101 15 4153 https://omeka.wilkes.edu/omeka/files/original/a21626bf63a1afaf3d2bdfefe6937f50.pdf 518d9164eb819f59e12d15c5502d1592 PDF Text Text ���I 1 i �BETSY B. CONDRON Memo From: Director of Community Relations fa QJl£, ~4& <^.Loom <'$L£- lm % /f S3 (LLC <■----------------------------------------- 24 kt IVffV^r j____ M /l^Y A3LA.^.ud; i J) Tl^e M/i 4"^ 1 j-^ ' '^/ Ut ^Ut^j ti^u 7J " - <<V< A-o WILKES COLLEGE WILKES-BARRE, PENNSYLVANIA 18766 PHONE (717) 824-4651 �! y j Ft J BETSY B. CONDRqN Memo From: ~‘o, ot community Re(ations " ! G-HO. 4# /CLLuX«^Z) 4\ h 33 /Hy 1 ll OiJ^\su\kA ■I lm J) d- 4^ ^-Mg _ /n,7 Coyvg< lltt ^>CL c w— WILKES COLLEGE WILKES-BARRE, PENNSYLVANIA 18766 PHONE (717) 824-4651 I I r ���- •; __ (/ "OZ-Vtj /-Izi^t ff'* kj. �Al I ucr\ i �,u/l II f. ;^Z cot>/ nchjpel bv Mi'ss tsT«i ow/)e4 bv the Mua$o<1J CctnctK. J«x- '>) iFklich----- t' '£■ ■ (j �11 Z-J<)uifyo. wvu. /&W /unJ~ copy t .;': Ct-X d •7ZT /c n^-, 1 t.6>. tn. an tx. Xt-tecJ7__.„. 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L/C (u4 /> i>-X /) <x4c / n^r' is?3 > �> u \<by ' 1 i^s?Z V-» v^-v? <* 7 \ V-- Z» e ‘uX.’ ■ it*- . />»—-'•'' L J=ernan^a Hor-jab L ^'/'^! iCTL' (ji'TunAW^ <T8<e 1c ^]li/i>infers c-wOi^ ty^aiph Haz<ll7n'? wvru^ y </ ____ li- -_ a Z/^Umt rrtMtd ■ ^bj.^Lr’ Ct^brn d/Jjl. tf / -> 41 /o'yTMUuu/Jiiv^^d-u^ /z , C<r>Xv\ 6lv>vvJ •'A U $ O.[uXvU-»^'Q’kAix^ /H civclui pii-k.l3cul(J'l ^<WvUjtJ( Cc, £°py "ILL / GH rm 2( �'JTlcu/i'vc frjilcL Idtdi/i, (2 d Be$f J3 *"!<■) scapq/ I/), j -ft G-; i___ ' o~nci /vfory Pi'^naF -*------- -—---------- +---- . >--4, r i'b. 1 fiMCl F.n t A �77?£Urtx_ �Ll'IlxXf-/ tlr\j£h , A- - *V ■ Q - <Photo y,Acc Hoiiman studios‘ Brilliant sunshine helped at­ Schwartz and Al Fino, appear exhibits and a total of 60 performances will be presented four-day fiesta, continui tract hundreds of fiesta-goers in the photograph with a num­ to the public free during the through Sunday. tier of volunteers who assisted 'njiy.-r,viild’ <j.ave ft'iiiyuiniii/., iemi'iviry . ic *J.0. �’ Fisitors to Fiesta exhibits and a total of 60 perP-;“ formances will be presented four-day fiesta, continui to the public free during the through Sunday. �"tc |ih--u oR'tc']Q/)ai 7c -ujnJaJHartii1? AI vl\vn.- I^-Tl �1 i ■A? jTtcdn I I ft-C'iV- <&1 #/%<A<Zcw</ ^CVLcZg; KKJuiup iJt/Jtc/auT lJ (JF ( Sj.i.fclc 1-<;i<H* 5it ,k.| e-1<T)t )9 I’t/.ixl p‘cL<| ' u«? 4- '^iij <XL.Lt 4-iu. h 4,-llA/lzi- iv(' ifIyyJL di<{/(V- ITI'1 V 177 r <• e’ r ;?) �GILBERT and SULLIVAN 0 NIGHT a 7^ (ft/ L (g Ji t Pine Run Community... September 28, 1978 \p L'rftX-Li 0“V^tL Plitvv- CuXtaTL a\- !jl>u LcU.\ \i J ,s t lnzavce . 1 �LBERT and 4 JLLIWT ^IGHT tar k? v i 11 e- (1} r£T tt> fa3 n Community... September 28, 1978 l UM rt*. 'J'Ltcx— X & I iAajloV-6^ , <X.K^ PH v/> ii �X Basin Harbor Club — " 1—f---- ------- --- ------ g'leaners' Shed in October 'BJtvlvpX Zr B , ;■ ■■ . Hub f n U f nt er ’- Ottf VVeW in 5nox! sTorr^ Ueepinj> Willowy Ver. P.Q< ’ *■ *|a -— __ fc______ * I II �(3asi'n Harbor Club <Y? Ct-AUX-Vlvyj La] Uv<j / 3-Cj.w , XfriM 'frj'^t^.J fd~v> I Ji •>-M (Wr Ot€h<d i n Jfioxi sTorrrj ,i ��4 ■ d_- J Jut' s • .. r. l'J fiy i g^D ] ilo V^Ws HONE, poyi-ESTOrtN i CaVE TC M10G& J I I ww I . . I ftlw ■ l> CCX-Uxj H77 fv-JnXkiV IT) ,-q< CCntL-' € i \ \ hnJ<- A h Civcy>U<j iht,', C-C'YV.tj., ; Coopwin home,new Hope Cdvelcjdlr �.'V I ' Pl jr Pcy ■ ■>"• ■ y- 7^* « . ]/l ZyJ IN sj'/w sto J?m ^yj.Sem- !