1 15 135 https://omeka.wilkes.edu/omeka/files/original/b190b6e2a384d6e3d193f732435b2303.pdf acf15648a22ce3a0059b5ede7a379dd6 PDF Text Text ROSE O'NEILL The 50th Anniversary Celebration Exhibition �The ONE 0 S ~--1111111111.. Celebrating the Life And Legacy of ROSE O'NEILL The 50th Anniversary Celebration Exhibition Curated by Heather Sincavage, M.F.A. Major sponsorship made by Andrew J. Sordoni, Ill and the Sordoni Foundation 5 GOLDEN ANNIVERSARY SORDONI ART GALLERY �t Published by Sordoni Art Gallery Wilkes University, Wilkes-Barre, PA www.wilkes.edu/ sordoniartgallery IBSN # 979-8-9881985-0-5 Designer: Jess Morandi Copy Editor: Vicki Mayk Photography: Melissa Carestia Photo Editing: Sam Meehan Research Intern: Brynn Stahl ©2023 Sordoni Art Gallery All rights reserved . No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical without permission in writing from the publisher. Cover Image: detail from The Kewps now vie in antics various to make the Fairy Queen hilarious., Illustration for The Kewpies and their Fairy Cousin by Rose O'Neill, Good Housekeeping, July 1916, p. 89 . University Nolliliscriminotion Statement Wilkes University does not discriminate on the basis of race, color, notional or ethnic origin, age, religion, disability, pregnancy, gender, gender identity and/or expression, sexual orientation, marital or family status, military or veteran status, genetic information or other protected status in its programs and activities. The following person hos been designated to handle inquiries regarding the Universitys; non-discrimination policies: Elizabeth Leo, Esq., Titte IX coordinator, who con be reached at 570-408-7788 or elizobeth. leo@wilkes.edu. Or contact the secretory of education, Office of Civil Rights, at l-800-421-3481 or OCR@ed.gov �I, I, Table of CONTENTS Foreword - Greg Cant, Ph.D, President, Wilkes University Acknowledgments - Heather Sincavage, M.F.A., Sordoni Art Gallery Director About Rose O'Neill Essays "Whether We Are Rich or Poor, We Can Love Each Other the Same:" The O'Neills in Wilkes-Barre by Diane Wenger, Ph.D. , ' !'. /, ftrt 1 3 5 7 Reenvisioning Rose O'Neill's Comic Feminist Debut Novel, The Loves of Edwy by Jenny Shank 11 The Tangle: Rose O'Neill And The Missouri Ozarks by Sarah Buhr, Curator, Springfield Art Museum 17 Re-examining Embrace of the Tree: Rose O'Neill's Art as Advocacy for Women by Heather Sincavage, M.F.A. 25 The Artwork of Rose O'Neill Puck Magazine and Other Illustrations The Loves of Edwy 35 37 93 The Kewpies and Kewpiemania 105 Mythology and the Sweet Monsters 141 Exhibition Checklist Lenders to the Exhibition Contributor Bios About the Sordoni Art Gallery 161 169 170 171 �Foreword GREG CANT, PH.D PRESIDENT, WILKES UNIVERSITY �Wilkes University has been the proud home of the Sordoni Art Gallery since it first opened its doors 50 years ago. Since then, thousands of guests have admired outstanding exhibitions that showcase art in its many forms. From its opening show in 1973, which featured the paintings of Wilkes-Barre, born George Catlin, to more recent collections including works by Andy Warhol, Pete Souza, and orman Rockwell, the Sordoni Art Gallery always inspires. The Sordoni has always been more than just an art gallery to Wilkes University. A non-traditional classroom, the Sordoni Art Gallery encourages students to ask questions, test boundaries and think critically about the world around them. For some Wilkes students - many of whom are the first in their families to attend a four-year college - the Sordoni Art Gallery offers the completely new experience of being immersed in the visual arts. This is a life-changing moment for these students, and we take great pride in having such a valuable resource on our campus. The Sordoni Art Gallery sits at the cross section of campus and community and adds to the vibrancy of our downtown Wilkes-Barre community. This connection has always been an important part of the Sordoni's mission and we are proud to continue - and expand - our presence in the region. For all of these reasons, we remain grateful to Andrew J. Sordoni, III and the Sordoni family for their unwavering support of the gallery and Wilkes University. We believe that this show The One Rose: Celebrating the Life and Legacy of Rose O'Neill (another Wilkes-Barre native) is a wonderful way to celebrate the Gallery's first 50 years and we look forward to celebrating many more decades of exceptional and inspiring exhibitions at the Sordoni Art Gallery with you. �Acknowledgments Heather Sincavage, M.F.A EXHIBITION CURATOR Celebrating the Sordoni Art Gallery's golden anniversary warranted an exhibition worthy of such a landmark. In the spirit of our first exhibition centered on Wilkes-Barre native, George Catlin, we opted to honor another Wilkes-Barre native, Rose O'Neill, born here in 1874. Known as the "mother of Kewpies," Rose O'Neill was so much more - artist and illustrator, writer and poet, philanthropist, entrepreneur, and suffragist. Although born here in the Diamond City, O' eill spent much of her life in the central United States. She owned property in Connecticut, New York City, Capri, and her beloved homestead, Bonniebrook, in the Missouri Ozarks. She made her mark on the world and arguably, history. Before Mickey Mouse, there were the Kewpies. To the many I worked with to realize the exhibition, she is their "one Rose." Remembering Rose would not be possible without the tireless efforts of so many people dedicated to her legacy. For me, it has been a joy and pleasure to get to know these people throughout the project and I owe them a tremendous debt of gratitude for assisting with the exhibition. Thank you to the several institutions and collectors who loaned artwork for The One Rose: Celebrating the Life and Legacy ofRose O'Neill. They are Sarah Buhr and Kyle Climore at the Springfield Art Museum, Susan Scott and Gayle Green at Bonniebrook Historical Society, Museum and Homestead, Susan Wilson, Susan Strauss at the International Rose O' eill Club Foundation, Emily Zeman at the Andrew County Museum, Noreen Tillotson at the LeRoy Historical Society / Jell-O Museum, Annette Sain at the Ralph Foster Museum at the College of the Ozarks, Amanda Burdan and Sara Beuhler at the Brandywine Museum, Stephanie Plunkett and Laurie Norton Moffatt at the Norman Rockwell Museum, Meg Thomas at the Delaware Art Museum, Wendy Pflug at the Billy Ireland Cartoon Library at Ohio State University, Skye Lacerte at the Washington University at St. Louis Library and Collections, and Elizabeth Marecki Alberding at the Kelly Collection of American Illustration. The Sordoni Art Gallery is dedicated to academic excellence and this exhibition provided us the opportunity to further the scholarship and study of Rose O'Neill. I was privileged to spend time at the State Historical Society of Missouri and the Missouri State University Archives to read O'Neill's papers. Thank you to Hayley Frizzle-Green at SHSMO and Tracey Gieselman-France at MSUA. In addition, the Luzerne County Historical Society was a wonderful resource for both me and my colleagues who contributed essays to the catalog. Thank you Amanda Fontenova for your assistance. �I also want to thank my colleagues who also contributed essays to the catalog. Rose O'Neill made vast contributions to our culture and I was honored to have such meaningful scholarship as part of our publication. Thank you Dr. Diane Wenger, professor emeritus of history at Wilkes University, and Jenny Shank, award-winning author. This is also another opportunity to thank Sarah Buhr, curator of art at the Springfield Art Museum. Celebrations such as this are not possible without the support and guidance of many. Thank you to the Sordoni Art Gallery Advisory Commission for their dedication and in particular, Ken Marquis for his continued support and advice. I also want to thank my colleagues on campus: Melissa Carestia, assistant director of the Sordoni Art Gallery, Dr. Paul Riggs, dean of the College of Arts & Sciences, Kevin Boyle, vice president of Advancement, and of course, Dr. Greg Cant, president of Wilkes University. One thing I always say is that we in higher education are in the business of ensuring our students' success. I couldn't be more proud to have a former Sordoni Gallery design fellowship alumnus contribute her talents to the project. Thank you,Jessica Morandi, for your ongoing enthusiasm for the gallery. She sets a fine example for what students can achieve. I also want to thank the current student gallery staff, in particular, this year's design fellow, Dylan Kofie. Finally, none of this would have been possible without the support, encouragement, and interest of Andrew Sordoni. Thank you for providing the opportunity to do such important work here at the gallery. In addition, I would also like to thank the Sordoni Foundation for its support of the curatorial project. Rose O' eill can be quoted as saying, "I have a thrilling hope that women are going to do something glorious in the arts. It is my passionate conviction." As women artists have struggled to be recognized throughout art history, I am honored that as part of our golden anniversary, we are able to celebrate what "glorious contributions" Rose O' eill has made for our culture. �About ROSE O'NEILL American illustrator of the early twentieth century, was a woman of many accomplishments. She was the :first woman illustrator for Puck magazine, the leading men's magazine of the late-19th century, entertaining its readers with considerable satire and political commentary; creator of the Kewpie Doll, the subject of a major merchandising campaign, which made her fortune; activist for women's suffrage; and accomplished artist and sculptor featured in exhibitions in Paris (1921) and New York (1922). Rose O'Neill, Rose O'Neill was born in the Diamond City, Wilkes-Barre, Pennsylvania, on June 25, 1874. She was the daughter of a Civil War veteran, bookseller, and businessman William Patrick O'Neill and schoolteacher Alice Asenath Cecilia Smith O'Neill, otherwise known as "Meemie." Inspired by Thoreau's newly published "Walden," they were an unconventional family who left Wilkes-Barre for a homestead in Nebraska. Her father determined that Rose would be educated in the arts and had aspirations for her to be an actress or opera singer. Instead, Rose entered and won a drawing contest in the Omaha Herald at the age of 13, marking a future in art. �I I r work a an artist established O'Neill a one of the wealthiest women of her era. In fact, by 1914, she was the highest paid woman illustrator in the United States and th fir t artist to ever build a merchandising mpire through her work, earning 1.6 million dollar at the height of her popularity; over 36 million dollars by today's standards. The Kewpies, a cartoon first printed in Ladies Home journal in 1909, featured the cherub-faced er ation and their antics. The Kewpies went on to promote commercial products such as olgate, Sears, Kellogg's Corn Flakes, and Jcll-0. Her commercial success provided her with the resources to own four properties: an apartment in Washington Square in New York City, an estate, Carabas Castle, in We tport, Connecticut, a villa in Capri, and her beloved Bonniebrook in the Ozark Mountains of Missouri. The Kewpies challenged the conventions of g nder while encouraging people to "do good cl d in a funny way;" however, the characters did take on social cause . In support of women' suffrage, the Kewpies donned aprons to advocate for public support of women's right to vote on posters for the National American Women's Suffrage Association. O' eill was no stranger to activism. Her first job as an illustrator was for Puck magazine, a publication infamous for political satire. Her work challenged attitudes towards ethnic stereotypes, dass discrimination, and race during the height ofJim Crow. The Lady in the White Veil (1909), Carda (1929), and The Goblin Woman (1930). Her book of poetry, The Master-Mistress, was published in 1922. She also wrote her autobiography which was published posthumously in 1997 and reissued in 2022. In addition to writing, she would also illustrate her books and those of her second husband, Harry Leon·Wilson. In contrast, her "Sweet Monsters," developed in private alongside the Kewpies, were contemplative and emotional figures exploring mythology and the subconscious. These drawings were a passion project rumored to be under her mainstream drawings on her drawing board. The monsters were the subject of her gallery and museum exhibitions, Galerie Devambez (1921), Paris and Wildenstein Gallery (1922), ew York, where she became equally respected by curators as she was with editors in the commercial world. Indeed, O' eill experienced tremendous financial success early in her career. She was known to spread her wealth and support the creativity of others. She surrounded herself with creatives such as Witter Brynner, Kahlil Gibran, Charlotte Perkins Gilman, Martha Graham, and many more. Her long-running support of family and friends in addition to the economic downturn of the 1930s led to financial strain. ear the end of her life, O' eill pursued several projects to regain her commercial success. O'Neill passed away in her nephew's home in Springfield, Missouri, in 1944 and is buried alongside members of her family at her Bonniebrook estate. O'Neill was not only an accomplished artist but also a published author and poet. Throughout her lifetime, she wrote four gothic novels: The Loves of Edwy (1904), Rose O'Neill in her Bonniebrook studio, n.d. Courtesy of Bonniebrook Historical Society, Museum, & Homestead �t "Whether We Are Rich Or Poor, We Can Love Each Other The Same:" THE O'NEILLS IN WILKES-BARRE BY DIANE WENGER, PH.D. July 9, 1872, Wilkes-Barre was crowded as some 40,000 residents and visitors celebrated the 96th anniversary of U.S. independence and the 100th birthday of the city's founding. A highlight of the day was an enormous parade featuring bands, fire departments, military units, and over one hundred horse-drawn wagons representing local business and industry. Rose O' eill's father, William Patrick O'Neill,was in that procession. His real estate buggy was "decorated with appropriate banners" and, according to an observer, "the only agency of its kind which had the good sense to show its colors." 1 The comment surely pleased O 'Neill, but he also had other reasons to feel happy. Just a few weeks earlier, on June 20, he and his wife had welcomed their first child, [John] Hugh. 0n �Indeed, O'Neill's prospects seemed bright. The previous April, after a five-year courtship, he had married Alice Cecelie Asenath "Sena" Smith of Fairmount, Luzerne County, Pennsylvania. 2 The couple traveled to Philadelphia for the wedding and stayed in a suite at the Continental Hotel before settling down in their new home on Meade Street in Wilkes-Barre, about 10 blocks south of Main Street. 3 "Emerald Cottage" was a country gothic bungalow with gingerbread trim, surrounded by fruit trees and a garden. Inspired by a recent trip to Europe, O'Neill hired an Italian artisan to decorate the ceiling of its octagonal parlor with a fresco of cupids and wreaths; the local paper described the property as "that romantic eyrie on Brewery Hill." 4 Rose's father was a native of Overton, Pennsylvania. After he was discharged from the military in 1864, he relocated to Wilkes-Barre, where his brother Daniel was a well-respected attorney. 5 By 1870 he was operating a real estate firm, and also an auction, emigration and exchange business on North Main Street. In 1873, he briefly went into partnership with auctioneer W. E. (William) Whyte. The auction house handled a variety of goods including art, books, household furnishings, and, once, a large collection of sea shells. 6 In April 1874, O'Neill adverti ed he had relocated (no mention of Whyte) to Public Square in the center of the city. 7 OnJune 25, 1874, the O'Neills' second child, Cecelia Rose, was born. If O'Neill's star seemed to be ascending, Wilkes-Barre's clearly was on the rise. It achieved city status in May 1871, and its first police force formed in 1872. 8 Population in 1870 was 10,174, making it the eleventh largest city in Pennsylvania. That figure had doubled since 1860; it would double again by 1880. 9 The primary reason for such dramatic growth was an influx of immigrants attracted by the burgeoning mining industry. By 1875, Wyoming Valley coal made up half of Pennsylvania's anthracite production, and the resultant prosperity gave Wilkes-Barre the nickname "Diamond City. "10 The importance of mining was evident in the centennial parade, which included wagonloads of miners and breaker boys (both groups were given the day off) and a "giant lump of coal" weighing several tons. As the coal industry expanded, so did transportation. Canal and rail lines, carrying both coal and passengers, passed directly through Wilkes-Barre, but trains soon made the mule-drawn canal boats obsolete. For local travel, there were horse-drawn street cars. Had the O'Neills wanted to take the children on a river excursion, they could have bought tickets for the steamboat Hendrick B. Wright, which, starting in late 1874, plied the Susquehanna between Wilkes-Barre, Plymouth and Nanticoke. 11 Emerald Cottage, Courtesy of David O'Neill 1 Luzerne Union.July 10, 1872. Sena' birthplace, Fairmount, is listed on her death certificate. The O'Neill children called their mother "Meemie," but she signed her correspondence with William as "Sena." ~William lo ena, Apr.13, 1871. O'Neill papers, State Historical Society of Missouri, Folder 1. https: / / digital.shsmo.org/ digitaJ/collection/ pl7228co1140/ id/ 39~/ rec/ l 1 Miriam Forman-Brunell, The Story of Rose O'Neill: an Autobiography (Columbia: University of Missouri, 1997) 33, 34. Wilkes-Barre Daily,June 24, 1872. Rowena Godding Ruggles states the cottage was dedicated July 4, 1871 to "Friendship, Truth and Liberty," but does ~ot cite her source f?r this information. Ruggl~s, One _Rose (Albany: CA,_ 1964, ~972) 7. 'i (]emenl F. Ileverly, History of Overton, 1810-1910 (Towanda, PA: Bradford Star Prmt, 1910) https: / / s1tes.rootsweb.com/ -pasulhv / Sull1vanCountyH1stoncalSoc1ety/ OVERTON.htm .. Ii Boyd's 1871 Wilkes-Barre City Directory lists O'Neill's office at 108 N. Main St.; Boyd's 1873 Directory shows Whyte & O'Neill at 105 N. Main St. Some sources claim O'Neill also had a book store, but there is no mention of that in newspaper ads or city directories. On the auctions, see Times Leader Nov. 13, 1873, May 14, 1874 and Jan. 4, 1875. 7 Times Leade1~April 2, 1874. 8 Elena Castrignano, Ima1;es of America: Wilkes-Barre (Charleston: Arcadia, 2012) 121, 122. " "Population of Principal Cities and Boroughs from Earliest Census to 1930," https:/ / www2.census.gov/ prod2/ decenniaJ/documents/ 03815512vlch09.pdf 10 "I Ii tory of Wilkes-Barre," https:/ / www. wilkes-barre.city / about-wilkes-barre-pa/ pages/ history-wilkes-barre 11 Times Leader, Nov. 28, 1874. ~ �Another city attraction was the four-story Music Hall, WilkesBarre's "first genuine theater," erected in 1871 at West Market and North River streets. 12 The Hall hosted serious entertainment such as the Holman English Opera Company and lectures by luminaries including Henry Ward Beecher and Mark Twain; on the lighter side were burlesque and minstrel shows and novelties such as Madame Zoe, "champion of the broad-sword" and Kate Smith and her horse "Wonder." 13 As a bachelor, William attended performances at the hall and it is quite likely he took Sena there after their marriage. 14 7! ~~- ~~ ~# ~~&---J ~&:;.,,I- ~~ ~ -~ - r:/ - , / .:--- a...-......~ t:,._/ / ~ ' ;-,.,_.. ~ . ,if__, r',e__.,___-eA..,_) /Z,,,~ ~ - - ) ~ ~ £.uc-r§z ~L:.L Ji.-£/ ~-e{_,, In 1875 the O' eills encountered financial problems. In March that year, Pat Sheahan, a New York emigration and foreign exchange agent, ran a series of ads advising the public against purchasing any of his drafts or tickets from William O'Neill. O'Neill responded that he had to cover Sheahan's drafts because British banks deemed them worthless. 15 As their situation worsened, Sena told William it made no difference whether they were rich or poor: "We can love each other the same. "16 A bitter blow came in September when Emerald Cottage, along with O' eill's land in Plains Township, was "seized and taken in execution at the suit of William Hoover,Jr." 17 In November, W. E. Whyte (W. H. 's son) sued to have the business partnership officially dissolved. 18 ., -7~ /r X_!'!'--,.;._, ~~ -,_,,._~.:✓.- <_(_ a::-.,.~-•h ~.r:--J /< ✓ /4.,-~-, o--.~ ~~.ru- d~ /....,6=~c(._ / ~ • J//->-~ ,,~~ A.1fa~--- t : . ~ - - ~ ,/ ~ / ~--""- A/- > .......... . .. . . . 0-../ £.-. ~ ~di-<>/-&: ~ ~ ,_·-r a-..r~ / ~ ,,.t_R-p----L ~ ~ ;;:::::, ~ ... ~ ~<r- / ~, cL-:;.7- r ~ -fer--~ ~-1---- ~ <tr--.J.l~l:,J~ 4.r-, '}-,,~ ~ ~ ;r,::;---- ~~ca, 6~ . , ~ .£ ~ -£--~,u___ - ~~ ~~ ~ ~ ;;R~ t i: ~----~~ I ' ~ ~f~ - ~ ~ _.,.~ . . .¢:-J~F--r~·-<,AL ~~c-.• ~ -~ ~ .....,_...__.,_ - [Letter from William P. O'Neill to Sena O'Neill, 187 6] Rose O'Neill Papers (SPOO26); The State Historical Society of Missouri Research Center-Springfield By May 1876, William was no longer in business in WilkesBarre. Rather, he was working in Philadelphia as a Centennial Exposition guard; periodically he sent money home and promised to "support [his] little family." 19 In spite of the property lien, Sena stayed on in Emerald Cottage. Between caring for Hugh and Rose, whom both parents clearly adored, she sewed and worked in her garden. She and William wrote frequently; their letters provide insight into their precarious finances. The letters also afford a rare glimpse of Rose, whom they called "Little Sister," at the tender age of 2: singing "Papa's Coming Home"; recovering from measles with a lingering cough; marching up the sidewalk on her own to visit a neighbor; climbing on her mother's lap and saying "rock it," referring to herself. 20 At the same time, Sena economized. She sold off books, pictures, the organ and sewing machine. She gave music lessons and studied for the exam that would qualify her to teach school (and thus add to the family income); she considered discharging the hired girl to save expenses. 21 Edward F. Ilanlon and Paul J. Zbiek, The Wyoming Valley: An American Portrait (Sun Valley, CA: American Historical Press, 2003) 73. Luzerne Union, Sept. 27, 1871 Times l eader, Apr. 8, 1875, Dec. 29, 1875, May 17, 1876, Dec. 1, 1876 14 Sena to William Feb. 23, 1871. 15 Times Leader~ Mar. 20, 1875. 16 ena to William, Aug.18, 1875. 17 Luzerne Union, Sept. 8, 1875. 18 Titnes Leader, Nov. 30, 1875. 19 William to Sena.July 1876. 20 Sena to William, May 18,June 5,Jun c 18, 1876; Rose recalled that a younger brother also called himself "it." Forman-Brunell, 31. 21 William to Sena,July 1876; Sena to William.July 13, 1876. 12 13 �The precise reason for William's failure is unclear, but, by 1877, a Ro e put it, "Papa had spent all his money. "22 The Panic of 1873 ruined many businesses and caused widespread unemployment, and he had spent lavishly on Emerald Cottage. \ for his business dealings, he pleaded, "I have been indiscreet but never dishonest. I have often been the victim of deceit or bad judgement but never willfully wronged any man .. .l do not fear the future even in poverty." 23 , In June 1877, Sena and the children, then 5 and 3, moved into a rented room; she paid her landlady, Mrs. Higgins, with her velvet carp t. ext, they moved to Fairmont, while William headed west for what he called his "new venture. "24 That summer, the n xt chapter of Rose's life began as they followed William-first to ebraska and then Missouri-to make a new start. On the way, daughter Mary Ilena (Lee), was born, August 28, 1877, in Iowa. 25 De pite O'Neill's financial embarrassment, local newspapers treated him uncritically. In September 1877, the Luzerne Union report d that he was in O'Neill City, Nebraska, to exhibit "his c ntennial show." 26 On July 16, 1882, the Sunday News advertised the ale of Emerald Cottage. The notice alluded to O'Neill's altered situation: "In the good times (emphasis added) Wm. P. O'Neill bought a large lot on Meade Street, some one hundred and eighty-five feet wide, and built an elegant cottage, which he named 'Emerald Cottage.' He made of it a fair bowerie [sic]." adly, nothing is left of the O'Neill home. On March 12, 1888, the 7imes Leaderreported that "Emerald Cottage on Meade Street, near Market, built by William P. O'Neill, is going to make room for a n w church. The Welsh Baptist people of Sheridan Street are about to build a larger and more commodious edifice where the cottage now stands." It i impossible to know how Rose's early years in Wilkes-Barre haped her life. We do know that she never forgot Emerald Cottage; she recalled fondly its "charm, fine trees, a lawn and plenty of roses." 27 lt is tempting to imagine that pleasant memories of her childhood home sparked her life-long affection for another bucolic locale far away in the rural Ozarks. [Stereograph of East Side of Public Square, c. 1860] Photograph Collection of the Luzerne County Historical Society. L92. 2.3 85 lonnan-Brunell, 33. William to ena, luly 20, 1876. ' rna to William,May 31, 1876; William to Sena, Sept. 17, 1876; Sena to William.June 4, 1877. ' Iorman-Brunnel, 33. l.11:erne Union, ept. 12, 1877. O'Neill City was founded by Gen. John O'Neill, who traveled through Pennsylvania coal towns recruiting miners to live in his new town. His relation to William is unknown.http: / / www.holtindependent.com/ pages/ Sculpture-Dedicated-To-Memory-of-General-0Neill-a27008.html 'fl I onnan-Brunnel, 33. �Reenvisioning Rose O'Neill's Comic Feminist Debut Novel, THE LOVES OF EDWY BY JENNY SHANK �the truth, and then, entirely knowing it, I want to see the fun in it," Jane Ross-Connaught tells the narrator, Georgie, in Rose O'Neill's 1904 novel, The Loves ofEdwy, in a moment of candor when she explains to him her animating force. "I wanted to ee," he continues. "I abhorred being blind and selfishly living in illusions, like- others. But when I saw, I was not content; I wanted to make the others see, too. Their eyelessness irks me" (O' eill, Edwy 160). career, but "autobiographical" implies a close plot resemblance to the author's life, and key elements of the plot of The Loves of Edwy roam far from documented details of O'Neill's life. Another problem with the term "autobiographical" is that this is often how novels by women are labeled and understood- as emanating from personal experience rather than imagination and artistic choice. Perhaps The Loves of Edwy is better described as a feminist novel that offers a study in the possible life paths and ways of being in the world available to an American woman at the beginning of the twentieth century. In The Loves ofEdwy,Jane evolves from a verse-scribbling sevenyear-old into an independent woman and professional writer, and her mission of portraying the truth with humor could de cribe O' eill's own. Almost eighty years after Rose O'Neill's death, he is best remembered as a pioneering artist and illu trator, although her literary output was also considerablehe wrote and illustrated four novels and a collection of poetry, a well a several books featuring her most famous creation, the Kewpie. While O' eill's stature has risen in recent years as a trailblazing female cartoonist, a convention-flouting feminist and uffragist, and as the creator of one of the most soughtafter doll among collectors, it appears her books are little read today- or if they are, readers keep their thoughts about the books to them elves. O' eill's first novel, The Loves ofEdwy, is often mentioned in passing in roundups of her accomplishments, where it i almo t always described as "autobiographical." But is this adjective accurate? As The Loves of Edwy opens, its protagonist Aspasia Jane RossConnaught is a 7-year-old growing up in a "mountain town in Pennsylvania" (23), and the narrator, Georgie, most frequently referred to by Jane's nickname for him, Juggs, is a few years older. Juggs is the son of a wealthy man whose business keeps him in New York, while Juggs' mother lives in Europe. While his "father's man" nominally looks after him, instead he becomes "almost a sixth child in the house of Connaught" (25). In many ways this setup echoes the plot of Little Women, a novel popular during O'Neill's childhood, in which the wealthy and parentless boy Laurie becomes a fixture in the impoverished but lively home of the March family next door. Juggs soon begins to feel "that [he] preferred to throw things at [Jane] than at any other little girl" (28) and his lifelong devotion to her begins.Juggs' cousin Edwy becomes equally enamored ofJane, though while the otherwise reserved Edwy speaks openly of his feelings for Jane,Juggs keeps his own hidden. Juggs is sent away for schooling for several stretches of years, but the events of the narrative only continue when he is inJane's presence, chronicling his unexpressed devotion for Jane, which her hints suggest is matched by her own. "I want It' true that several key details of the novel clearly seem inspired by people and incidents in O'Neill's own life, particularly her childhood poverty, her singular father, and her early acting �First Person Peripheral: A NARRATIVE APPROACH MOST OFTEN RESERVED FOR MEN The first unusual choice that O'Neill makes with crafting The Loves ofEdwy is her selection of point of view. The novel is narrated in the first-person perspective of a man,Juggs. Female novelists of this era and before it rarely wrote in the first-person from a man's perspective. An omniscient point of view that included access to the thoughts and feelings of both male and female characters wa a more typical tactic, favored by novelists including Jane Austen, George Eliot, and Louisa May Alcott. O'Neill, however, selected a narrative style that is even more unusual for a female novelist than the first-person central: the first-person peripheral. In this approach, the main character of the novel does not narrate the book, rather, the narrator is someone who is obsessed with the subject or at least keenly interested in them. The most famous