61 15 4133 https://omeka.wilkes.edu/omeka/files/original/304422eaf42223aa97083c3943b8fc90.pdf 5014223757430195ac72573cc136c5d7 PDF Text Text ES NN ) ) ) L^V YYV I l WILKES UNIVERSITY'S SEVENTY-FIRST ANNUAL Spring Commencement FOR THE CONFERRING OF GRADUATE DEGREES Saturday, May Nineteenth Two-thousand and eighteen ' 10 a.m. �l �ffi 1937 V/ILKES UNIVERSITY'S SEVENTY-FIRST ANNUAL Spring Commencement �Order of Exercises PROCESSIONAL Entry and March of the PeersJrom lolanthe Arthur Sullfuan (The audience is requesteil to rise as the procession begins.) 'WELCOME:............. ANNr A. Srrronn Senior Vice President and Proyost INVOCATION......... ........ Kn rsrrN M. Osrpownn Coorilinator, C ampus InterJaith The Star-Spangled Banner....... Words by Francis Scott Key (The wods toThe Star-Spangled Banner printed on page 16 of the program. The audieae is requ*ted a stand and sing the National Anthem with the chorus and band.) Gaudeamus are Igitur......... GREErINGS"""""" Tiaditional """i;;,;;;;;, ;;;I*TX"*tyJ;:,ff;k:,7,i, ANor.sw P. Mnrnn Chair, Faculty Alfairs Council Associate Professor, Political Science lNrsm.a OuPanavoNG-THoRToN Member of the Class of 2018 PRESENTATION OF AWARDS ANNn A. Srrsonn �Order of Exercises COMMENCEMENT ADDRESS .....RsaR. Aovunar (RADM) Scorr F. GIeBnsoN Assistant United States Surgeon General i I i L, r ! THE CONFERRING OF THE DEGREES Parnrcr F. LEanv President ; r F ALUMNI INDUCTION PRESIDENT'S -..ErrsN Srarvmn MESSAGE Hdtt'77 ..........i................Parnrcr F. LeArry a : Alma Mater........ ..........Eleanor C. Farley D. Orcutt'69 Arrangement, Eail (The words to the Alma Mater are printeil on page 16 of the program. The audience is requested. to stand and join in the singing.) BENEDICTION RECESSIONAL March of the Belgian KzusrrN Paratroopers.. Music Provided By: Wilkes Uniuersity Commencement Band Dr. Philip G. Simon, Conductor Wilkes Uniuersity Commencement Choir Dr. Steven Thomas, Conductor Cerernony Interpreted By: Carmen Lugo 360 Translations International, Inc. M. Ospowrt Pierre Leernans �r A\X/ARDS THE MABLE SCOTT WANDELL AND STERLING LEROY'WANDELLA\MARDS........... Kprrv Krltpa'18 Jarvres SrptcERwarr' 18 rhese awards':"',:;;:f;n;:l;::l:;i"!:#';,::',!tr;tr:;::1,!;lighest auitemic Prcsentation 6y ANNr A. SrmoEn Senior Vice President and Provost COMMENCEMENT SPEAI(ER E Giberson, is anAssistant U.S. Surgeon General, serving our Nation as an ofiicer in the active duty Commissioned Corps for 24 yeas.He has served with multiple lJ.S. Departments including Department of Homeland Security (as a founding member), HHS, Department of DeGnse, and State Department. Currently, he is the Depury Director of Human Capital at Centers for Medicare & Medicaid Services (CMS). Prior to this, RADM Giberson served as: RearAdmiral (RADM) Scott . . . . . SeniorAdvisor to the Office of the Surgeon General in 2015; acting Depury Surgeon General of the U.S. fromJuly 201'3-Jan201.5; the first Director of the new Commissioned Corps Headquarters from 2011 through 2015; overall Commander of Commissioned Corps Ebola Response in West Africa from Sept 2014 throughJune 2015;and Chief Professional Officer (CPO), Pharmacy category from 201,0-201.4,supporting over 1500 PHS pharmacists nationwide RADM Giberson maintains dual licensure as a pharmacist and clinician. He served 15 years of his career performing clinical duties in the field assigned to the Indian Health Service in 3 geographic areas. He functioned in both pharmacy and family medicine clinic roles. was detailed to the Department of Defense in Hawaii for three years. RADM Giberson served on many international health missions for Department of Defensel Pacific Command, involving more than 23 countries. Prior, in 2001, RADM Giberson responded to the Anthrax attacks in NewYork City and served as the National Coordinator for all nurse and pharmacist ResponseTeams under the newly-formed Department of Homeland Security. He returned to the IHS to direct their National HIV/AIDS Program in2006. In 2003, RADM Giberson RADM Giberson received the Corps'first-ever Presidential Unit Citation, which was awarded to him by President Obama in the Oval Oftice. RADM Giberson has received numerous national and service awards including the Department ofDefense Meritorious Service Medal, the Corps'Disringuished Service Medal, the Surgeon Generalh Medallion, the Secretary's Meritorious Medal, and multiple honorary doctorates for his leadership and interprofessional body of work. in multiple permanent, acting, and response roles in the Ofiice of the Surgeon General, RADM Giberson received his second star and was promoted to RearAdmiral (Upper-halfl. After roughly 5 years serving �DOCTOR OF EDUCATION CAhIDIDf,IES i The School of Education ! Dr. Deborah A. Zbegne4 Dean Mary Elizabeth * Terry Storer Howell DOCTOR OF NURSING PRACTICE The Passan School of Nursing Dr. Rhonda M. Rabbitt, Dean EfosaAbu Michelle M. Buikema Margaret Angel Caruso Corey Milan Dillman Teresa Fairchild Pitcher NediyaA. Grifiith 23 Nakeda Lashon Hall Jessica M. Harrison 23 Kara Lynn Hines 23 CindyJo S. Hogan * Nedra Latoya Hughes Cigi Mathew ,(,23 Loveth 23 Sara Elizabeth 23 A'ny Michelle Murphy James Reed Nisley Natalie Lyne Patrick Brown Marie Edith Petitme 23 Natalie A. Roye Monique Scott Dorothy Elanie Smith Carolyn Snyder-Sherman 23 ShavonJa'nai Stinson-Lamar MargaretJaneTrevino * Tara Suzette Wesner Nadine KayWodwaski Moore DOCTOR OF PHARI\{ACY CANDIDATES The Nesbitt School of Pharrnacy Dr. Scott K. Stolte, Deca 1'1s 21 DanaJo Achenbach, Magna Cum laude Kayla Johann a B ardzel, Cum Iau Megan Gregory, Cum l-aude Daniel Hackford de Margaret Bigart, Magna Cum l-aude Briana Alexis Blaisure, Magna Cum Laude 1s'21 Kade Lym Bressler, Summa Cum l-aude Erica Chambers 1'21 Megan Elizabeth Ciborowski, Summa Cum laude RachelA. Constant, Cum laude Shane Joseph Daugherry ls Keri Lynn Diehl, EvanJames Henry, Magna Cum l-aude I'rs'2r Jessica Lauren Elisabeth Lewis Cameron Scott Low hude Juscine Marie Maley Holly Ann Margiotti EmilyA. Mason Joshua Philip Fox, Magna Cum laude 21 Jennalyn Garrify, Magna Cum laude Gregory Christian Michael Giovannini, Cum laude Chi 1s Phi Lmbda Sigma l-aude Cum Laude 1'2r Catherine LaBuz, Summa Cum ltude 2t Terca Mae Landis, Summa Cum l-aude 2t Jxret Matthew LeBeau, Summa Cum Iaude Dominika Sofia Foltyn Alpha Marie Kouch, Cum ltude Magna Cum laude Michael Christopher Kranz Effie Kweiba-Yamoah Cum laude Tara Engel Alesha Lee Falzone, Magna Cum Laude 1 Summa Cum Ros Klingensmith, llsndrll Nicole Kramer, Amber Grace Dietrich, Summa Cum ltude 1 Danielle Marie Distefano, Cum laude HeathThnner Dresch, Magna Cum Laude 1 Vanessa Adaeze Ejiofor, Magna Cum laude Fanucci , Magna Cum Kelly fuur Kempa, Garrett 1s'21 ls AnthonyVictor Jayden Hensley, Magna Cum Laude Sangjae Jang, Cum Lauile P. Cassandra 21 Rho Chi 5 23 McFarlane, Cum Iaude Nicole Morey, Magna Cum l-aude SigmaThetaThu * Degree inAbsentia �DOCTOR OF PHAR]IIACY CAI{DIDATES t (Continueil) 1'21 ii Marisa