*. Wu-tf Ff?O CHfVJ.S’TF’AS cflFPyH^H Chap 5(& uw Jht. TPFE- ON NlVFp-/3ANJ< J.... H,rr,^ ofY-o^iT^ ut|wmiH $ 1 Oca. Cover? Fdp. Feb. cniLps ri ac-}2)rrji the a. �,< —___ ■ IMi - \ ? ; M. 1 Z. & 2cl S-&. ■■ Wj p/Hure ) pai'nled of H<<Jie.!j Home .1 r PoyJesTbrtn -—^Jl’.si sold^ o’ noYrfc in New Hc^e-Qt^TreW rJ / 7 before / j93l'nTed u£ S'ajly t hjerner Gsod^jns - Ml . jht. '■ r".:'. . n J.^ilt'Au !. Ml'* ;-- • S em- I- ~- i preon oo-r ar^R-r/M^/KT N SJ'/WSTC CftRD, fv£U-tf I r C - ; : 1 i f.39 / I J I 0R;\ Chafel ar cnt^Vr-^1'-7 r— CCH\ i;. 7 - Zc-C;< r,T. Z’axK _ 11 S'S iZ | p ! : . VA I I h ' JBt ^|V£'/?-/3A/VK o X9grc^/%W^ A /jrbviXto ifou la cu p^vuurof dJa^/c jCowt^/ ~ i^ch OAI a^UbJjJhii M^tJj)dku-&aJV(i,P^ Jhjurf /a/tt (Mmjmua ofthat Cl/rith/co^ili catd(Mt(it * J‘r ? AM M Qca^^gA/n. L ZiazrOm^ l£±:^~ !Q^. inies iinrrf^ <’lCi'ce - i3ovc/rT 0/ E-ri^L-Tli£;''ii'-l‘’ Cc^sr? Fep. Feij, cniL^j fl /ll/K/}Zjn£ VHvd, hc^udiol.wiU ^^(Jai^C^.u^ch Mh/ �J 1 . I | I i I I) Im sTraTtcn I I -• « ant a^Jrttu, DOROTHY R. MORGAN tn ths. Cnaft faciAM, (Uta.iy+OM^15 pfwrJU.cLt> and ([urt/r] XffoL J!mq! charitable: foundation Ct owe (P'wa^a % Zt 3 0 /anv 0 4-3™^ M 1)1 it -/T rgfiz r> .~6 �■ I -''iZi. * wrr • 7, • 1 I i — --------------- ---------- ~—r~—* I ''when We Sandman Coknes I I)h si"eaG'on I W sT'a'Hcn pocrn iur ^Morgan h£. Qzi/wi j icMsm ^•Aer; ?& a. ttctol foun dati o m 3 0 /'u,^Tl J-ka^ l)lujTraW H’tt’-jT Cavelb <5s7er)i e^’f Library vJytsm' ave +* Senina''/ ' �OF I N TH IT PAJN'TiVCS TH S' 5AL}£ ■o �4 OF �DAILY INTELLIGENCER / MONTGOMERY COUNTY RECORD Monday. August 12. 1985 .u. Dorothy Morgan exhibits works at Pine Run community center I' Pine Run, a life-care communi­ ty located on Ferry Road in Doylestown Township, will host One-woman show at Pine Run i Dorothy Morgan, a well- ( known Pennsylvania artist and a resident of the Pine Run Community on Ferry Road in Doylestown, will exhibit some of her paintings at the Pine Run Craft Barn on August 14 and 15 from 10 a.m. to 3 p.m. ! Morgan, a native of WilkesBarre, (where she became a charter member of the Wyom- f ing Valley Art League,) is a ; graduate of the Pratt Institute in Brooklyn, New York, and the Boston School of Fine Arts, i As a free lance artist, she ■ specialized over the years in il­ lustrations for children's books and textile linen and em­ broidery designs. An early retirement allowed Morgan to devote herself to painting and traveling throughout the United States and Europe. Her works have been ex­ hibited in juried shows in Hazelton, Berwick, the Everhart Museum in Scranton and in Wilkes-Barre. Several of her works have been selected for permanent collec­ tions in public buildings in the Wilkes-Barre area. For more information and . directions, call the Pine Run- ' Community at : 345-9000, ,dxt. | an exhibit and sale of the works' of Dorothy Morgan, Wednesday and Thursday, Aug. 14 and 15, from 10 to 3 p.m., in Pine