example of this type of narration appears in a book published about two decades after The Loves of Edwy, _F. Scott Fitzgerald's The Great Gatsby, in which Nick Carraway details the exploits of his fascinating neighbor. Notably, though, that's a story narrated by a man about another man whom he considers to be "great." Man-on-man narration is the most frequent use of the first-person peripheral, from Robert Penn Warren's. All the King's Men to John Irving's A Prayer for Owen Meany. Occas1onally, especially in recent years, authors have used the _first-pers?n peripheral in books in which a female narrator descr~b:s the _hfe of another female main character, for example, My Brzllzant Friend by Elena Ferrante. O'Neill's extremely unusual choice is to employ a male narrator for the story of a female protagonist, an approach whose most salient example, Willa Cather's My Antonia, was not published until 1918. Was O' eill's choice of point of view for The Loves ofEdwy a deliberate flouting of gender conventions, or, as someone who was accustomed to living so free from gender role restrictions in other aspects of her life, did it just not occur to her that it was unusual for a man to narrate a story that was primarily concerned with the activities and decisions of a woman? In any case,Jane is the star of the book, the character whose actions and choices influence all the other characters, while Juggs, for much of the novel, remains the indolent-if handsome and witty-son of a wealthy man who hangs around observing her. For much of the first part of the book,Juggs only narrates events whenJane is present.Juggs quickly summarizes the years he's apart from Jane while he attends high school. When he returns, he finds her spending more time practicing "the dramatic art" than writing poetry. "She confided to me, though, that she had not out and out abandoned literature, but would content herself with being a great actress who brought forth a book of astonishing poems every year or so. She said her father had assured her that these two, along with music and painting, were 'sister arts,' harmonizing with, and the complements of, each other; all alike being the gifts of the All-ruling Mind to man, to serve as a medium of expression for the pent-up emotions of the human heart" (77). This sentiment about "sister arts" echoes the views of O'Neill's father, as expressed in her posthumously published autobiography. As The Loves of Edwy unfolds,Juggs and Jane both suffer from pent-up emotions, as they busy themselves with writing and drawing, but neither can bring themselves to plainly express how they feel about each other, with tragic results. The narrative again skips rapidly ahead whenJuggs parts from Jane to attend Yale for three years, after which he drops out without graduating and travels to Paris to idle with his mother. His father summons him to New York to enter the family business, a period which he summarizes in one sentence as, "I tried and failed; yawned, sulked, and made pictures in the ledgers; contrived pranks on fellow clerks, played at imitating my father's signature, loafed, and made myself disgusting" (122). After this quick digest of pivotal events in Juggs' life, the narrative pace slows again onceJuggs is back in Pennsylvania inJane's presence. He perceives that her family is suffering financial difficulty, and he hatches a scheme to sell his artwork to a magazine named Wit, and give the money to the Connaughts by purchasing the books Jane's father sells through a third party, obscuring his own role. Juggs lavishes much more time in his narration on every stray glance or encouraging word Jane gives him than on the events that shape his own life. Even the defining episode of his life and the climax of the novel-whenJuggs goes to prison for five years for forging his father's check-is glossed over in the space of a few pages. The book is written from the perspective of a man, but it's the woman whose life is central to it. WhileJuggs lazes about,Jane keeps active, studying Latin, memorizing Shakespeare, performing in plays, writing poetry, and scraping together an education despite her father's inability to pay school fees. Like O' eill, after acting in plays during her early years under ~he encouragement of her father,Jane renounces the theater. Unlike O'Neill,Jane aspires to become a writer, while Juggs becomes an artist. �11 You are more like a Visiting Child than the Mistress here, Lady Jane" 1904, Pen and ink on paper, Springfield Art Museum "Make her Commonplace": MARRIAGE MAKES AWOMAN COMMON Late in the novel, after Edwy has repeatedly proposed to Jane and been rebuffed, while Juggs continues waffling about declaring his love for Jane, Juggs confides his feelings to an older friend named Octavia, who insi ts that he propose to Jane. By now Jane is an ind pendent woman earning a living as a writer in New York, with a lively social life, throwing artsy salons like the ones O'Neill ho ted. Jane has made herself into an exceptional woman. Still, Octavia advises Juggs, "Make her commonplace, make her happy," by proposing to her (355). Throughout The Loves of Edwy, O'Neill depicts female characters who are "commonplace"-those who follow prevailing gender role . Jane's mother is sweet and cheerfully long-suffering; by the nd of the book, after giving birth to nine children, five of whom die, he loses her mind, "thenceforth resting in a dimly smiling oblivion in which she forever nursed an imaginary baby" (320). ailed "the little mother," she is the only character in the book who isn't given a name. While high-spiritedJane is always joking and thinking about art,Jane' younger sister, Cornelia, is practical, ladylike, and a bit of a pill. O'Neill writes, "Cornelia, who was ten and the housekeeper, now came in with a broom, dustpan, and an air of great severity, to put things to rights." When, as an adolescent, Jugg realizes that Edwy loves Jane too, he tries to instead interest him in Cornelia, but neither will have her.Jane dresses like a ragamuffin, and comports herself as she pleases, but Cornelia " elected for her playmates only little girls of white aprons and unmistakable gentility; and those who whistled, wore gingham, and threw their dresses over their heads when it rained, were no better than riff-raff" (45). Cornelia is named after her aunt, who comes to stay with the Ross-Connaughts when it's clear that her i ter need help, and Aunt Cornelia and Jane clash, largely over Jan 's violation of typical expectations for girls. Aunt Cornelia "preferred the little housekeeper, her namesake," O'Neill writes, "and often told her that she hoped she would never, never be like A pa iaJane" (89). Whit Jane spends her time studying, creating, working, romping outdoors, thinking, and being active, the women inJuggs' family are empty-headed coquettes, living in a way that seems parasitic. Juggs's mother and aunt cannot stand to live with his father, so they amuse themselves in Paris, living on their "allowance," buying fancy clothes and frequently beggingJuggs' father for more money. Juggs' sister Nina has been trained at a convent "not to cross her knees, not to recline in her chair," and "not to fail in the lowering of her heavy, white eyelids under a masculine regard" (207). However, when Nina is still a teenager, she elopes with a handsome young man who has no knack for earning a living. It's to support this silly, penniless couple that Juggs eventually forges a check and goes to jail. Even after Juggs' sacrifice, his sister's marriage continues on its luckless path, with Nina repeatedly bearing children, though "none of the babies had outlived a day" (333). Given this portrait of the drudgery of women's roles as child bearers, housekeepers, dependents, mourners, and scolds, it's little wonder that Jane chooses to model her life after none of them. Even though it's suggested her family is Catholic,Jane has little heed for society's or her faith's expectations for marriage. After Edwy again proposes to Jane andJuggs asks himJane's response, Edwy reports, "She asked me if I believed in a short marriage and a merry one" (194). That is,Jane was considering agreeing to marry Edwy, as long as she could divorce him as soon as she becomes bored, an attitude extremely uncommon for women in the early 1900s. Shakespeare, whose works are referenced throughout the novel, established the principle that comedies end with a marriage and tragedies end with a death. With its ample humor but nothing that resembles a traditional happy ending, which category does The Loves ofEdwy fall into? A contemporary reviewer writing in The New York Times described it as "a tragedy done in a series of jests." At the end of The Loves ofEdwy, when Jane andJuggs fail to marry and instead resolve to live apart, this story of star-crossed lovers is presented in the tone of a tragedy, since Juggs is the narrator of it. But given the evidence of the fates of married women in this novel, and the fact that while writing it, O'Neill had just scraped off a first husband, Gray Latham, who drained her financially, and was enduring a second husband, Harry Wilson, who was a depressive scold that she would soon dump, when seen fromJane's perspective,Jane's escape from marriage at the end might be better understood as a triumph. �Funny Woman: O'NEILL'$ RADICAL HUMOR the Annual Meeting of the National Women's Studies Association in 1989, she asserts, "Marietta Holley, Kate Sanborn, and Rose O'Neill have never been given the status accorded to Mark Twain, Will Rogers, or Charles Dana Gibson" (Sheppard, "Continuity" 5). Perhaps the most feminist aspect of Th~ Loves of Edwy is how fu?ny it is. For all the deaths of children, parental emotional abuse, fistfights,jail sentences, and thwarted love affairs it depicts, the novel's tone is largely comic.Juggs' editor at Wit prizes his drawings because they display the same qualities that many of O'Neill's illustrations did, being humorous yet sympathetic. The editor tellsjuggs, "Remember, stay funny in spite of the devil. Funny with that other you have-the little dash of pity" (175). The humor in The Loves ofEdwy ranges from entire characterizations-Mr. Ross-Connaught is funny in bearing, actions, and expression throughout-to Oscar Wilde-esque oneliners. For example, beforejuggs leaves for college, he andjane are hanging out, snacking on nuts and chatting, whenjane uses a pun. Juggs relates, "it was an observance with us to turn a deaf ear to puns, so I continued cracking nuts like a person of some selfrespect" (104). The narration and repartee are witty throughout the book, even when events turn tragic. Although women have been producing humor for centuries, with evident wit, for example, in the novels ofJane Austen and George Eliot, men have frequently questioned whether women are capable of being funny, as recently as 1999, when Christopher Hitchens published his Vanity Fair essay "Why Women Aren't Funny." In 1884, The Critic, a ew York-based magazine of literary criticism, asked its readers to provide evidence of women's humor (Sheppard, "Social Context" 156). In response, the following year, Kate Sanborn published an anthology, The Wit of Women, "to prove that American Women were not devoid of humor" (Sheppard 156). In Alice Sheppard's "Continuity and Change: The Cultural Context of Women's Humor," a paper she presented for O'Neill was funny in her drawings and funny in her writing, but because the guy did not win the girl at the end of The Loves of Edwy, contemporary critics read it as a tragedy, although at least one allowed it had "to a large degree a Dickens flavor" ( The New York Times). ow that it is seldom read, The Loves ofEdwy is mainly remembered as merely "autobiographical" in lists of O'Neill's accomplishments. Instead of understanding O'Neill's first novel as an autobiographical tragedy, perhaps we can more clearly see it as a thoughtfully-crafted work of feminist comic fiction, informed by some of O'Neill's personal experience, that should be considered alongside her better known works of art as evidence of her multifarious gifts. ,, I ' "lady Jane, The Juke, and Juggs" (Illustration from The Loves of Edwy) 1904 Pen and ink on paper 19 x 15 inches Collection of International Rose O'Neill Club Foundation �Works Cited Hitchens, Christopher. ""Why Women Aren't Funny."" Vanity Fair, vol.January 1, 2007, https:/ / www.vanityfair.com/ culture/ 2007 / Ol/ hitchens200701. "Mystical and Humorous.; THE LOVES OF EDWY." The New York Times, Saturday Review of Books ed., 10 September 1904, p. 27. O' eill, Rose.The Story of Rose O'Neill: An Autobiography. Edited by Miriam Forman-Brunell, University of Missouri Press, 2022. O' eill, Rose Cecil. The Loves of Edwy. Wildside Press, LLC, 2010. Public Opinion. "A Disciple of Dickens." Public Opinion: The News of the World Weekly Magazine, vol. 37, no. 1, 1904, pp. 314-315. Sheppard, Alice. Continuity and Change: The Cultural Context of Women's Humor. Paper presented at the annual meeting of the National Women's Studies Association. 1989, Towson, MD, pp. 2-20, https: / / files.eric.ed.g<:)V / fulltextjED318652.pdf. Accessed 25 April 2023. Sheppard, Alice. "From Kate Sanborn to Feminist Psychology: The Social Context of Women's Humor, 1885-1985." Psychology of Women Quarterly, vol. 10, 1986, pp. 155-170. �The Tangle: ROSE O'NEILL AND THE MISSOURI OZARKS BY SARAH BUHR, CURATOR, SPRINGFIELD ART MUSEUM �•, ctu re P a girl. She is eighteen. It is 1894. She has been raised in an unconventional family with parents who told her she could do anything she set her mind to and that she should have a career. She can draw, write, ing, and dance. She was born into poverty. But her family has created a world of their own imagination, one that is different from the usual family. Stacks of books serve as furniture, their mother works outside of the home, and their father cares for the children. This girl has just moved to New York where she lives in a convent as she launches a career as a commercial illustrator. And her family has moved, again. She is going to visit them by horse and wagon. It is a long journey, first a train from New York to St. Louis, then another train to Springfield, and finally a two-day journey by hor e and wagon through the Ozark Mountains to a tiny dogtrot cabin on three hundred acres, nestled in the mountains, remote as remote can be. But there is a babbling brook, a forest of trees, massive caves, and neighbors tucked away in the hills whose language is vivid and playful. It is a place where you can run free in the clothes that you made, bathe in the stream by your home, and ride horses through the fields. Ilow might that affect you? How might that protect you? How might that place be a refuge from the greater world that does not think you should get divorced, or cut your hair, or wear pants, or vote, or do what you want? To live with nature as your kin, with your family of misfits, in a place too far for others to bother with. Well, you just might decide that THAT world IS the world, the REAL world, because you made it. So, you take that world with you wherever you go, nestled in your heart and mind. And then come back whenever you need to recharge. And it serves as a bulwark against despair, sadness, hurt, war, poverty, society's rules, and patriarchal conventions. Who might you be if yo~ were given a place such as this when you were 18, with the freedom it entailed? Well, you might turn out to be Rose O'Neill. (Fig. 1) And that place would be Bonniebrook, in the Missouri Ozarks. Ro e O'Neill is bigger than life. She was complex and paradoxical. Her avid admirers (me included) have refocused her history dependent upon their own connections to her work, which has unfortunately fragmented and_di~ided her persona. At this point we may never fully be able to reform her into the true picture of who she was. But I do believe one thing to be true - he would not have been fully herself had she not been introduced to the Missouri Ozarks. Fig. I: Rose O'Neill at nineteen. Photo courtesy of the Rose O'Neill Foundation. �Rose had already left home to seek a career in ew York when her father, Patrick, moved the family to "Bonniebrook," located just a few miles from Branson and fifty miles south of the larger township of Springfield, Missouri (Fig. 2). On her first visit to see the family's new home, Rose fell in love with the landscape, calling it "the tangle" and the "forest enchanted." 1 She wrote expansively about her introduction to both the land and the people of the Ozarks in her memoirs, in stories, and even in an article for the St. Louis PostDispatch. 2 Within her florid descriptions, she links both of her most well-known creations - the Kewpies and the Sweet Monsters - to the Ozarks. Fig. 2: The dog-trot cabin, later dubbed Bonniebrook in the Missouri Ozarks. Courtesy of the Rose O'Neill Foundation. As she bumped along the trail towards Bonniebrook for the first time, she noted, "The leafy darkness seemed peopled with elves ... exquisite little presences weaving enchanted webs among the boughs. I did not dream then that they were "previews" of Kewpies. I had no inkling that my own beloved elves were waiting in that wilderness for me to give them birth. "3 The Kewpies eventually came to her in a dream (1909), flying in through her studio window in the attic at Bonniebrook. trees made strange figures. I seemed to see primeval shapes with slanting foreheads, deep arched necks, and heaping shoulders playing on primordial flutes. I had a sort of cloudy vision of pictures I was to make long afterwards - a great female figure loomed out of the rocks holding mankind in her vast bosom. That night there came to me the title of the unborn picture, "The Nursing Monster." 4 (Fig. 3) The Sweet Monsters consequently rose from the earth. These drawings depict low-browed beasts and horned creatures whose profiles resemble the craggy outcroppings of rocks visible throughout the Ozark Mountains surrounding Bonniebrook. Rose also mentions these drawings as she describes her initial voyage to Bonniebrook, "The heaped rocks with twisted roots of As Rose, her two younger sisters Lee and Callista, and her father finally reached the cabin at Bonniebrook she exclaimed, "The next day we went deeper and deeper into the thick woods. I forgot my fears and shouted with joy. I called it the 'tangle' and my extravagant heart was tangled in it for good .... The Forest Enchanted closed us in. "5 Rose O'Neill , Charmed Life, an Autobiography: The Story of Rose O'Neill. Collect!on of the Springfield ;'-rt Mus~um, Missouri (photocopy of an undated, copyrighted manuscript) p. 61. Rose O'Neill , "From Convent to ew Rome in Ozark Wilds," St. Louis Post-Dispatch, Sunday Womens Magazine, 5 December 1937. 3 O'Neill , Charmed Life, p. 57-58. 1 Ibid, p. 57. 5 Ibid, p. 61. 1 2 �Fig. 3:: Rose O'Neill, The Faun Weeps Finding Himself the Father of a Human Infant c. 1915-1920 Pen and ink on paper Collection of Bonniebrook Historical Society .61. �Bonniebrook immediately became a refuge, an inspiration, a place to which Rose would return repeatedly to recharge and recuperate. As her fortunes grew over the course of her career, she invested heavily in the home, adding bay windows, French doors, bookshelves, two additional stories, and the first working indoor toilet and telephone in the region (Fig 4). Rose wrote, "For the first time in our lives we learned by heart the sound of solitude, that mystical voice made up of winds, flowing water, rustling leaves and little secret feet, soliloquies of birds and insects, the long lament of owls. It was wild." 6 ature, her hills, forests, and streams were integral to this connection, this belief in the land as respite, but the effect was deepened and augmented by the unique people who lived there and who accepted Rose and her family as best they could with kindness and care. The Ozark Mountain country in Southwest Missouri, where Rose's beloved Bonniebrook was sited, was originally seasonal hunting grounds of the Osage Nation. As white settlers began to move in, they came from Tennessee, Kentucky and the Carolinas and were mostly yeoman farmers by trade. The majority were, as Ro e described it, "that old breed of Scotch and English that had trekked west from the Southern states, following mountains, and carrying with them obsolete English words and Scottish ballads. They carried something else as well: certain courtesies, fine reserves, and gracious hospitalities; indestructible dignity, liberal mind, stoic endurance, and flabbergasting humor." 7 The primary characteristic of this region is isolation. The hills and valleys make the area hard to traverse and easy to hide in. It attracted loners and rebels 8 , but it also supported a network of liberal mindedness and hospitality as the harsh and remote conditions made it tantamount to help your neighbor. Vance Randolph 9, folklorist and Rose's friend, noted that for the residents of the Ozark Mountains, "their way of life changed very little during the whole span of the nineteenth century. They lived in a lost world, where primitive customs and usages persisted right down into the age of industrial civilization." 10 Randolph also fell in love with the people, eventually moving to the Ozarks full time in the 1920s. He described them as "the best talkers I have ever known. Their speech was musical and soothing, full of strange, meaningful words and phrases." 11 The speech patterns of Ozarkians retained an inordinate number of words and phrases from Elizabethan English. According to journalist and scholar H.L. Mencken in 1921, "In remote parts of 6 Fig. 4: Bonniebrook in the Missouri Ozarks after its many additions funded by Rose. Courtesy of the Rose O'Neill Foundation. the United States, there are still direct and almost pure-blooded descendants of the seventeenth-century colonists. Go among them and you will hear more words from the Shakespearian vocabulary, still alive and in common service, than anywhere else in the world, and more of the loose and brilliant syntax of that time, and more of its gypsy phrases." 12 These were the people whom the O' eills befriended and befuddled when they settled at Bonniebrook. Rose, raised on the works of Shakespeare by her father, was enthralled by this world where Shakespearean language was part of everyday speech and was besotted with the turns of phrase, grammar, and vocabulary of her friends and neighbors, many of which she recorded in her journals. Of her neighbors' speech, Rose said "We had never heard such talk. The charm of long-ago words. The drawl. We never tired of the drawl. "13 According to Randolph, "the most striking features of the hillman's speech is his habitual use of picturesque comparisons, outlandish metaphors and similes, old sayings and proverbs, cryptic illusions to esoteric mountain lore, and bucolic wisecracks generally. "14 This use of humor supported and invigorated Rose's own love of wordplay, a trait built into the family dynamic Ibid, p. 63. Ibid, p. 53-54. A group of vigilantes, named the Bald Knobbers, were based in the Missouri Ozarks. They were active from 1883 to 1889 and first formed to protect life and property in the region but later became known for enacting violence and taking the law into their own hands .. 9 0 Randolph was a writer and folklorist who traveled throughout the Missouri and Arkansas Ozarks observing and collecting all aspects of folk culture. I le personally recorded ballads, songs, and stories that had been handed down orally for generations to preserve their history. He met O'Neill in the 1940s and they became close friends. For more on Vance Randolph see his books Down in the Holler: A Gallery of Ozark Folk Speech; Ozark Folksongs, Ozark Magic and Ozark Folklore; The Ozarks: An American Survival of a Primitive Society and Vance Randolph: An Ozark Life by Robert Cochran (1987). wvance Randolph and George P. Wilson, Down in the Holler: A Gallery of Ozark Folk Speech (Norman, OK: University of Oklahoma Press, 1953) p. 3. 11 1bid, p. 4. 12 H.L. Mencken, The American Language: An Inquiry into the Development ofEnglish in the United States, 2nd edition (New York: A.A. Knopf, 1921) p. 69. 13 0' eill, Charmed Life, p. 71. 11 Randolph, p. 172. 7 8 �She also wrote of their neighbors' unique way of dress and comportment: "The young men were fond of decoration. Many wore their hair long, sometimes almost to the shoulders. Often the broad-brimmed hats had a girl's colored belt for a band. On festal occasions a masculine chest would be bespangled with 'beauty pins' (brass breast-pins with setting~ of colored glass). Leather belts were sometimes wound with ribbons. Boots had fringes round the tops or cuffs of scarlet leather. "17 In comparison to the standard fashions in the rest of the country, where men were expected to wear suits and women wore corsets, the Ozarkians were unusual and unconventional - further proof that the O' eills had found a unique. community that might be more accepting of their own unusual ways. Rose noted that "They never made any comment on our difference. They overlooked it as best they could and did not let it interfere with our friendship. "18 Fig. 5: Callisto at Bonniebrook in a "polymuriel" outfit designed by her and Rose. Courtesy of the Rose O'Neill Foundation. through Patrick's r citation of plays and Meemie's love of books and mu ic. Rose was educated in elocution, acted in several theatrical productions, and was an avid reader. Her own love of wordplay i evidenced in her journals, letters, illustrations, and the entire world of the Kewpies. The tongue-in-cheek name , the alliterative speeches, and the Kewpies' witticisms are unmi takable evidence of Rose's love of language, all of which can al o be traced back to the Missouri Ozarks. 15 o. e was equally inspired by the resilience of her Ozark neighbors and featured them in stories and illustrations. Rose featured their closest neighbor, "Aunt Jane," in her story "The llir d Man," with accompanying illustrations published in Good Jfou ekeepingin]une 1929. According to Rose,Jane was "elderly and moked a pipe ... her calico shoulders were narrow and bent... her voice wa a weary little whine. "16 1 jJust a few examples: Kewpiedoodle dog, Ducky Daddies, ~une- buggily, Republikewps, and Demokewps. "Ibid, p. 66. 17 Ibid, p. 70-71. IM Ibid, p. 78. l'I Ibid, p. 63. 0 ., Ibid, p. 95. The O'Neill family, raised as iconoclasts, also used the isolation to their advantage in following their own creative pursuits. (See Fig. 5) Meemie created a lavish and beautiful garden, the children explored the woods, and they read and read and read. As Rose became famous, she invited friends from all over the world to visit where they would swim in the creek, read poetry, and revel in the solitude. She authored books, she made illustrations, and she drew. Brother Hughie made furniture, sister Lee painted, and Meemie played piano. As Rose noted, "we have been coming back to it [Bonniebrook] all these years, from New York, London, Paris, Italy... none of us have ever thought of giving up Bonniebrook. "19 Bonniebrook's supportive and creative environment is linked to so many of Rose's life choices and creative pursuits. It was at Bonniebrook that Rose first determined she ought to divorce first husband Gray Latham. Her father drove her to the courthouse in Forsyth, Missouri, in 1901 to help her file for divorce. 20 During her second marriage to Harry Wilson, they split their time bet~een Bonniebrook and ew York as Wilson found it an ideal place to write. He authored several novels there, which Rose illustrated, including The Spenders (1902) and The Lions of the Lord (1903). It was also at Bonniebrook that she realized she had to leave Harry; a decision supported by her family. �21 lhi 2 /I, 2~ ( ) ' �Rose created untold numbers of illustrations there for the many periodicals for which she worked. She sold the first "pile of drawings" that she made by the brook and the cabin as soon as she returned to New York. And she never stopped working while she was there, rolling her drawings "around smooth sticks ofwood ... sent out across the hills on horseback." 