Ann Perrella, Sumna Cum l-aude Rachel Marie Petrone SydneyAnne Stuyvesant, Magna Cum laude Christy Lee tylor, Magna Cum l-aude Kenzie NicoleTeno, Cum ltuile Christopher Michael Van Hook Michael D.Venditto, Cum Iauile Bryan Conor'Waters, Cum laude Haylie Phillips,Magna Cum lauile 21 21 MichaelJames Pino, Magna Cum ltude Elizabeth Anne Ray, Summa Cum l-auile Demi Leigh Rissmiller Catherine Elizabeth Sarver, Cum laude Samantha Weil<sner, Cum Laude PhilipJohn Scavo,Magna Cum laude 1'ls'21 Brandon D.Whiteash, Magna Cum Laude 2t MaraAmy'Wilson, Summa Cum Laude TylerJ.Wilson Joshua GeorgeWolfe, Cum l-auile fuchardA.Yarger II, Magna Cum l-aude Kara Serfass, Cum l-aude Felicia Kay Snyder James Steigerwalt, Summa Cum Itude Kristopher P Steinert Collin Thnner Strunk, Cum Iaude Casey Ziac, Cum laude ii t1 li I I I i. 1 Alpha Chi ls Phi Iambila Sigma 21 Rho Chi �E E N,IASTER'S DEGREE CAI\IDIDAIES Master of Fine Arts in Creative Vriting * E Joseph Samuel Bryan E Michelle Alena Byrnes r r Deborah Canon Donald Joseph Grunza, Jr. It a E JenniGrJudge Maura C. Maros Robert Michael Peck Master of Arts in Creative Writing r i Jeffiey RossAlves i t * RodneyWilliamAnnis Jeremiah Scott Blue Margaret Sarah Hall Crista Lynn Mallecoccio i r Tara Lynn Marta Kathleen Godwin Rosa Camika C. Spencer Karley Marie Stasko Danielle'Watson Master of Business Adrninistration The Juy S. Sidhu School of Business and Leadership Dr.Abel Adekola,Dean 6 Bryce Buder 6 Damon Montgomery Cheek KatherineJ. Cummings 6 Diana Suzanne DePrimo 6 MichaelJ. Moletsky * Inthira Ouparavong-Thornton Katherine Elizabeth Roos * Justin A. Shelinski Kristie Marie Spinello Kyle Lee Stair MichaelTeiman 6 fuhley BrielleTi-rrner * Jacqueline Escobar Camielle Ren6e Ferguson 6 ChristopherAllan Hetkowski Rebecca L. Hite * Samuel Nathan Hunter Timothy E. Letcher III DevonA. Nicoletti 6 Kurt'W Eisele, Ph.D. * Joshua Charles Mayse Master of Science in Education x * * * Dr. Rhonda M. Rabbitt, Dcaa x Joseph Eugene Caputo David Christopher Abruzzi Dustin M.Adams K. Carrelli * Jaclyn Nicholas Fmnk Casde * Miranda Chamberlain * AnthonyJames Cibello VirginiaAnna Ashley Ashleigh * Jennifer Melissa A. Balsavage * Megan Lee Barilla * MarkA.Barkowski * * * * * * * * * Jessica * * * * * Lynn Barnhart BrianJoseph Bauer Ryan Baugess * Amanda Susan Baumgardner Jennifer Rae Bickley Laura Beth Blacker Amber Boaman Katie Lynn Bogart Natalie J. Borosky EdwardJoseph Buck II Jennifer B. Cisco John C. Curry AmandaJayne Danenhower Monica Thnzas DaSilva Ashley N. Deibler D. Del Conte * James Laura A. Derlunas * Stephanie Anne DeShong * Megan Ann DeVietro * C. DiCello * Jacqueline Kryl, F Dierich * Derek DiRenzo * Emily DiSabella * Kry', N. Donatti Travis Burket Krista Michele Callahan 6 Deha Mu Delta * Degree in Absentia �r * * * * * MASTER'S DEGREE CANDIDATES Continueil Master of Science in Education Deg Amy Marie Kahora Kelsey Downs Maggie Mae Kaufnun ThomasWilliam Dulsky Jennifer Dunlap AlyssaJane Duym x Brett Michael Keeble * Jessica Lynn Keefe Audrey Marie Eberly Bobbi Ely * Jill Kennett Amanda Caroline Keller * * * * Rebecca Engelbert * Jennifer Megan Englehart * Kathleen Bridget * * * Feairheller Lee Felker Chastiry Abigail Elizabeth Fenton * Cynthia Ferretti Jessica Fetter * * * * * * * Stefani Marie Fink Lacey Kathleen Finneyfrock Kimber\ Flueso * * Valerie Sue Ford * Lisa Marie Francis * Teresa Catherine Fusco * * * * * * Janelle Ann Gaiteri * * Charla Gardner Christopher M. Gercken Kelly Getz Todd Gies RyanT. Gill M. Glant * * Jared Matthew Haas * EmilyAbruzzi Haderbeck * Stephanie Marie Haggar * Kevin Gilbert Haile * Nathan R. Halenar * MelissaAnn Hallman * * Mark'W Hamilton * Mrry LynnHatz * * Maria Nicole Hawk Heiney * * * * * * Alexandra Elizabeth Heisey JeanetteVictoria Helmstetter Clara Nicole Henk Sarah * M. Herr Shannon Hope Hightman * * * * Jennifer M. Hudak Isaksson * JaimeJo KathryT rJohnson * Matthew Lindquist GissellyVeronica Loyola Kristin Amy Madeira Lindsey Lee Maduro ThomasA. Malkemes Tabitha Marie Manzo Dana Marino Kaylee Suzanne Martin SamanthaJ. Masco Hollie Matejcek Shannon Leigh Maurer * Jarrad Patrick Max x Kelsey Lea Mazurek * JefteyA. * JoshuaA. Kolanda Marisa Lagana Kristina Grace LaTorre Carol Ann Lawler Elizabeth Leese Nathaniel C. Leierer DavidThomas Lengyel Laura Grida Lentz Kimberlee Diane Lerma Matthew Russell Lesinski Jamie Lichtenfels * * Golden x Grato Joseph Tfisha Green * Cynthia A. Gregory * Kimberly Mary Gumble * Samantha Rose Kishbach Hryl.y Kathryn Koenecke * John MatthewJohn Lord * Meghan Donahue Lorentz * Karen M. Lovuolo * Joshua Chrisann * Nicole K. Kephart Christopher R. Kindred JosephA. Kahl * Degree in Absentia 8 Erin Lynn McBride Jaclyn N. McCarty Sara Marie McGraw Colleen E. Mclnryre McNaughton Mentzer-Yarlett Julia JessicaYates LauraEbzabeth Meyers Amy N. Miller KatlinAnna Miller Brett Mitchley Amber Moschini MichaelA. Motsay AllysonJo Moyer �T{ASTER'S DEGREE CANDIDATES Master of Science in Education Degree * Timothy Munley * Michele Elaine Murazzi * {< Zachary N. Musser Amanda Grace Nace * Licia Marie Olivetri * Margaret Louise Olson * TiacyJo Patterson X. Alaina K. Pavelko Allison Peters Jill Marie Phifer * Michele Pousley * Jesica Leigh Quay * Aimee Lynne Radel Amanda Lauren Radishofiki * Kevin Reuss * Laura K. Richards * Caitlin Marie Riddle * Erin Colleen Ritde {< * * Hannah E. Rittle CourtneyAnn Royer x Ethan L. Runk * Justin Anthony Ruppelli * John Ruscher * Lindsey Marie Santanasto * Kristen Ann Scalia * Bradley A. Schaefer Danielle Marie Schaffer * * * * * x Elizabeth Mary Schaszberger Chrisrina Ann Schuckers Katie Shank Justin Sheaffer Robert Douglas Sheaft-er JoshuaT. Short * Lisa Marie Smargiassi * Adam Smith * Contirurcd Montgomery Snow III * James Zachary Brendon Starry * Alyssa Stella Crystal Sterenchock * Anna Stewart * Ann C. Stinson * Katlynn Stout * Elissa Marie Suhoney * DavidJ. Sunderland * Lindsay Sutkowski * Keri L.Tallmadge * DanielJ.Terry Neal S.Thomas * Michael Z.Tilger Cassie LeeTirpak * Kirsten RhodyTomasello * Meghan GilleranTiuskolaski * * Alexandra LynneWalmer AndreaWells Katie SueWert Janelle C.Wierbowski Thylor Nicole Willett * * Lacey LeeWinder * Emily SusanWolford * Hannah S.Woodring * Terese RoseWylie * Megan LynnYeich * Sarah A.Yeust * Crystal L. Zimmerman * Nicole Zulli Nicholas Neal Zullo OliviaJane Sidorick Master of Science in Bioengineering Dr.Villiam B. Hudson, Megan Amanda Barscheski Tift-anyT. Erney Deaa Thomas Martin Hagenbuch Matthew PYatison Casey Michael Flynn Master of Science in Engineering Management Dr.Mlliam B. Hudson, Dear Mykyta Nikita Baliakin Master of Science in Mathematics Dr.Villiam B. Hudson, Dear x AIex Colefield * Degree in Absentia �I\,IASTER'S DEGREE CANDIDATES Master of Science in Nursing The Passan School of Nursing Dr. Deborah A. Zbegne4 Dean * * * 23 * 23 * * r Ruth Antoinette Abdur-Rahman Ashley Marie Bantell Heather Michelle Belanger Jana Leslie Bell * 23 * * * * * * Tammy L. Mendell *'23 OriettaA. Mikulandra * Devonna Michele Evans