Run’s craft barn. Miss Morgan is a native of Wilkes-Barre, where she became a charter member of the Wyo_• —W .M„ Art x_x League. »------ A. grad x­ ming Valley uate of the Pratt Institute, Diuuniyu, x., emu uie dubvuu Brooklyn, xi. N.Y., and the Boston School of Fine Arts, she pursued a career as a freelance artist in New York City. Her commercial pursuits Included specialization in illustrations for childrens’ publications, as well as textile, linen and embroidery design. Following an early retirement, Miss Morgan devoted herself to painting and extensive travel, throughout the United States and Europe. I Dorothy Morgan’s works have been exhibited in juried shows in Hazelton, Berwick, the Everhart Museum in Scranton and in Wilkes-Barre. Many of ^r works i have been selected for permanent i collections in public buildings In these locations. Additionally, the New York City Water Color Society has exhibited tsr works. 1* M M J n n4 POJSLICITY I ARTS NOTES Since moving to Pine Run, Miss Morgan’s work has been included _______________ in numerous area exhibits,, ... in­ eluding one-woman shows at the Industrial Valley Bank in Doylest0WI1) the Bucks County Bank in Dublin, and at Pine Run Community. The upcoming exhibit and sale at Pine Run will include numerous works in various media, painted throughout the artist’s lifetime. Admission is free and the public is invited, Information and directions: the Pine Run Community, 345-90001, extension 110. r.jZ. <- HeaJ mart* in- paI'nTi'iMi i dm August Mini-gallery Lois D'bday of Coopersbp will be- the_ artl^t-in-residepce during _____ the month oK Auguj "at the minigallery of the\Ja; ies A. Mlchener ~ .. v. Branch. of. theJSucks County Free Library. MX Daday studied as a child wfej/Dr. Walter Baum. She began/.mrking witft^watercolors approxii lately 10 year^ago. Recer t exhibits Include the Hotel B< ,hlehem, Valley Federal Bank ant Merchants Bank. FOR. Ck-^ARANC^ 5AL^ pr. i-ft-n'k-- �' MONTGOMERY COUNTY RECORD Monday. August 12. 1985 ... exhibits works community center i exhibit and sale of the works; Dorothy Morgan, Wednesday id Thursday, Aug. 14 and 15, am 10 to 3 p.m., in Pine Run’s aft bam. Miss Morgan is a native of ilkes-Barre, where she became charter member of the Wyoing Valley Art League. A gradite of the Pratt Institute, ooklyn, N.Y., and the Boston hool of Fine Arts, she pursued career as a freelance artist in iw York City. Her commercial rsuits included specialization illustrations for childrens' blications, as well as textile, ten and embroidery design, howing an early retirement, iss Morgan devoted herself to .inting and extensive travel, roughout the United States and irope. Dorothy Morgan’s works have ;en exhibited in juried shows in izelton, Berwick, the Everhart useum in Scranton and in ilkes-Barre. Many of jhfer works ve been selected for r.armanent llections in public biddings in ese locations. Additbjialiy, the :w Tcork City Wster Color ciety has exhibited hr works. Paucity -------------------------------- ARTS NOTES Since moving to Pine Run, Miss Morgan’s work has been included in numerous area exhibits, in­ ~ one-woman shows at the cluding Industrial Valley Bank in Doyles. Bank . in . town, the Bucks County Dublin, and at Pine Run Community. The upcoming exhibit and sale at Pine Run will include numerous works in various media, painted throughout the artist’s lifetime. Admission is free and the public is invited. Information and directions: the Pine Run Community, 345-90001, extension 110. 