21 The family left their mail by the 'Fairy Tree' at the foot of their property. And she wrote her own poems and several of her novels there. And despite her life as a world traveler, her wealth, and her homes, it was to Bonniebrook that Rose would eventually retire. Of course, her changed financial situation precluded her need to sell her other properties but I remain convinced that she would have preferred to spend her final days in Bonniebrook regardless of the circumstances. When Rose finally returned to Bonniebrook for good, sister Callista also returned. Meemie and brother Clink were already there, and the foursome spent their days reading, singing, and enjoying the company of their Ozark friends, as well as brother Hugh and his children, who now lived in Springfield. If you are given space to imagine your life differently, if you are introduced to diverse ways of living through travel, then you are much more likely to find it possible to navigate your own path. Of course, Rose's wealth made her ability to fully embrace different modes of living financially possible. Her privilege of wealth and race made it easier to be a divorcee and dress in velvet robes in a world that said women should do otherwise. This privilege did not exempt her from all of society's rules or judgements, but it did mean that she was able to create a small pocket where the world ran according to her desires. Bonniebrook and the Missouri Ozarks were such places and had all the ingredients to support such a family - seclusion, forests, magic, caves, and mountains. I would argue that while Rose would always have been a successful illustrator, she might not have had the courage to be herself so fully if she had not had Bonniebrook, where she could recharge, regroup, and arm herself to deal with the rest of the world. She wrote, "I never approached Bonniebrook without an ecstatic lifting of the heart ... "23 (See Fig. 6) A visit to Bonniebrook in 2023 reveals that the site, even without the original home, is magical. It is a place unto its own, created by the confluence of nature, history, and people, and imbued with the frolics and wisdom of Rose O'Neill, her kewpies, and sweet monsters. It remains The Forest Enchanted. ' 1 Ibid, p. 98 ' !he l.ac{v in the White Veil (1909) in parti cular. , O' eill , Charmed life, p. 155. �Re-examining Embrace of the Tree: ROSE O'NEILL'S ART AS ADVOCACY FOR WOMEN BY HEATHER SINCAVAGE, M.F.A. �A heavy numbness seizes her limbs, / her soft breasts are girded by thin bark, / her hair grows into foliage, her arms into branches, / her foot, just now so swift, clings by sluggish roots. Ovid's Metamorphoses, an insulted Eros (Cupid) shoots two arrows - one of gold and one of lead. The golden arrow hits Apollo who falls deeply in love with nymph Daphne. Shot with the lead arrow, Daphne is impervious to love and rebuffs Apollo's advances. Unrelenting Apollo pursues Daphne who cries out to her father, Peneus, the river god, to save her. Peneus transforms her into a laurel tree. Apollo, unable to control himself, steals her leaves, creating a wreath for him to don. The laurel wreath became a symbol of honor and victory, Apollo's triumph to claim a piece of Daphne in his pursuit of love. In Over time, the tale of Apollo and Daphne has been fodder for countless pieces of art; most notable is the marble sculpture by Gian Lorenzo Bernini made between 1622 and 1625, famously still on display today in the Galleria Borghese in Rome. In recent years, the Apollo and Daphne tale has been re-examined through a feminist lens by art critics such as Griselda Pollock. Critics refocus the tale to reflect the Me Too era. Instead of being a story of Apollo's unrequited love, what cannot be ignored is Daphne's lack of body autonomy and her rape. He gives the wood kisses," Ovid recounts, drily, "and the wood shrinks from the kisses. / The god said to her, 'Since you can't be my bride, at least / you will certainly be my tree! Rose O'Neill's impressive and probably most controversial work is Embrace of the Tree (c. 1920), a depiction of the Apollo and Daphne myth. Now residing at her Ozark estate, Bonniebrook, the limestone sculpture was first displayed as a bronze in Paris in 1921 and was thought to be stylistically inspired by the sculptures of Auguste Rodin. The sculpture shows two figures, one male, muscular and commanding, clutching the demure and willowy female figure. The legs of the female figure are bonded at the base to form a rooted tree trunk, thus embodying Apollo's futile attempt to keep Daphne from transforming into a tree. The sculpture's controversy is mostly due to the sensual embrace of the two figures, an image that is troubling for most. Now, as part of the Me Too era, current interpretations of the story might reposition the sculpture's meaning as less of an unrequited love story, but rather as a woman without agency. As an advocate for women, one could imagine that Rose O'Neill might concur with this reinterpretation had she still been living today. �Sands of Time Detail c. 1896-1901 Pen and ink with watercolor on paper 9 x 13 3/ 4 inches Collection of the International Rose O'Neill Club Foundation �from aWoman's Perspective: MORE THAN THE ANGEL IN THE HOUSE Rose O' eill was a singular woman at the turn of the twentieth century. n accomplished artist, writer, poet, and entrepreneur, she used h r gift to be an influential figure in the suffrage lllO\cmcnt, firmly believing in body autonomy and emancipation. In Shelley Armitage' book, Kewpies and Beyond, she states 1h.1t O' ill "e entially argued that only the woman artist ran change the fal e and failed images of women, shaped by mrn's \rnrd "(Armitage, 132). Throughout her career, O' eill \\Ould create ensitive, self-reflective images of women in her illustration for p riodicals such as Puck magazine. She built her ct1n'rr advocating for the marginalized and used her prestige to motivate other to support causes she believed in. In her 1905 illu tration for Puck, The Moral Atmosphere, (p#56) the art nouveau- tyled pen and ink drawing is an image of a hustling treet out ide of a theater. While the people depicted in the image are glamorously self-involved, the woman in the foreground i with her own thoughts - as if she knows she is about to b on <li play and perhaps is uncomfortable about it. I heaters at the time were places to be seen by social climbers \dthin , ociely a evidenced by Mary Cassatt's series of paintings of th cat rgo r throughout the 1880s. At the theater, women \\CIC obj cl lo be seen and everyone knew it. Many of O'Neill's illmtration for Puck are from a woman's perspective which is a profound choice for a men's magazine. O'Neill often grounds her images with women at the forefront of the composition taking up prom in nt pace in the lower quarter of the illustration. 1 "\ioman's the Virtues, Man's the Stupidity Is the Division the Gentle lm 1r11/01 of Kewpies Makes." The New York Tribune, Apri I 14, 1915. O' eill herself was often described as one of the most beautiful women in the world. However, one can imagine how she would recoil at such a statement because of her professional and personal accomplishments. She prided herself on being both an artist and writer, goals she made for herself at a young age, but she also was the sole provider for her family, paying for her siblings to attend college or funding their professional pursuits. She writes: ... she must be taught, as a young girl, not that she is a woman who can do what men allow her to do, but that she is to be the producer. She is to think about her vocation when she is young just as the man does now. Then when the time comes for choice, she is to emancipate herselffrom all traditions. She is to eliminate from her mind all thoughts of shocking anybody or anything. 1 The values she challenged were instilled during the Victorian era when the "Angel in the House" (1854), a poem by Coventry Patmore, was embraced as the feminine ideal - subservient, chaste, and devoted to her family. Writers such as Virginia Wolff and Charlotte Perkins Gilman, author of "The Yellow Wallpaper" and within O' eill's circle of friends, later critiqued the concept as antiquated and unjust for women. In Sands of Time (c. 1901), the woman in the painting seems to question this notion of "Angel of the House." Potentially realizing the value placed on her fading beauty (and all that is implied within a patriarchal society), one might even hear her ask "is that all there is?" �Gibson, C. D. (1903) The weaker sex. II. , 1903. [Photograph] Retrieved from the Library of Congress, https://www.loc.gov/item/2010716170/ Women of the late 19th century and early 20th century were fundamentally governed by their marital status. Generally, a married woman had no separate, legal identity from her husband and prior to marriage, a woman fell under her father's purview. The Gibson Girl, the feminine ideal created by Charles Dana Gibson in 1890, was the new feminine ideal looking to break away from the patriarchy. However, while the Gibson Girl pursued more assertiveness to manage her happiness, her appearance and how she conducted herself in public were still a reflection of the men in her life. 2 Virtue was paramount and a reflection of her upbringing. Stylish with her Gibson Girl updo, the Sands of Time (p#39) woman is not one-dimensional. While the Gibson Girl was the feminine ideal in the late 19th century, suffragist Nina Allender adopted the Gibson Girl aesthetic and "injected [the Allender girl] with the spirit for reform" in 1912. 3 The Sands ofTimewoman precedes the Allender girl but perhaps predicts her existence. O'Neill draws the Sands of Time woman with a concerned expression. The artist professes that men have placed women in the shackles of society-not physical restraints (although she would argue a corset is just that) but with words. They were much easier to make than chains, and more convenient. So, men taught them that chastity was a woman's great virtue. Even now only one thing can 'ruin' a woman. That word should be nonexistent, for it represents false ideals. He taught her that prudence and obedience and all the gentler attributes were fine and womanly. It was convenient for the husband, and it was convenient for the father before he gave her to the husband. And women have believed the silly things. 4 Her Sands of Time woman seems to be in the midst of realizing her constraints. Her image and her beauty represent the values of her family, but she is more than this. 2 Gibson, C. D. (2013, March 30). The Gibson Girl's America: Drawings by Charles Dana Gibson high society scenes. Library of Congress. https: / / www.loc. gov/ exhibits/ gibson-gi rls-america/ high-society-scenes.h tml 3 Scarbrough, E. (n.d.). "Fine Dignity, Picturesque Beauty, and Serious Purpose": The Reorientation of Suffrage Media in the Twentieth Century. h ttps: / /scalar. usc.edu / works/ suffrage-on-display/ the-allegory?path =chapter-three-our-hat-is-in-the-ring 4 "Woman's the Virtues, Man's the tupidity Is the Division the Gentle Inventor of Kewpies Makes." The New York Tribune, April 14, 1915. �' The Kewpies: WITHOUT LIMITS Toget er ror Home and Fami~ llll!!!"lll!lll"!!I... Year later, as O'Neill lent her talents to the suffrage movement, she reimagined the Modern Woman. The 1915 po ter, Together for Home and Family, depicts a man and woman holding hands, the woman with her arm out tretched and reaching forward as if to gesture toward the future. The two are depicted as equals. O' 1cill' Modern Woman wore a long flowing dress \\ith no evidence of the corset, and wore bobbed hair, popular for the period, abandoning the Gibson Girl style that pr vail d in the early 1900s. Women desired to seek life out id of the home - to go to college, have careers - and O'Neill uggests that this was possible in equal partn r hip with her partner. Indeed, this did mean that thi wa available almost exclusively to middle - and upper-class white women. 5 , upporting a cause she believed in, O'Neill called upon her Kewpies to bring her personal beliefs to the main tream. Her infamous creation debuted in Ladies 1/omejournal in 1909. They were inspired by Cupid, (the Kewpie name hark ning to her love for speaking in 'baby talk') and are considered figures of mirth. The K wpie earned O' eill 1.4 million dollars, over 35 million in today' standards, and were all the craze, preceding Walt Di ney's Mickey Mouse by almost 20 year . Rose O'Neill, Together for Home and Family, 1915, Courtesy of Bonniebrook Historical Society, Museum, & Homestead ·1he Kewpies' philosophy is to do "good deeds in a funny way." To promote women's suffrage, O 'Neill enlisted the Kewpies to persuade voters to support the movement. In one instance in 1914, she organized a stunt to drop celluloid Kewpie dolls, each wearing a tiny yellow parachute and a sash bearing women's right slogan , from a plane piloted by aviation pioneer Kath rine tinson over Nashville. 6 The Kewpies were powerful persuaders. O' eill al o would use her own celebrity for the mov ment by attending protests, marching in parades and vrn hanging a banner outside her Washington , quar apartment. As a twice-divorced businesswoman, the m n he married were not particularly helpful and supportive of her accomplishments. She was succe ful - and wealthy- in spite of them, going on to ingl -handedly support the endeavors of her family, other artists, writers, and dancers; therefore she undoubtedly felt she was due the same rights as her male counterparts. Rose and sister Callisto O'Neill advocating for women's suffrage, c. 1915 Courtesy of Bonniebrook Historical Society, Museum, & Homestead 1 Ka~initL, B. "Togetherfor home and family. Women & the American Story." (2022,July 9). https:/ / wams.nyhistory.org/ modernizingam<·tica/ woman-suffrage/ together-for-home-and-family / h 1.iolomon, A. "The prolific illustrator behind Kewpies used her cartoons for women's rights." Smithsonian.com. (2018, March 15). https: / / www. ,mithsonianmag.com / history/ prolific-illustrator-behind-kewpies-used-her-cartoons-womens-rights-180968497 / �1r ]i41 / , ~ -- - - , .,;;~»Aliiil~ ~ I I Rose O'Neill, Sheepwoman, 1915, Collection of Bonniebrook Historical Society, Museum, & Homestead �Sweet Monsters: AN AWAKENING CONSCIOUSNESS \s 0' eill continued as an illustrator and writer, her private l'ndcarnrs, th wcet Monsters, reflected the new Modernist id<'ab that reli hed creation from self reflection and rnnsciousne . Modernists aimed to dismantle the Victorian .. \ngd in the Ilou e" trope. At the same time as her Together for fl111t1l' mul Family ' Uffrage poster, O'Neill created a rendering of the "\1odern Woman" for The New York Tribune, which was more of a stylistic departure from her public suffrage work and more akin in spirit to her private drawings, the Sweet Monsters. The sketch~ nude fi male figure transposes a sheep's head onto her ll<'rk. 5hr stat : Homan i a sheep woman ... She has yet to learn that she is far greater thfln the two sexes. Homan is the philosopher. What she knows, man 1111nt figure laboriously through logic. For centuries, she has borne the gffflf er;t insult of the world, but she is now to be emancipated. 7 ,\ patriarchal societ~ puts limitations on women, an attitude th,tt somr vom n internalize, causing them to hold themselves hark. 0' eill believed that women's ability to give birth was not a limitation of their gender and should be celebrated. She urged ,wmrn to join her in working to overturn such barriers. In her )()Vi articl for the Times Dispatch, she writes: 'You are a woman. So am I. lie have the same problem. We are of one sisterhood. Let us help mrh othn~' 8 encouraging women to band together and support l'lll.trtcipation. Helping each other begins, however, with the sdf. Shelley Armitage writes, "she seemed vitally aware that by rh,mging the inner picture of oneself, the public articulation- the \\Ords of society- could be changed." (132) Indeed, 0' eill publicly celebrated women but perhaps explored h<'t "inner picture" in her private endeavor, the Sweet Monsters. I h<' , ,wet Mon ters, sometimes referred to as Titans, were dr,mings that weren't released to the public until some twenty H',lf'S after he began drawing them. Sitting in her second floor studio at Bonniebrook surrounded by the woods, she would look out of hrr window after dark and wait for the monsters to show 7 " \\ 0111r111's themselves in the windings of tree limbs and branches. Through the Sweet Monsters, O' eill explored the :Jungian Self,' 9 better known as the study of the conscious and subconscious mind, which was a new psychological study emerging in 1902. The monsters could be considered her most honest and revealing work . Stylistically, the Sweet Monsters are "sculpted" through O' eill's heavy cross hatching in pen and ink. Their substantial figures often intertwined with each other suggest interdependence and companionship. Androgynous in nature, the monsters investigate emotional relationships and embody that subconsciousness through their actualization, whereas in O'Neill's earlier work, women are sensitively drawn as thinking and feeling people. The monsters, free of gender constraints, are the act of thinking and feeling. Armitage describes them as the "birth of consciousness. " 10 Androgyny was a distinct choice by O'Neill when creating both the Kewpies and the Sweet Monsters. While O'Neill considered the Kewpies to be male, she did not depict genitalia; moreover, the Sweet Monsters often displayed physical characteristics of both genders simultaneously. By using androgyny as an identity, O' eill offers that the tension between the sexes is eliminated and therefore implies their opportunities are limitless. Differences are resolved when genderless. 11 Once free of constraints, the Kewpies float through the air- an act of being so free that their imagination allows them to flip and float as needed. The monsters emerge from scribbles and become figures woven together hardly noting where one ends and the other begins - the embodiment of collective consciousness. Imagining a world without the limitations of gender suggested that a fuller, limitless world could be created for women. The constraints society created around gender were false shackles. Breaking free from those confines, and by merging the Kewpies with people in the actual world, O'Neill encourages that anyone was capable of this consciousness. "Each person must realize the power of imagination - become an artist of the self- to incorporate the male and female parts of the self." 12 lh f' Virtues, Man 's the Stupidity ls the Division the Gentle Inventor of Kewpies Makes." The New York Tribune, April 14, 1915 " \111mrn11s are Funny Children and New York is Pastoral Says Rose Cecil O'Neill," ihe Times Dispatch, Richmond VA Sunday July 19, 1914 \1mitag(', ~- (1991 ). Kewpies and Beyond: The world ofRose O'Neill. University Press of Mississippi. 10 \1 mit,1gc, S. ( 1991 ). Kewpies and Beyond: The world of Rose O'Neill. University Press of Mississippi. Pg 140. ihid :ihid II 1 �Emancipating Daphne At her core, O'Neill was a forthright activist for women. To her, gender was a power construct in a patriarchal society and when eliminated from the equation, the ability to realize women's potential could happen. Through her early illustrations, O'Neill portrayed women aware of their constraints enforced through the expectations of gender, but with the Kewpies and the Sweet Monsters, the truest of selves could flourish. That said, would she have agreed to reimagine the Apollo and Daphne tale, Embrace of the Tree? Embrace of the Tree is the depiction of gender inequity. Eliminating binary gender as part of the Kewpies and Sweet Monsters identities allowed them to thrive as their truest selves. The only way for Daphne to escape the advances of Apollo is to transform into a non-human, a tree. Even when Daphne changes, Apollo robs her of her leaves to take a piece of her for himself- a metaphorical rape- and, because she is without autonomy, her cry is silenced. In fact, in true Modernist fashion, O' eill uses this well-known mythology because of its inherent emotions and experiences. Perhaps, because of this, she might also agree that her version of the story, Embrace of the Tree, suggests the woman's body is a political space. As O'Neill developed as an illustrator and artist, no doubt she felt the profound impact of her creative voice. For Puck magazine, she was the sole voice for the marginalized. As an up-and-coming entrepreneur, she overcame the doubt of others by wielding her abilities. She used her success to advocate for others, becoming a prominent force in the suffrage movement. As we imagine her cherished sculpture in today's world, Rose O'Neill was not a silen er of women; she was a voice for them. Embrace of the Tree reminds us that power inequity remains. However, if the Kewpies remind us of anything, it is that, when women are freed from the shackles of gender, our abilities are limitless. Rose O'Neill, Embrace of the Tree at the Bonniebrook Estate, Image by Heather Sincavage, 201J �' Je, 2023 �����I Sands of Time c. 1896-1901 Pen and ink with watercolor on paper 9 x 13 3/ 4 inches Collection of the International Rose O'Neill Club Foundation �Untitled (couple on couch) c. 1896-1901 Pen and ink, graphite, watercolor on paper 15x213/4inches Collection of the Ralph Foster Museum, College of the Ozarks �I I \ • \I,\ ,, \I I I ' 11 \I\ >~ ,/ j I 0 Promise Me c. 1896-1901 Pen and ink on paper 18 x 13 inches Collection of the Rose O'Neill Foundation, Courtesy of Bonniebrook Historical Society, Museum, & Homestead �0 Mama's Birthday 1897 Pen and ink with wash on paper 16 x 14 inches Collection of Susan Wilson �When Amaryllis Trippeth Down 1898 Gouache on paper 15x213/4inches Collection of International Rose O'Neill Club Foundation �In the Art Gallery 1898 Pen and ink on paper Collection of the Spnng . f·1eld Art 15 l /2 x 27 7/8 •inc hes Museum, Springfield, MO SAM 2018.2.38 �In the Art Gallery 1898 Pen and ink on paper 15 1/2 x 27 7/8 inches Collection of the Springfield Art Museum, Springfield, MO SAM 2018.2.38 �-'~,· ') '·-) ~~m t_, The Result 1898 Pen and ink on paper 16 x 23 inches Collection of Susan w·11 son �An Admirer's Letter 1899 Letter, lock of hair, and lithograph 16 x 15 inc.hes Collection of Susan Wilson �Elucidating Morals 1900 Pen and ink on paper 21 1/2 x 26 inches Collection of Susan Wilson �The Brain-Worker 1902 Pen and ink on paper 16 x 22 inches Collection of Susan Wilson ��Emphatic Reiection c. 1900 Pen and ink, watercolor, gouache, on board 15 x 21 3/4 inches Collection of the Norman Rockwell Museum �Popularity a la Mode. Mrs. Hightone -1 hear that your new Rector is very popular. Mrs. DeStyle - Popular? Yes, indeed! Why, we are thinking of having his sermons dramatized. 1901 Ink and blue pencil on paper 21 3/8 x 15 l /8 inches Collection of Delaware Art Museum, Gift of Helen Farr Sloan, 1980 �Two Women 1901 Pen and Ink on paper 15 3/8 x 22 l /8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 �Gentleman's lounge 1901 Ink and wash on paper with blue pencil 15 3/8 x 22 5/16 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 �The Too Affable Girl 1904 Pen and ink on paper 17 x 26 inches Collection of Susan Wilson �if I I JI l l J' { \~ I . A{ .!, , '· . I. , I,\ i '', •. :,::, 1'\ ,, cf \ ,.1 ½> 1 ;\i @'{.•. .1 ·, I 1/ 1 I• 1t l/ I I pt; , • ,( I ~ ·;~y ·~ )~I , ' I .....- / - :/ .~ I: I jl I j • (. )~ JI ~. ~ /I \I f_ 1(/fl~,·~ -'\ ~---:;;) - 1 -1 ,.: • - - ,.., ~ His Uncle brings a present to little Johnny 1905 Pen and Ink on paper 15 3/8 x 22 3/16 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 J ,,- II / �I 1\. I I I I' I I ,' I ii J' I / I J , 1-', I , /-. I II I ' I ' , I / I • I J I ·( I t .,, 1 ', rJ t,: ::'. . ; • • .. ~\t ~'.1 ; \\ \ \\ ' l.·•', l \i I \ t.• .. , • 1 ) 1: I \ /, I' L, , ; h / I, 1/ • , I ·, .:y. I I _...,- f '1 ' {{ _.,,,, / - ~\ 1·'\ - \ l I ' • ')ff;✓~ >,.,· , ,, / '#'/,, •• /{ I J ' • 1 ~I ) ,, " I His Uncle brings a present to little Johnny 1905 Pen and Ink on paper 15 3/8 x 22 3/16 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 �The Moral Atmosphere 1905 Pen and ink on paper 15 1/4 x 22 1/8 inches Collection of Brandywine Museum of Art, Gift of the Rose O'Neill Foundation, 2020 2020.1.7 �A Night with Little Sister 1906 Pen and Ink on paper 7 3/8 x 15 1/ 4 inches Collection of Brandywine Museum of Art, Gift of Jane Collette Wilcox, 1982 82.16.191 �''Do you think you ought to speak in this way to a perfect stranger? 1909 Pen and ink on paper 24 x 17 3/4 inches Collection of Norman Rockwell Museum �Callie Wheatley seated herself at the table and accepted tea., Illustration for A California Consden,e by Edith Wyatt, McClure's 1909 Pen and Ink on paper 18 x 24 inches Collection of the Norman Rockwell Museum �Jell-0 illustration drawing - Kewpies around yellow bowl c. 1909-29 Graphite and watercolor on paper 12 x 15 inches Collection of the Jell-0 Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation �Jell-0 illustration drawing - Man Reading Newspaper c. 1909-29 Graphite on paper 14 x 19 inches Collection of the Jell-0 Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation �Jell-0 illustration drawing - Nan & Bobby c. 1909-29 Graphite on paper 14 x 19 inches Collection of the Jell-0 Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation �One of Our Girls 1914 Pen and ink on paper 21 1/2 x 15 1/2 inches Collection of Susan Wilson ��Various Ads for Jell-0 c.1915-1920 Photolithog ra ph Various Collection of the Jell-0 Museum, LeRoy Historical Society �They Wanted Jell-0 Do )'OIi remember 1he drcruHul di :ippointmcnl it uacd to be In the ol<l d.l}'S 01 home w)l("I\ mother btol.1ght oo for dcl!lcrt 10me ~1k('<.I applH Qr 1>ici>lnnt pie, ur eomcthinfl cl~ llull wa. 100 common,nnd)'OU h:1dcxpcctcdicecre.imor•hor1c.ikent least? 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So many different t.fo•hc,cntrccs ;tnd sal:ul~ n wdl n:s duscrts nn he made of It that tlw fin.t oni-h.h.:ra, uon Is: "\X/hat shall '''\' scn·c in Jdl,Q ?1' The new Jdl-<) Book, Just out, tJ more h auuful an<l complete th:m any mlwr cv~r i~"lued, nnd 1t will ~(' 6cnt fn·c to nny wornnn fumtshin)t hl.'r n.mw .m~I .1dJres. There nre six pure fruit flavors of Jcll-0 : Strawberry, Rnspbcrry, lemon, Oronge, Cherry, Chocolntc. For snle nt oll ~roccrs', 2 package i r 25 cent,. THE OEN ESU PURE FOOD COMPANY ~fardl 19:1 1A R.,., N. Y.. Pd BrWt•~rt. 0.1 , (:ooJ JJOU1tMtf)i11J �Jell-0 illustration drawing - Dorothy c. 1914-18 Graphite and watercolor on paper 11 x 15 inches Collection of the Jell-0 Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation ���Telling Mama about Jell-0 1921 Pen and ink with watercolor on paper 25 x 29 inches Collection of Susan Wilson �/JJI -: J /. ,1-=- .) , --.:...:....~ .... ~ -~ ..A . . . , . ) ( ) ~ .... .51,.. ...,,;t... ~:. ~; ..t:;;. ).... \,tt., The Harmonious Child - She writes his first love letter (by Sir Phillip Hamilton Gibbs) Cosmopolitan Fiction Illustration 1925 j. Pen and ink on paper 18 1/2 x 22 1/4 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#09 t' t:""---'--> �Scampering, scuffling, dancing little feet; Pratt Lambert Varnish 1925 Oil on canvas 21 l /2 x 18 inches Collection of Susan Wilson �J I I 't,·'. I i 'I ' '· · id "\-~· I I I I I , ., i I . ; '! , / / 6'1 / .. I i .... :t .• ,;;.: ~""' :c ·,/ /'' '.,_/ ,.. / l ' ,' / ! / / ,..,£ t\ :; 0 A Child Shall Lead Them (by Edith Barnard Delano} Good Housekeeping Fiction Illustration 1925 I .J Pen and Ink on paper 22 x 15 3/4 inches Collection of Washington University in St. Louis Libraries and Collections WU ISL-2 3-R0-#0 l �The New Baby 1927 Pen and ink on paper 17 x 14 1/2 inches Collection of the Kelly Collection of American Illustration �' ,, () I<i:!fpiev!lk ttt GYm:rtJ11asttiJ1t' (: I • • ~ ' ~ ' ~ •• ,,...·$'•'< ', Ji « ,; ./0,110:,· ,\ h.J\.t·1,·f\ \ 1dc:11 to 1(1\ 't' (lco('l1.• ,t u ►rettth of k.ru·t'·' }or ( ,lt n.ll ,1111.~ . TlwHgli lit' tt',..dn cl r1h11ttt1 hu t1111nn\' rht·r,m,t· 111.· i/11>1~-~ u i1tu 11 d1l·crrng d/rct) he t 'i r1irl11.:r sh)' dhuut hc1t 111g Ju.'- p1l'l1trt• fLl~t'H. J.,~l'UH(, u \t'Crh< ,.\ liu J,urhjlil tfoJ>-rood. Towza. ,1rv101tl Ladies Home Journal- Christmas Cover 1927 Periodical page 10 x 12 inches Collection of the Ralph Foster Museum, College of the Ozarks . �Worshipping Freddie 1928 Pen and ink with watercolor on paper 20 x 19 inches Collection of Susan Wilson ��Untitled (railroad workers) n.d. Graphite on paper 13 x 11 inches Collection of Bonniebrook Historical Society, Museum, & Homestead �-1,;;· \ I ~ . ,.. -- - , •. -~ ---rrl /'IV • yoV:,.... - l •. .- . . ._.J ~,r.f :V... I 11, I Youth (by Sinclair lewis) Cosmopolitan Fiction Illustration 1930Graphite and watercolor on paper 13 l / 4 x 10 l /2 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#04 �Green - As In Envy (by Forrest Wilson} Cosmopolitan Fiction Illustration 1929 Ink and watercolor on paper 15 1/4 x 22 1/2 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#02 �What Is It The Mom Does? (by Lenora Mattingly Weber) Good Housekeeping Fiction Illustration 1930 Ink, graphite and watercolor on board 22 x 30 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#07 �,., ., -~ .,,,✓.,, ~ ----... "-- ,' I I Carola's Causes (by Booth Tarkington) Cosmopolitan Fiction Illustration 1930 Graphite and watercolor on board 15 x 22 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#05 �' ·_JI!/\ I I I ,, I I I \ 1\ ~ . \ / ~ i J,/ / ,.~/ ~~~~~ I Untitled (man with a pipe, woman looking over shoulder) 1930 Pen and ink on paper 22 x 15 3/4 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#03 �Pin-Up Girl c. 1930-40 Pen and ink with watercolor on paper 17 1/2 x 13 1/2 inches Collection of Susan Wilson �My Man (by Monica Krawczyk) Good Housekeeping Fiction Illustration 1933 Ink, graphite and watercolor on board 30 x 22 inches .COiiection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#06 �Mr. Big Doc (by Lenora Mattingly Weber) Good Housekeeping Fiction Illustration 1933 Ink and watercolor on paper 30 x 22 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#08 �Untitled (couple leaning in) n.d. Pen and ink on paper 21 x 8 inches Collection of Bonniebrook Historical Society, Museum, & Homestead ��Untitled (figure study) n.d. Oil on canvas 27 1/4 x 20 1/4 inches Collection of the International Rose O'Neill Club Foundation �Callista n.d. Graphite on paper 10 x 14 inches Collection of the International Rose O'Neill Club Foundation �Untitled (children on chair) n.d. Pen and ink with watercolor on paper 26 x 30 inches Collection of Susan Wilson ����Frontispiece from The Loves of Edwy 1904 Pen and ink on paper 11 5/8 x 19 1/ 4 inches Collection of the Springfield Art Museum, Springfield, MO SAM 2018.2.2 �"You know you can't leave me, Jane?" (Illustration from The Loves of Edwy) 1904 Gouache on illustration board 20 x 13 inches Collection of International Rose O'Neill Club Foundation �\ I -✓- J I / "" ; ,,) ~, • -~ /, ,r._ { . . ... . /'. (!I,'· "':' ' . 1\ ... e· , , · ' ! • I "lady Jane, The Juke, and Juggs" (Illustration from The Loves of Edwy) 1904 Pen and ink on paper 19 x 15 inches Collection of International Rose O'Neill Club Foundation �(He} stared indignantly up (Illustration from The Loves ol Edwy) 1904 Watercolor and gouache on paper mounted on board 15 1/2 x 22 1/8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 �I I II I ; He had his arm about my neck in the old way (Illustration from The Loves of Edwy) 1904 Pen and ink on paper 22 x 15 inches Collection of Susan Wilson �"You are more like a Visiting Child than the Mistress here, Lady Jane" (Illustration from The Loves of Edwy) 1904 Pen and ink on paper 11 5/8 x 19 l / 4 inches Collection of the Springfield Art Museum, Springfield, MO SAM 20l 8. 2. 