Miller Lauri Sue Miller Linda Anne Modelfino LisaAnn Mowatt Meghan Elizabeth Betham .Winter Rose Branham DevonJohn Buckley BillieJeanne Burry Stephanie Busbin * * lrde Renay Campbell * Elizabeth Nicolai Gretchen Ren6e Nordt Tammy Sue Noss LoriA. Novitski * * * * * * * Courtney Cione Ordeth Aileen Clarke Meade Hannah May Constanry Cynthia Corrado ChelseaAlexandra O'Donnell Obiageri Ihuoma Ohayagha Stephany Petersberger Ann Pfleegor Laverne Pope Pamela Tfaci Lynn Ragukas Celestia Laree Rasmussen Alison Marie Rauh Elaine Cortese-Salalila WendyAnn Reiss Yvette Rodriguez-fuce * RobinAnne Dexter Madelyn Roman Richale M. Evans Jennifer Floyd Ronni Erica Grifiin Tammy S. Hamon JenniGr Marie Hargrave * Jessica Rose Rutkoski JamesWilliam Simon 2r Christina Antonia Sirianni * Lareine Kay Smith * Meghan Christine Snyder AliceV Hawks Beverly Hellickson * * * * Yvette Helmbold Brenda D. Hopkins Samantha E. Huyett Denise Jocelyn Gemzik Jemiola ElizabethA.Jordan * Pamela King Stephanie M. Stahl AndrewJames Stratton Kaysie Ann Stratton Bertha Siedah Sullivan IreneTetzlaff WendyJoyWalker Jan DeniseWall Shelby Leppin Angela RoseWeatherbie Julia LouiseWebb Monique Roxanne Weems-Paulin Aron K.Wesoloski Jennifer Elaine Lerette DawnZahar C. Knowles * Joyce Michelle Lee Kohlsdorf 23 Hillary Marie Leonard * Rebecca Ann Malfaro * AngelaJean Carpenter Elizabeth A. Chando Nina Simone Charles 23 Michael Edward Chenoweth Susan Patricia Chmielewski * Jennifer Lara Christ Roy Chua * * * * Rebecca Marie Light Catherine Mary Luksic * 23 SigmaThetaTau * Degree inAbsentia 10 I �Scholarly Societies and Special Designations 1 Denotes Membership in Alpha Chi, the National College Honor Scholarship Society. 2 Denotes Membership in Alpha Kappa Delta, the International Honorary Society 3 Denotes Membership in Sociology. in the Eta Pi Chapter of Alpha Sigma l-ambda, the honor society recognizing the academic excellence of adult part-time students. Denotes Membership in Beta Beta Beta, the National Honorary Society in Biology. in Chi Alpha Epsilon, the Honorary Society which recognizes students who were admitted to the Uniuersity through Higher Edumtion Access Opportunity programs. Denotes Membership Denotes Membership in the Zeta Psi Chapter of Delta Mu Delta, the National Honor Society in Business A dministration. 7 Denotes Honors 8 Denotes Honors in Englkh. 9 Denotes Honors l0 i in Biology. in Engineering. Denotes Membuship in l-ambda H Eta, the Nationnl Honormy Society in Communkations. t1 Denotes Membership in the Phi Phi Chapter of Kappa Deha Pi, the Intunational Honorury Society in Education. 12 Denotes Candidates for Pennsyluania Tbacher Certification. 13 Denotes Candidates for Pennsyluania Principal Certification. 14 Denotes Membership in Phi AlphaTheta, the National Honorary Society in History. 15 Denotes Membership 16 Denotes Membership in Phi SigmaThu, the National Honor Society in Philosophy. 17 Denotes Membership in Pi Kappa Delta, the National Honorary Forenst Society. 18 Denotes Membership in Pi Sigma Alpha, the National Political kienre Honor 19 Denotes Membership in 20 Denotes Membuship in Phi Eta Sigma, the National Honor 2t Denotes Membership 22 Denotes Membuship in SigmaTau Delta, the National Honorury Society in Englkh. 23 Denotes in Phi lambda Sigma, the Pharmacy Itadership Society. Society. Psi Chi, the National Honorary Society in Psychology. in Rho Chi, the National Honor $cietyfor Society College Freshmen. in Pharmacy. i Society r Membmhip in the for kta Psi Chaptu of SigmaThetaThu, the International Honor Nursing. 24 Denotes Membe$hip in anil afutowledgment by Sigma 25 Denotes Tbm Bigler 26 Denotes Pre- 27 Denotes Membership in the National Student 28 Denotes Membuship in 29 Denotes Membership inAlpha Lanbda Delta National Honor * Xi, the Simtfu Research Soeiety. *holar Mediul *holar. Sigma Nurses Association. Alpha H, the National Soeiety of l*adership and Degree in Absentia 11 Society. success. �2018 Student Awards Acadernic Awards Nesbitt School of PharmacY APhA Mortar and Pestle ProfessionalismAward.......... -.-.......-.-....-.-Terra Landis NesbittSchoolofPharmaryAcademicAchievementAward School of Pharmary Excellence in Clinical PracticeAward ...........KellyKempa James Steigerwdt .'...-.-...-.MaraWfuon TheBarbaraL.NanstielPharmaryInformationAward................. DemiRissmiller Department of Pharmacy Practice Research Award.....................'............' Megan Ciborowski Dean! Outstanding StudentAward......'.......'.. The Arthur H. Kibbe Excellence in Pharmaceutical Science Research Award ................. "'James Steigerwalt ""'Efiie Kweiba-Yamoah SanglaeJang School of Pharmacy Communiry Service Award ..James Steigerwalt .......... BryanWaters The Rule Sisters PharmaryAward Alesha Falzone The Luzerne County Pharmacists Association AchievementAward Mylan Excellence in PharmaryAward.................. Academic TheWolters Kluwer Excellence in Clinical "' Catherine LaEluz ""'Kelly Kempa CommunicationAward...... Kara Sefass Pennsylvania Pharmacists Association Ouistanding Pharmacy StudentAward ...........Anthony Fanucci Lackawanna County Pharmacists Association Academic Achievement Award .....'.Kelly Kempa Lackawanna County Pharmacists Association Jurisprudence Award............. '....... 'Kelly Kempa The Integrative Medicine and Practice Award t2 ..........Kry1. Bardzel �Acadernic Costurne The celebration of Commencement is surrounded by rich traditions. The established community of scholars prouen scholars the Faculty the Graduates conuene to recognize ofuially the - symbolized scholaily - attainment. thatfor years has During newest and welcome them infellowship. Graduates group oJ don the attire MiddleAges those seeking an education traueled to European centers of learning. Centers of learning and uniuersities were closely allied with the clerics of the time, and the scholars donned garb similar to that worn by the clergy.This euolued into the academic uniftrm, a long the gown, hood, and cap, which proued usefulfor studying in unheated and drafty buildings. The hood serued simultaneously as a head couering, a repository for coins anil alms and the black foreaunu of the modern ilay book bag.The hood was adorned with the colors of the university qtd Mgnotcd th, pury sholals sehool or uniuersity affliation. By their distinaiue clothing thc ffiit utre sct ryt od distittguishcdJron the citizeas of the town; herue the oigin of lhc drere "tuun otd gaua." Aneieancollqs oulmivesitia adopted &e ueuhryofrte trailitional apparclin Colonial oilefor aeademic apparel ums atablisheil in the miil-nineteenth century. times, and d cotnmon The hooil is the most distinrtiue feature of acailemic regalia. The inside of the hood is lined with the offcial colors oJ the institution; today you seeWilkes graduates wearing hoods lined with the blue and gold colors of the (Jniversity.The veluet trim around the outside of the hood designates the degree orfield of study of the graduates.The uelvet colors