4— r-i_____ 1___ August Mini-gallery , Lois Dh^lay of Coopersbjjrg will be the ar1let-in-residence during the month oVAuguj "at the miniugallery of the' .... " ies A. Michener Branch of the^Bucks County Free Library. Mg: Datqay studied as a I child witJ/Dr. ir. W; Waiter Baum. She begany-rocking witiK watercolors approximately ipfoxL-yately 10 years yeai ago. a] Recent Recer exhibits include the Hotel Bethlehem, Bl,._ ... _ Valley Federal - ani Merchants ■ - -Bank. Bank FOR FRRF AT P/YF poN *» 1,1 t,z �Sa? I REC( The WECKESJ Dorothy Mor recently given W watercolors and j Wyoming Valley, available) is locat was formerly par Ballroom. �X �cI^etireinentcl Bucks Cou -rne /hn WOCRA RETIREMENT COM In Historic, Nearby Doylestown, (215> 345-WMMI • Out of PA I �xJAig;,, untyStyle. F GI^tirementcLiving... Buckg CountyStyle. b. Ak'N 11-T^ /W At ■ ■.U, zX '• If 1; y Xwi i \ 'X I: Ell ’ a E Hj 8 Fl Eg j ---U-- ■ ■ ^AgRQyF ■ 1 •” r$8iF^T' The ideal retirement community...one that constantly refreshes and renews the quality of your lifestyle. fcjSbMi ir-“ PI i-i [■r- KJ kJ II ■ COMMUNITY lestown, PennsyIvania of PA 1-800-992-8992 VINE VUN ■ ■I■I WoCRAhA RETIREMENT COMMUNITY In Historic, Nearby Doylestown, Pennsylvania (215)345-9000 • Out of PA 1-H00-992-H992 ^8 Season ;raw OF FEfLAOELFFlFJ - II �cI^tirementcLiving... Bucks County Style. /n “ AWWL/fl COURT" £ 'J f I . -__ _ F Ifl . \ . 417- a wOl I I t! ■ f— IB '...one that renews the quality so i#r fc / VINE‘RUN RETIREMENT COMMUNITY In Historic, Nearby Doylestown, Pennsylvania (215)345-9000 • Out of PA 1-800-992-8992 1987-190 Season OPERA COMPANY OF PHILADELPHIA C". Garden apartments at Pine Run make it easy to enjoy the natural acres overlook Pine Run Lake and Valley. Watercolor by residt PINE RUN - Ferry 6c Iron Hills Rds. - Doylestown. PA - 215'. �PHIA i �ving... tyStyle. rIN nr UNITY nnsylvania J-992-8992 sason PHILADELPHIA ��I ■ . _u II ■-n 3 I J �Doro Paintii From left to right: Nocerine, Kindergar Kindergarten teachei Dorothy Rittenhi recently gave sever Lower School. Mr/i Institute and has gi school. “My first in student at the Instit recently visited witf returned with sever, the Lower School at ��g(V g a •» Ko u o 'o $-< rt £Q s 4J co O co o c5 jy _g £ O £ 'Sci 1 05 ‘ £ oM . •3 z I CD £rt <D co ' o5 5 £Q £<z> co w _r C rt co M rt H 2f> o ,c£ r1 <Da •§ s 1=; H £ <D m-i 2 SX s rt < Ph co —u Cq 4 afl z ’ ’ c 0 £co 0 □ o 05 O S 5 £ £ o & c d-^ ■o I S CJ g co &d a Ctf CO flj - o i 05 £ P2 O ��•u c’ '.TA . \ £Z ="i ^(Dl *J c </) m CO S ' w s si £k si sl=l ru QJ a QJ Dorothy Rittenhouse Morgan This Album contains a partial record of the paintings done by Dorothy Morgan, Wilkes-Barre native and well-known eastern Pennsylvania artist Miss Morgan was a graduate of The Pratt Institute, New York and the Boston School of Fine Arts. She was a charter