane Colter never got the recognition of her male peers in her lifetime; she was not even listed as the architect on many of her projects. But as chief architect and designer for the Fred Harvey Company, which built a string of famous hotels along the shiny-new Santa Fe Railroad line, Colter provided the vision for numerous historic hotels. Colter designed all the Grand Canyon buildings, including the bustling Bright Angel Lodge on the popular South Rim of the canyon. (You’ll check in here to take a mule trip down into the canyon.) In fact, her rough-hewn style and use of Native American motifs became recognized as a distinctive style, now known as National Park Service Rustic.
In Santa Fe you can visit another of Colter’s famous buildings, the hotel La Fonda on the Plaza.
Women of the Confederacy Monument, Jackson, MississippiWomen of the Confederacy statue (Shawn Rossi via Flickr)
The location of this memorial to the women of the Confederacy, outside the state capitol, is controversial, but the memorial pays tribute to the struggles of the women who held down the besieged home front while war raged around them. Although these women are remembered in fictional form at more than one Gone with the Wind museum in the South, the real Scarlett O’Haras who coped with life on the battlefield of a long and bloody war get less attention. This monument, designed by Belle Marshall Kinney when she was just 23 years old, depicts a woman giving succor to a dying soldier. It is the only public monument in Jackson commemorating women's history.