worn by todayl graduate s signfy the following : ColdenYellow Brown Oliue Blue Apricot White Drab Science Arts, Letters, Humanities Business Administration Fine Arts Pharmacy Education Nursing The style of the goum distinguishes graduates by the degree they have earned. Those earning the bachelor's degree wear a simple black gown with elongated pointed sleeues. Holders of the master\ degree wear goums with a longer, closed, square cut sleeve.The doctoral gown is trimmed with velvet stripes on the sleeves and panels of veluet on thefront closure of the gown. Ameican universities haue adopted doctoral gowns in their distinctiue colors.You will notice the slate of Columbia, the red of Cornell, the burgundy of the (Jniuersity of Pennsyluania, Some the bright blue of the University of Michigan. Tb haue earned the privilege of wearing academic costume regalia signffies not only the completion of a program of studies, but entrante into the comradery of scholarship. t3 �The Llniversity Mace and Presidential Ctrain of Office The mace and the presidential chain oJofin used in academic celebrations represent traditions dating to the sixteenth century.The mace symbolizes the authority of the university and the chain of ofue designates the presidential leadership of the academy' The Wilkes (Jniversity mace and presidential chain of ffice were grfts of local donors and werefirst used in 1970 at the inauguration of the second president ofWilbes.They were designedly Ottie Hitl Chwalek '67 and executed by Kurt MatzdorJ, a nationally recognized gold and silversmithfrom the state (Jniversity of NewYork at New Paltz. The Unioersity Mace The steling silver mace has a gilt knob at its base and a gilt circle at the top bearing the insaiption "Wilkes College 7933."The bowl,rising aboue the neck of the mace, signifies Wilkes-Barre's role as a melting pot,forming a new and vigorous community oJ peofle rtom many different backgrounds. This theme is reiterated in the inscription oJ the Uniuersity\ motlo "inity Amidst Diuersity" which surrounds the upper part oJ the bowl.The gilt fiame symbolizes lhe entightenment gained from higher education, uthile the piece of anthracite coal (Jniuersity in a community knoum srt in the center of thefiame commemorates the origin of the for its coal mining past. The Prcsiilential Chain of Office The presidential Chain of Ofice, created from sterling siluer, has altetnating bowls and gilt fiames, repeating the motif of the mace. On the front of the four-foot chain ho"gt o-gilt seal oJWilkes which is suspendedfrom a cluster oJ oak leaues with acorns, t"ggrtil"j the streigth and sturdiness of future generations. On the back of the Presidential cnoi" o1 ofice is a siluer portrait oJ Dr. Eugene S. Farley, the first President of wilkes. Dr. Farley\ portrait is surrounded by gilt oak leaues commemorating his strong leadership oJ the emerging institution. t4 �flniversity Center on Main McHale Athletic Center FIRST AID Medical personnel are available for first aid assistance at the First Aid Station in- the Engel Room just off the lobby. Should you need assistance please contact the usher or a Public Safety Officer. PICTURE TAKING Because of the space limitations, safety and control, no one, exccpt 6e professional photographer and memben ofthe press with appropriate credentials, rill be dbwd ,ccess to the stage area for the pulpose oftaking pictures or video-taking. a phmgryh will he talen of each graduate as the diploma is presented by the heddm. REST ROOIvIS rtxnrs are acoesfrle from the lobby and on second floor. -Rcst A woman's rcstroom is availahle xg the rear ofthe McHde Athletic Center. i r BEVERAGES Water is available at the drinking founains on rhe first floor of the - will be open during the ceremony. building. Starbucks A post-commencement reception will be held in the First Floor Lounge of the Henry Student Center immediatelyfollowing the ceremony. t4 rt ri 15 h �THE STAR.SPANGLED BANNER O What so say, can you see, by the dawn\ early light, proudly we hailed at the twilight's last gleaming' Wose btoad stripes and bright stars, Through the Perilous fight, O'er the ramParts we watched, Were so gallantlY streaming? And the rockets' red glare, The bombs bursting in air, Gave Proof through the night That ourfiag was still there' O say does that star-spangled banner yet waue O'er the land of the free And the home oJ the brave? Words bY Franck Scott KeY Ananged by John PhiliP Sousa Harmonized bY Walter Damro sch ALMA MATER Wilkes, our Alma Mater' We pledge our hearts Honor, faith, and to thee, courage, Truth and loYaltY, In our work and in our Pleasure, Cuide us as afriend; We shall alwaYs love thee, Loyal to the end. Thou shalt lead us onwatil ln search oJfiner things' May wefind the wisdom That thY sPirit May our brings. deeds oJ love and service Euer swell thY fame - Wilkes, we stand to greet thee! Glory to thY name. Words and Music by Eleanor 16 C' Failey �Platform Party Graduate and Professional Commencement Ceremony Adams.. .Vice president, Student Affairs MarkAllen.. ..Dean of Studenm Abel Adeko1a.................. .... Dean,Jay S. Sidhu School of Business and Leadership Bonnie Culver ...Director, Creative'Writing .......Tiustee Jeffiey Davidowia. .......Associate provost Jonathan Ference....... Scott Giberson (RADM) .....Assistant United Stares Surgeon General Kathleen Hirthler...... Chair, Graduate Nursing Susan Hrit2ak................. ..............Registrar William Hudson....... .......Dean, College of Science and Engineering Ku1rys......... ........Associate Registrar Joseph Patrick Leahy ......... ... president Karim Letwinsky... ......Chair, Department of Educational Leadenhip Ellen Lohr... Assistant Registrar Carmen Lugo........... .360 Tianslations International, Inc. Andrew Miller .................Chair, FacultyAtrain Council ..................Assisranr Dean, Nesbitt School of pharmary Julie olenak Inthira OuParavong-Thornton Student Greeter Kristin Osipower.... ....-..Coordinator, Campus Intefaith Paul Loren Prescott...................Vice President, Finance and Support Operatioru/General Counsel Rhonda Rabbitt....... -.-..-......Dean, School of Educarion Riggs... Ruthkosky.........-.. Anne Skleder........-.....-.. John Stachacz -......-..--.---. Ellen Stamer Hatl ---....--..Scott Stolte Wagiha Thy1or.................. Terese Wignot ............... Michae1Wood................. Deborah Zbegner...... Paul Philip .. Dean, College ofArs, Humanities and Social Sciences ....-.-..-..---...Associate Dean, SrudentAffairs ..--..-..-.-...SeniorVice President and provost Dean, Eugene S. Farley Library ................Tiustee ..-..-...-....Dean, Nesbitt School of pharmacy ...Faculry Marshal ...Associate provost SpecialAssistant to the president ... Dean, passan School of Nursing �a _o r// ,Y{t, qt (fi r.