member of the Wyoming Valley Art League. Miss Morgan died in February, 1992. ������������I ' 4 A' I �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Betsy Bell Condron papers and photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Betsey Bell Condron photo album of Dorothy Morgan art Subject The topic of the resource Dorothy Morgan Description An account of the resource Betsy Bell Condron created a photo album/scrapbook of Dorothy Morgan's artwork. Creator An entity primarily responsible for making the resource Betsy Bell Condron (creator of scrapbook); Dorothy Morgan (creator of art) Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Photo Album/scrapbook https://omeka.wilkes.edu/omeka/files/original/8989b3dd7725a43ba5c92998c1920ffb.pdf eb49244ebc8f5763a01b32343c1be016 PDF Text Text �Photographs Hu: • ; A til The CP C'O5c.-. O -p •. Sr;•<< Pc'dl pa$c5 ‘':i^ ^-cSe. ? �Photographs l/ht c- Z) UU M M A F^IEZJ t>S The CP. Gib-son Company. Nonralk. Connecticut Pefill page* No. K64 are available. W ����I �,r> 2 5 => �S i. IT, ■ZJ 5 J Q i ���■V I 2 s I" 4 -■ ■ *; T1 e. J. s I2 3 "' v- Si i �r ■ I ‘i 1 J I g^l I I r : C7 > 1 w/ Gr lo 1 * ina h — 2 ■L J j s nJ E^3 * I -- ■Q J V*7, o__ y Q O r ', — _~ >3 I r 5? I- *; O k > •> i rw J Lii u ' .4 r’ 1 t j. HIKES �.ij S 5 "^1 s 3-' V7 > Vj e2 222 £ Q % 1 s p d' r G* o Fl > I Q_ i 'J-Z 1 5’ i WES MO1.T1 s ■I JHI M MM M M- KT11 H------------------- -—----------- ~~ _____ �.^0 3> n-; hI <Z Q_ £ g i '—I _ MES ■I ■■ M MC- 4 �I �2 N £— I I ■ �I ■ a b1^ ■ Q> I IH '4 II C7 o IK& < (*r' . "1 ' c. m ■I M . <1 Cc ■ S 9^ I 1 ! M uj: r ■I . i s? hA �������1 3 �.n 2 2R5 Ckf Uj 5) i1 ��\TO-RK ��■ r I '> -' ����■ r. ��1 ���h ��■ ; 5 '' ��pl I■ • �t ����8S §■ 2Z ■ s I rn lr> GO I a ft ft □» 1 VI 2 2 5_J v—5 g u Q c 2 2— i r-*J S r -r I ! I c> S u' ■ ���-- Q s 5' r i~ s § & ■ I & 5 o r< ' f o I I © Ll c .1 gi ? L I �ft ���Ul ��I �M .n 2 § !5 5" �� 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 Wilkes Photo Albums and Scrapbooks Creator An entity primarily responsible for making the resource Wilkes University Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Photo albums and Scrapbooks Subject The topic of the resource Wilkes College; Faculty Women; Wilkes Athletics; Football; Baseball; Basketball; Hall of Fame; Eugene S. Farley Library; Weckesser Hall; Student Life; Gore Hall; Sports; Alumni Relations Description An account of the resource This collection of Wilkes University scrapbooks and photo albums contains newspaper clippings, correspondence, photographs, pamphlets and programs, and other ephemera from various individuals who worked for Bucknell University Junior College, Wilkes College, and/or Wilkes University. There are a variety of scrapbooks and photo albums represented within, including sports and athletic achievements, dorm and student life in Weckesser Hall and Gore Hall, Eugene S. Farley Library staff and librarian scrapbooks, and the Wilkes College Faculty Women's club. Additionally there is a 1902 photo album publication of the 1902 Wyoming Valley flooding. 