Found 336 Resources containing: Muralists
Carrasco speaks of the roles played by her parents in her career as an artist, her experiences as a light-skinned Chicana, and the marginalization of women artists within the Chicano art movement; her relationship and marriage to fellow artist, Harry Gamboa, Jr., who has supported women artists; and her perception of Asco ("nausea" in Spanish), a group of artists and performers who joined together during the Chicano civil rights movement. She also discusses the influence of the art professors at UCLA and the quality of the training she received there; working with Carlos Almaraz and John Valadez on the "Zoot Suit" mural in Hollywood; meeting César Chávez and how he in part shaped her identity as a cultural worker; attending California School of Fine Arts, Valencia, California, and receiving her MFA there; other Chicana artists such as Carmen Lomas Garza; and the changes in her most recent work.
Edwin Howland Blashfield (left) with his assistants Vincent Aderente (center) and Alonzo E. Foringer (right) standing in front of "Wisconsin" (Wisconsin State Capitol dome crown) at the Vanderbilt Gallery, New York [photograph] / (photographed by Peter A. Juley & Son)
Orig. negative: 8x10, Glass, BW.
Edwin Howland Blashfield, American painter, 1848-1936.
Blashfield, Edwin Howland.
Weiner, Mina Rieur, ed., Edwin Howlan Blashfield: Master American Muralist. New York: W.W. Norton & Co., in association with Institute of Classical Architecture and Classical America, 2009, pg. 129.
An interview of George Booth Post conducted 1964 Apr. 9, by Lewis Ferbraché, for the Archives of American Art.
Transcript: 53 p.
An interview of Abraham Rattner conducted 1968 May-June, by Colette Roberts, for the Archives of American Art.
An interview of Otis Dozier conducted 1965 June 10, by Sylvia Loomis, for the Archives of American Art New Deal and the Arts Project.
Grant speaks of his background and education in California; joining the Federal Art Prject (FAP); doing watercolor painting and murals for the FAP in Santa Barbara; and his post-FAP career.
An interview of Suzanne Scheuer conducted 1964 July 29, by Mary Fuller McChesney, for the Archives of American Art New Deal and the Arts Project.
Steinberg discusses his travels in Ethiopia and Kenya; early paintings in America; politics and art in the 1960s; pyramids and the masonic movement; his own mythology; painting and drawing techniques; and his writings.
Notes should be viewed with original photograph, Digital Item ID# 19794.
An interview of Michael Spafford and Elizabeth Sandvig conducted 1992 September 2-4, by Paul Karlstrom, at their home in Seattle, Washington, for the Archives of American Art. Spafford and Sandvig discuss their marriage and their separate careers, and the controversy and trial resulting from Spafford's "Labors of Hercules" murals at the Washington State Capital Assembly Chamber in Olympia.
Typescript seven page manuscript with extensive handwritten notes, corrections, and additions. Packard writes of River and Kahlo's life in the 1940s. She writes about Rivera's health problems and reaction to World War II, as well as Rivera and Kahlo's artistic lives and household routines.
An interview of Phillips Sanderson conducted, 1965 April 1, by Sylvia Loomis, for the Archives of American Art, at the artist's home, in Scottsdale, Ariz.
"When Jackson Pollock died in a car crash in August 1956," writes author Phyllis Tuchman, "the 44-year-old artist hadn't made a painting in over a year. During the previous two and a half years, Pollock had executed only four significant pictures, but he seemed ready to get back to work.... In a few months, he was to become the first artist of his generation the then-emergent Abstract Expressionists to be honored with a mid-career survey of his work at the Museum of Modern Art in New York." The show, which opened in December 1956, became a memorial to the most important abstractionist in American art history.
Some 40 years later, Pollock is the subject of another major exhibition at MOMA. The retrospective, which will be on view from November 1 through February 2, 1999, features more than 150 paintings and works on paper executed during a career of approximately 25 years.
Born in Cody, Wyoming, in 1912, Pollock was raised mainly in California and from there made his way to New York City, where he studied with artist Thomas Hart Benton. The paintings he produced during the early years variously reflect the influence of Benton, Albert Pinkham Ryder and the Mexican muralists. They also reveal hints of American Indian symbology, Jungian archetypes and the work of Picasso and other European modernists.
The centerpieces of the MOMA show, however, are Pollock's seminal "drip" or "poured" paintings large "portable murals" that he made by dripping Duco and other house paints onto wall-size canvas spread across the studio floor. With these "astonishingly eloquent" paintings, writes Tuchman, "Pollock did something few other American artists have ever achieved: he showed how an abstractionist could make beautiful, profound, enigmatic, graceful canvases endowed with poetry and meaning."
Earhart was known to have been sensitive about her appearance and the clothes she wore. Given the limited space and the awkward design of the planes of this period, she always wore pants when flying—which prompted comment from those who believed pants to be unladylike. For public appearances, though, she abandoned her leather jacket, flight pants, and boots and presented herself in a fashion consistent with traditional femininity. In this 1932 drawing by Philadelphia artist Edith Emerson, Earhart appears as an exemplar of conventional female beauty. Emerson was a noted portraitist and muralist who had been educated at several of America’s leading art schools. The only hint of Earhart’s piloting fame is the faint outline of an airplane in the top left-hand corner.
An interview of Louis Schanker conducted circa 1963, by Harlan Phillips, for the Archives of American Art.
An interview of Herman Cherry conducted 1989 May 8-1992 March 19, by Judd Tully for the Archives of American Art. Cherry discusses his childhood; studies in California and New York; involvement with The Club, and his friendships with various artists including Stanton Macdonald-Wright, Thomas Hart Benton, Philip Guston, Fletcher Martin, Reuben Kadish, Lorser Feitelson, David Smith, Willem de Kooning and Clyfford Still.