-ItrJ ill )t (tt qt , (\t tN. (N /\ /t\ f,/ I\t, � 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 Commencement Programs, 1941-2020 Description An account of the resource Wilkes College and Wilkes University Commencement programs from 1941 when the college was a satellite campus of Bucknell University through Winter 2020. Creator An entity primarily responsible for making the resource Wilkes University Publisher An entity responsible for making the resource available Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1941-2020 Format The file format, physical medium, or dimensions of the resource PDF files Type The nature or genre of the resource Programs 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 May 19 2018 71st Annual Graduate Spring Commencement 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 Program https://omeka.wilkes.edu/omeka/files/original/f9340948d47588955e5b5f77eedb8d5f.pdf 34f6ec5d123c0890e3f15dc749b9b89a PDF Text Text ��1933^ WILKES UNIVERSITY'S SLJMMER COMMENCEMENT for the Conferring of Degrees �Order of Exercises *PROCESSIONAL TiumpetVoluntary.... Music ...... Clarke Excerpts fromTheWater ...............Hande1/Hazo WELCOME Terese M.'Wignot Interim Senior Vice President and Prouost *INVOCATION......... ................Kristin M. Osipower C o o rdin ato r, C amp u s Int erJaith *THE STAR-SPANGLED BANNER.............Words by Francis Scott Key Arranged by Philip G. Simon GREETINGS............ ................Dona1d E. Mencer Chair, Faculty Afairs Couneil As s ociate Profes s or, Chemis try ThomasV Saglimbeni Metnber of the Craduating Class . ..MMENCEMENT ADDRESS THE CONFERRING OFTHE ;;;;#r)r;*I;?&f; DEGREES .....Paul S.Adams Interin President PRESIDENT'S *AT.MA MESSAGE.............. MATER... .Paul S.Adams ........ Eleanor C. Farley Arrangement, Tbrry Zip ay C o ordin at or, C amp u s InterJai th XRECESSIONAL Just a CloserWalkWithThee,Ttaditional.......... -............arr.by Luther Music provided by the Valley Brass Quintet Dr. Philip G. Simon, Director Hannah Fritz' 2 3, Vocalist *The auilience is requested to rise. Henderson l l �DOCTOR OF EDUCATION CANDIDATES The School of Education Dr. Rhonda M. Rabbitt, Dean Melissa A. Cencetri * Nicole Matz-Cosentino Jennifer R. McKee Rodney GerardThylor DOCTOR OF NURSING PRACTICE The Passan School of Nursing I I Dr. Deborah A. Zbegner, Dean i I * I 23 Janice G. Marchildon Sharalyn Marrion Martin SoneyAbraham ShahidAli TheodoreJohn Ambrose Brandi Burris-Mitchell tmiko Molet LaShonda Byers * Lola Regina Casby Janette Catherine Dietzler-Otte Annette Graham Carolyn Edith Hagel Joette Alisa Hoffinan 23 Tracy Holman-Speights 23 * KellyJean Gantt Morgan Dawn Elizabeth Murafka Nhatminh Nguyen Rhaysa Nieves-Diaz Jeanne Orzano QuocT[an Pham Thomas Vence Saglimbeni Catherine Agyekum Sawyer Anne Marie Shaftic Ryan Michael Ihlenfeldt Uchenna Joy Ijiomah-Anaje 23 Rhonda Denise Jankovich Terri Lee Koson Vivian Carrasquilla Lopez 23 PatriciaTavaziva Sophia Walker-Cole JanetA.Williams Joan ElaineWilliamson DOCTOR OF PHART{ACY CANDIDATES The Nesbitt School of Phartnacy Dr. Scott K. Stolte, Deaa Amanda Nicole Gingrich 23 SigmaThetaThu J I * Degree in Absentia �T,IASTER'S DEGREE CAhIDIDATES Master of Fine Arts rn Creative 'Writing Patrick B. Kelley Amanda Lance Sally Kathleen Lehman Luciana C. Musto Jeftey RossAlves Rodney'WAnnis Michelle S. Chmielewski Karla Lee Erdman Jessica Ann Fisher Crista Lynn Gaskill Margaret Sarah Hall * MichaelJames Hoarty AllisonAnne Richter SamanthaAnn Stanich Julie M.Yelen Master of Arts in Creative'Writing AmandaJoan Cino Jennifer L. Mclaughlin Judith HuddellJones Danah Alexandria Lassiter Susan Minsavage Sara Pisak Master of Business Adrninistration The Jay S. Sidhu School of Business and Leadership Dr.Abel Adekola,Dean *'6 KarenJeanAlunni TaylorA. Baker 6 Adele Marie Bayo MariaTheresa Dwyer JaredT. Kukosky Megan Marie Lafaw * Vishal S. Patel * KimberlyAnn Hein 6 Daniel Robert Hohal Stefanie D. Scarpone BradleyVender Master of Science in Education The School of Education Dr. Rhonda M. Rabbitt, Dean * * Heather Elaine Bird * Amanda G. Bishop * Christopher Michael Blair Jennifer LynnAbrams * Sarah Beth Ackley * Christie Alvanitakis * Jaclyn Emma Bloch Jennie Moria Anderson Alana Desir6e Andreyko Madeline May Bailey * Trent Scott Baker Teresa Evelyn Barna EmilyAnn Bocan Treasure R. Boos x * Jordan C. Barrie * * * Scott Russell Barrows * Kellie Susan Bates * Courtney Marie Bathgate * * * Jonathan Borden Ann C. Borlinghaus Sallianne Bowman Ashley Elizabeth Bowser KyleJoseph Brady Alexandria Marinda Briggs-Reichart Jaclyn Rebecca Brindle * Robert Paul Brodish Margarette Storch Brooks Rachael Michelle Beahm Steven Mathew Beautz Wayne Allen Beeman AaronTyler Buckwalter Emily Anne Beiter 6 Deha Mu Delta * Degree in Absentia �IT,IASTER'S DEGREE CANDIDATES Master of Science Education Continueil - * Sarah Ann Burger * Kelsey Burkhart * * Kami Lynn Campagna * Rebeccafuianna Canderan * Brittany Nicole Cardona * Nicole Elaine Carey Lee Anne Carnell Jennifer Lynn Charette * Wendy Clark * ! Renae Margaret Greene Jason Allen Grimes * Tara Danielle Grimes * * Susan M. Groff * Noel Sara Gsell * Casie Elizabeth Guarino * Rosaria Rita Clemens Angelina Corinne Colancecco-Degler Meredith E. Coleman Jonelle Frances Guido Robin Renee Hack * Justine Mary Hallenbeck * Julia Pierce Halley * * L.Anthony Commale III * Casey Scott Cooperman * Laurie Kathleen Dale * Ashley Daniels * RebekahAnne Daubert * Scott Christopher Davis * Ryan S. Dennes * Suzanne P. Devaney Jennifer Renee DiVasto * Lien Kim Do Christine B. Dolente * x Alan Hatczyc * April C. Harakal * * * Melissa Dow * * * * * Sarah Michelle Eline * William John Emerick * Kaitlyn M. Erb Ann Herchelroth HeatherAnn Highsmith Jennifer Olivia Irvine ElliottJames Iula Amelia GraceJackson Mary KathrynJames Stephanie J.Jankowski x Ashley NicholeJansen * Suzanne ClaireJohnson * Casey Michelle Kennedy * HaleyJoy Kline * Ash1ey M. Koch * Kathryn Korsak Rachel L. Eshbaugh * Caroline Pugh Evans * MichaelJoseph Facchiano * * Meredith Hardy Sarah * Kathryn Mary Hracho * Christine L. Hutzel * Megan lrick MelissaA. Dy,rnek x George Michael Eager Robert Frederick Early III * E-ily Edgett * Jennifer Lynn Eichelberger * Susan Jacqueline Marie Hill Rebecca Hines * Kendra Marie Hinkle x Meleah S. Hopkins Mary Catherine Deppen * Erika Gething Paul Michael Goraczko KatieA. Gould * * Ethan Fenger-Petersen Jacqueline K. Ferenczi Adam David Filer 'WendyJ. Koval Lindsey M. Kovalik Kyle Kutney * Lindsay Mae Kutz * Cortney Marie Lagrua * Mandy LaMarca Alison Heck Fink Rachel Nicole Finogle * * Krystal Firster * Michelle A. Fitch Jennie Therese Lashinski * * * * * * Lauren A. Leighton * Nicole Lenz * Brian Lewis * Christina Lynn Lewis * A-y Lynn Licata Jodi L. Flexman * A-y Dianne Forbes * Rachel Forgotch * LucasTimothy Frey x Brynn Gallagher MandyJean Gallo MalloryA. Gana * Melissa A. Geiser * Degree in Absentia 5 Jennifer Irene Latawiec Stephanie J. Learn Jantzen Linn �I\{ASTER'S DEGREE CAI{DIDATES Confrnued Master of Science Education * Robert Marshall Poole Casey Nikole Long * * * E-ily Marie Lucas * MatthewAdam Madonna * Amber Nicole