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 Alumni Office Photo Album, "Wilkes Alumni & Friends" Subject The topic of the resource Alumni events Creator An entity primarily responsible for making the resource Christopher N. Breiseth 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/fbee48626e258a01119b9862f3ce9ad9.pdf 68080821763790ac3191578e6a0ad338 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 1976 Bicentennial Exhibition of the Photographic History of Hard Coal Mining in Northeastern Pennsylvania Creator An entity primarily responsible for making the resource Ralph E. DeWitt Source A related resource from which the described resource is derived Wyoming Historical and Geological Society Collection 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 Flyer 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/93ceaf08bf92584fa40b202b1b8b88d8.pdf 04d6c446b60f5ff6412d7ba445c07543 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 [no year] August 28 - September 5 Paper Expressions Creator An entity primarily responsible for making the resource Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource [no year] August 29 -September 5 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Notice https://omeka.wilkes.edu/omeka/files/original/cb5b291ac588b62ea0597a3f749055d6.pdf 855182e2ee45f94f97a5ac56d98b53ac 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 1981 - 1982 Exhibition Calendar Creator An entity primarily responsible for making the resource Sordoni Art Gallery Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Calendar https://omeka.wilkes.edu/omeka/files/original/3d500ea6fbaf4d58d7c25c589cef1a2b.pdf a00266f8afe08c2e3134d74f385b208d PDF Text Text %? i'+. *trs 4*:' ffi �KEYSTONE COLLEGE MOBILE GLASS STUDIO COM MUN ITY DEMONSTRATION FRIDAY SEPTEMBER '15, 2017,from 5 - 7PM During the Third Friday Art Walk ANDY WARHOL 15 MINUTES: FROM IMAGE TO ICON OCTOBER 6 - DECEMBER20,2017 OPEN/NG RECEPTION & R/BBON CUTTING CEREMONY OCTOBER 6 Ribbon Cutting: 4:30pm Gallery Reception: 5 - 7pm Pennsylvania artist, Andy Warhol, changed how we view art. lnspired by pop culture, Warhol's imagery defined the new age of fine art and influenced society, to in turn, be a creator of pop culture. This exhibition examines the artist's inspiration, process, and wide influence to both fine and commercial a rt. JO'N U5 F O R T H E WARH O L W ED N ES DAY LECTU RE SERIES: October 11: Curator'sTour with Director Heather Sincavage (in gallery) October 25: 'Andy Warhol is a V: Bachelorhood & the Celibate Factory" by Dr. Benjamin Kahan, Louisiana State University November 15: 'Andy and the Rusyns" by Dr. Elaine Rusinko, University of Maryland, Baltimore County (co-sponsore d by the Eastern PA Chapter of the Carpatho-Rusyn Society) All Lectures are at 4:30pm in KC Room 135. Please check website for updates' PEPPER POI *.ffi.1 SELECTIONS FROM THE SORDONI COLLECTION OF AMERICAN ILLUSTRATION & COMIC ART ANGELA FRALEIGH BETWEEN TONGUE AND TEETH JANUARY 16 - MARCN 2,2018 APRILS-MAY20,2O18 Angela Fraleigh reimagines the woman's role as it has been depicted in art history, literature, and media. Her paintings revisit centuries-old, male dominated sources and provide women with agency. Fraleigh is the Chair of Studio Art at