9 �..:£... The slender body that a clasp would break (Illustration from The Loves ol Edwy} 1904 Pen and ink on paper 22 1/4 x 15 1/4 inches Collection of the International Rose O'Neill Club Foundation �Georgie on the Couch (Illustration from The Loves of Edwy) 1904 Pen and ink on paper 22 x 15 inches Collection of International Rose O'Neill Club Foundation �The letter had come to me (Illustration from The Loves of Edwy) 1904 Watercolor and gouache on paper mounted on board 15 1/2 x 22 1/8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 ����\C.'I (! n 0, A /4: -,,i ~ -~ The Kewpies and the Scolding Aunt 1912 I I I I• I Pen and ink on paper 13 x 20 inches Collection of the Norman Rockwell Museum �The Kewps and Stern Irene 1912 Ink and graphite on thick paper mounted on board sheet 17 x 17 7/8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 �Kewpies scolding a little girl 1912 Ink and graphite on paper 12 7/16 x 18 5/8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 �Kewpie Doll c. 1914 Porcelain 17 x 11 x 3 1/2 inches Collection of Andrew County Museum �Kewpie doll (African American) c. 1914 Porcelain 2 l /2 x 4 l /2 x l l / 4 inches Collection of Andrew County Museum �I ' The Kewpies and Ducky Daddies 1914 Pen and ink on paper 56 x 33 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum CGA.AC.BBl 5.004 �. . . • 1~ r- ~(2-? )), ) ((___ "v, • :..(r • The Kewpies and Thanksgiving 1914 Pen and ink on paper 39 x 57 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum CGA.AC.8815.007 i - cc~,- - ~ ] • •~c;z- �", ( '( 1 (; . - • \ \ \ I .\ (t )' / , ,. I /~/ t ~' I .. , ~ ' /I - \I ~ J/ ., , o "' .,. :. _,. . I I ._ , ~~ -..... f~ a ·\'--< ,J . - . \l l . ( j>-.. I ', -- • ~ I , '-,r(r .-,;:~- ~ ~ ~~- - •-•• / ~~ I <, v -!" ,) / • / I The Kewpies and Little Tibby's Tree 1914 Pen and ink on paper 52 x 34 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum (GA.AC.BB 15.005 �Kewpie doll (with flower crown) c. 1914-18 Porcelain 7 x 11 x 4 inches Collection of Andrew County Museum �Kewpie doll (blue suit) c. 1914-18 Porcelain 4 x 7 x 2 inches Collection of Andrew County Museum �11 I Children's Kewpie Tea Set c. 1915 Porcelain Variable Collection of Andrew County Museum �Children's Kewpie Tea Set c. 1915 Porcelain Variable Collection of Andrew County Museum ��Kewpies in the lap of learning; Story illustration for "The Kewpies and the College," 1916 Pen and ink on paper 22 1/2 x 16 inches Collection of the Norman Rockwell Museum �The Kewps now vie in antics various to make the Fairy Queen hilarious., Illustration for The Kewpies and their Fairy Cousin 191-6 Pen and ink on paper 22 1/2 x 16 inches Collection of the Norman Rockwell Museum �Kewpies Thanksgiving 1916 Pen and ink on paper 22 1/2 x 16 inches Collection of Susan Wilson �l:,, //I\ i <..- \ I ":I <, . 1;,. :'•1 ( The Mer-kewps 1917 II Pen and ink on paper 22 1/2 x 17 1/4 inches Collection of the Ralph Foster Museum, College of the Ozarks I ? , �When the Information Kewp looked up Liberty's location in his book they all set sail across the bay, carrying the cake 1918 Pen and ink on paper 22 1/2 x 15 inches Collection of the Norman Rockwell Museum �The Kewpies and liberty's Birthday 1918 II Pen and ink on paper 22 1/2 x 16 inches Collection of Susan Wilson ��,, 1 '. , ._,I , (,'<\ 1 ' 1, ' "'-e- kew\>$ Wt.1'6 di$h1r.be<l in.._ the.i-.- usl4a.l Ch,;stma.~ OllQ, 4<\~ p_!ep&Yb.tions b~ ~ Gnat Jau. and the~ all -~ .sat cl._own. ana. ponde-reil with--, ext'l'e111e.-. velocit~ 'Theq tlie~ saicl.,"'This h the ~~ thini jo,. th(!.... Children of A111e-rica'{'rlltJ 11ut ll\- a great ma.11~ in'le~tec\ mesa.J>hones' a.nc\ some tol~ the c.hildrtn abollt it ~ wa.-:,- ani\ some wbispnecl it.. to them in. theh slee~--"' One Day the Kewps ... 1918 I I Pen and ink on paper 22 1/2 x 17 1/4 inches Collection of the Ralph Foster Museum, College of the Ozarks �dci ''·t... the poor sroon.\, , l for me. to be amu.se.d. '"M ~, • :i. f"IIO , 3Uu woul4t'nt l lu.ve- to )(up as a.wj'-ll as ros~ib,e.. People- exre.et it oj m11.,.» Ana. just to show them. , he. .suoc1en1J got q 1uit~ awfull~ awJul , .so that e.ve.n tJ;'!..-. we.ll- roise.cl ke:wr& we.\'e -,.athe.l' ( ) ja-,ee.4. jol' a. moment.. _ _..., ' J Gus the Ghost and the Kewpies 1919 Pen and ink on paper 22 1/2 x 17 1/4 inches Collection of the Ralph Foster Museum, College of the Ozarks �~ ' 7" / , "'" \ ' ~. \ ~ / ~;:I \ ..,..""'• , :, I y' ~ ~ .,. , :~ >~. l\Ff-rtJ}i;~' .;;·:- ,..__1 - ' (' "1 ~ Kewpieville 1925 Pen and ink on paper 22 x 28 inches Rose O'Neill Collection . . B'II I land Cartoon Library & Museum Collection of The Ohio State University I y re CGA.AC.8815.010 I , ) l �', __ . ,, / ~i Kewpieville 1925 Pen and ink on paper 22 x 28 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum CGA.AC.BBl 5.011 �~ _..::::::;:-,p<i>- • . "'v-v' - ~ . ; - , , - - ~~~ · r-, .,J~~ . -[ .◄ ,.:.). .-. ~('11 .,. •• I .h. / • •, ~h O/~j ( - ., (~:\ ;.~;:~ ' . . .; ..J'<; 7-. .,.,.r-. J.,.~~ ~--'i 1Ff ? ~ :~· v .- ' -- ~':"\ .- .. ~.',:' ' - / , Q-( ~ ~~ - - l_ I ./ i• . I I J ' 11 --r ,/ f.' _,,.,,-;;- ~ I / ~ '-<..>\ ' , ~(- ' ' ~ -t·· I " ,.__' , r Kewpieville 1925 Pen and ink on paper 22 x 28 inches Rose O'Neill Collection Collection The Ohio State University • & Museum CGA.AC.BBlof5.009 Billy Ireland Cartoon Library • , , t , ,)( \ \~, �Kewpieville 1925 Pen and ink on paper 22 x 28 inches Rose O'Neill Collection L1.b rary & Museum Collection of The Ohio • State University Billy Irelan d Cartoon CGA.AC.BBl 5.012 �Kuddle Kewpie c. 1925 Fabric, cotton, stuffing 17 3/ 4 x l Ox 4 l /2 inches Collection of the Ralph Foster Museum, College of the Ozarks �Kewpie mold c. 1925-50 Cast aluminum 11 l / 4 x 7 l / 4 x 4 inches Collection of the Ralph Foster Museum, College of the Ozarks �.Philantht-cipists need. Ii. .spice of wit , 01' else. they maltc.. Dull W<ir'K of it : .Ancl ~ood cleecls &lone, Too .Se>)emn-}ee, /1:re, harcl on-the Do-ep ./\no. the Do-ee.. But the. KewRJ, id.ea (if under~toocl.~ Is to m~t yJLu l~gh. ~hile t.b!'-y ~y_gµ. ~ood.: Ju.st to he. chipper, { Just to be. ~ay )" J\ud. clo .Kin.d aee.ds .ln a funnywa_Yt , take the ca:,e, Of Samue,l Brown, The dl'e.a:rie.st man. In.. Dreal'ytown: .New He -was ~ g°rumpy-! lfe had. i.lte. ~out : The neighbors all hid. When he dodc:lerea. aho u.l1 1 He. wa~ .so heavy His shcie& never Jaste~ Some. peoP.le callecl him. ~imply "aod_gastecl';' But the Ke.wP,S make Jjght,. Of heavy oJcl thin~s, J\nd. they fitted him out With a pai-r of wlng.s . lNhen he rec.overed. From his vexation. OldkSamud Jau51hed... Li e all creation..... -nte hal'e iclea Of wings on him. Nade him guffaw With -verve. and. vlm. He. whooped till he Became .so Ji~ht, He drifted ~~nlly Out of .stght. ~ H~ _clrifted. in. '"-· Nis .SunclaY, hat; And D-real'yville "'Wa$ ~lad of that• ffe•s likely to he Drifting- .still Unle$S he'.s IJone. To Kewi,ieval~ . J,am ~•wr<•':!_}- ••"--- d,ifti:-.,1~ : ! ~ "' The Kewpies June 1928 Pen and ink on paper 22 1/2 x 17 1/4 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 �.I, , ., ' Q \'1 . ~ 1 • t· ,'< • ••, ll t:_ll I/ I · 1 - :.· ,. " • • ("' Y? ~ >~ ( . ..,r ' '· ,,~·." ...... !ft•' · .i{, ,, '" r- ,\1,.' \r.\.f11 l"Jf',, '"'l /•/1.''l\ /l,,l~.I' ' ,(-/ • 1~ I ··'. '.- ' r' {\ - 3 . , r. ,I ,, r , , ,h l~ 05: V t, I l :J; . \'""·• J' • ~ ~,-- ❖, :;< \. I . I I -,. ) •. '\,~\'I •, t·'•(,\l,-,,/ } }? . l .,., ,\ },\1~liI F'\t•:\,r,i J., !._ " ·1 t '·~ ~~~ · i' ·•, j ...... ~ ........... "1 ', -=)' I ')~' I .rd. ' 'J'- ~·• • "> .~~ Untitled (Kewpie in a fairy net) n.d. Pen and ink on paper 22 3/4 x 20 1/4 inches Collection of the International Rose O'Neill Club Foundation ��Girl and Kewpie Voting n.d. Pen and ink on paper 12 x 8 1/ 4 inches Collection of Bonniebrook Historical Society, Museum, & Homestead �Ho Ho 1940 Plaster cast 4 3/ 4 x 4 x 4 inches Collection of the Ralph Foster Museum, College of the Ozarks �Ho Ho 1940 Coated plaster 4 3/ 4 x 4 x 4 inches Collection of the Ralph Foster Museum, College of the Ozarks ���I I I �I I I Erato c. 1886-1901 Graphite on paper 19 x 12 1/2 inches Collection of the Norman Rockwell Museum �/ \, f ,,,( / I 1/ 1/ / ~ 1/ I / / / The Defection of the Fairy Godmother 1901 Pen and ink on paper 25 x 24 inches Collection of Susan Wilson �Paolo and Francesca 1911 Graphite and watercolor on paper 31 x 28 inches Collection of Susan Wilson �I I The Faun Teaches the Poet to Play the Pipes co. 1910s Ink on paper 18 x 24 inches Collection of Brandywine Museum of Art, Purchased with Museum funds, 1989 89 .20.4 �Untitled (Sweet Monsters) c. 1915-20 Pen and ink on paper 10 1/2 x 13 l /2 inches Collection of Susan Wilson �Fugitive portrait c. 1915-20 Graphite on paper 6 1/ 4 x 4 1/ 4 inches Collection of Bonniebrook Historical Society, Museum, and Homestead �Satyr c. 1915-20 Bronze 5 1/2 x 4 1/2 x 3 3/4 inches Collection of Ralph Foster Museum, College of the Ozarks �Dryad and Faun 1922 Photolithograph 22 1/2 x 28 1/2 inches Collection of the Norman Rockwell Museum ��..~-l:.-~' ,~ ~ Struggle for Life (Sweet Monsters) c. 1920s Pen and ink on paper 15 x 11 l /2 inches Collection of the Norman Rockwell Museum !: - ·_.,; _·_.. / .,,...,..· ; ,. , �Untitled (Sweet Monsters) n.d. Pen and ink on paper 25 x 26 inches Collection of Susan Wilson �Tl\ Even at Heaven's Gate Pen and ink on paper 19 x 18 inches Collection of Susan Wilson n.d. �Untitled (head) n.d. Graphite on paper 22 x 28 inches Collection of the Ralph Foster Museum, College of the Ozarks �The Will to Create #1 (Sweet Monsters) n.d. Pen and ink on paper 19 1/4 x 24 3/4 inches Collection of the International Rose O'Neill Club Foundation �~ I I I i �Embrace of the Tree button n.d. Manufactured button with printed ribbon 2 1/2 x 9 inches Collection of Andrew County Museum ��Sand Pen a 9x l Col lee Unlit Pen a 15 X Callee 0 Pre Pen a 18 X Callee Court, Mam Pen a 16 X Callee Whe1 Gouae 15 X Callee In th Pen a 15 l1 Callee SAM'. The I Pen a 16 X Callee AnA1 letter. 16 X Callee Elucit Pen □ 1 21 l; Callee Eratc Graph 19 X Callee �lands of Time, c. 1896-1901 Emphatic Reiection, c. 1900 ren and ink with watercolor on paper h 13 3/4 inches (ollection of the International Rose O'Neill Club Foundation Pen and ink, watercolor, gouache, on board 15x213/4inches Collection of the Norman Rockwell Museum Undtled (couple on couch), c. 1896-1901 ren and ink, graphite, watercolor on paper 1~ x 21 3/ 4 inches (ollection of the Ralph Foster Museum, College of the Ozarks 0Promise Me, c. 1896-1901 ren and ink on paper rn x 13 inches (ollection of the Rose O'Neill Foundation, (ourtesy of Bonniebrook Historical Society, Museum, & Homestead lama's Birthday, 1897 ren and ink with wash on paper 1o x 14 inches (ollection of Susan Wilson When Amaryllis Trippeth Down, 1898 bouache on pa per 1h213/4 inches (ollection of International Rose O'Neill Club Foundation Popularity a la Mode. Mrs. Hightone - I hear that your new Rector is very popular. Mrs. DeStyle - Popular? Yes, indeed! Why, we are thinking of having his sermons dramatized., 1901 Ink and blue pencil on paper 213/8x 15 l/8inches Collection of Delaware Art Museum, Gift of Helen Farr Sloan, 1980 Two Women, 1901 Pen and Ink on paper 15 3/8 x 22 l /8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 Gentleman's lounge, 1901 Ink and wash on paper with blue pencil 15 3/8 x 22 5/16 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 The Defection of the Fairy Godmother, 1901 In the Art Gallery, 1898 ~en and ink on paper 1~ 1/2 x 27 7/8 inches (ollection of the Springfield Art Museum, Springfield, MO )~M 2018.2.3 8 The Result, 1898 ren and ink on paper 1o x 23 inches (ollection of Susan Wilson ln Admirer's letter, 1899 letter, lock of hair, and lithograph 1o x 15 inches (ollection of Susan Wilson Pen and ink on paper 25 x 24 inches Collection of Susan Wilson The Brain-Worker, 1902 Pen and ink on paper 16 x 22 inches Collection of Susan Wilson Frontispiece from The Loves of Edwy, 1904 Pen and ink on paper 115/8 xl91/4inches Collection of the Springfield Art Museum, Springfield, MO SAM 2018.2.2 llucidating Morals, 1900 "You know you can't leave me, Jane?" (Illustration from The Loves of Edwy), 1904 ren and Ink on paper 111/2 x 26 inches (ollection of Susan Wilson Gouache on illustration board 20 x 13 inches Collection of International Rose O'Neill Club Foundation lrato, c. 1896-1901 "lady Jane, The Juke, and Juggs" (Illustration from The Loves of Edwy), 1904 braphite on paper 1~ x 12 1/2 inches (ollection of the Norman Rockwell Museum Pen and ink on paper 19 x 15 inches Collection of International Rose O'Neill Club Foundation �(He) stared indignantly up (Illustration from The Loves of Edwy), 1904 The Moral Atmosphere, 1905 The Pen and ink on paper 15 1/4 x 22 1/8 inches Collection of Brandywine Museum of Art, Gift of the Rose O'Neill Foundation, 2020 Ink o 2020.1.7 89.2 He had his arm about my neck in the old way (Illustration from The Loves of Edwy), 1904 A Night with little Sister, 1906 Port Pen and ink on paper 22 x 15 inches Collection of Susan Wilson 7 3/8 Pen and ink on paper x 15 1/ 4 inches Collection of Brandywine Museum of Art, Gift of Jane Collette Wilcox, 1982 82.16.191 Oil 01 25 X "You are more like a Visiting Child than the Mistress here, Lady Jane" (Illustration from The Loves of Edwy), 1904 "Do you think you ought to speak in this way to a perfect stranger?", 1909 The Pen and ink on paper 24 x 17 3/4 inches Collection of the Norman Rockwell Museum 13 Watercolor and gouache on paper mounted on board 15 1/2 x 22 1/8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 Pen and ink on paper 11 5/8 x 19 1/4 inches Collection of the Springfield Art Museum, Springfield, MO SAM 2018.2.9 The letter had come to me (Illustration from The Loves of Edwy), 1904 Watercolor and gouache on paper mounted on board 15 1/2 x 22 1/8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 The slender body that a clasp would break (Illustration from The Loves of Edwy), 1904 Pen and ink on paper 22 1/4 x 15 1/4 inches Collection of the International Rose O'Neill Club Foundation Callie Wheatley seated herself at the table and accepted tea., Illustration for A California Constiente by Edith Wyatt, McClure's, 1909 Pen and ink on paper 18 x 24 inches Collection of the Norman Rockwell Museum Jell-0 illustration drawing - Kewpies around yellow bowl, c. 1909-29 Graphite and watercolor on paper 12 x 15 inches Collection of the Jell-O Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation Jell-0 illustration drawing - Man Reading Newspaper, c. 1909-29 Pen and ink on paper 22 x 15 inches Collection of International Rose O'Neill Club Foundation Graphite on paper 14 x 19 inches Collection of the Jell-O Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation The Too Affable Girl, 1904 Jell-0 illustration drawing - Nan & Bobby, c. 1909-29 Pen and ink on paper 17 x 26 inches Collection of Susan Wilson Graphite on paper 14 x 19 inches Collection of the Jell-O Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation Georgie on the Couch (Illustration from The Loves of Edwy), 1904 15 3/8 x 22 3/16 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 X Colle1 Purch Colle SAM Pen 1 >< Colle The lnkl 17 > Colle Gift KH Ink, 12 i Colli Gift Ke11 Pore 7X Colli Ke, Pore 2l Coll Ont Pen 21 Coll His Uncle brings a present to little Johnny, 1905 Pen and Ink on paper 18 I Paolo and Francesca, 1911 Graphite and watercolor on paper 31 x 28 inches Collection of Susan Wilson Tht Pen 56 Ros Coll Car CGJ �The Faun Teaches the Poet to Play the Pipes, ca. 1910s The Kewpies and Thanksgiving, 1914 Ink on paper 18 x 24 inches Collection of Brandywine Museum of Art, Purchased with Museum funds, 19 89 89 .20.4 Pen and ink on paper 39 x 57 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum (GA.AC.BB 15.007 Portrait of Rose O'Neill, c. 1912 Oil on Canvas 25 x 21 inches Collection of the Springfield Art Museum, Springfield, MO SAM 2018. 2. l The Kewpies and the Scolding Aunt, 1912 Pen and ink on paper 13 x 20 inches Collection of the Norman Rockwell Museum The Kewps and Stern Irene, 1912 Ink and graphite on thick paper mounted on board sheet 17 x 17 7/8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 Kewpies scolding a little girl, 1912 Ink and graphite on paper 12 7/16 x 18 5/8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 Kewpie doll, c. 1914 Porcelain 7 x 11 x 3 1/2 inches Collection of Andrew County Museum Kewpie doll (African American), c. 1914 Porcelain 2 1/2 x 4 1/2 x 1 1/ 4 inches Collection of Andrew County Museum One of Our Girls, 1914 Pen and ink on paper 21 1/2 x 15 l /2 inches Collection of Susan Wilson The Kewpies and Ducky Daddies, 1914 Pen and ink on paper 56 x 33 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum (GA.AC.BB 15.004 The Kewpies and Little Tibby's Tree, 1914 Pen and ink on paper 52 x 34 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum CGA.AC.BBl 5.005 Jell-0 illustration drawing - Dorothy, c. 1914-18 Graphite and watercolor on paper 11 x 15 inches Collection of the Jell-0 Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation Jell-0 advertisement - The Kewpies and the Sensible Woman, 1915 Photolithograph, Ladies Home Journal, 1915 11 x 16 inches Collection of the Jell-0 Museum, LeRoy Historical Society Jell-0 advertisement - Dorothy's Getting Well, 1915 Photolithograph, Ladies Home Journal, 1915 11 x 16 inches Collection of the Jell-0 Museum, LeRoy Historical Society Kewpie doll (with flower crown), c. 1914-18 Porcelain 7 x 11 x 4 inches Collection of Andrew County Museum Kewpie doll (blue suit), c. 1914-18 Porcelain 4 x 7 x 2 inches Collection of Andrew County Museum Children's Kewpie Tea Set, c. 1915 Porcelain Variable Collection of Andrew County Museum Untitled (Sweet Monsters), c. 1915-20 Pen and ink on paper 10 1/2 x 13 l /2 inches Collection of Susan Wilson �Fugitive portrait, c. 1915-20 Jell-0 advertisement - What Mama Said, 1919 Graphite on paper 6 l / 4 x 4 l / 4 inches Collection of Bonniebrook Historical Society, Museum, and Homestead Photolithograph, Ladies Home Journal, October 1919 11 x 16 inches Collection of the Jell-O Museum, LeRoy Historical Society Satyr, c. 1915-20 Jell-0 advertisement -They Wanted Jell-0, 1919 Bronze 5 l /2 x 4 l /2 x 3 3/ 4 inches Collection of Ralph Foster Museum, College of the Ozarks Photolithograph, unknown source, April 1919 11 x 16 inches Collection of the Jell-O Museum, LeRoy Historical Society Kewpies in the lap of Learning; Story illustration for "The Kewpies and the College,", 1916 Gus the Ghost and the Kewpies, 1919 Pen and ink on paper 22 l /2 x 16 inches Collection of the Norman Rockwell Museum The Kewps now vie in antics various to make the Fairy Queen hilarious., Illustration for The Kewpies and their Fairy Cousin, Good Housekeeping, 1916 Pen and ink on paper 22 l /2 x 16 inches Collection of the Norman Rockwell Museum Kewpies Thanksgiving, 1916 Pen and ink on paper 22 1/2 x 16 inches Collection of Susan Wilson The Mer-kewps, 1917 Pen and ink on paper 22 1/2 x 17 1/4 inches Collection of the Ralph Foster Museum, College of the Ozarks When the Information Kewp looked up Liberty's location in his book they all set sail across the bay, carrying the cake, 1918 Pen and ink on paper 22 1/2 x 15 inches Collection of the Norman Rockwell Museum The Kewpies and Liberty's Birthday, 1918 Pen and ink on paper 22 1/2 x 16 inches Collection of Susan Wilson One Day the Kewps ..., 1918 Pen and ink on paper 22 1/2 x 17 1/4 inches Collection of the Ralph Foster Museum, College of the Ozarks Pen and ink on paper 22 1/2 x 17 1/4 inches Collection of the Ralph Foster Museum, College of the Ozarks Jell-0 advertisement - Dorothy is five years old today, c. 1920 Photolithograph, Good Housekeeping magazine, March 1921 9 x 12 inches Collection of the Jell-O Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation Jell-0 advertisement - Playing at Housekeeping, 1920 Photolithograph, Genesee Pure Food Company 9 x 12 inches Collection of the Jell-O Museum, LeRoy Historical Society Struggle for Life (Sweet Monsters), c. 1920s Pen and ink on paper 15 x 11 l /2 inches Collection of the Norman Rockwell Museum Telling Mama about Jell-0, 1921 Pen and ink with watercolor on paper 25 x 29 inches Collection of Susan Wilson Dryad and Faun, 1922 Photolithograph 22 1/2 x 28 1/2 inches Collection of the Norman Rockwell Museum Kewpieville, 1925 Pen and ink on paper 22 x 28 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum CGA.AC.BBl 5.010 �Kewpieville, 1925 Kuddle Kewpie, c. 1925 Pen and ink on paper 22 x 28 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum CGA.AC.BBl 5.01 l Fabric, cotton, stuffing 17 3/ 4 x l Ox 4 l /2 inches Collection of the Ralph Foster Museum, College of the Ozarks Kewpieville, 1925 Pen and ink on paper 22 x 28 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum CGA.AC.BBl 5.009 The New Baby, 1927 Pen and ink on paper 17 x 14 l /2 inches Collection of the Kelly Collection of American Illustration Ladies Home Journal- Christmas Cover, 1927 Periodical page 10 x 12 inches Collection of the Ralph Foster Museum, College of the Ozarks Worshipping Freddie, 1928 Kewpieville, 1925 Pen and ink on paper 22 x 28 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum CGA.AC.BBl 5.012 The Harmonious Child - She writes his first love letter (by Sir Phillip Hamilton Gibbs) Cosmopolitan Fiction Illustration, 1925 Pen and ink on paper 18 1/2 x 22 1/4 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#09 Scampering, scuffling, dancing little feet; Pratt Lambert Varnish, 1925 Oil on canvas 21 l /2 x 18 inches Collection of Susan Wilson A Child Shall Lead Them (by Edith Barnard Delano) Good Housekeeping Fiction Illustration, 1925 Pen and ink on paper 22 x 15 3/4 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-RO-#O l Kewpie Mold, c. 1925-50 Cast aluminum 11 l / 4 x 7 l / 4 x 4 inches Collection of the Ralph Foster Museum, College of the Ozarks Pen and ink with watercolor on paper 20 x 19 inches Collection of Susan Wilson The Kewpies, June 1928 Pen and ink on paper 22 1/2 x 17 1/4 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 Green - As In Envy (by Forrest Wilson) Cosmopolitan Fiction Illustration, 1929 Ink and watercolor on paper 15 1/4 x 22 1/2 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#02 Youth (by Sinclair Lewis) Cosmopolitan Fiction Illustration, 1930 Graphite and watercolor on paper 13 1/4 x 10 1/2 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#04 Carola's Causes (by Booth Tarkington) Cosmopolitan Fiction Illustration, 1930 Graphite and watercolor on board 15 x 22 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#05 What Is It The Mom Does? (by Lenora Mattingly Weber) Good Housekeeping Fiction Illustration, 1930 Ink, graphite and watercolor on board 22 x 30 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#07 �Untitled (man with a pipe, woman looking over shoulder), c. 1930 Pen and ink on paper 22 x 15 3/4 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#03 Girl and Kewpie Voting, n.d. Pen and ink on paper 12 x 8 1/ 4 inches Collection of Bonniebrook Historical Society, Museum, and Homestead Glass photo, Rose O'Neill portrait, n.d. Collection of Ralph Foster Museum, College of the Ozarks Pin-Up Girl, c. 1930-40 Pen and ink with watercolor on paper 17 1/2 x 13 1/2 inches Collection of Susan Wilson Glass photo, Rose O'Neill with Ho Ho, n.d. Mr. Big Doc (by Lenora Mattingly Weber) Good Housekeeping Fiction Illustration, 1933 Untitled (children on chair), n.d. Ink and watercolor on paper 30 x 22 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#08 My Man (by Monica Krawczyk) Good Housekeeping Fiction Illustration, 1933 Ink, graphite and watercolor on board 30 x 22 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#06 Ho Ho, 1940 Plaster cast 43/4x4x4inches Collection of the Ralph Foster Museum, College of the Ozarks Ho Ho, 1940 Coated plaster 4 3/4 x 4 x 4 inches Collection of the Ralph Foster Museum, College of the Ozarks Callista, n.d. Graphite on paper 10 x 14 inches Collection of the International Rose O'Neill Club Foundation Embrace of the Tree button, n.d. Manufactured button with printed ribbon 2 1/2 x 9 inches Collection of Andrew County Museum Even at Heaven's Gate, n.d. Pen and ink on paper 19 x 18 inches Collection of Susan Wilson Original photo by Gertrude Kasebier, 1907 Collection of Ralph Foster Museum, College of the Ozarks Pen and ink with watercolor on paper 26 x 30 inches Collection of Susan Wilson Untitled (couple leaning in), n.d. Pen and ink on paper 21 x 8 inches Collection of Bonniebrook Historical Society, Museum, and Homestead Untitled (figure study), n.d. Oil on canvas 27 1/4 x 20 1/4 inches Collection of the International Rose O'Neill Club Foundation Untitled (head), n.d. Graphite on paper 22 x 28 inches Collection of the Ralph Foster Museum, College of the Ozarks Untitled (Kewpie in a fairy net), n.d. Pen and ink on paper 27 1/4 x 20 1/4 inches Collection of the International Rose O'Neill Club Foundation Untitled (railroad workers), n.d. Graphite on paper 13 x 11 inches Collection of Bonniebrook Historical Society, Museum, and Homestead Untitled (Sweet Monsters), n.d. Pen and ink on paper 25 x 26 inches Collection of Susan Wilson The Will to Create# 1 (Sweet Monsters), n.d. 4 Pen and ink on paper 19 1/4 x 24 3/4 inches Collection of the International Rose O'Neill Club Foundation �Books Garda, 1929 Doubleday, Doran & Co. Collection of Sordoni Art Gallery, Wilkes University The Goblin Woman, 1930 Doubleday, Doran & Co. Collection of Ralph Foster Museum, College of the Ozarks The Kewpies, Their Book, 1913 Verses and Imag es by Rose O'Neill Frederick A. Stokes Company Collection of Ralph Foster Museum, College of the Ozarks "Sweet Monsters": The Serious Art of Rose O'Neill Pamphlet, January 1, 1980 Lois Helman (Author) Publisher unknown Collection of Ralph Foster Museum, College of the Ozarks The Loves of Edwy, 1904 Lothrop Publishing Collection of Ralph Foster Museum, College of the Ozarks The Master-Mistress, 1922 Alfred A. Knopf Collection of Ralph Foster Museum, College of the Ozarks Books By Harry Leon Wilson, Illustrated by Rose O'Neill The Lions of the Lord, 1903 Lothrop Publishing Collection of Ralph Foster Museum, College of the Ozarks The Splendors, 1902 Grosset & Dunlap Collection of Ralph Foster Museum, College of the Ozarks ��Contributors SARAH BUHR Sarah Buhr is Curator of Art at the Springfield Art Museum; she has been with the museum since 2007. During her tenure, Buhr has curated exhibitions on the work of Nick Cave, Rose O'Neill, Linda Lopez, and Roger Shimomura, among many others, and originated the biennial exhibition Four by Four: Midwest Invitational which highlights emerging artists from Missouri, Oklahoma, Kansas, and Arkansas. Buhr holds an M.A. in History with a concentration in Museum Studies from the University of Missouri - St. Louis and a B.A. in Art History from the University of Missouri - Columbia. She was previously the Assistant Curator of Fine Arts at the St. Louis Mercantile Library. JENNY SHANK Jenny Shank's story collection Mixed Company won the George Garrett Fiction prize and the Colorado Book Award in General Fiction, and her novel The Ringer won the High Plains Book Award. Her stories, essays, satire, and book reviews have appeared in The Atlantic, The Washington Post, The Guardian, Los Angeles Times, and Prairie Schooner. She is a longtime book critic and member of the National Book Critics Circle. She was a Mullin Scholar in writing at the University of Southern California. She teaches in the Mile High MFA program at Regis University and the Lighthouse Writers Workshop in Denver. HEATHER SINCAVAGE Heather Sincavage is an artist, curator, and educator. She is the Associate Professor of Art and the Director of the Sordoni Art Gallery at Wilkes University. She has performed in several performance festivals and exhibitions at the Queens Museum in ew York, Tempting Failure festival in London, during Miami Art Basel, and featured at the Tate Modern in London. She has received over 10 international artist residencies and exhibited in over 40 solo and group exhibitions across the United States, Europe and Iceland. Her work is included in "An Introduction to the Phenomenology of Performance Art: SELF/ S" by TJ. Bacon. In 2018, Heather received the Tanne Foundation Award. DIANE WENGER Diane Wenger taught courses in American History, Women's History, and Material Culture at Wilkes University where she also chaired the department of Global Cultures. She retired as emerita professor in 2019. She holds a B.A. in English from Lebanon Valley College, an M.A. in American Studies from Penn State Harrisburg, and a Ph.D. in History, Program in American Civilization, from the University of Delaware. Her publications include A Country Storekeeper in Pennsylvania (Penn State Press), Schaefferstown and Heidelberg Township (co-authored with Jan Taylor for Arcadia) and numerous articles on Early American businesses and Pennsylvania German culture and architecture. �Sordoni Art Gallery STAFF Heather Sincavage, M.F.A., Director Melissa Carestia, Assistant Director Olivia Caraballo, Educational Outreach Assistant Dylan Kofie, SAG Student Design Fellow, Project Lead Gallery ATTENDANTS McKenna Dolan, social media team member Paige Edwards, design team member, social media team member Jay' no Johnson Alina Mclaurin, social media team member Lara Mullen, social media team member Erika Tomes, design team member Advisory COMMISSION Jean Adams Melissa Carestia Greg Cant, Ph. D. Virginia C. Davis Patricia M. Lacy Kenneth Marquis Allison Maslow Bill Miller Paul Riggs, Ph. D. Eric Ruggiero, M.F.A. Heather Sincavage, M.F.A. Susan Shoemaker Jamie Smith Andrew J. Sordoni, Ill David Ward, Ph. D. Mia Weaver Joel Zitofsky �Thank You To Our SORDONI ART GALLERY MEMBERS Art Lover Director's Lifetime MEMBERS CIRCLE MEMBERS Bonnie Marconi Evans Leoma & Tim Evans Robert Friedman Elizabeth Fulton & Russel Roberts Michael & Sharon Hinchey David & Sharon Hourigan Marquis Art & Frame Michael & Marie Sincavage Margaret Sordoni Morris Susan Shoemaker Mia Weaver Westmoreland Club Joel Zitofsky & -Ronne Kurlancheek Virginia & David Davis Ray Dombroski & Colleen Demorat Harry R. Hiscox, Esq. Kathleen Kroll Caleb McKenzie Bill Miller Jean & Paul Adams Stephen & Maria Hudacek *Clayton & Theresa Karambelas Erik & Patricia Rasmussen Margaret Simms Robert & Judith Stroud Andrew J. & Susan Sordoni, Ill Matthew Sordoni Sordoni Foundation, Inc. �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The One Rose: Celebrating the Life and Legacy of Rose O'Neill: The 50th Anniversary Celebration Exhibition program, Fall 2023 Creator An entity