Maghamez Matthew R. Maisano Kristie Lynn Mannion-Guest * Danielle Nicole Marker David Michael Marshall Christine Martin Belinda L. Martinez * Tori Lynn Martinez * Jenny E. Matten James Patrick McBreen * Andrew Charles McCaffery * Katherine Ann Swiatek McConaghy * Mildred McCormick * Dana McGurk * Brady McMahon * Caroline Lelen McRobbie * Martha Memolo * Cullen Mentzell * Caitlan Marie Messimer * Alisha Rae Miller * TrevorJ. Miller * MichaelTerrence Miller * Sarah Nicole Mook * Kristen M. Morales * * * * * * * * * * Johanna Renee Reber Krysta Lizabeth Reber Lisa Marie Reggiani BrentThomas Reinhart Meghan Elizabeth Rhoads Brianna Nicole Rice James Thomas Ringleben,Jr. * Brittany Iliana Rodriguez * Ashley Nichole Roposh * * DanaJoan Rottet JoshuaJ. Rowe Manal Sankari Salet * * Abby Kline Sanders ElizabethW Saylor * Kacey Lynann Schaelfer Sydney Rae Schafer TievarW Scheuch x Megan Scott # Lauren Anne Seamon * Kari Shaffer * Priscilla Sherman * Lauren Shilko Jenna Chrisrine Morgan * JuliaA. Shoff ChristaJoy Shulenberger * Jacquline Kristina Simms * * * Amanda Mullery-Marconi Rachel E. Murphy Catherine Louise Murray Samantha Kalynn Myers * Casey Simpkins Samantha Marie Slonac Jacquelyn Marie Smigo * Allison M. Smith * Amanda Rae Smith * Kara Snyder * * Kerry Naniewicz * Kristin Prosper Wesley M. Pruitt Meghan Ruth Ragru * * Molly E. Morrell * Brittany Moyer * Meghan R. Moyer * Elizabeth Allen Muehlbach * Aaron Michael Popp Brandon Popp Jennifer Naylor-Gross Jamie Michelle Newcomb * SarahWatts Odell Andrew Oswald Rachel Kathryn Oswald A*y Marie Pardee 'William Krysti Lynn Spadea KaylaAnn Sposto Melanie Lynn Steffy Kevin Michael Steinke Stephanie Stevens Dodson Ruth E. Still Laura Michelle Strawderman Beishline Pasukinis * Jeffrey R. Strayer x Brittany L. Strenchock x Diana Christine Swope Alicia Marie Perez Kryh Persichetti JacobAllen Peterson * * * Tyl.. Petrouskie * Nicole Pfamatter * Rikki L. Pfeiffer-Carr * Ann Marie Pineda Ziegler Brianne Tartaglia Erin Nichole Taylor Stephanie AnnToth Cameron KinzeyTrego * May 2019 Craduate * Degree in Absentia �MASTER'S DEGREE CANDIDATES Master of Science Education * HowardWTroup * Mary-Rebecca Tluchan * Jennifer Ann Ttcker * Thomas MichaelVazquez * MarkWojdyla * Katherine Ann Washington ShannonWasilewski Colleen MichelleWayman * Nicole L.Weber x * * MatthewWWilley * Jessica Gwen Marie'Williamson Jr.lyn E.Wisotsky * Caitlin Elizabeth Wright * KristinWuchter x Kristen MarieVender * Continued - x MorganWilliams Rachel M.Tletiak * * Williams Aimee N.Yakutchik JaredYanniello Dennette MichelleYarnell CaseyJoYenser Janelle Ann Ziminski Jacob Allen Zurn Master of Science in Bioengineering The College of Science and Engineering Dr. Prahlad N. Murthy, Interim Dean NathanJ. Barnhart KyleThomas Stanek Master of Science in Electrical Engineering The College of Science and Engineering Dr. Prahlad N. Murthy, Interim Dean * Sean Bovier Master of Science in Nursing The Passan School of Nursing Dr. Deborah A. Zbegner, Dean Susan Andersen Stacey Esther Patricia Paloma Barrow-Barker Sandra Marie Boyd BelindaAnn Byrne 23 Charito Santos Cordea * * Alissa Custer * Hope Ranae Eutsler 23 * Juanise Tysh a F razier * Kimberly Giordano Difilippantonio Harwick * * Christopher Thomas Jaynes Patricia Sue Kiessel Delana M. Rodgers John E Russell KimberlyJan Secord Olatunbosun Adenike Somorin Maureen C. Hart-Fritchman Kimberly S. Horne AmandaJo Hutchinson Donna MarieJames Kunze x Tammy Pittsman * Paula Christine Freeman Elissa P. Michelle L. Lee Cindy M. Lin TiffanyAnn Mayernick Amy Marie McVey Samuel K. Onwu Jessica * Ann Sparacio Bethany Cavan Tieibley Amanda BrookeWagner Laurie ChrisrineWahl MeganWilliams Stephanie Devona Zadroga 23 SigmaThetaThu * Degree in Absentia �BACHELOR'S DEGREE CANDIDATES The College ofArts, Hurnanities, and Social Sciences Dr. PaulT. Rigg$ DGrl Spanish # Sierra Rae Musa SummerJanelis Rivera The College of Science and Engineering Dr. Prahlad N. Murthy, Interim Dean Applied Engineering Sciences * Mohammed Z.Almalki Biology Jordan Elizabeth Norton Earth and Environmental Sciences CodyJosephTice Electrical Engineering * Ali SalemAlshaiban * AnasA.Alshehri Khaled Mohammed Malallah * Mardn Saporito Mohammad mufarj Alsubaiei Mechanical Engineering * HasanAlakari * Dalal Fae Alashour FalahAlhamlan * # May 2019 Craduate 8 Salah M.Alrasheedi David Sandy ZejiangTan * Degree inAbsentia �BACHELOR'S DEGREE CANDIDATES The Jay S. Sidhu School of Business and Leadership Dr.Abel Adekola,Dean Accounting Dafer Mohammed Alshiban Seconil Degree, Finarce Business Administration Francesca Chirico Entrepreneurship * AnnaJ. Fatis, Cum laude Finance Faris Ali Al Dughaysh RakanAlmulhim Dafer Mohammed Alshiban Seco nil D egree, Aao unting JeremeyTomaine Managernent * x Dewitt Moore,Jr. Meshal AJtowairqi Jessica Garman The Passan School of Nursing Dr. Deborah A. Zbegner, Dean r Jonathan D.Adamchick Jacqueline Marie Ashman * Kristin Marie Beshada Mariah Lynn Bielski 23 23 * * 23 KristenAnn Meckes 23 Rachael Ann Naradko 23 Katrina Ly,nn Organ Janelle Semone Blanchard Alexandra Nicole Campbell Rayleen S. Carper Cianael M. Paasewe PrachiJ. Pathak MariaAnna Chinikaylo, Cumlaude Jessica Marie Comstock Holly R. Corvfer Austin E. Crystal Bridaliz Delcid 23 Nicole Dimitriou Suzanne K. Grusenski Andrew Daniel Hasuga, Magna Cum laude Jared Michael Hoats 23 Joshua David Landsb erger, Cum laude Maria L. Latovich, Magna Cum Iaude KyleW Yumiko M. Remouns 23 Alyssa Nicole Romisher 2r Nikki Therese Scaranrino Loren Catherine Schemery Tessa Scrobola Brett M. Shepard Victoria tylorWalker Licia EllenWitt ElnabethKmiec 23 Katelyn Marie Kovaleski * 23 SigmaThetaThu Poray 23 Breanna Alice Worthing Paula Zack, Cum l-aude * Degree in Absentia �r Scholarly Societies and Special Designations 1 Denotes Membership in Alpha Chi, the National College Honor Scholarship 2 Denotes Membership in Alpha Kappa Delta, the International Honorary Society in 3 Denotes Membership Society' Sociology. in the Eta Pi Chapter of Alpha Sigma lambda, the honor society recognizing the acailemic excellence of adult part-titne stuilents. Denotes Membership in Beta Beta Beta, the National Honowy Society in Biology. Denotes Membership in Chi Alpha Epsilon, the Honorary Society which recognizes students ' who were admitted to the (Jniuersity through Higher Education Aaess Opportunity progralns. Denotes Membership in the Zeta Psi Chapter of Deba Mu Delta, the National Honor Society in Business Administration. 7 Denotes Honors in Biology. 8 Denotes Honors in Englkh. 9 Denotes Honors in Engineeing. 10 Denotes Membuship in l-ambda Pi Eta, the Natiorul Honorary Society in Communimtions. 11 Denotes Membership in the Phi Phi Chaptu of Kappa Delta Pi, the lnternational Honorary Society in Education. 12 Denotes Candidates for Pennsyluania Tbacher Certification. 13 Denotes Candidates for Pennsyluania Principal Certifcation. 14 Denotes Membership 15 Denotes Membenhip in Phi l-ambda Sigma, the Pharmacy kadership Society. 