Moravian College. ., . ':" GUERRILLA GIRLS ON TOUR POSTER MAKING WORKSHOP APRIL 9,2018, from 2 - 4:30PM Registration Required OffereC rn con1,.,nciio Cen der,ilu cre-. Cc lt'rittt r, f e re n :-e the Vt/cnte n & This landmark exhibition features more than 100 years of the art of illustration. Often featured in advertising, these works stand alone as works of art. Artists featured are: NC Wyeth, Maxfield Parrish, & Chris Payne. �SORDONI ART GALLERY AT WILKES UNIVERSITY WI L KES 84WESTSOUTH STREET UNIVERSITY WILKES - BARRE, PA18766 � 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 2018- 2019 Exhibition Calendar Creator An entity primarily responsible for making the resource Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 2018-2019 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Calendar https://omeka.wilkes.edu/omeka/files/original/49a6e5030c4be3051b9e4a855dd69654.pdf a00266f8afe08c2e3134d74f385b208d PDF Text Text %? i'+. *trs 4*:' ffi �KEYSTONE COLLEGE MOBILE GLASS STUDIO COM MUN ITY DEMONSTRATION FRIDAY SEPTEMBER '15, 2017,from 5 - 7PM During the Third Friday Art Walk ANDY WARHOL 15 MINUTES: FROM IMAGE TO ICON OCTOBER 6 - DECEMBER20,2017 OPEN/NG RECEPTION & R/BBON CUTTING CEREMONY OCTOBER 6 Ribbon Cutting: 4:30pm Gallery Reception: 5 - 7pm Pennsylvania artist, Andy Warhol, changed how we view art. lnspired by pop culture, Warhol's imagery defined the new age of fine art and influenced society, to in turn, be a creator of pop culture. This exhibition examines the artist's inspiration, process, and wide influence to both fine and commercial a rt. JO'N U5 F O R T H E WARH O L W ED N ES DAY LECTU RE SERIES: October 11: Curator'sTour with Director Heather Sincavage (in gallery) October 25: 'Andy Warhol is a V: Bachelorhood & the Celibate Factory" by Dr. Benjamin Kahan, Louisiana State University November 15: 'Andy and the Rusyns" by Dr. Elaine Rusinko, University of Maryland, Baltimore County (co-sponsore d by the Eastern PA Chapter of the Carpatho-Rusyn Society) All Lectures are at 4:30pm in KC Room 135. Please check website for updates' PEPPER POI *.ffi.1 SELECTIONS FROM THE SORDONI COLLECTION OF AMERICAN ILLUSTRATION & COMIC ART ANGELA FRALEIGH BETWEEN TONGUE AND TEETH JANUARY 16 - MARCN 2,2018 APRILS-MAY20,2O18 Angela Fraleigh reimagines the woman's role as it has been depicted in art history, literature, and media. Her paintings revisit centuries-old, male dominated sources and provide women with agency. Fraleigh is the Chair of Studio Art at Moravian College. ., . ':" GUERRILLA GIRLS ON TOUR POSTER MAKING WORKSHOP APRIL 9,2018, from 2 - 4:30PM Registration Required OffereC rn con1,.,nciio Cen der,ilu cre-. Cc lt'rittt r, f e re n :-e the Vt/cnte n & This landmark exhibition features more than 100 years of the art of illustration. Often featured in advertising, these works stand alone as works of art. Artists featured are: NC Wyeth, Maxfield Parrish, & Chris Payne. �SORDONI ART GALLERY AT WILKES UNIVERSITY WI L KES 84WESTSOUTH STREET UNIVERSITY WILKES - BARRE, PA18766 � 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 -2018 Exhibition Calendar 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