primarily responsible for making the resource Sordoni Art Gallery Publisher An entity responsible for making the resource available Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource Fall 2023 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Program Description An account of the resource In celebration of Sordoni Art Gallery’s 50th anniversary, the gallery honored the work of Wilkes-Barre native, Rose O’Neill (1874–1944), artist, illustrator, sculptor, poet, novelist, suffragist, and entrepreneur. Exhibition ran from August 25th-October 8th, 2023. O’Neill (1874–1944), an American illustrator of the early 20th century, was a woman of many accomplishments — published poet, novelist and activist for women’s suffrage. She is considered the first female comic artist and was the first woman illustrator for Puck magazine, the leading men’s magazine of the late-19th century, entertaining its readers with considerable satire and political commentary. Kewpie dolls, based on comic strip characters O’Neill created, gained international popularity, served as the face of major advertising campaigns and appeared on a variety of household goods. O’Neill became the first woman to earn over a million dollars, and her $1.4 million fortune would be equivalent to more than $36 million today. An accomplished artist and sculptor of Sweet Monsters, her work was featured in exhibitions in Paris and New York. O’Neill was inducted into the National Women’s Hall of Fame in 2019. The One Rose celebrates the life and career of this Wilkes-Barre artist who was born just streets away from where the gallery is today. https://omeka.wilkes.edu/omeka/files/original/60a009e22eec742778babacfc6467624.pdf d1bf76747ed2d99af595b1e7a588b19e PDF Text Text �y-lncly 'Wa’ikol 15 MINUTES: FROM IM/ TO BOON Curated by Heather Sincavage October 6 - December 20, 2017 Acknowledgements and Essay by Heather Sincavage Sordoni Art Gallery at Wilkes University Wilkes-Barre, Pennsylvania Fsordoni ART GALLERY WILKES UNIVERSITY = photography by Steve Husted �H 19 Id SI 16 ie IB IV 10 >V m =v )0 JQ >J<d n6 Bl} PV UQ inj ’j a !Md JOO !M± sue aul ■njq ism am 1OJS BJ.0 ) JO} JELL! !4M 9H IV �ACKNOWLEDGEMENTS Heather Sincavage, Director When considering what exhibition would open the new Sordoni Art Gallery, many considerations were made. How will we honor the legacy the gallery has had to Wilkes University, build on our standard for excellence, and create excitement for what is come? Many of us on campus threw around ideas of artists or themes that might capture that, but we often returned to Pennsylvania's biggest success story, Andy Warhol. The Pittsburgh native ushered in the new wave within the art world. He brought about change in a way that required the world to make new considerations of how art is defined, how culture is evaluated and blurred the line where the commercial world meets the fine art world. This harbinger of change seemed the appropriate artist to launch the new space—as the Sordoni Art Gallery ushers in a new era for the arts in Wilkes Barre. This exhibition "15 Minutes: From Image to Icon" would not have been possible without generous contributors. Thank you, Hyrum Benson at the Reed Gallery, University of Maine at Presque Isle; Phil'Earenfight at Trout Gallery, Dickinson College; Darrell George at University of Northern Iowa; Greg Gorman; Geralyn Huxley at The Andy Warhol Museum; Henry Leutwyler; Bill Miller at Galison Publishing; Jamie Smith at Social Fabric Collective; Ryan Ward at The Maslow Collection at Marywood University; and Willie Williams at Haverford College. Additionally, the incredible support from the newly re-formed Sordoni Art Gallery Advisory Commission has been invaluable. I would like to recognize the members here, as I have greatly appreciated their guidance and support. The members are: Virginia Davis, chairperson; Dr. Stanley Grand; Patricia Lacy; President Patrick F. Leahy; Ken Marquis; Allison Maslow; Bill Miller, board of trustees vice chairperson; I ' Dr. Paul Riggs, dean of the College of Arts, Humanities and Social Sciences; Eric Ruggiero, chairperson of the Integrative Media, Art and Design Department; Provost Anne Skleder; Jamie Smith; Andrew Sordoni III; and Joel Zitofsky. As the gallery prepared to open, many people across campus assisted in imagining the success of the new space and opening exhibition events. Thank you, Jean Adams, Bridget Giunta, Lisa Reynolds, Mildred Urban, Rebecca Van Jura, and Mike Wood. Your creativity and advice are so appreciated. Additionally, the tireless efforts of Charlie Cary and the Office of Campus Support Services have been outstanding in realizing the imagination of many people and cannot go unrecognized. Although I have already acknowledged Dr. Riggs as part of the Advisory Commission, his assistance and support of the gallery and me have far exceeded the role of commission member or dean. I am very appreciative of his ingenuity and guidance. Without him, I would not have received one of the greatest gifts to this exhibition project, research assistant Karly Stasko. A large part of this exhibition's success is a result of Karly's enthusiasm and talent. Finally, I would like to thank my family and partner, Adriano, for their support during this substantial endeavor. You help me realize that anything is possible. Here's to a new chapter in Wilkes University history and exciting things to come! 1 �MAKING of an icon by Heather Sincavage, Curator mded to the status of icon quite like No artist has ascei Andy Warhol. In 1965 curator Sam Green of the ICA at the University of Pennsylvania held Warhols first retrospective. When over 2 000 people showed up, Green was forced to remove the artwork from the walls fearing mob damage. When Warhol and his muse Edie Sedgwick arrived, the crowd chanted, "Andy and Edie! Andy and Edie!" It was clear that while his artwork helped to establish a movement, the artist himself had become an icon. andrew warhola no one could have predicted that the Pittsburgh-born child of Considering his modest upbringing, ^become the sensation of the art world. Regardless, young Warhol was Czech immigrants woi led in his artistic endeavors by his mother, Julia. According to Warhol, she had consistently encouragi been the single most influential person in his career. Dating back to childhood, Warhol was a long admirer of Hollywood starlets. Throughout his entire life and encouraged by Julia, he collected publicity shots, biographies and teen magazines about young Hollywood, saving images of Liz Taylor, Natalie Wood, Troy Donahue and Warren Beatty. While he was too poor to afford new magazines, local second-hand shops offered a dusty treasure trove. He was a young boy in love with the American dream, and Hollywood stood as the shiny new epitome of that dream. With a passion for drawing fueled by his mother, he was selected to attend free classes at the Carnegie Institute of Technology while he was still in elementary school. Warhol had always been considered an original. His high school yearbook epithet reads "as genuine as a fingerprint" (Schaffner, 26). When he graduated high school, a year early in fact, Warhol was accented into the very same institute. s college career was full of contradiction. At the Carnegie Institute, he nearly failed out of school nonZntSSI|n9C 3 T56 °n PerSPeCtiVe' alth0U9h his studi0 entice later proved that to be a likely to succeed Pr°fessors was equally conflicting. "One instructor deems him least ' er Ca"S his work the most promising commodity he has ever seen" (Schaffner 26). Although unbearably shy, W; ' ' arhol enjoyed working in groups and even established a studio ^ college classmates in a carriage ho. -Juse-One might consider this a prototype of The Factory, Warhols infamous studio. Warhol was believed to have had th commercial artist, most notabl Careers in his From 1949 to 1960. he worked as a Art Director's Club awards From 1Oo^°e '"Ustrator at Glamour magazine, where he won numerous artlst' Final|y- from 1968 to 1987 i mmercial world and combined it hG hfestV|a °t0 1968' he was pop artist- breaking into the world of the fine ■ ^USiness art'st, wherein he took his experience from the Wlth what established his reputation-the art. the persona ano ««xxE8stemE” .. lca"D'Mm'°Xtdda,. j American .9rants‘ Andrew Warhola had great love for pop culture a.- Andy Warhol, he became one of the icons to use the 16 a aaw generation of culture. �WARHOL AND THE AMERICAN DREAM status of icon quite like Warhol crossed into the art world during the height of Abstract Expressionism. The movement, made famous by Jackson Pollock and Mark Rothko, embraced paint drips, smudges and runs as a the ICA at the University of means of emotional expression. From this, action painting emerged, spotlighting the artistic process as an intrinsic part of the art. Pop art, on the other hand, was still in its infancy. The term was first >t retrospective. When over used in 1958 by British critic Lawrence Alloway to distinguish American mass-media popular in was forced to remove the culture from the more conservative British lifestyle. The word "Pop" actually appeared in a collage mob damage. When Warhol by British artist Eduardo Paolozzi entitled "I Am A Rich Man's Plaything" and resourced from a rrived, the crowd chanted, magazine collection of an American Gl. Roy Lichtenstein's "The Kiss" became one the first pieces to fully validate the movement by appearing in ART News magazine. Fellow artist Claus Oldenburg I!" worked in his Lower East Side studio, modeled after a department store, which he entitled The Store. When Warhol visited The Store in 1961, he left it feeling "depressed,’’ In the same year, Warhol ork helped to establish a had his first exhibition in the Bonwit Teller luxury department store window (the site that now ad become an icon. houses Trump Tower), resulting in a modest success. Pop art was emerging at the same time as the radical Fluxus Movement, which presented musician John Cage at its forefront. The Fluxus agenda united through the intersection between art and life, the Pittsburgh-born child of ardless, young Warhol was while further reflecting Taoist and Buddhist philosophies. In 1967, Warhol would collaborate with Fluxus founder George Maciunas on a complete issue of Film Culture magazine. According to Warhol, she had Rebelling against non-objective imagery that was laden with the artist’s mark and recognizing interdisciplinary approaches to studio process, Warhol's method was born. arlets. Throughout his entire and teen magazines about "What’s great about this country is that America started the tradition ahue and Warren Beatty. where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know iops offered a dusty treasure the President drinks Coke, Liz Taylor drinks Coke, and just think, you wood stood as the shiny new can drink Coke too." - Andy Warhol (Bernstein, 16) With a marked interest in Americana, Warhol began experimenting tend free classes at the with the Coca Cola bottle. He approached the icon two ways: one )l. Warhol had always with apparent brush strokes and drips, much like the artists of Abstract Expressionism and one 5 genuine as a fingerprint clean, flat and crisp. This was where a decision had to be made. This decision would come to define io! was accepted into the the icon. Warhol opted for the clean aesthetic. Eliminating the "artist's hand" reflected the style of which the consumer already experiences the product, but later Warhol would determine that embracing the industrial process of serigraphy, more commonly known as screenprinting, to be the e nearly failed out of school most efficient and impactful way to create the Warhol aesthetic. er proved that to be a istructor deems him least It's no secret the artist relied on others for ideas. In an interview in 1970, Warhol's assistant, Gerard ' he has ever seen" (Schaffner, Or sometimes I don’t use it right away, but may remember it and use it for something later on. I love an established a studio orototype of The Factory, Malanga, quoted the artist, "I always get my ideas from people. Sometimes I don’t change the idea. ideas" (Danto, 32). While he began to be noticed by several art dealers, Warhol did not have gallery representation. He felt pressured to create something with impact. His breakthrough, Campbell's Soup Cans, emerged from a discussion with interior designer Muriel Latow, who encouraged Warhol to paint something I to 1960, he worked as a e, where he won numerous ng into the world of the fine his experience from the —the art, the persona and that "everyone sees every day, that everyone recognizes ... like a can of soup" (Danto, 33). This was not an exceptionally strange concept, as depictions of food have a long tradition in painting. Popular in Greek and Roman culture, painting food was at its height during the Renaissance. Using hand cut stencils, Warhol painted all 32 varieties of the Campbell's brand at that time for his first exhibition at the Ferus Gallery in Los Angeles in 1962. Warhol sold out the show for $1,000. reat love for pop CLJ Iture aS 3 of the icons to use the �dlery placed real Campbell's soup cans in its window, In an act of self-important satire, a neighboring gal Warhol would go on to create works of ot advertising that they were five for one dollar. Hollywood and pop culture stars such as While in its initial instaUation, the can paintings sat in a line propped on a she . Th,s was a reference to the can's humble factory beginnings, as well as a nod to the paintings' own manufactured existence. Later Warhol Natalie Wood, Grace Kelly, Jackie Kenner Taylor (which preceded Marilyn). His proi would hang the images organized into a grid on the wall. "Not found in nature-grids mean 'this image is a practice meant he had numerous series i product of culture"' (Schaffner, 65). Utilizing the serial image, the artist implemented a grid composition of the the same time. works to reference endless mechanical reproduction. Investigating deeper into American culti Warhol would return to the soup can over and over throughout his career. While this may be the case for same time as the Marilyns, Warhol often many of his iconic subjects, the soup can series established significant attributes to the Warhol style. The vision of the American Dream: Death ant serial image and flat application of paint reflected a clean, industrial-made aesthetic. Later, Warhol used his Focusing on car accidents, Warhol depir commercial experience to expedite his productivity. He no longer cut stencils to make his work but instead newspaper photos of accident aftermat screen printed directly onto canvas. He would later return to create the Campbell's Soup Cans screen prints in limited editions of 250. During the making of his Brillo Box (1964) pieces, the studio was arranged in assembly line fashion where Warhol and his assistants could create the work. Thus, Warhol's studio became known as long symbol of American status and ind was transformed into a symbol of our rr later would take on the electric chair, su race riots. Perhaps this is response to ti The Factory. temperature of the time, perhaps it was One might question why Warhol found Campbell's Soup appealing. Of course, it was a suggestion from Latow; but one can also be certain that Warhol would have had many suggestions for subject matter. Considering Warhol's childhood in a depressed neighborhood, visiting the supermarket was an indulgence as much as a necessity. Inside the supermarket, the American Dream was stacked up on shelves, awaiting purchase for those who could. The "universal sameness" came to represent belonging to a certain echelon within society and the rest of the world. so much, but what Warhol presented in examination of the country's tumult am In the mid-1960s, the Flowers series st although friends of Warhol believe the; Herko, a dancer who fell to his death a tripped versions of the natural world ai floral still life painting not only as a bre Warhol has stated, "I like things to be exactly the same over and over again” IDanto, 55). Warhol claimed to have eaten Campbell's soup every day for 20 years and marveled that the taste never changed. This suggests Like his many other works, the Flower.1 hibiscus flowers by Patricia Caulfield f the emergence of globalism—where it could be guaranteed that the consumer experience is the same around the world and the ability to acquire such commodity meant a global belonging. The Flowers debuted at the Leo Castr The Factory as well as Warhol's work "Buying is more American than thinking, and I'm as American as they come." - Andy Warhol (Bernstein. 19) Aware that the American dream was built on consumerism, Warhol began working with symbols with loaded ideology. The first of these, the dollar bill symbols, was another suggestion by Latow. The symbol, however, plays on the concept of buying art as a consumerist activity. One can literally and figuratively see the message that "art is money on the walls." (Bernstein, 19). In the early '60s, when Warhol first made the $ pieces, they ironically commanded little value. When he returned to the symbol later in his career, the $ pieces now stood as a solid investment and a celebration of American capitalism. destination for cultural elite and curio The Factory, and amidst the socializir often simultaneously. The Flowers exl Paris show the following spring, Wart himself to film. WARHOL, THE F1LMMAKI Warhol was attracted to beautiful pe While the American Dream reflects capitalism, the Pop Art Dream reflects celebrity. And Warhol was and the American Dream. If he felt p enamored with fame. Hollywood became the ultimate symbol of the American dream and the foundation of Alloway's term, Pop Art. for a Screen Test. In his lifetime, he r On August 4,1962, the day after Warhol's first exhibition closed, Marilyn Monroe was found dead in her home. Warhol was an avid collector with e> His childhood love of starlets was now colored by the stain of tragic mortality. His art followed suit. the Andy Warhol Museum in Pittsbu photos of young Hollywood. In fact, The Screen Tests took collecting to Accessing a promotional portrait of Marilyn Monroe from the film Niagara, Warhol cropped his composition and holds dear. He was finally able t to closely frame her face. He did nearly 50 paintings of Marilyn, close after her death, and like the Soup Cans, returned to them later as set of 10 limited edition screen prints (edition of 250). The image, blown of their living essence. However po\ out and dripping with sex appeal, explored color combinations and even off-register printing to challenge the compositional possibilities in the work, thus representing aspects of her emotional decline. As a result, on the phone or leaving the film she the image of Marilyn becomes a neat mask of what the American rlro=- without influence of Warhol. packaged for public - ........... the Stanislavski-Strasberg Method more important than the footage it �^bell's soup cans in its window, Warhol would go on to create works of other a shelf. This was a reference to the Hollywood and pop culture stars such as Elvis Presley, manufactured existence. Later Warhol Natalie Wood, Grace Kelly, Jackie Kennedy and Liz lature—grids mean 'this image is a Taylor (which preceded Marilyn). His prolific studio jlemented a grid composition of the practice meant he had numerous series in progress at the same time. i. While this may be the case for ittributes to the Warhol style. The tie aesthetic. Later, Warhol used his ncils to make his work but instead Investigating deeper into American culture, at the same time as the Marilyns, Warhol offered another vision of the American Dream: Death and Disaster. Focusing on car accidents, Warhol depicted grisly newspaper photos of accident aftermath. The car, a Jampbell's Soup Cans screen prints in long symbol of American status and independence, ;, the studio was arranged in assembly was transformed into a symbol of our mortality. He 5, Warhol's studio became known as later would take on the electric chair, suicide and race riots. Perhaps this is response to the cultural temperature of the time, perhaps it was empathizing with the pop icons, such as Jackie Kennedy, he loved ourse, it was a suggestion from so much, but what Warhol presented in these works could be considered the modern-day Guernica—an ggestions for subject matter. examination of the country's tumult and chaos. e supermarket was an indulgence is stacked up on shelves, awaiting >nt belonging to a certain echelon In the mid-1960s, the Flowers series stylistically served as a turn from the deceased pop stars and death although friends of Warhol believe these works may have been in memorial to Warhol's close friend Freddy Herko, a dancer who fell to his death after leaping through a window. Just like the Soup Cans, these acid­ tripped versions of the natural world are not a far step out of the traditions of art history. Warhol took on the floral still life painting not only as a break from tragedy but also as an appeal to hippie "flower power" culture. lin" (Danto, 55). Warhol claimed to Like his many other works, the Flowers image was also appropriated from pop culture, a photograph of ; taste never changed. This suggests hibiscus flowers by Patricia Caulfield featured in the June 1964 Modern Photography magazine. ;umer experience is the same around nging. The Flowers debuted at the Leo Castelli Gallery in November 1964, a testament to the efficiency of The Factory as well as Warhol's work ethic and daily amphetamine use. By this time, The Factory was a ne.” - Andy Warhol (Bernstein. 19) destination for cultural elite and curiosities. Artists, socialites, musicians, drag queens, all could be found at The Factory, and amidst the socializing, Warhol could be found working on numerous projects, including films, n working with symbols with loaded n by Latow. The symbol, however, ■ally and figuratively see the message lol first made the $ pieces, they i his career, the $ pieces now stood often simultaneously. The Flowers exhibition sold out, and when he created new editions of the work for his Paris show the following spring, Warhol had decided to announce his retirement from painting and devote himself to film. WARHOL, THE FILMMAKER Warhol was attracted to beautiful people—undoubtedly as a result of his lifelong obsession with Hollywood and the American Dream. If he felt people were interesting or attractive, Warhol invited them to The Factory for a Screen Test. In his lifetime, he made over 500 Screen Tests, 300 of which have been preserved through s celebrity. And Warhol was the Andy Warhol Museum in Pittsburgh, Pa. mean dream and the foundation of Warhol was an avid collector with exquisite taste. As a child, we know him to collect headshots and magazine photos of young Hollywood. In fact, his first prized possession was a signed publicity photo of Shirley Temple. vlonroe was found dead in her home, The Screen Tests took collecting to the next level. They are a collection of living people whom Warhol values ality. His art followed suit. and holds dear. He was finally able to access the society he so looked up to as a child and becomes a collector >, Warhol cropped his composition the Stanislavski-Strasberg Method, aka method acting), Warhol would be flipping through a magazine, talking of their living essence. However powerful the Screen Tests come across (with actors often admitting to using r her death, and like the Soup tion of 250). The image, blown 'ff-register printing to challenge on the phone or leaving the film shoot altogether. This behavior may suggest that acquiring the footage was more important than the footage itself, or it may be that the artist allows space for the subject to be authentic without influence of Warhol. ler emotional decline. As a result, should look like, dressed up and 5 �that he purchased in 1963. Each test lasted four minutes (or Thefilms were shot on his 16 mm Bolex camera tha hi^ c|osest frjends such as |^s assistan^ 16 frames per second), the length of one fi m roll of Gerard Malanga, and any strangerr whooen er Edie Sedgwick, Dennis Hopper, N.co, Lou Reed. Dy|an and Marce| DuChamp. best.known Screen Tests feature Interview magazine led to endeavors reference to his famous 1968 quote,' of his death, Warhol was working wit Saturday night show titled "Warhol 7 tino films at the same time as he was making the works As typical of his studio process, Warhol begat, crea an 8-hour film of the sun for the show to be produced on NBC irreverent interviews as a means to c f.|ms t0 be |ethargic and beautifully that made him a household name. The best —.adSe..ed8«aSlo.e™i™«ofton,, Clearly, filmmaking diversified Warhc of teen magazines and publicity phot establishment of Interview magazine him to stretch back into the commen of culture. ——i-rEd“nr Velvet Underground, a rock band Warhol art-directed, in the Explodi g THE BUSINESS OF WARH Plastic Inevitable. By the 1970s, Warhol had achieved th In December 1964. the Screen Tests titled The Thirteen Most Beautiful Boys and The Thirteen Most Beautiful Women were shown at the New Yorker Theater as part of a Film Culture Sixth Independent Film Award to Andy Warhol. Included in The Thirteen Most Beautiful Boys collection were Dennis Hopper and the late Freddy Herko. Herko's Screen Test was a haunting reminder of his tragic suicide a few months earlier. It was a loss that affected Warhol deeply. His celebrity attracted those in high s Warhol became a status symbol, and The society elite wanted to be a Mari publicity photographs Warhol access' photographs with a Polaroid camera, (Schaffner, 82). The entire "look" howe makeup on his models and put bright frequently apparent in the Polaroids b Filmmaking became the perfect avenue for Warhol to connect with high society. It permitted the shy personality to spend time with the cultural The result was considered a "vanity pi elite under the premise of making art. However, when asked why he Chudney and Rhonda, glamorized so preferred filmmaking to painting, he said, "It's easier. You turn on a switch to have their athletes sit for Warhol—i and it does the work." Compare this to Warhol's painting process in The athlete portraits were primarily d< The Factory. The paintings required a team to create, and in fact he relished the idea that the process was mask. The portraits now featured larg so flushed through that anyone could make a Warhol work. Conversely, filmmaking was a relatively solitary experience for Warhol, until it too became something he could pass off to his ingenue, Paul Morrissey. For Warhol treated the works rather indiff most of his filmmaking career, he alone operated the camera, often embracing the dust, scratches, camera it was for the shallow reason of match jerks, and out of focus shots. He wanted it to be apparent there was someone else behind the camera, which if he was close to them, such as in his is a stark contrast to his paintings where all the pieces looked "machine made." At the height of the vanity portraits, V\ In 1969, Warhol was denied free tickets to the New York Film Festival. In response, he created Interview series was treated in the same vein as g zine so that he might have press credits to access the Hollywood stars. The magazine was primarily a film magazine but also featured fashion, art and high society. When questioned who would read it, Warhol was intentionally political. Critics "prai spirit, which left poor black and Hispa (Danto, 117). Like his earlier "Death and "Ladies and Gentleman" series was cc apparent dissonance between the "up ««« and aares, examination of American society. Warhol took thousands upon thousan pose. When the artist suddenly died, t y all the covers between 1972 and 1989. retained the photographs and other w have the opportunity to show all of the creator of culture. Interview was heralded as th ^'S artwork’ societY then witnessed Warhol becoming a often was thought to determine the ^ture of pZZlT?.a" °ther Peri°diCals Produced at the time and end of his life, and Interview continues to be 6 remain involved with lnterview until Produced today in the same spirit of its founder. program dispersed the 28,500 photog institutions that would not have the m �,d in 1963. Each test lasted four minutes (or his closest friends, such as his assistant, ,e of his best-known Screen Tests feature ,b Dylan and Marcel DuChamp. e same time as he was making the works -mpire (1964)- an 8-hour film of the sun Interview magazine led to endeavors on TV, including show a on MTV entitled "Andy Warhol's 15 Minutes," in reference to his famous 1968 quote, "In the future, everyone will be world-famous for 15 minutes." At the time of his death, Warhol was working with Saturday Night Live producer Lome Michaels to create a primetime Saturday night show titled "Warhol TV." Michaels was said to have committed all the development funds for the show to be produced on NBC. The show was almost a reimagining of Interview magazine, featuring irreverent interviews as a means to capture culture for safekeeping. /Varhol’s films to be lethargic and beautifully xamination of humanity. Clearly, filmmaking diversified Warhol's appeal, ultimately leading to a wider audience. The young collector of teen magazines and publicity photographs became an important contributor to the medium. The defiant establishment of Interview magazine allowed him to access Hollywood in a way his films could not. It allowed /vho rind the ding him to stretch back into the commercial world and become what we refer to today as a "tastemaker" of culture. THE BUSINESS OF WARHOL By the 1970s, Warhol had achieved the same pop culture status as the celebrities he collected in his youth. tiful His celebrity attracted those in high society to commission their portrait done by the artist. A portrait by lew Warhol became a status symbol, and he relished every moment of it. vard to jn were The society elite wanted to be a Marilyn, a Jackie or a Liz, however they did not have the comparable ;a publicity photographs Warhol accessed for the iconic works. Warhol resolved that by taking his own publicity a loss photographs with a Polaroid camera, stating that the "blinding flash... leaves the sitter looking dazzled" (Schaffner, 82). The entire "look" however was not the result of the camera. Warhol was known to cake white makeup on his models and put bright lipstick on their lips in order to emphasize their features. The makeup is frequently apparent in the Polaroids but imperceptible in the final art piece. high iral The result was considered a "vanity portrait." Diana Ross had commissioned portraits of her daughters, Chudney and Rhonda, glamorized so that they could be seen as reflections of the star. Agents would arrange witch to have their athletes sit for Warhol—resulting in the iconic portraits of Wayne Gretzky and Muhammad Ali. relished the idea that the process was The athlete portraits were primarily done in the 80s when Warhol's aesthetic progressed beyond the Marilyn mask. The portraits now featured large color blocks stitched together by the image captured in Polaroid. sly, filmmaking was a relatively solitary off to his ingenue, Paul Morrissey. For Warhol treated the works rather indifferently. If a sitter had a color suggestion, Warhol was amenable—even if unbracing the dust, scratches, camera it was for the shallow reason of matching a couch. The only time Warhol would not glamorize his subject was someone else behind the camera, which ine made." I. In response, he created Interview >d stars. The magazine was primarily a uestioned who would read it, Warhol if he was close to them, such as in his memorial portrait of Julia Warhola after her passing. At the height of the vanity portraits, Warhol created his "Ladies and Gentlemen" (1975) series. Stylistically, the series was treated in the same vein as the portraits of socialites, but his models were transvestites. This series was intentionally political. Critics "praised [the work] as exposing the 'cruel racism in American Capitalist spirit, which left poor black and Hispanic boys no choice but to prostitute themselves as transvestites'” (Danto, 117). Like his earlier "Death and Dying" series contrasted his "Marilyn" and "Flowers" series, the :ate reading material not being produced "Ladies and Gentleman" series was compared to the Mick Jagger portraits done at the same time. The paired together interesting pop apparent dissonance between the "upper" and "lower" echelons can be thought of as a well-rounded artistic roy Donahue; author Truman Capote examination of American society. legend Mae West. Warhol took thousands upon thousands of Polaroid and gelatin silver print photos in order to craft the perfect iowitz, who became a columnist for the pose. When the artist suddenly died, the Andy Warhol Foundation was created as per his will. The Foundation ver created any of the iconic cover art. retained the photographs and other works left behind by the artist. In 2007, realizing that they would never id 1989. have the opportunity to show all of the photos, it established the Photographic Legacy Program. This program dispersed the 28,500 photographs to 180 learning institutions across the United States, focusing on 'then witnessed Warhol becoming a ier periodicals produced at the time and institutions that would not have the means to acquire such works otherwise. d remain involved with Interview until same spirit of its founder. 7 �THE DEATH AND THE POP KING Mortality was a theme he returned to in his work time and time again. Privately a devout Catholic, he was working on a painting of the Last Supper at the time of his death. The famous Last Supper image was overlaid with camouflage print, a pattern he also used with his self-portrait. The camouflage pattern references the historic tradition of landscape painting, since the pattern was produced by the military to disguise weapons and soldiers in the outdoors. The main symbolism to the work suggests hiding something in plain sight. Camouflage was also the subject of another series of 10 limited-edition screen prints in 1986 In 1968, an occasional figure at The Factory, Valerie Solanas, shot Warhol and an art critic outside the famous studio. While Warhol survived the near-fatal attempt, his physical and mental health never fully recovered He spent much of his life frail and weak. Warhol unexpectedly died in 1987 as a result of a seemingly routine operation. He was 58. Warhol had a lifetime of gall bladder problems and had been extremely ill for at least 15 years. His illness had never deterred his work ethic. It has been thought that his discipline to his work, compounded by daily amphetamine use and his fear of hospitals, was his downfall. Warhol famously said, "If you want to know all about Andy Warhol, just look at the surface: of my paintings and films and me, and there I am. There's nothing behind it" (Danto. 145). The clue to that statement is that Warhol IS encapsulated in every piece he created. His dreams, anxieties, sexuality, aspirations, thoughts - it's all there. If one considers his use of camouflage, one recognizes that it hides the subject in plain sight. As a shy, gay, poor son of an immigrant family, Warhol always aspired to achieve the American Dream. Many would consider him a success story, in which the driven artist would most likely agree, but one might question, with all his success, if he realized that he actually became an icon. Works Cited: Bernstein, Roberta. 'Warhol as printmaker." Andy Warhol prints, edited by Frayd; Schellman, Ronald Feldm; tan Fine Arts, Inc., New York, NY, 1985, pp. 14-26. la Feldman and Jorg Danto, Arthur C. Andy Warhol. New Haven, CT, Yale University Press, 2010. Schaffner, Ingrid. The essential Andy Warhol. New York, NY, Abrams/Wonderland Prr Staff, Andy Warhol Museum. Andy Warhol, 365 takes: the Andy Warhol Museum collection. New York, NY, ■ess, 1999. H.N. Abrams, 2004. 8 This portrait w; Interview Magazir with l.a. Eyewear, t and his unwitting Warho �ivatelv a devout (latholic, he ie lamoiir. I ant Supper image eitiail I he camoullage pattei iti'd edition screen ital health never on. He was 58. Warhol had eats. His illness had never < 111'ldnuin find Jorg Il'l I'l!)9. Jim Hun �ONI©1 IMDEWVTHBEEt Campbell's Soup I (Onion) Andy Warhol Screenprint on Paper Courtesy of The Maslow Collection at Marywood University The Campbell's Soup Cans. Warhol’s first exhibition, emerged from a discussion with interior designer Muriel Latow, who encouraged Warho paint something that "everyone sees every day, that everyone recogn «■ a can ot soup." The set was inadvertently displayed on a shelf, the ga ery attempt to keep it level, but Warhol fell in love with the supermarket loo When it premiered, a rival gallery displayed real soup cans in their window, advertising that they are five for a dollar. 10 ��IS CONI SC W'- : a# To celebrate the 5C Soup Cans, Campb Condensed Toma The c �������a �■ HUI Interview Magazines Andy Warhol, Publisher Cover Artwork: Richard Bernstein Jodie Foster, June 1980 Debra Winger, August 1980 Grace Jones, October 1984 Diane Lane, November 1984 Mel Gibson, June 1984 Diane Lane, February 1980 Patti Lupone, October 1980 Klinton Spilsbury, November 1980 Joan Rivers, December 1984 ean Young, September 1980 Courtesy of Private Collectior in «sy of Haverford College Nicknamed "The C Rive "«ne a fe„. 20 featured he,e indu ®"s k’»0 ™th Warhol's uisron of unedited. real -"elude interviews „i(h Me| w„e �7.'7/l,h celebrities, artists, ��®fcFiiIatripl,u3ni)nir(r People/home/entertn, a 1 Stars andlighh Reports aside, Carlin insists he hasn’t changet crust They put aside law for lyrics delphia Inquirer 982 :esy of Haverford College to depict her as a young Wadephia Inquirer, ' ethereal beauty ss, not the mother- Grace Kelly Red Andy Warhol Screenprint glazed on Porcelain Tile 1984, reprinted 2003 Courtesy of Haverford College This tile was printed as a fundraiser for the Institute for Contemporary Art, the university museum of Philadelphia. The piece was both a memorial for Kelly, born in Philadelphia, and a thank you to the ICA which housed a solo exhibition for Warhol in 1965. 23 �From't Pete Rose Andy Warhol Screenprint on Lenox Museum Board 1985 Courtesy of Trout Gallery, Dickinson College This work was part of a series commissioned by the Cincinnati Art Museum in 1985. Warhol did not pose Rose for a Polaroid as he did with many of the Vanity Portraits, but rather based the painting on an image from the instructional book “Pete Rose on Hitting: How to Hit Better than Anybody." �- Sitting Bull Andy Warhol Screenprint on Museum Board 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle From Warhol's 1986 "Cowboys and Indians" series. The Sitting Bull model was an archival photograph of the Lakota chief. Warhol's combination of Hollywood glamour and active resistance calls into question the unchallenged, and heavily-embellished fables of the American West. 25 �Ladies and Gentleman Andy Warhol Lithograph 1970 Courtesy ol Gallery of Art, University of Northern Iowa 26 "Tht sh ��Pig Andy Warhol Polacolor Type 108 1986 Courtesy of Reed Ga(|ery Unjversjty Qf le' Presque Isle �Fiesta Pig Andy Warhol Screenprint on Museum Board 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle This quirky print was commissioned by the German magazine Die Walt. It has been compared to Warhol's still life "After the Party," featuring similar colorful glassware, only this time, a pig has come to investigate. 29 �s �'•f . ..I.,, ■ ��Absolut Andy Warhol Polaroid 1980 Courtesy of Trout Gallery. Dickinson College first collaboration it commissions, z and Lady Gaga. 33 �Wayne Gretzky Andy Warhol Polacolor ER 1983 C”L,,e!’0,R“dGa"“>'U-,!,l,0,Maine.p.esque|s|e theYpf" hSh ctenn9 a variety of league and^e^0010!'1 °'lerS' He quickly skyrocketed to fame in the ear by Sports Illustrated and records-ln 1982' he was named "Sportsman of ��£ $• Unidentified Boy [Striped Shirt] Andy Warhol Polacolor ER 1986 Courtesy of Reed Gallery, University of Maim le ’ Presque Isle Barbara Allen (1951 financier of Interview mac She appeared on the c< socializing with Allen, f was proudly provacati' Warhol's help in findin 36 �Barbara Allen Andy Warhol Polacolor 2 1980 Courtesy of Reed Gallery, University of Maine - Presque Isle Barbara Allen (1955-Present) was the former wife of Joe Allen, paper magnate and co­ financier of Interview magazine. She was a close friend of Warhol and, therefore, a 70s IT girl. She appeared on the cover of Interview magazine in 1977. Warhol's diary mentions frequent socializing with Allen, from grabbing a drink and a movie to attending events together. She was proudly provacative, frequently dishing about her latest carnal conquests and seeking Warhol's help in finding the next. Her paramours include musician Mick Jagger, filmmaker Peter Beard, and Greek billionaire Philip Nirachos, among others. �Lyn Reason (19 .■Lyn Reasons'-' Charles was deceasedS Wh°'*roteportr£ Singer-songwriter Carly Simon (1945-present) is perhaps best known for het hit Vou re so Vain." Like Barbara Allen, Simon also had an affair with musician Mick tagger, who sings backup vocals on the track. According to Warhol, Simon was the only girlfriend that Mick's wife Bianca was jealous of because Carly Simon is intellegent... and looks like Mick and Bianca." ho Simonws feared in an ABC television special where �Lyn Revson (2 poses) Andy Warhol Polacolor 2 1981 Courtesy of Reed Gallery, University of Maine - Presque Isle it known for h affair with According to Lyn Revson (1931-2011) was a style icon during the 1960s and 1970s and author of "Lyn Revson's World of Style," the renowned fashion manual. Her second husband Charles was the president of the Revlon cosmetics company. Charles had been deceased six years when this Polaroid and the resulting portrait were completed. Warhol wrote of the sitting in his diaries "...Lynn Revson called and said she loved the portrait but that her cheekbones looked too fat. I knew she'd be trouble." was jealous Bianca." special where iger. 39 �A"dy Warhol Polacolor 2 1979 Courts;iSy °f iS Ga"ery’ Univers*y Maine - Presque |s|e Constantine Karpidas (19-n Pauline, an avid contemporary coll 3 Sllippin9 ma9nate from Greece. He and his wife who in turn introduced them to tA/6^'Were ^riends Wlth another collector, Alexander lolas, °°"*r Bills until 2009.'were the owners of Warhol's 200 6n,tWaSaucti°ned off for $43.8 billion. �nd his wife Alexander lolas, Warhol's 200 �Gei Ger< the^ portic work k �artist. 3 in fatilda ove to ��Leah and Tora Bonnier Andy Warhol Polacolor Type 108 1980 Courtesy of Reed Gallery, University of Maine - Presque Isle 1 career < bands, They liary, otic shot le. �■'■I'.ljy | ‘ v-t,.' V: • • ■ 1 J o| v . '*'lf >1 ’ J 11 <1 \\ > "IO 1,1 Hl.| 1... , ........ ���nthe mesake illege, lans F "new" th the Jle of �I ■ P^olor Type 1O8 Courtesy of Reed Ga||erv ... ■«"«tyo(uainc.prKquelsle millior piece about so ��I Frieder Burda Andy Warhol Polacolor 2 1982 Courtesy of Reed Gallery, University of Maine - Presque Isle Frieder Burda 11936-present) is a German art collector. In 2004, he opened the Museum Frieder Burda in Baden-Baden. While the museum's major focus is on German painters, particularly post-war artists, it does feature two Warhol prints, those made of Frieder and his mother, Aenne. Lorna Luft An actress Judy Garland singing''0 Truman makeup on regular t �Lorna Luft Andy Warhol Polacolor ER 1982 Courtesy of Trout Gallery, Dickinson College Lorna Luft (1952-present) is the daughter of Judy Garland and half-sister to Liza Minelli. An actress in her own right, Lorna got her start singing on her mother's CBS series "The Judy Garland Show." Since, she has graced television, film and the stage with her beautiful singing voice. She had been a true socialite of the era, photographed alongside Warhol, -,prrv Han at studio 54, Of the sitting, Warhol wrote: "She had no ‘'a like Marilyn. If she just left her �Martha Graham Andy Warhol Polacolor ER 1979 Courtesy of Trout Gallery, Dickinson College Martha Graham (1894-1991) is a legendary choreographer considered "the Mother of Modern Dance." Warhol met Graham through esteemed designer Halston, who created costumes for her dancers. Warhol created a series based on the movement in her ballets. "When I first met Andy, he confided to me that he was bom in Pittsburgh as I was, and that when he first saw me dance 'Appalachian Spring' it touched him deeply, Graham said. "He touched me deeply as well. He was a gifted, strange maverick who crossed my life with great generosity. His last act was the gift of three portraits he donated to my company to help my company meet its financial needs." �Polacolor Type 108 1974 ther who iment in sburgh I him f three :eds." ��with popularizing the others. After Sprouse's , he traded two paintings rhol's inner circle, some inly gay and painfully shy, earing a suit designed setion decorated with the Jis Vuitton, Marc Jacobs, �Flowers-set0flo Andy Warhol 1S9C70enPrintOnpaper CourtasyofHaverfordCo||egi ie lcharnp's Re; ’te '8rea> used a Photo,■SraZX.iX'cw) 'h 10t09raphy^. agazine. After the orio' featured in the ::l sought to f ‘J expand through collah Editions Prrocessandphotr. 'Created neari ■ near,ly perfe, ■actreprodUcu/ henne9°t'ationsfe|| „ , lndayBM, CoulddotOssto Tri9'Bec^s wo dUCti°"- Who eve t °VSr hiS PrPcess, .^Print' Warhol v i-T S'9n them, "Th heca^ across a Partlcularlyrare. 9,an Phots are Con ^^-Andy C°nSldered legitimate and **J55 58 �that "great ed in the Y Editions h Belgian gotiations fell 'nous Warhol his process, across a e. Andy timate and �GelaSd PreSS Phot°Xh//ea''e L°Ve Da"as- with G°v Connally 196^S"verprintonPaper C°Urtesy of Haverford Co||ege Assas«'n a' J°hnSOn being Si S ?res'dent of the United States, following the 1963tlnSilVerPrintonpaper C0IJrteSyOfHaverfOrd C0||ege SSXand196^rhOiw lar9e SCale PrintS in a series realized that p °'Saster Se"es '?a9es of mortality in 6 Crashes’ electric chairs, Jackie Kennedy t0 be 'n ZnVe7thio9 I was ^arh01 ^mined J T C°lors-ln a ^3 interview about Kennedy and bo^0 h'Slate friend^T haVe been DeTth"includin9 the Mari|yn set rn°Urn over ' reddy Herko. |n °Ss °f a loved nno 15 ater Flowers series was thought sence’ Warhol empathizes with Jackie �ov Connally fthe United States, following the arge scale prints in a series hes, electric chairs, Jackie Kennedy colors. In a 1963 interview about vorks, including the Marilyn set. I 'is later Flowers series was thought Marbol empathizes with Jackie �* The Emancipator and His Flock James K. W. Atherton Gelatin Silverprint on Paper 1963 Courtesy of Haverford College In Solemn Procession Unknown Gelatin Silverprint on Paper 1963 Courtesy of Haverford College �I A 1 A U‘ ■ V V i- JI (' n I Lee Harvey Oswald Grimaces as he in Glint by lack lhih\ Robert Jackson Gelatin Silverprint on I’apoi Gourlo-jv ol I lavoiloiil (ailloiio �Plnk Camouflage A”dy Warhol ^nprint on Museum Board famo^irksm|fCh as an artisSe°Butyh2rnt t0 C°nCea1, Warho1 was making a political andfilmsand me,and7hnt‘° ^nowal* about^And'vW3'^ S'^kt WaS 1________ ............... undoubtedly one of Warhol's pnntthatis Part Of a set®fr®‘am-There's nothing behind^ — '°°k SUrfaCe °f my paint'ngS esomeof hisfina| works The Camouflage pieces, including this --------------------------- �■ 4 V 1 5 making a political jbtedly one of Warhol's e surface of my paintings flage pieces, including this Andy Warhol's Paintbrush Henry Leutwyler C-Print 2016 Courtesy of Social Fabric Collective © Henry Leutwyler A specialist in celebrity portraiture, Henry Leutwyler's photography series Document captures the heart of the celebrity through their possessions. Here, Leutwyler demonstrates Warhol's quirky contradictions through his paintbrush. The handle is covered in neon splotches of paint, while the bristles are almost pristine. O’ �exhibited N CHECKLIST phi Andy Warhol Greg Gorman Archival Pigment Print SeSyaS0d.!r««“lBClM Marilyn Monroe Eugene Korman Gelatin Silver Print on Paper 1953 Courtesy of Haverford College Henry Leutwyler C-Print 2016 „ „ ,■ Courtesy of Social Fabric Collective Campbell's Soup I (Onion) Andy Warhol Screenprint on Paper 1968 Courtesy of The Maslow Collection at Marywood University Campbell's Soup I (Black Bean) Andy Warhol Screenprint on Paper 1968 Courtesy of The Maslow Collection at Marywood University Campbell's Soup I (Pepper Pot) Andy Warhol Screenprint on Paper 1968 Courtesy of The Maslow Collection at Marywood University 50th Anniversary Campbell's Tomato Soup Cans (Limited Edition) Released for Target stores 2012 Courtesy of Haverford College $1 - Set of 6 Andy Warhol Screenprint on Paper 1982 Screen print on Paper 1970 Curtesy of HaverfordCo||ege Marilyn Monroe ^."‘PPeHalsman Gelatin Si|ver p. 1954 rir|tonPa|iper Courtesy of Hai lverf°rd College An*Sprint WaT°on Museum Bo Weegee Gelatin Silver Print on Paper 1986 of Reed Gallery, U Courtesy - Presque Isle of Maine c. 1965 Courtesy of Haverford College LadiesandGentleman Andy Warhol Marilyn Monroe Tom Kelley Chromolithograph Print on Paper 1949 Courtesy of Haverford College The Kiss (Movie Still) Andy Warhol Gelatin Silver Print on Paper 1963 Courtesy of The Maslow Collection at Marywood University Interview Magazines Andy Warhol, Publisher Cover Artwork: Richard Bernstein Jodie Foster, June 1980 Debra Winger, August 1980 Grace Jones, October 1984 Diane Lane, November 1984 Mel Gibson, June 1984 Diane Lane, February 1980 Patti Lupone, October 1980 Klinton Spilsbury, November 1980 Joan Rivers, December 1984 Sean Young, September 1980 Courtesy of Private Collection Sylvester Stallone, September 1985 Courtesy of Haverford College C07teM0fTheMaS'OWColl^on at Marywood University ■ford Colle of Haver1 couttesy Scree- . Marilyn [sic] Andy Warhol's Paintbrush A/(/^2 Lithograph Curtesy of Gallery of Art, U Ladies and Gentleman Andy Warhol Screenprint on Arches Pape 1975 Courtesy of Trout Gallery, Di Pine Barrens Tree Frog (Endt Andy Warhol Screenprint on Museum Bo; 1983 Fiesta Pig Andy Warhol Screenprint on Museum Bot 1986 Courtesy of Reed Gallery, Ur of Maine - Presque Isle pig Andy Warhol Polacolor Type 108 1986 Courtesy of Reed Gallery, Un of Maine - Presque Isle Brill° Soap Pads Pete Rose Andy Warhol Screenprint on Lenox Museum Board 1985 Courtesy of Trout Gallery, Dickinson College Andy Warhol 1970enPrint °n Paper Courtesy of Haverford Colleg Abso/ut Grace Kelly Red Andy Warhol Screenprint glazed on Porcelain Tile 1984, reprinted 2003 Courtesy of Haverford College J^dy Warhol nJa,tln Silverprint on Paper not dated CoLJ|-tesy of Trout Gallery, Die Abso/ut Grace Kelly Unknown Photographer Gelatin Silverprint on Paper c. 1950 Warhol p°laroid 1980 tesY °1 Trout Gallery, Die �Philadelphia Inquirer 4/1/1982 Courtesy of Haverford College on Paper ord College Sitting Bull Andy Warhol Screenprint on Museum Board 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle 3n Paper rd College ■int on Paper d College i Paper ow Collection ersity ler j Bernstein I 1980 984 1984 980 980 uber 1980 I984 •1980 iction imber 1985 allege seum Board Ladies and Gentleman Andy Warhol Lithograph 1970 Courtesy of Gallery of Art, University of Northern Iowa Ladies and Gentleman Andy Warhol Screenprint on Arches Paper 1975 Courtesy of Trout Gallery, Dickinson College Pine Barrens Tree Frog (Endangered Species Series) Andy Warhol Screenprint on Museum Board 1983 Fiesta Pig Andy Warhol Screenprint on Museum Board 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle Pig Andy Warhol Polacolor Type 108 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle Brillo Soap Pads Andy Warhol Screenprint on Paper 1970 Courtesy of Haverford College Dickinson College celain Tile Absolut Andy Warhol Gelatin Silverprint on Paper not dated Courtesy of Trout Gallery, Dickinson College ege r Absolut Andy Warhol Polaroid 1980 Courtesy of Trout Gallery, Dickinson College Screen Tests Andy Warhol 16mm film transferred to digital files Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc. Ann Buchanan, 1964 Paul America, 1965 Edie Sedgewick, 1965 Billy Name, 1964 Susan Bottomly, 1966 Dennis Hopper, 1964 Mary Woronov, 1966 Freddy Herko, 1964 Nico, 1966 Richard Rheem, 1966 Ingrid Superstar, 1966 Lou Reed (Coke), 1966 Jane Holzer (toothbrush), 1964 Flowers - set of 10 [Sunday B Morning prints] Andy Warhol Screen print on paper 1970 Courtesy of Haverford College The Emancipator and His Flock James K. W. Atherton Gelatin Silverprint on Paper 1963 Courtesy of Haverford College Vice President Lyndon B. Johnson being Sworn in as President of the United States, following the Assassination of President John Kennedy Cecil Stoughton Gelatin Silverprint on Paper 1963 Courtesy of Haverford College Jackie Kennedy at John F. Kennedy's Funeral Unknown Gelatin Silverprint on Paper 1963 Courtesy of Haverford College In Solemn Procession Unknown Gelatin Silverprint on Paper 1963 Courtesy of Haverford College Lee Harvey Oswald Grimaces as he is Shot by Jack Ruby Robert Jackson Gelatin Silverprint on Paper 1963 Courtesy of Haverford College �John F. Kennedy Jr., who turned three today, salutes as the casket of his father, the President John F. Kennedy passes. Dan Farrell Gelatin Silverprint on Paper 1963 Courtesy of Haverford College The President and Mrs. Kennedy leave Love Field Dallas with Gov Connally Associated Press Photograph Gelatin Silverprint on Paper 1963 Courtesy of Haverford College Pink Camouflage Andy Warhol Screenprint on Museum Board 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle Wayne Gretzky Andy Warhol Polacolor ER 1983 Courtesy of Reed Gallery, University of Maine - Presque Isle Japanese Toy Andy Warhol Polacolor ER 1983 Courtesy of Reed Gallery, University of Maine - Presque Isle Unidentified Boy [Striped Shirt] Andy Warhol Polacolor ER 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle Barbara Allen Andy Warhol Polacolor 2 1980 Courtesy of Reed Gallery, University of Maine - Presque Isle Carly Simon Andy Warhol Polacolor Type 108 1980 Courtesy of Reed Gallery, University of Maine - Presque Isle Lyn Revson (2 poses) Andy Warhol Polacolor 2 1981 Courtesy of Reed Gallery, University of Maine - Presque Isle Constantine Karpidas Andy Warhol Polacolor 2 1979 ____Of Reed Gallery, University Courtesy of Maine - Presque Isle Jeanine Basquiat Andy Warhol Polacolor ER 1985 Courtesy, of Reed Gallery, University of Maine - Presque Isle Matilda Basquiat Andy Warhol Polacolor ER 1984 Courtesy of Reed Gallery, University of Maine-Presque Isle Gerard Basquiat Andy Warhol Polacolor ER 1984 Courtesy of Reed Gallery, University of Maine - Presque Isle Vitas Gerulaitus Andy Warhol Polacolor Type 108 c. 1977 Courtesy of Reed Gallery, University of Maine - Presque Isle Leah and Tora Bonnier Andy Warhol Polacolor Type 108 1980 Courtesy of Reed Gallery, University of Maine - Presque Isle Shiandy Fenton (2 poses) Andy Warhol Polacolor Type 108 1977 Courtesy of Reed Gallery, University of Maine - Presque Isle Rhonda Ross Andy Warhol Polacolor 2 1981 Courtesy of Reed Gallery, University of Maine - Presque Isle Shirley Fiterman Andy Warhol Polacolor Type 108 1976 Courtesy of Reed Gallery, University of Maine - Presque Isle Natalie Sparber Andy Warhol Polacolor ER 1984 Courtesy of Reed ( Unidentified Woma Andy Warhol Polacolor Type 108 1977 Courtesy of Reed G Philip Niarchos 8/1! Andy Warhol Polacolor Type 108 1972 Courtesy of Reed G Frieder Burda Andy Warhol Polacolor 2 1982 Courtesy of Reed G< Lorna Luft Andy Warhol Polacolor ER 1982 Courtesy of Trout Ge Martha Graham Andy Warhol Polacolor ER 1979 Courtesy of Trout Ga, Monique (for Ladies a Andy Warhol Polacolor Type 108 1974 Courtesy of Trout Gal Steven Sprouse Andy Warhol Polacolor ER 1984 Courtesy of Reed Galli �as allery. University Natalie Sparber Andy Warhol Polacolor ER 1984 Courtesy of Reed Gallery, University of Maine - Presque Isle iue Isle Unidentified Woman #14 (3 poses) Andy Warhol PolacolorType 108 1977 Courtesy of Reed Gallery, University of Maine - Presque Isle lery, University e Isle >ry, University Isle y, University sle University e Philip Niarchos 8/1972 Andy Warhol PolacolorType 108 1972 Courtesy of Reed Gallery, University of Maine - Presque Isle Frieder Burda Andy Warhol Polacolor 2 1982 Courtesy of Reed Gallery, University of Maine - Presque Isle Loma Luft Andy Warhol Polacolor ER 1982 Courtesy of Trout Gallery, Dickinson College Martha Graham Andy Warhol Polacolor ER 1979 Courtesy of Trout Gallery, Dickinson College Monique (for Ladies and Gentlemen) Andy Warhol Polacolor Type 108 Jniversity 1974 Courtesy of Trout Gallery, Dickinson College Steven Sprouse Andy Warhol Polacolor ER 1984 Courtesy of Reed Gallery, University of Maine - Presque Isle liversity versity �IsORDONI ART GALLERY ■ WILKES UNIVERSITY ADVISORY COMMISSION Virginia Davis, Chairperson Stanley Grand, Ph.D. Patricia Lacy Patrick Leahy, Ed.D. Kenneth Marquis Allison Maslow William Miller Paul Riggs, Ph.D. Eric Ruggiero Anne Skleder, Ph.D. Heather Sincavage Jamie Smith Andrew J. Sordoni, III Joel Zitofsky STAFF Heather Sincavage, Director Karly Stasko, Research Assistant GALLERY ATTENDANTS Timothy Brown Olivia Caraballo Margaret Galatioto Paige Gallagher Jessica Morandi Sarah Matarella Julie Nong Kayla Wedlock Nash Wenner �r IMSOM OLLEi^ RJWIWl&'SlHFYr' '.' v.- .; ■ii^www./fiii^, sfdiu.i � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 October 06 - 20th 15 Minutes; From Image to Icon Subject The topic of the resource Andy Warhol Description An account of the resource Andy Warhol coined the phrase "Everyone should be famous for 15 minutes." This exhibition examines Warhol's interest with pop culture figures, the images they are synonymous with and the transformative quality of Warhol's process, thus creating pop culture. While some of his most iconic images draw from pop culture itself, the artist can be credited with elevating the average objects, such as the Campbell’s Soup cans, to pop status. Creator An entity primarily responsible for making the resource Andy Warhol (artist); Heather Sincavage (Curator) Source A related resource from which the described resource is derived SAG Publisher An entity responsible for making the resource available SAG Date A point or period of time associated with an event in the lifecycle of the resource 2017 October 6-20 Rights Information about rights held in and over the resource Wilkes University retains the rights to this exhibition program. Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/464b291c1c339bda295f3cc7f40c0a64.pdf d538383e52a00826e33831b81c7dad73 PDF Text Text ������������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Diary: A Journal of Black Out Poetry Inspired by the Andy Warhol Diaries Subject The topic of the resource Andy Warhol Description An account of the resource Featured in conjunction with the Sordoni Art Gallery's Andy Warhol exhibition, "15 Minutes: From Image to Icon" Creator An entity primarily responsible for making the resource Poets featured: Taylor Balasavage, English '18 Ashley Bringmann, English '18 Alexandra Gamble, Psychology '18 Elyse Guziewicz, English '18 Angel Olmstead, Psychology '18 Kelci Piavis, English '18 Brianna Schunk, English/Dance '20 Natalie Stephens, Elementary Education '20 Instructor: Dr. Mischelle Anthony, English Editor: Karley Stasko, MFA Creative Writing, '18 Source A related resource from which the described resource is derived Sordoni Art Gallery Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Program https://omeka.wilkes.edu/omeka/files/original/199c66db92b000870f0797ea67ad44f3.pdf 57c882c0592269978fbd0da9befa5da8 PDF Text Text ��������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2014 January 14 George Gabin: Reflections Creator An entity primarily responsible for making the resource George Gabin Date A point or period of time associated with an event in the lifecycle of the resource 2014 January 14 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Program https://omeka.wilkes.edu/omeka/files/original/3f72f35de5f410f025f3d7b121c6ead1.pdf 913bbe8f11dd497b4f2aaf3590789ccb PDF Text Text ������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1973 November 25 George Catlin: Painter of the Indians of the Americas Creator An entity primarily responsible for making the resource George Catlin Date A point or period of time associated with an event in the lifecycle of the resource 1973 November 25 - 1974 January 5 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This show is a survey of painter George Catlin's work on the Native Americans of the region. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Native American Art George Catlin Source A related resource from which the described resource is derived The National Collection of Fine Arts Smithsonian Institution and The National Gallery of Art Rights Information about rights held in and over the resource The Smithsonian Institution likely retains the rights to this work. https://omeka.wilkes.edu/omeka/files/original/d5833961e9798459a9fecda2f5da448a.pdf 3aa365d3207f495075e7f4dc4e6d101e PDF Text Text ������������������������������� https://omeka.wilkes.edu/omeka/files/original/d0f34edb51a7224320313fcd100fa2f8.pdf d9446ebeeceb5b4821160d136cf1323c PDF Text Text he- i 1< K ND237 C35G89 �GEORGE CATLIN PAINTER OF THE INDIANS OF THE AMERICAS Introduction and Catalogue by Vivian Varney Guyler OPENING EXHIBITION SORDONI ART GALLERY WILKES COLLEGE WILKES-BARRE, PENNSYLVANIA E.s. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA _ Paintings on loan from THE NATIONAL COLLECTION OF FINE ARTS SMITHSONIAN INSTITUTION and THE NATIONAL GALLERY OF ART �archives Th* •hi! v we**•’ ** ** ° ,n a* ’ that P^;.' O'1 Acknowledgements Special appreciation is extended to staff of the National Collection of Fine Arts, Smithsonian Institution and the National Callery of Art for making this Catlin Exhibition and the publication of this catalogue possible. in S’ n3ti'e tor Mr. Joshua C. Taylor, Director, National Collection of Fine Arts Mr. William H. Truettner, Associate Curator of Eighteenth and Nineteenth Century- Painting and Sculpture, National Collection of Fine Arts nd all -;ave " Hethen Pot-’ ht C’ self-tadght. c; Mr. Lowell A. Kenyon, Photographer, National Collection of Fine Arts Mr. J. Carter Brown, Director, National Gallery of Art Mr. Jack C. Spinx, Chief of Exhibitions and Loans, The National Callery of Art Mr. William P. Campbell, Assistant Curator, The National Gallery of Art Ms. Kathleen Kissane, Coordinator of Photography, The National Callery of Art t turning pO‘nt The important.then the Pi*'n* from the "Far ' As Catlin himsek put <tmv m/ndwa>connnua//vr< to demote a whole lde-we of and digniiied-lookmg Indian city, arrayed and equipped tn , tunic and manteau. — ■ nted a< and stoic dignity. the>e lords o in their pictured robes, with th the gaze and admiration or all a people, preserved by pictor man. and nothing short ot the try. and of becoming their hisb ••■•ith the determination or rest ot North America, and of bring on hmenLa"d women {^m e; P/eteToZ/ecToTo/X^'5'0^ Vo™3°i«e" „ ar,iv«r in St. lo c°nvincec| q, to the for the "as iinj Cathn aCcc;T barter. ln to fo ac ar,ersandn °UbtM ar°und hj^ .Mlssir - £311^, duB,-,r" lh" �t.—LM v- • GEORGE CATLIN 1796-1872 bn of Fine Arts, Smithsonian khibition and the publication Arts Pd Nineteenth Century Fine Arts nal Gallery of Art allery of Art tional Gallery of Art The opening of the Sordoni Art Gallery comes at a time when interest in the history of the American Indian as well as in the history' of American painting is very high. It is appropriate therefore, that paintings by George Catlin, born in Wilkes-Barre, July 26, 1796 should comprise the opening exhibition. Catlin’s earliest years were spent in the Wyoming Valley where his in­ troduction to Indians came as a boy listening to his mother tell of her capture in the Wyoming Massacre of 1778. Many years later, in his writings, he commented on the sad tale of the Indian in his "native valley." Catlin practiced law for three years in Luzerne, Pennsylvania, but then sold his law library and "all save my rifle and fishing tackle" and converted the proceeds into "brushes and paint pots. He then went to Philadelphia determined to make painting his life's profession. Entirely self-taught, Catlin developed skill both as a miniature painter in watercolors and as a portrait painter in oils. In 1824 he was elected an academician of the Pennsylvania Academy of Fine Arts, a select group of artists of the day. The important turning point in Catlin's painting career came when a group of Indians from the Far West" ithen the Plains) passed through Philadelphia on their way to Washington. .As Catlin himself put it: ... my mind was continually reaching for some branch or enterprise of the art, on which to devote awhole life-time of enthusiasm; then a delegation of some ten or fifteen noble and digniiled-looking Indians, from the wilds of the "Far West," suddenly arrived in the city. arrayed and equipped in all their classic beauty, — with shield and helmet, — with tunic and manteau, — tinted and tasselled off, exactly for the painter's palette! In silent and stoic dignity, these lords of the forest strutted about the city for a few days, wrapped in their pictured robes, with their brows plumed with quills of the war-eagle, attracting the gaze and admiration of all who beheld them . . . And the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life, shall prevent me from visiting their coun­ try. and of becoming their historian . . . I set out on my arduous and perilous undertaking with the determination of reaching, ultimately, every tribe of Indians of the Continent of F.'orth America, and of bringing home faithful portraits of their principal personages, both men and women from each tribe; views of their villages, games, etc., and full notes on their character and history. I designed, also, to procure their costumes, and a com­ plete collection of their manufacturers and weapons, and to perpetuate them in a "Callery unique," for the use and instruction of future ages. In 1830 Catiin arrived in St. Louis with a portfolio of his paintings of the Iroquois Indians of New York State. He convinced General William Clark, who with Meriwether Lewis had made the famous expedition to the Pacific Ocean from 1804 to 1806 and who was then Superinten­ dent of Indian Affairs for the Western tribes, that he was worthy of the permission necessary to pursue his goal. Clark was undoubtedly impressed by Catlin as he was allowed to set up his easel in Clark's headquarters and paint the Indians who visited on tribal business. He also allowed Catiin to accompany him during treaty-making sessions at Prairie du Chien and Fort Crawford on the upper Mississippi River. The artist used every opportunity available to paint the Indians around him His "Gallery" had begun. < . t �sla' ! Catlin spent the years 1830-1836 among the Indians of the Plains, the Woodlands and the Great Lakes. By IB 17 his "Callery" c onsisted of 494 paintings - ■ portraits, landscapes, hunts, tri­ bal dances, religious ceremonies and episodes depicting animal life. There were also a number of artifacts spears, drums, pipes, bows, robes and even a Crow tepee twenty-five feet high and large enough to hold forty men. These he set up as "Catlin's Indian Callery' which he opened in New York's Clinton Hall on September 23, 1837. He charged fifty cents admission and was often present to lecture, describing and explaining the paintings and artifacts. In 1838 Catlin took his "Gallery" to Washington, then to Baltimore, Philadelphia and Boston. Catlin's dream was to have the United States Government buy his "Gallery" both for the financial remuneration and for the picture it would preserve for posterity of the fast vanishing American Indian. When there was no action by the U. S. Congress on his resolution for the pur­ chase of his paintings, Catlin, in desperation, announced that he would take his "Gallery" to Europe; perhaps there he would find a buyer. Catlin's "Gallery of North American Indians" opened on February 1, 1840 in Egyptian Hall, London. The crowds were at first enthusiastic, and at times Catlin had real Indians to show them, a group of Ojibwas and then lowas having been brought to London to perform dances and other entertainment. The English who attended witnessed one of the earliest live "Wild West" shows. Even Queen Victoria and Prince Albert invited Catlin, his wife and the Ojibwas to Buckingham Palace. When interest waned in England, Catlin took his "Gallery to Paris and on June 3rd, 1845 he opened his exhibition to the public with the same early success he had re­ ceived in London. Fora time it was shown in the Louvre for the royal family at the request of the King, Louis Philippe. Catlin's personal and financial situations began to take a turn for the worse in Paris. His wife and young three-year old son both died of pneumonia and the loans made in anticipation that the U. S. Congress would pass a bill to purchase his paintings had to be repaid when the bill was defeated. His creditors moved in to take possession of his "Gallery." Fortunately a wealthy American, Joseph Harrison, owner of the Harrison Boiler Works in Philadelphia the largest locomotive building concern in the world at the time, came to his aid and paid off his creditors. Harrison hurriedly crated Catlin's paintings and artifacts and shipped them off to Philadelphia to save them from any new claims. After Catlin's and Harrison's deaths, the collec­ tion which included four hundred and forty-five paintings and many artifacts was given by Har­ rison's widow to the Smithsonian Institution. For many years they had been stored improperly in the boiler works factory and had suffered from water, fire and moths. Many of the objects had to be discarded, but the paintings were restored. Twenty paintings from Catlin's original "Gallery" are part of the Sordoni Art Gallery's opening exhibition. These are on loan from the National Collection of Fine Arts, the Smithsonian Institution. In his late fifties, Catlin spent part of his time in the reading room of the Bibliotheque Imperial in Paris. There he met another frequenter of the library who had delved into old Span­ ish volumes describing lost gold mines in the Crystal Mountains of Brazil. Catlin decided to go in search of lost gold. When the search proved futile and his miner's tools were lost and broken he began to travel and paint Indians. He proposed to do with the South Xmerican Indians w hat he had done with the North American Indians. He traveled up the Amazon crossing the entire jungle interior of Brazil visiting thirty of the tribes which inhabit the rivei's shores He then - rossed the high Andes to the Pacific coast of Peru, traveled across the pampas of Argentina and thim to the southern end of South America, Tierra del Fuego. and completely a.ound the coast o •uufh America. atlm probably visited more of South America's pr.mitiye tribes than any " ht,s ,,v“r Witl> his companion, a Negro named Caesar Holla who had J;°South A"lehv fX>i’ th$ ytex^ his t<? $ee number ,^'^rth ^hundred ■' ’* -Gallen ne on ■ with of LJ Sa anne earlier to of Paint'n®he 1670'' <rlon d rep< Fran7,! bought bvWe ln 1830 when Catlin began h jacob Astor's powerful A-ric-Fu Fortified trading posts had be and plans were being formulated fo ited many of these forts and was oftc his painting and collecting enterprise the effects of their presence on the li Not only did Catlin forsee the man himself, he also predicted that to New York and other Eastern marl the great herds, the principal means the white man brought cheap trinke at the inflated price of twenty and th ^ater" often led to overindulgence ; ■ ie man brought his diseases c°nbnua//v arn ? u™uspGctj r hc muzzle e 2m-r'be aUe‘ haVen°'vav tX /ethI'?nfo reel ln awfu 'vho-'esa/eUavS their vengear o!1;:'’p'oud«<i,S,bv‘vl’is^ <■ " ■"""’ins ■ �1e Plains th , ‘Z< h, e dlso ; IWe'->tv-five,afnur^ber ie ch lnd'an r _Gal|Qry" ' , feet high a nlh<lrged fifty cents adm <ission h,ladelPhia and artifacts 1,1 1838 Boston. ■nt buy his or , ;r?lings and ess on his beSon would a^ich g; take his "r . epur'S Gailery"t0 >n February i -io1ri ■ ‘s Catlin had realfndi'" EgYptian to London to S:XtOHSh^ Catlin °h lhefearlieSt 'ive ''™ld . t'u? ?V'te and the Oiibwas 1 took his 'Gallery" to Paris and the same early success he had reie royal family at the request of a turn for the worse in Paris. His d the loans made in anticipation ings had to be repaid when the of his "Callery." Fortunately a riler Works in Philadelphia, the came to his aid and paid off his tifacts and shipped them off to ind Harrison's deaths, the collecmany artifacts was given by Harthey had been stored improperlv and moths. Many of the objects - paintings from Cftl,n'S °r'8The ion. These are on loan trom >adi h8 h°a°dmdelvedeinBtoboldlpan- ■■ —5 vvhst habit ross thepamPf the entire He then i ano d the coast c than anv and compete > -.erica's Pr'^esar Bolla Sv ho had >gro named Cae escaped from slavery in Havana, he then traveled up the Pacific Coast along the entire West Coast of North America, to the Aleutian Islands and across the Bering Sea to Siberia. Returning to South America, they crossed the Rocky Mountains from Southern California to the Gulf of Mexico, then by boat to the Yucatan of Mexico where they parted, Catlin returning to Europe to see his old friend, Baron von Humboldt in Germany. Before finally returning to the United States in 1870, then almost deaf, Catlin spent a number of years in Brussels somewhat of a recluse. He repainted a number of his original "Gallery" of North American subjects and wrote more books. When he did return he brought with him more than one hundred and fifty paintings: a group made in South America, a series of paintings of La Salle's voyage on the Mississippi which the French explorer had claimed for France in the 1670's (done earlier for King Louis Phillipe but never paid for), and most of the original "Gallery" which he had repainted. He called these "Catlin's Indian Cartoons." This col­ lection was bought by the American Museum of Natural History from Catlin's surviving daughter Elizabeth. It was later bought by Mr. Paul Mellon and three hundred and fifty-one of them given to the National Gallery of Art. Sixteen of these are on loan and others are part of the Sordoni Art Gallery's opening exhibition. George Catlin died on December 23, 1872 without realizing that his works would someday belong to the public for which he had painted them. In 1830 when Catlin began his mission, the influence of the white fur traders and John Jacob Astor's powerful American Fur Company on the lives of the Indians had already been felt. Fortified trading posts had been erected along the entire Mississippi, Missouri and Platte Rivers and plans were being formulated for spreading the trade over the whole Northwest. Catlin vis­ ited many of these forts and was often helped considerably by the white agents and traders in his painting and collecting enterprise. He was at the same time very outspoken in his criticism of the effects of their presence on the lives of the Indians. Not only did Catlin forsee the greed of these traders bringing a gradual end to the red man himself, he also predicted that the incredible number of buffalo robes being carried away to New York and other Eastern markets to be sold at great prices would soon mark the end of the great herds, the principal means of subsistence for the Indians of the Plains. With the trade the white man brought cheap trinkets and whiskey, the latter sold to the Indians, often diluted, at the inflated price of twenty and thirty dollars per gallon. The Indian's exposure to this "fire­ water" often led to overindulgence and a state where the Indian became a "beggar for whiskey ... lying drunk as long as he can raise the means to pay for it." With the trinkets and whiskey the white man brought his diseases — small-pox, "the dread destroyer of the Indian race" and his firearms. On this state of affairs Catlin wrote: These traders, in addition to the terror, and sometimes death, that they carry into these remote realms, at the muzzles of their guns, as well as by whiskey and the small-pox, are continually arming tribe after tribe with firearms; who are able thereby, to bring their unsuspecting enemies into unequal combats, where they are slain by thousands, and who have no way to heal the awful wound but by arming themselves in turn; and in a similar manner reeking their vengeance upon "their" defenseless enemies on the West. In this wholesale way, and by whiskey and disease, tribe after tribe sink their heads and lose their better, proudest half, before the next and succeeding waves of civilization flow on, to see or learn anything definite of them. Catlin conceived for himself, in addition to an educational mission, a social and even po­ litical one. He would be a spokesman for the red man in the white man's world. During his exhi­ bitions, his lectures were sprinkled with comments, often biting, on the role the white man and his government were playing in the destruction of this red man he held in such high regard. He �lh^had^'^ Minid"eS ^h/intendto mrticularlv critical of the role the United States government was playing in the removal of Indi ns from their home territories to lands farther west where their whole mode of living had to be changed to adapt to the new geography and the new climate. Cathn pleaded: SSSd It is for these inoffensive and unoffending people, yet unvisited by the vices of civilized society, that I would proclaim to the world, that it is time, for the honour of our country — for the honour of every citizen of the republic —and for the sake of humanity, that our government should raise her strong arm to save the remainder of them from the pesti­ lence which is rapidly advancing upon them. We have gotten from them territory enough, and the country which they now inhabit is most of it too barren of timber for the use of civilized man; it affords them, however, the means and luxuries of savage life; and it is to be hoped that our government will not acquiesce in the continued willful destruction tume. with head-dre>s d and whom / /y allbut the head-dress;j able togetquidsanderi him, however, for the ,1 head-dress, untilhe at / it; the bargain was InstJ five dollars each and th of these happy people. It is important to note that Catlin, who was so critical of fur traders and white civilization and its effects on the Indians, was often looked upon as an intruder by the Indians whose faces, landscapes, ceremonies, living habits and artifacts he wished to preserve. His painting was to many Indians a ’'medicine," a mystery, unaccepted by them. His "medicine" even led to death and intertribal rivalry. He was not opposed to using his own type of trickery or inducements to encourage an unwilling chief to pose for him. He appealed to the Indian's vanity and in South America, finding the Indians less friendly to him than in North America, he used an opera glass, ’the best of all traveling companions" and often stayed out of sight painting under the little can­ opy which shaded the boat's deck while his companion Caesar fired his revolver or played on his fiddle to distract the Indians' attention. One South American Indian medicine man in condemn­ ing Catlin's work said: These things are great mystery; but there you are, my friends, with your eyes open all night — they are never shut; this is all wrong, and you are foolish to allow it. You never will be happy afterwards if you allow these things to be always awake in the night. My friends, this is only a cunning way this man has to get your skins; and be placed amongst the skins of the wild beasts and birds and snakes! Don't hurt this man — that is my advice; but he is a "bug-catcher and a monkey-skinner!" _ Ca(|jn t Ramb(es The medicine man was referring by "bug-catcher" and "monkey-skinner" to the group of Eu­ ropean and American zoologists, ornithologists, entomologists and other scientists from the great universities who were in the nineteenth century combing South America for specimens, some to be killed and stuffed and placed in museums. Among (he Mandans living then along the Missouri River, Catlin at one time caused deep resentment. A number of squaws having seen paintings of two of their chiefs painted by Catlin raised strong opposition to him. They commenced a "mournful and doleful chant" against him, crying and weeping bitterly through the village," proclaiming him "a most dangerous man. one wio cou ma e iying persons by looking at them, and at the same time, could, as a mat­ er o course, estroy i e in the same way." In this case, Catlin tried to convince the men of his nvT tuUrn/ni^\ a? trUe *ntentl0ns ar,d then appealed to the Indian male's avowed superiority ot.Lu ktatlnS-tla* in the country where I lived, brave men never allowed their squaws to frighten them with their foolish whims and stories." In addition to Catlin's employing many means to both paint and preserve his art, he was not opposed to the many kinds of persuasion r,e< necessary to secure the costumes and artifacts he envisioned as part of his "Gallery." He often had —d to pay dead) for a certain object. Catlin wrote while living with the Mandans: tch. Jni .h Catlin Itis clear that althougl verity," there'' customs to post while in f Plete. Catlin i. Peale ha Willson Charles I.. war heroes, display olutionary I torial background su^’ skeletons. The idea ot Cat Catlin's task of paintin one in the nineteenth century was however in a sense a man dition to being a man who co words. Catlin wrote several vc attitudes supplement his pain paintings, being replete with describing the clay bluffsalon The whole country hel as if some giant masoi noble at,'c and !t « fort P°sterity’- js -and shall ec* c°r>tir �h'ay;^ ,tr. . , 1 '8 had ' have had abundant opportunities of learning the great value which these people some­ times attach to such articles of dress and ornament, as I have been purchasing a great many, which I intend to exhibit in my Callery of Indian Painting, that the world may ex­ amine them for themselves, and thereby be enabled to judge of the fidelity of my works, and the ingenuity of Indian manufactures. ’c sake r,;, der ?' h }7 them ■fOfn then?, )rr?n of r te Ur,es Df f°- the and l t js '5,r^tion ■' Wckwv o?X'i'0? ’L ' lnd,an's vanitv and ; *rica, he used an opera\y painting under the lytle c/-'. Ihts revolver or played on h\ n medicine man in condemn ids, with your eyes open a oolish to allow it. You new vays awake in the r. kins; and he placed amors; this man — that my ad. dinner to the group v -nd other scientists trem )Uth America for spec It is clear that although Catlin said "I travel, not to trade but to herald the Indian and his dying customs to posterity/' there was a good deal of trading he had to do to make his "Gallery" com­ plete. Catlin while in Philadelphia had visited the museum which the painter and naturalist Charles Willson Peale had set up in Independence Hall. It consisted of Peale's paintings of Rev­ olutionary war heroes, displays of stuffed animals and birds each in a compartment with a pic­ torial background suggestive of its natural habitat, waxwork dummies of mankind and several skeletons. The idea of Catlin's own "Gallery" may have originated at that time. Catlin's task of painting and documenting the Indians of the Americas was not an easy one in the nineteenth century; there was much personal sacrifice and personal risk involved. He was however in a sense a man possessed, a man of strong will and determination. Happily in ad­ dition to being a man who could wield a brush to create visual images, he also was a man of words. Catlin wrote several volumes and letters where his own descriptions, experiences and attitudes supplement his paintings, drawings and prints. Catlin's writing is often as visual as his paintings, being replete with descriptions and images as vivid as the colors of his palette. In describing the clay bluffs along the Missouri while riding along in his canoe: trous The whole country behind us seemed to have been dug and thrown up into huge piles, as if some giant mason had been there mixing his mortar and paints, and throwing to­ gether his rude models for some sublime structure of a colossal city; — with its walls — its domes — its ramparts — its huge porticos and galleries — its castles — its fosses and ditches; — and in the midst of his progress, he had abandoned his works to the destroy­ ing hand of time, which had already done much to tumble them down, and deface their noble structure; by jostling them together, with all their vivid colours, into an unsystem­ atic and unintelligible mass of sublime ruins. Id.*’ the men It is fortunate for all that Catlin did succeed in having at least part of his "Gallery" saved and that "posterity" is and shall continue to be the beneficiary of all his efforts. —-sed ta­ atlin at one time inted by Cr " heir chiefs pan— jnstbtfr . . same time, In these purchases I have often been surprised at the prices demanded by them; and per­ haps I could not recite a belter instance of the kind, than one which occurred here a few days since: — One of the chiefs, whom I had painted at full length, in a beautiful cos­ tume, with head-dress of war-eagles' quills and ermine, extending quite down to his feet; and whom I was soliciting for the purchase of his dress complete, was willing to sell to me all but the head-dress: saying, that "he could not part with that, as he would never be able to get quills and ermine of so good a quality to make another like it." I agreed with him, however, for the rest of the dress, and importuned him, from day to day, for the head-dress, until he at length replied, that, if I must have it, he must have two horses for it; the bargain was instantly struck — the horses were procured of the Traders, at twentyfive dollars each, and the head-dress secured for my Collection. Vivian Varney Cuyler Assistant Professor of Fine Arts Director, Sordoni Art Callery it and Pr£> ■tu^’the co^,rt3in a cei Catlin ■ ■; :.rtrj ' j’'.-’J ui. . ' it vr/.'.-f- inch'.acd is Men from Catlin'*. /.<*ne« and Notcy on the Manners, Customs, td ( c.’-djSi,,n r.i tf-r- ;!-,rth Ame rican Indian',, 2 70I5 ., tondon 1811 �«r 1 List of Paintings in Exhibition -K> , 0$ 1. He Who Takes Away, War,, and Mink-chesk, three distinguished young men (Osage), 1834 10. Dance of the chiefs, mouth of Teton RFiver, 1832 (?!^’ 1/ Oil on canvas, 22% " x 27 %" Oil on canvas, 29" x 24" National Collection of Fine Arts, Smithsonian Institution buffalo bull 2. White wolves attacking a Oil on canvas, 19?/a" x 27%" National Collection of Fine Arts, Smithsonian Institution 3. An Osage Indian pursuing a Comanche, 1836 Oil on cardboard, I8V2" x 24W The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon 4. Dance to the Berdashe (Sauk and Fox), 1834 Oil on canvas, 19’/2" x 2 7 Ya" National Collection of Fine Arts, Smithsonian Institution 5. She-de-a, Wild Sage, a Wichita woman,1834 Oil on canvas, 29" x 24" National Collection of Fine Arts, Smithsonian Institution National Collection of Fine Arts. Smith- -nun Institution Oil on canvas, 29" x 24" Oil on canvas, 29" x 24" dr^^.rT pent -and' National Collection of Fine Art* Smithsonian lr.;1ru> -,n 12. Wife of Bear-catcher (Kansas), 1831 2h Oil on canvas, 29" x 24" National Collection of Fine Arts Smithsonian Institution 13. Mah-to-he-hah, The Old Bear, a medicine man (Mandan), 1832 Oil on canvas, 29" x 24" wih-chee' 1 oPl 183-1 (0*8el' nq-x s- 0,1 one.”-1-; II I 22. A small Ore/on village (Upper Amaze Oil on cardboanI, 78’ 2 ” x2412 " The Vjtional Gallen rior->-r Mr < National Collection of Fine Arts, Smithsonian Institution 23. Pont de Palmier; and tiger shooting 'Trombutas River, Northern Brazil) 14. Back view of Mandan village, showing cemetery, 1832 Oil on canvas, 11 %" x 14%" National Collection of Fine Arts, Smithsonian Inst tut.on 6. Duhk-pits-a-ho-shee, the red bear (Crow warrior), 1832 ka-ding f 11. Seet-se-be-a, The Mid-day Sun, a pretty girl (Hidatsa), 1832 15. Rainmaking among the Mandan. 1832 Oil on canvas, 19’5" x 27%" National Collection of Fine Arts, Smithsonian Institution I Oil on cardboard, 18’;" \ 24'2 " Tw'.lt.owtrultrnofArt Collru.onotMr >. m,. | 24. An alligator s nest (lagoon of the Am Oil on cardboard. LT •" x24'.-* National Collection of Fine Arts, Smithsonian Institution p .r.raM.G 7. Weapons and appearance of the grizzly bear 16. Wee-ta-ra-sha-ro, head chief of the tribe (Wichita), 1834 Oil on canvas, 26’/z" x 32% " Oil on canvas, 29" x 24" National Collection of Tine Arts, Smithsonian Institution National Collection of Fine Arts Smith-nn-an Institu' cn 25. Turtle hunt by torchlight ilrombutas Oil on cardboard. 18’ z" x 24' i OtI Art C '.'Ml cftOt 'Ar 8. Prairie meadows burning, 1832 Oil on canvas, 11 Vij" x 143/ii" National Collection of Fine Arts, Smithsonian Institution 17. Lay-law-she-kaw, He Who Goes Up The River, an aged chief (Shawnee', 1831 Oil on canvas, 29" x 24" 26. Medicine man, performing his mysU over a dying man 'Blackfoot i, 1832 Oil on cardboard 18%’ x tv " National Collection ot Fine Art<. Smith- n an In-Mu! on 9. Foot war party on the march, Upper Missouri Oil on canvas, 11%" x 14%" National Collection of Fine Arts, Smithsonian Institution 18. Flathead Indians Oil on cardboard, 18’ a" \ 24' The N itional tia'l.ux •' A . Mfi Fl '• 1H- - a �List of Paintings in Exhibition 19. Woman and child, showing how heads of children are flattened Chinook, band of the Flathead family) ,n'apre‘tygi.i 28. Clatsop Indians (band of the Flatheads) Oil on cardboard, W’m" x 241'2" The National Gallery ot Art, Collection of Mr. & Mrs. Paul Mellon Oil on canvas. 29’ x 24’ Nui.e-M Collection ct f.neArts. Smithsonian Inst.tut.on 20. Tcha-aes-ka-ding, grandson of Buffalo Bull's Back Fat ’.Blackfoot), 1832 29. The great ant-eater, visiting Catlin's camp (Yucayali River, Peru) Oil on cardboard, 18'/a" x 24'Zt" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon Oil on canvas. 29" x 24" 1831 Netic'r.’l Co-wCion of Fine Aris. Smithsonian instilui on 30. The handsome Dane-Goo-a Give, 1852 21. Wah-chee-te, wife of Clermont, and child Osage-’. 1834 a medici Oil on cardboard, 18’/’" x 24’/2" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon OH on canvas, 29’x 24’ Nzzz.nil' Co: edict: of Fine Arts. Sm.’.lhssrrzn Institution 31. An Indian village —shoreofthe Amazon Oil on cardboard, I8V2" x 2414 " 22. A small Orejon village .Upper Amazon) The National Gallery of Art. Collection of Mr. & Mrs. Paul Mellon Oii on cardboard, IS -2x 24 li" show inc The Ns: or.3* Gel’s.-. Art Cr. ecu ~r M-. A. Mrs. Paul Mellon 23. Pont de Palmiersand tiger shooting Trombutas River, Northern Brazil' 32. Spearing by moonlight— Chaco Indians (Paraguay River, Argentina) Oil on cardboard, 18‘Za" x 241/z" The National Gallery oi Art, Collection of Mr. & Mrs. Paul Mellon Oil on cardboard, 18yi" x24'z'7 Tre N<r.:sna‘Gal en-bAr. Co ’ : — z-. cr -Mr. i Mrs. Paul Mellon an,1832 24. An alligator's nest Jagpon of the Amazon) O.'- cn cardboard, 18’2"x 24-if-’ The -r.il Galfe-v Art. Cc:l£Z’.-“r L Mrs. Piul .Mellon 33. Maue Encampment, looking ashore from the steamer (below the River Negro, lower Amazon) Oil on cardboard, 18'/’" x 24'Zr" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon of the tribe 25. Iurtle hunt by torchlight ■ J rombutas River) GJ cn cardboard, 13:2" x 24’2 ” TheCz c'AT.Cz 1 :..:j Piuj MeTon 34. Grand Lavoir, Pampa del Sacramento (Peru) Oil on cardboard, IS’/z" x 24’/2" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon >es Up The 0,1831 26. Medicine man. performing his mysteries over a dying man (Blackfoot , 1832 Oil on ca'cboard, Id' i* x 24'.a’ 35. Mouth of the Rio Purus (Upper Amazon) Oil on cardboard, I8V2" x 241Zz" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon 36. Spearing by torchlight on the Amazon Oil on cardboard, I8V2" x 24 V2" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon �3. An Osage Indian pursuing a Comanche National Collection of Fine Arts, Smithsonian Institution 2. White Wolves attacking a buffalo bull "During my travels in these regions, I have several times come across a gang of these animals surrounding an old or a wounded bull, where it would seem, from appearances, that they had been for several days in attendance, and at in­ tervals desperately engaged in the effort to take his life. But a short time since, as one of my hunting companions and myself were returning to our encampment with our horses loaded with meat, we discovered at a distance, a huge bull, encircled with a gang of white wolves; we rode up as near as we could without driving them away, and being within pistol shot, we had a remarkably good view, where I sat for a few moments and made a sketch in my note-book; alter which we rode up and gave the signal for them to disperse, which they instantly did, withdrawing themselves to the distance of fifty or sixty rods, when we found, to our great surprise, that the animal had made desperate resistance, until his eyes were entirely eaten out of his head — the grizzle of his nose was mostly gone — his tongue was half eaten off, and the skin and flesh of his legs torn almost literally into strings ... I rode nearer to the pitiable object as he stood bleeding and trembling before me, and said to him, "Now is your time, old fellow, and you had better be off. Though blind and nearly destroyed, there seemed evidently to be a recognition of a friend in me, as he straightened up, and trembling with excitement, dashed off at full speed upon the prairie, in a straight line. We turned our horses and resumed our march, and when we had advanced a mile or more, we looked back, and on our left, where we saw aga n the ill-fated animal surrounded by his tormentors, to whose insatiable voracity he unquestionabh soon fell a victim." •he ■ s g<\c_ 4- Da eB ar ' hr- » , ,hr-$ :rn a- -nr'^IK ■l a ' £an. d 'h-s d, -Ko, n f, rU *»» h �- ■■ Mb The National Callery of Art, Mr. and Mrs. Paul Mellon Collection An Osage Indian pursuing a Comanche, 1836 mHhsoman Institution landing an old or ndance, and at mg companions and ,tance. a huge bull, and being within y note-book - after themselves to the .perate resistance, gue was half eaten .able object as he had better be oft ,e straightened up. e-d our horses and here we saw aga oon fellavtcttm National Collection of Fine Arts, Smithsonian Institution 4. Dance to the Berdashe (Sauk and Fox), 1834 “Dance to the Berdashe" is a funny and amusing scene, which happens once a year or oftener, as they choose, when a feast is given to the “Berdashe," as he is called in French, (or l-coo-coo-a, in their own language), who is a man dressed in woman's clothes, as he is known to be all his life, and for extraordinary' privileges which he is known to possess, he is driven to the most servile and degrading duties, which he is not allowed to escape; and he being the only one of the tribe submitting to this disgraceful degradation, is looked upon as “medicine" and sacred, and a feast is given to him annually .. �5. She-de-a, Wild Sage, Wichita woman, 1834 “Amongst the women of this tribe, there were mam. ?r at expression, though their skins are very dark. �i - National Collection of Fine Arts, Smithsonian Institution 6. Duhk-pits-a-ho-shee, the red bear (Crow warrior), 1832 �I I 1 I I i Foot war pa 7. Weapons and appearance of the grizzly bear Nation.).’ CoHect on of f.-M .Arb, yn 8. Prairie meadows burning, 1832 ��Nat onal Colson of F-«e w 11. Seet-se-be-a, f The Mid-day Sun, a pretty girl (Hidatsa), 1832 "dressed ■-'l in a beautiful costume of the mountain-sheep skin, handsomelv garnished ,v. h P This girl was almost compelled to stand for her picture by her relatives who urged her o wdined, offering as her excuse that she was not pretty enough, and that her picture woul mode**** 12. Hif( �I I I I national r oller lion r,l Fine Aris. Smithsonian Institution 12. Wife of Bear-catcher (Kansas), 1831 u,ib ■^O'b e '• �>' " ...ped4*’’* . »»d *S» cn the >hn. /«,<• tike ”g Irhtixxh. jtvi •i h.de* from tK •1 xjter fr!l tfj ! n-th thonK bjnd^ed .itnm Uy the’body <>1 tor tg tbjnhuJ \naia'e-’"ek,'"\ ^.-^^,,,-h.gherfhbixins K inc" pUj reach k „>amr; -n th. CU'Mtf' KrttK .. undJ ”b thffg folds prostrated upon the ground *<- ''i/tK hroken fries and IjmenMton* lot the m.st Im-.o and doing other penance to appease I When the scjftnld' on which the bodies rest.I nt the honrs, lake the skulls, whn h are j more on the prairie - pl,u cd al equal drstanl rage, which has hem pullt-d and pUced tindJ h’j-hand or her child, whs h lies in this groj ^^icookedloodthathf^,^, af.,J K * J National Collection of Fine Arts. Smithsonian ln..t,tut on •7 13. Mah-to-he-hah, The Old Bear, a medicine man (Mandan), 1832 “■ . . 'the chiefs . . . they have all been many days in this medicine-house, and they all know me well, and the . have not asked me to come in and be made alive with paints' ... I prepared my canvas and palette and wh st ■ ■■• the time until twelve o'clock, before Ire made his appearance: having used the whole of the lore-part oi the das at h > toilette, arranging his dress and ornamenting his body for his picture. At that hour then, bedaubed and streaked with paints of various colours, with bear's grease and cha'roal w.th medi­ cine-pipes in his hands and foxes tails attached to his heels, entered Mah-to-he-hah (the old b. ?’• '••- n ■* ‘,J n h" own profession, who seated themselves around him; and also a number of boy- whom it was re ]u< -•-.’J shoukf re­ the nwstenes main with him, and whom I supposed it possible might have been pupils, whom he was instre.t.ng or materia medica and hoca poca. He took his position in the middle of the loom, waving was me he cal .met, •" -■»<*’ his eagle calumet, I" ' a,nd sms'ng hiS medicine-son8 Which he sings over his dving patient looking mm the last untU I CO* pie ed h,s picture, which I painted at full length. His vanity has been completch gratified m th. operation he °8e er, ay alter day, in my room, in front of his picture gazing intensely upon it. .. Mim �Whenever a person dies in the Mandan village, and the customary honours and condolence are paid to his re­ mains, and the body dressed in its best attire, painted, oiled, feasted, and supplied with bow and quiver, shield, pipe and tobacco - knife, flint and steel, and provisions enough to last him a few days on the journey which he is to perform: a fresh buffalo's skin just taken from the ani­ mal’s back, is wtapped around the body and tightlv bound and wound with thongs of raw hide from head to foot. Then other robes are soaked in water, till thev are quite soft and elastic. which are also bandaged around the body n the same manner, and tied fast with thongs, which are wound with great care and exactness, so as to exclude the action of the air from al! parts of the body . There is then a separate scaffold erected for it. constructed of four upright posts, a little higher than human hands can National Collection of Fine Arts, Smithsonian Institution reach . . . Some hundreds of these bodies may be seen 14. Back view of Mandan village, ■epcsing in this manner in this curious place, which the showing cemetery, 1832 Indians call "the village of the dead "... Fathers, mothers, wives, and children max be seen lying under these scaf­ folds, prostrated upon the ground, with their faces in the dirt, howling forth incessantly the most piteous and heartsrcxen cnesand .amentat.cns tor the mtstcrtunes or their kindred; tearing their hair - cutting their flesh with their knnes. and doing other penance to appease the spirits of the dead. . . v.-hen the scaffolds on which the bodies rest, decay and fall to the ground, the nearest relations having buried the rest the bones, take me skuus, wnlch are perfectly bleached and purified, and place them in circles of a hundred or :ore on the prairie - p.aced at equa: distances apart. . . Each one of these skulls is placed upon a bunch of wild sage, wnich nas been pu .ed and placed under it. The wife knows (by some mark or resemblance) the skull of her naseand or her chile wf- ch lies n tin s group- and there seldom passes a day that she does not visit it, with a dish of me best cooked food that her w.g.vam affords, which she sets before the skull at night . . ." j thev have istled away ? dav at his with meditrain ol his siaoukf > mystef** e-s >n each nt.l I ton1; he ’uf Coller./ion ;t /t." AHi. ‘.mitfi'.uman Institution �<* o' *--• • -» ■/ 16. Wee-ta-ra-sha-ro, head chief of the tribe (Wichita), 1834 �National Collection ol Uno Arts. Smithsonian institution 17. Lay-law-she-kaw, He Who Goes Up The River, an aged chief (Shawnee) 1831 I �The National Callery of Art. Mr and Mrs Paul Mellon Oh": 18. Flathead Indians Hoogst-ah-a, chief of a band, wrapped in his blanket; Lee-le, bis wife, with her infant in its crib (or cradle under;.?.'.• the process of flattening the head; a Flathead boy (left background), taking salmon with his harpoon arrows. "The Flathead tribe, so called from their singular practice of flattening the head, is one of the mo>l numerous ht not the most numerous) west of the Rocky Mountains, occupying the whole country about the lower Columbia • ing the island of Vancouver. . . The strange and unaccountable custom of flattening the head in this tribe is confined mostly to the women and amongst them it is by no means general, and ornamentation, singular as it may seem, appears to be the -o<c ubicU of it . . . The infant, at its birth, is placed in its cradle, dug out of a solid log of wood, and fastened down v, . a ban­ dages, so that it cannot move, and the frontal process is pressed down by an elastic lever, which is t.ghtened di • by strings fastened to the side of the cradle. The bones of that part of the head, at that period, being can a; are easily pressed into that unnatural form, and after two or three months of this pressure the required shape * ob­ tained, which lasts through life. By pressing the frontal region back, the head is pressed out on the >-.de$ to an u natural extent. If this were a natural deformity, stultilily would undoubtedly be the result: but as it is an artificial deformation, such result is produced, or need it be looked for, as it is only a change in the form and portion or the me • gans, without interfering with their natural functions. The evidence of this is that tho^c v. th then head' Matter are found to be quite as intelligent as the others in the tribe: and it would be a nion^trou- *uppox •K n 10 that the fathers of families and chiefs would subject their infants to a process that was to stultih them �e ^ie obiec’ e* i5 jn * n*nU . <Utl«'rK National Collection of Fine Arts, Smith-ri'nzn Institui-'an 19. Woman and child, showing how heads of children are flattened (Chinook, band of the Flathead family) �■ / 4 I ! O' 20. Tcha-aes-ka-ding, grandson of Buffalo Bull's Back Fat (Blackfoot), 1832 "a boy of six years of age, and to<» young as yet to have acquired a name. ha- stood forth hire a toed m have painted him at full length. The history Of this child is sorrw ..hat cui • i ' i interesting; I in case of the death of the chief. . . he becomes hereditary chn-t of the tribe This be • h ■. ’• the Crows by ingenious stratagems, and twice r.-captured by th? Bla' -t' e‘ «on present he is lodged with Mr. McKenzie, for safe keeping and protec:.on unt:' : " - • arr take the office to which he is to succeed, and able to protect himself. �I I 1 National Collodion of Fine Arts, Smithsonian Institution oot)J832, ind 1 and a dead. A bv ’ * ' or fd'e' and •>' age 'O 21. Wah-chee-te, wife of Clermont, and child (Osage), 1834 I "She was richly dressed in costly cloths of civilized manufacture, which is almost a solitary instance amongst the Osages, who so studiously reject every luxury and every custom of civilized people: and amongst those, the use of whiskey, which is on all sides tendered to them — but almost uniformly rejected! ‘ ________ �34. An alligator's nei i he National Callery at ,\r(, Mr an J Mrs fj-.' 33. Pont de Palmiers and tiger shooting (Trombutas River, Northern Brazil) * h. * tor. �4 The National Callery of Art. Mr. and Mrs. Paul Mellon Collection 34. An alligator's nest (lagoon of the Amazon) I |;>rt brn 35. Turtle hunt by torchlight (Trombutas River) The Indians having turned the turtles on their backs, the women approach with torches to do the butchering. �The National Ca’!er\ o/ A'f Mr t V' = r>>. 36. Medicine main, performing his mysteries over a dying man (Blackfoot), 1832 �I 4 ■ �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1973 November 25 George Catlin: Painter of the Indians of the Americas Creator An entity primarily responsible for making the resource George Catlin Date A point or period of time associated with an event in the lifecycle of the resource 1973 November 25 - 1974 January 5 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This show is a survey of painter George Catlin's work on the Native Americans of the region. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Native American Art George Catlin Source A related resource from which the described resource is derived The National Collection of Fine Arts Smithsonian Institution and The National Gallery of Art Rights Information about rights held in and over the resource The Smithsonian Institution likely retains the rights to this work. https://omeka.wilkes.edu/omeka/files/original/1b5c35894a69a21075afe15e97634386.pdf 558d2589ecbc1be75be0f36862eafa0d PDF Text Text ���������������������������� https://omeka.wilkes.edu/omeka/files/original/922313b45cd6fd0c762fa4497dbf3cf5.pdf 080f4f78f6b57950c14db4f8d03566b8 PDF Text Text �83^ 3*1^3 : - ■'-' '• __________ - ...... 2 I nineteenth century european academic painting and sculpture sordoni art gallery 1975 X �Directors of the A. J. Sordoni Foundation Inc. 33: S7 / 7 A. J. Sordoni, III President The Reverend Jule Ayers M. M. Glahn Thomas Kiley Roy Morgan Helen Mary Sekera �i The world of art in the nineteenth century underwent many changes as it was reshaped and reinforced by new concepts of the individuals against the static conventions of the past. After the French Revolution the personal right to free expression was undisputed. Artists were now able to turn their attention to the real life around them, sometimes full of poetic emotion, sometimes romantic in nature, but always concerned with the recording in paint the events of their times and the reactions to their environment. Paris in the nineteenth century was the center of culture, the art capital of the world. Its influences radiated out to many countries. Germany, England, Spain and the Americas all felt the strong impact and currents of the new-found directions of expression. It was in the early nineteenth century milieu that the artists struggled to make themselves seen and heard; thus we can trace the development and progress of modem art. The Sordoni Art Collection will serve as an invaluable source and aid to the understanding and appreciation of the artist's unending battle for personalized expression. i M ■ 1 11. R. GOUBIE — An Alsatian Farmer with Wife, Daughter and Two Horses �The Sordoni Foundation Collection at Wilkes College JOHANN BEORG METER VON BREMEN Country Girl Under a Tree Oil on canvas Signed and dated 18/3 5% x 4 inches HORACE VERNET The Battle of Wagram Oil on C2TA-2S Signed 9 xl2 inches 3. OTTO KIRSCHNER Man Reading a Letter Oil on canvas Signed 7x5% inches 4. OTTO KIRSCHNER Man Smoking a Pipe Oil cn canvas Signed 7 x 5% inches 5. OTTO KIRSCHNER Man with Beer Stein and Pipe Oil on canvas Signed 9x7 inches 6. LOUIS GEORGE BRILLOUIN Huntsman in Louis IV Costume with Spear Oil cn canvas Signed and dated 1566 8% x 5% inches 7. OTTO KIRSCHNER Man in Red Jacket with Pipe Oil on canvas Signed 7 x 5% inches 8. W. ROESSLER Bavarian in Red Waistcoat with Feathered Hat Oil on panel Signed 7x5% inches 9. GUSTAVE J. JACQUET Portrait of a Young Lady* Oil on panel Signed 12% x 9 inches 14. CARL KRONBERGER Man in Red Waistcoat Oil on canvas Signed 6 x 4% inches 21. HENRY 15. CARL KRONBERGER Old Lady with Spanish Comb Oil on canvas Signed 6% x 57z inches 22. ENRICO DONIZELLI Interior with Geese and Children Oil on canvas Signed 1174 x 1574 inches 16. 10. H. BUERKEL Swiss Haymakers Loading a Hay Cart Oil on metal Signed and dated 1829 19 x 183/4 inches 17. 11. R. GOUBIE An Alsatian Farmer with Wife, Daughter and Two Horses* Oil on canvas Signed and dated 1878 18. 15% x 12% inches 12. H. BUERKEL Landscape with Hay Wagons and Storm Clouds* Oil on canvas Signed 191/2 x 13% inches 13. ALBERTO PASINI Mounted Arabs at Mountain Pass, with Persons in Palanquins Oil on canvas Signed and dated 1887 13% x 10% inches DE CARAVALLI Arab Woman Beggar Oil on canvas Signed 12% x 9% inches 23. W. KLEIN Man in Green Coat with Pipe Oil on canvas Signed 10 x 47z inches JEAN GEORGES VIBERT His Eminence, the Poet Oil on panel Signed 237z x 177z inches 24. JULIEN DUPRE Farmgirl, Rake and Water Jar* Oil on panel Signed 137z x 10% inches JEAN GEORGES VIBERT A Missed Vocation Oil on panel Signed 28 x 22% inches 25. ALBERTO PASINI Courtyard of Three Dismounted Cossacks Oil on canvas Signed and dated 18 x 1474 inches 19. LOUIS JIMENEZ Queen of the Floral Games* Oil on panel Signed and dated Paris, 1884 34 x 49 inches 20. PEMBER SMITH Villa on a Venetian Canal Oil on canvas Signed 23% x 19 7z inches CHARLES H. DAVIS, N.A. Clouds and Hills Oil on canvas Signed 41 % x 337z inches 28. C. RICCARD Two Men Fighting Over a Game of Cards Oil on panel Signed 15% x 117z inches 29. W. ROESSLER Tyrolean in Feathered Hat Oil on canvas Signed 7 x 5% inches 30. JOSE GALLEGOS The First Communion* Oil on panel Signed and dated Rome, 1896 4772 x 277z inches 31. L. BACCI Old Man in Stocking Hat Teasing an Old Woman* Oil on canvas Signed and dated Firenze, 1885 27 V2 x 21 Vz inches 32. EUGENIO ZAMPIGHI Tyrolean Peasant Family Scene Oil on canvas Signed 41 x 28 inches 26. JEAN GEORGES VIBERT Eunuch in Courtyard, Watching Doves 33. ADOLPH SCHREYER Oil on panel Mounted and Dismounted Arabs Signed by a Mosque* 25 x 16 inches Oil on canvas . Signed 27. FRANZ MOORMANS 39 x 27 inches Young Man Playing a Violin* Oil on panel 34. EDWIN LORD WEEKS Signed The Water Jar Merchant, Rabat 1572 x 11% inches Oil on panel Signed and inscribed, Rabat 24 Vz x 1974 inches 35. G. CO5ENZA Fishing Boats on Blue Water* Oil on panel Signed 11 x 7 inches 36. G. COSENZA Fishing Boats on Blue Water Oil on panel Signed 11 x 7 inches 37. NAPOLEON IN EGYPT By lean Leon Gerome Height — 16% inches 38. ARMORED BRONZE KNIGHT ON HORSE Both in full armor, on red velvet stand. Knight holding jousting spear. From 'Wolfe Collection. Height — 34 inches 39. INCENSE BURNER Oriental, with cock and chrysanthemum motif, gold embossed on metal. Height — 22 inches 40. WHITE MARBLE NUDE "PSYCHE” GALLERIA FRAT Height — 48 inches 41. WHITE MARBLE NUDE "PSYCHE" WITH CHERUB AT FEET Lapini Firense, 1802 Height — 50 inches 42 WHITE MARBLE BUST OF WOMAN,* classic hairdress Wm. Couper, Florence, Italy Height — 21% inches • ILLUSTRATION �I 1 iI I ( I 1: �I ! j. JACQUET-P^-f‘^J �[c F- I ' ' I ! : 12 H BUERKEt Landxipr with Hjy and �Wagons and Storm O-- , �■ ffl 19. LOUIS JIMENEZ Queer, of fr e FiomI G ir �NEZ — Queen of the Floral Game- �< f JULIEN DUPRE E«m«irL JUi* irt *Wr *, �i — Farm®' �I ( I ■ Bai 27. FRANZ MOORMANS — Young Man Playing a W' I ____ ��t B f BF■ JOSE GALLEGOS The Er • Cw-'.- • �LEGOS — The First Commun;c:\ �I I i ■ 31. L. BACCI Old Man in Stocking Hat Teasing an CM W«« �Old \vona-- �i I j i 33. ADOLPH SCHREYER — Mounted and Dismounted Arab . t>. » , �I jismounted Arat? �f 42. WHITE MARBLE BUST OF WOMAN, Classic hairdo- �WOMAN, Cla^- �The Sordoni Art Gallery was given to Wilkes college by the Andrew J. Sordoni Foundation, Inc. to encourage the appreciation of art. It is dedicated to displaying and preserving the works of art to enrich and expand the cultural development in the community. Currently, the Gallery is the home of part of the family's collection of nineteenth century academic European paintings and sculpture. Our exhibitions are for the benefit of the students and the community. The donors hope the Gallery is a source of pleasure and inspiration for everyone. We are deeply appreciative of the foresightedness of these generous individuals for this substantial gift; we want now to share it with you. �STARK LEARNING CENTER • 150 SOUTH RIVER STREET ( WILKES COLLEGE • WILKES-BARRE, PENNSYLVANIA 18703) jp �llllllfl 1000178455 MILKES COLLEGE LIBRARL ■ �I Ef s 1 £ � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1975 Nineteenth Century European Academic Painting and Sculpture Creator An entity primarily responsible for making the resource Johann Beorg Meyer Von Bremen Horace Vernet Otto Kirschner Louis George Brillouin W. Rossler Gustave J. Jacquet H. Buerkel R.Goubie Alberto Pasini Carl Kronberger De Caravalli Jean Georges Vibert Louis Jimenez Charles H. Davis N.A. Henery Pember Smith Enrico Donzelli W. Klein Julien Dupre Alberto Pasini Fraze Moormans C. Riccard Jose Gallegos L. Bacci Eugenio Zampichi Adolph Schreyer Edwin LordWeeks C. Cosenza Date A point or period of time associated with an event in the lifecycle of the resource 1975 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program Subject The topic of the resource European Art European Painting European Sculpture Nineteenth Century https://omeka.wilkes.edu/omeka/files/original/a9a3952c1217281c82dbeb6ae03d1c40.pdf 351c42d3e0e05623cc1de107e9b87bac PDF Text Text ���������������������������� https://omeka.wilkes.edu/omeka/files/original/c365ccc9e958b912db898733c438555b.pdf e7d9d7a6b7e232ee6afff41571b0250b PDF Text Text SORD GA TR653 P6 1976 ilCENTENNIAL EXHIBITION SORDONI ART GALLERY 1976 �PHOTOGRAPHIC HISTORY OF HARD COAL MINING IN NORTHEASTERN PENNSYLVANIA WYOMING HISTORICAL AND GEOLOGICAL SOCIETY COLLECTION RALPH E. DeWITT E.S. PARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA WYOMING HISTORICAL AND GEOLOGICAL SOCIETY COLLECTION �ARCHIVES &A ' 7"£ ■ i Anthracite coal, the land, and its people have been a prime source of energy in these United States and an influencing factor in its economic development as an industrial nation. Today, with the kaleidoscopic changes in energy sources, the land and I - t■ r E i. r-flKx its people are our heritage. People came from all parts of Europe in search of economic advancement, bringing with them backgrounds of varied cultures rl that have produced and strengthened the character of our local area: the long, hard struggle of the miner to maintain his dignity, to improve his lot in life, to insure his rights and better working conditions led to the formation of the first labor union in the United States. r . -gssrr y .--------- -t-_: This Bicentennial Exhibition is a photographic record of these changes. Photographs of the early years are on loan from the Wyoming Valley Historical and Geological Society collection, showing the mines and collieries in their growth and expansion years. The collection of photographs by Mr. Ralph E. DeWitt depict:is the era of coal from the early 1900s to the late 1930s with emphasis on mine machinery and the homes in which the miners lived. i .- ■ ' r . ' ■ ' ■ - ■~'*«5SSS! �' - I- 7-7■ia-I": c*r*=xw ��co • =' \c ���' |l ����A Il I i I; Is I I ll RALPH E. DeWITT ����II I hi ��IN I ����' ' S” - .* ••** .. fOM/NG HIS WY .OG1CAL s< GEOL' - BREAKER Cover :Eocaf/e>:: Kingston , J hate: 1920 I JMINE crew / 'location: Unknown I hate: 2917 I MINE CREW I llocation.' Unknown I lOatc: 1^20 I BATHROOM / Locate. Unknown I I 1 g IDate.-1026 iman standing iluoifion: Unknown Date: 1916 MULE-DRAWN FI1 Locntion: Unknown Date: 1917 LEAR OF HOME Location: Edwards vj]l Date; 1916 REAR OF HOME I Eocafion: Edwardsvill . CARDEN I isx*** 1 pLAYQ iROL'MD 'ocation Date.- I919 ardi �WYOMING HISTORICAL AND GEOLOGICAL SOCIETY COLLECTION Cover — BREAKER BOYS' FOOTBALL TEAM Location: Kingston Date: 1920 HAZLETON SHAFT COLLIERY Location: Hazleton Date: 1932 MINE CREW Location: Unknown Date: 1917 MAXWELL COLLIERY Location: Ashley Date: 1940 RALPH E. DeWITT MINE CREW Location: Unknown , Date: 1920 COMPANY HOUSES Location: Wilkes-Barre Date: 1935 1 BATHROOM Location: Unknown Date: 1916 FAN HOUSE, HENRY COLLIERY Location: Plains Date: 1937 MAN STANDING BY COAL WAGON Location: Unknown Date: 1916 HUBER COLLIERY Location: Ashley Date: 1940 MULE-DRAWN FIRST AID WAGON Location: Unknown , Date: 1917 ROTARY DUMP, HUBER COLLIERY Location: Ashley Date: 1945 REAR OF HOME i Location: Edwardsville Date: 1916 MINE PROPS Location: Wilkes-Barre Date: 1912 REAR OF HOME Location: Edwardsville Date: 1916 i GARDEN | Location: Pringle Date: 1917 PLAYGROUND Location: Edwardsville Date: 1919 INTERIOR VIEW OF McCLINTOCK HOME Location: Wilkes-Barre Date: 1951 MALTBY COLLIERY Location: Swoyersville Date: 1929 INTERIOR VIEW OF MINERS NATIONAL BANK Location: Wilkes-Barre Date: 1969 ��� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1976 Photographic History of Hard Coal Mining Creator An entity primarily responsible for making the resource Ralph E. DeWitt Date A point or period of time associated with an event in the lifecycle of the resource 1976 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program Source A related resource from which the described resource is derived Wyoming Historical and Geological Society Collection https://omeka.wilkes.edu/omeka/files/original/cca625eed9095d1b9fb6efb63acb5497.pdf c84ee86a399096d251137131086ada43 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1976 May 24 Kan Wing-Lin Creator An entity primarily responsible for making the resource Kan Wing-Lin Date A point or period of time associated with an event in the lifecycle of the resource 1976 May 24 - May 27 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/09e9ac1f5d508a6044f07d09aec1c33c.pdf 7b6b2a6d06e4240e1ea6d83fbb326a3d PDF Text Text �������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1976 May 24 Kan Wing-Lin Creator An entity primarily responsible for making the resource Kan Wing-Lin Date A point or period of time associated with an event in the lifecycle of the resource 1976 May 24 - May 27 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/0de52d47931654b9b1a583dc744833c8.pdf 2982d0b04aa784446820ef24bb28dbfb PDF Text Text ������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1976 September 13 Franco Ciarlo: Frescos Creator An entity primarily responsible for making the resource Franco Ciarlo Alexander Carlson Date A point or period of time associated with an event in the lifecycle of the resource 1976 September 13 -October 3 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/295ee6089e940d4415ef518edac1b2d9.pdf 33f5096a5034a091e0ee2bb8033a72d9 PDF Text Text ����� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1976 December 4 Comic Strip Art Creator An entity primarily responsible for making the resource Carl Anderson Martin Branner AlCapp Milton Coniff Billy DeBeck Frank Frazetta Jim Gary Chester Gould Will Gould Fred Harmon Halto Jimmy Geaorge Harriman Burne Hogarth Fred Johnson Walt Kelly Stan Lynde George McManus Jimmy Murphy Rose O'Neill Alex Raymond Jose Lewis Salinas Elzie Segar Charles Shultz Cliff Sterrett Date A point or period of time associated with an event in the lifecycle of the resource 1976 December 4 - December 26 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/f11e9f06c82e0437b32b06a8febc3546.pdf 96f4c25345a304dcbb0a19b6babb9e9d PDF Text Text ������������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1978 January 7 Benton Spruance Creator An entity primarily responsible for making the resource Brenton Spruance Date A point or period of time associated with an event in the lifecycle of the resource 1978 January 7 - January 31 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program Source A related resource from which the described resource is derived Lehigh University Department of Exhibitions and Collections https://omeka.wilkes.edu/omeka/files/original/637e1d5eee6837e826c3780bf5879d15.pdf 76c597a6984ece5eeed2a43b3138564e PDF Text Text ���� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1977 February 23 Art Scholastic Awards Date A point or period of time associated with an event in the lifecycle of the resource 1977 February 23 - March 29 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/45e7e7e1bcb6b3a85273a77046a48ac1.pdf 29a9dde0aaad289d4aa31b2467fdd504 PDF Text Text ������������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1977 April 23 Niccolo Cortiglia Creator An entity primarily responsible for making the resource Niccolo Cortiglia Date A point or period of time associated with an event in the lifecycle of the resource 1977 April 23 - May 13 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program