16 Denotes Membership in Phi SigmaThu, the National Honor Society in Philosophy. 17 Denotes Membership in Pi Kappa Deba, the National Honorary Forensic 18 Denotes Membership in Pi Sigrna Alpha, the National Political Science Honor Society. 19 Denotes Membership in 20 Denotes Membership in Phi Eta Sigma, the National Honor 21 Denotes Membership in 22 Denotes Membership in SigmaTau Delta, the National Honorary Society in English. 23 in PhiAlphaTheta, the National Honorary Society in History. Denotes Membership Society for Psi Chi, the National Honorary Society in Society Society. Psychology. for College Freshmen. Rho Chi, the National Honor Society in Pharmacy. in the Zeta Psi Chapter of SrgmaThetaThu, the Intunational Honor Nursing. X, the &imtfu Raeanh fuiety. 24 Denotes Membership in and acknowledgment by Sigma 25 DenotesTbm Bigler Scholar. 26 Denotes Pre-Medkal Scholar. 27 Denotes Membership 28 Denotes Membership in Sigma Alpha Pi, the National Society of badership and Success. 29 Denotes Membership in Alpha l-ambda Delta National Honor Society. * # in the National Student Nurses Association. Degree in Absentia May 2019 Craduate 10 �Acadernic Costurne The celebration of Commencement is surrounded by rich traditions. The established community of scholars proven scholars - the Faculty the Craduates colruene to recognize the newest grou2t of don the attire fficially and welcome them infellowship. Craduates - symbolized scholarly - attainment, thatfor years has During the MiddleAges those seeking an education traueled to European centers of learning. Centers of learning and universities were closely allied with the clerics of the time, and the scholars donned garb similar to that worn by the clergy.This euolued into the academic unform, a long gown,hood, and cap,whkh proued usefulfor studying in unheated and drafty buildings. The hood serued simultaneously as a head couering, a repository for coins and alms and the black forerunner of the modern day book bag.The hood utas adorned with the colors of the uniuersity and designated the young scholar's school or uniuersity ffiliation. By their distinctiue clothing the students uere set apart and distinguished from the citizens of the toum; hence the origin of the phrase "town and gown." American colleges and uniuersities adopted the wearing oJthe traditional apparel in Colonial times, and a common codefor academic apparel was established in the mid-nineteenth century. The hood is the most distinctiue feature of academic regalia. The inside of the hood is lined with the fficial colors of the institution; today you seeWilkes graduates wearinghoods lined with the blue and gold colors of the (Jniuersity.The ueluet trim around the outside of the hood designates the degree orfield of study o;f the graduates.The veluet colors worn by today\ graduates signfy the following : GoldenYellow Blue Apricot White Drab Brown Olive Science Arts, Letters, Humanities Business Administration Fine Arts Pharmacy Education Nursing The style of the gown distinguishes graduates by the degree they haue earned. Those earning the bachelor's degree wear a simple black gown with elongated pointed sleeues. Holders of the master's degree wear gowns with a longer, closed, square cut sleeue.The doctoral gown is trimmed with ueluet stripes on the sleeues and panels of ueluet on thefront closure of the gown. SomeAmerican universities haue adopted doctoral gowns in their distinctiue colors.You will notice the slate of Columbia, the red of Cornell, the burgundy of the (Jniuersity of Pennsyluania, the bright blue of the (Jniversity of Michigan. Tb haue earned the privilege of uearing acailemic costume regalia signifies not only the completion of a program of studies, but entrante into the comradery of scholarship. 11 L �THE STAR-SPANGLED BANNER What dawn\ eaily light, O say, can you see, by the so proudly we hailed at the twilight's last gleaming, Whose broad stripes and bright star, Through the perilous rtght, O'er the raruparts we watched, Were so gallantly streaming? And the rockets' red glare, The bombs bursting in air, Gaue prooJ through the night That ourflag was still there. star-spangled banner yet wave O say does that O'er the land of the free And the home of the braue? Words by Franck &ott Key Anangeil by Philip G. Simon ALII{A T{ATER Wilkes, ourAlma Mater, We pledge our hearts Hon,or, faith, and to thee, courage, Truth and loyalty, In our work anil in our pleasure, Cuide us as aJriend; We shall alwaYs loue thee, I-oyal to the end. Thou shalt leail us onwaril In search offiner things. May wefind the wisdom That thy spirit May our brings. deeds of love and seruice Euer swell thy fame Wilkes, we stand to greet thee! - Glory to thY name. Words and Music by Eleanor C. Farley Arranged byTerry Zipay A receptionfor graduates and theirfamilies will be held in the Ballroom oJ the Henry Stuilent Center immediately following the ceremony. 72 ��� 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 Commencement Programs, 1941-2020 Description An account of the resource Wilkes College and Wilkes University Commencement programs from 1941 when the college was a satellite campus of Bucknell University through Winter 2020. Creator An entity primarily responsible for making the resource Wilkes University Publisher An entity responsible for making the resource available Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1941-2020 Format The file format, physical medium, or dimensions of the resource PDF files Type The nature or genre of the resource Programs 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 September 9 2019 Summer Commencement 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 Program https://omeka.wilkes.edu/omeka/files/original/b51d0901984064eb403f9b2f4f90f5e5.pdf d6104bf0003c6edb0bae23742ca8b0b1 PDF Text Text �THE STAR-SPANGLED BANNER What ' dawn\ early light, O say, can you see, by the so proudly we hailed at the twilight\ last gleaming, Whose broad stripes and bright stars, Through the perilous fight, O'er the ramparts we watched, Were so gallantly streaming? And the rockets' red glare, The bombs bursting in air, Caue proof through the night That ourfiag was still there. O say does that star-spangled banner yet waue O'er the land And oJ thefree the home of the braue? Words by Francis Scott Key Arranged by Philip G. Simoin ALI\,IA MATER Wilkes, our Alma Mater, to We pledge our hearts Honor, faith, and thee, courage, Tiuth and loyalty, In our work. and in our pleasure, Cuide us as afriend; We shall always loue thee, Loyal to the end. Thou shalt lead us onward In search offiner things. May wefind the wisdom That thy spirit brings. May our deeds oJ loue and seruice Euer swell thy fame Wilkes, we stand to greet thee! - Glory to tLry name. Words and Music by Eleanor C. Farley A reception Jor graduates and their Jamilies will be held in the Ballroom Henry Student Center immediately Jollowing the ceremony. oJ the �1935 -WINTER WILKES UNIVERSITY'S COMMENCEMENT for the Conferring of Degrees \^. �Order of Exercdses *FANFARE AND PROCESSIONAL Entry anil March of the Peersfrom lolanthe Arthur Sulliuan WELCOME Anne A. Skleder SeniorVice Presiilent and Prouost *INVOCATION........."""" "" Kristin M. Osipower Coord.inator, Campus intefaith *THE STAR-SPANGLED BANNER.............Words by Francis Scott Key Arranged by Philip C. Simon GREETINGS............ . Andrew P. Miller Chair, Facuky Afairs Council Associate Profes sor, Political Science JaysonJ. Pope '19 Member oJ *The auilierce k requuted b ise. the Graduating Clas �& F E: Order of Exercises E. e f f E B V' COMMENCEMENT ADDRESS € ..... PaulT. R gS Dean, College of Arts, Hwnanities anil Social Sciences F F. E: E: CONFERRING OF THE DEGREES Patrick E Leahy Presiilent I "!: : ; PRESIDENT'S MESSAGE Patrick E Leahy i: l] f i I] tr, *AIMA MAIER.................... ........ Eleanor C. Farley Arrangement, Tbrry Zipay !. ,' I lr i: F6i. F k. E *BENEDICTION .. V: v Kristin M. Osipower C o o rilin at or, C amp u s Intufaith k- F E E E k E *RECESSIONAL TrumpetVoluntary.--. Purcell/Coe[ey E E *4 E E E Music prodded by theValley Bnss Quintet Dr. Philip G. Simon, Ditector Hannah Fritz'2 i, Vocalist E E F ea E E E E E E F E L *The auilience is requested to rise. �DOCTOR OF EDUCATION CANDIDATES The School of Education Dr. Rhonda M. Rabbitt, Dean * Erin K. Keating Jeanne S. Conahan JaysonJ. Pope Charles D. Stricker,Jr. Anthony Conston,Jr. Randi Denelle Dickinson Victoria A.Jones l 1 DOCTOR OF NURSING PRACTICE CAI\IDIDATES The Passan School of Nursing Dr. Deborah A. Zbegae4 Dean Suzanne Aprile-Forlenza * Dawn Renee Ball * Yolry, Boruch * Jewel R. Haran ManecaJean Baptiste Kassandra Sue Kornbau Kenisha Latoya Linton Frances Edna Bradley Jeremy Brook Abiola Lokoyi Kimberly Ann Makuta-Michael * Maria Cordeiro * Sylvia Coulehan Raeleen Delos Santos DeJesus * JenniferJean DeVries Shiny Mary Easo Magdaline Mervil Yanick Noel Price RobertWilson Ralston Judy Ros Sherri Antoinette Sadler Cornelia Racquel-Ann Gilpin Nancy Sanon Karen Gonzalez * BonnieYoung * Rebecca Lee Hall * Degree in Absentia i .i I 4 1 j I l �MASTER'S DEGREE CANDIDATES The Juy S. Sidhu School of Business and Leadership Dr.Abel Adekola,Dean Master of Business Adrninistration Mitchell Kotarski Snehapriya Bharatha Stephen Richard Brazon Shannon Marie Laul ThomasAdam Matthews 6 Michele Gerette Foust 6 Kelly Rose Herbst Christopher James Nixon Younes Hidass Zeeshan Saleem 6JeffieyAlan Homza * 6JasminJaen Kara Marie Schricker Sukhwinder Singh The School of Education Dr. Rhonda M. Rabbitt, Dean Master of Science in Education * Michele Ann Chowdhury Alicia Marie Albright Samantha Alicea-Swindell Juliana Nicole Ciccarelli Jillian Cienciva * Kevin Richard Coffee Michaelia Danae Conn * MarioVincentAmato * Lizzette Anders Kaelin Kari Anderson * Margarita Alejandrina Arciniega * de Ikryff Kelly L.Assenza Caitlin NelsonAyre TiffanyApril Bachart * Megan Nicole Bakes * WendyJoann Baltz * JaredAlan DeGerolamo * Krisry Kay DelVecchio * Kryl, E. Desko * TateArthur Dewalt * Wendy Sue DiNardi * Tiicia M.Donley Jamie L. Barloww * Nicole Barna Elizabeth Barnett * Michele Maria Bardett * Regis Barwin * Enrica L. Bellucci * Nina Bender * Anthony Dougherry Katherine Eber\ x Marla Marie Bennett * Claire Dawn Bertinet * Kimberly Marie Berwager * Brandon Alfred Beyer * Karl Gregory Bierly * Lauren Olivia Boess * Elizabeth Lee Edwards * Alicia Nicole Etter * Lindsay Elizabeth Feger Mariane C. Ferranrino * Sarah Forshey * Astrlie Funkhauser * Megan Elizabeth Garbrick * Crrly Rae Gausline * Sean Eric George * Lauren Renee Bomberger Elizabeth Ann Brickner * Rachel Brinton * Katie A. Brown * Megan Elizabeth Burrows * Elizabeth Susan Cadden * Kryl, Nicole Calkins * Meghan Elizabeth Cela * Kevin Childs * JillAnn Gibson x Nicole Lynn Good JenniGrWinn Gosser Christopher Groff * JaclynAnn Groh * Ashiey Michelle Grove 6 L * Michael Courtright * Brian Howard Davies * Michelle Lynn Davis * Lindsey Marie DeAntonio * Teressa Marie Deardorff Delta Mu Deha * Degree in Absentia �I\,IASTER'S DEGREE CANDIDATES Master of Science in Educatio Contiru.rcil x Genevieve Annalee Gunsolus * Elaine C. Guyer * Christopher James * Jeffrey Hall * Jennifer L. Halucha * DebraA. Hansbury Megan Rebecca Harper * * * * * * * Laura Ellen Harris * Hillary Hartzell * ChristopherThomas Haun Katie Lynn Hennessey Julie Marie Mowrer Katelyn Mae Moyer Patrick Murphy Phuong L. Nguyen * * Renee Lynn Huber * TravisW Hubler * * Tabitha Christine Hylton * * Justin Ivans x AmandaJ.Jablonski * Christina M.Jackson Kirsten Lynn Olson James Pagano Valeria Angela Pannia Joseph S. Parsons Kylee Ann Pastal Elizabeth Pcolinsky JenniGr Michelle Kadjeski * Kristi Lee Kauffinan * Kaitlyn Louise Kepler * Alexis Lavoynne King Christina Nicole Rabeh Anna L. Radspinner Lauren H. Ramspacher Leonard R. Reed Nancy M. Kiscadden Shawna Marie Koons * * * Sherilyn Marie Reidinger-Smith * Lauren Reynolds * Christopher Rezykowski * Sarah Rebecca Rice * Rachel Marie Richie * Andrew R. Riedi * Tamara Grace Ritter * Katie Lance Roberts * Tiffany Lee Rodkey * Diana Romero * AliciaA. Ross * Ellen Kathleen Ruane * Alice Elizabeth Ruby * Arlen Robert Saner * Emily Lizabeth-Johns Saslo * Stephanie Saunders * Mark Alexander Schilajew John Kretzman * Abigail Lauren Kurzweg x Michaela Kathleen LaBar * Bridget Michelle Laich Alicia Darlene Land Solis Melissa Maria Lanigan * MelindaJean Larko * Chad Michael Laubscher * Krista Lynn Lenner * Sarah Lesisko * Stan J. Licharowicz,Jr. Megan Gillis Long Danielle Marie Lonzinski * Michaela Meghann Lukasik * ArwoodJ. Lunger * Cr.h Cameron Lyon x Teena Marie Marsh * DanielT. Martin * Chelsea Maxey * Shannon Rose Maylath * Melissa Mays * Gregory C. Mazurek * Caitlyn McAndrew * KristenJoy McCarry * Megan Irene McCormack * KellyAnn Nieroda Alicia M. Noll * Kryl, Mary Perkowski * Kristin Michelle Petrulsky * Christy Phillips * Melissa Lynn Preston * Kelcey Rae Prushinski * Erin HilaryJochym * Christopher Miller * Gina M. Molinaro * Kelly Rooks Morris * Jill Schrader * Laura K. Scott * Catherine Manley * * * * Jacqueline McMullen * Micheal L. Migliori * * Degtee Jacob Brian Shoemaker in Absentia 6 Sekely Gretchen Samantha Seyler Corey Matthew Shadle Shannon Sha{fner Ray Elliott Shearer Maria Candelaria Shirar �I I r t t IT,IASTER'S DEGREE CANDIDATES Master of Science in Education * Jennilee Shores It * Alyssa Shortall * Morgan SieGrt * Alex P Smith I * Hannah Kathryn Sollenberger * K.yl, Lynn Spencer I - Contiweil * AIi E.Tiainor * Jonathan R.Tieese Krista Marie Tully * Nicole LynaeVanGorden * Abby LynnWagaman Bailey L. Snyder * Krisrin NicoleWalton *Jessica HarlessWash Anthony William Spinnraker tylor Marie Stair * Marykatherine Sternthal * * * Shelley Marie Stewart * Nicole Stouffer Joshua D.Werstler Terrence M.Whalen Tara M.Wheeler * Abigail Christine Williams Julie AnnY/iltrout * * Elizabeth Anne Srrite * Tamara Marie Stubits * Michele S. Stum * SethJamesWinder * K"yl, L.Witrnier * NicoleYaghi Brigetta Thddei * * DavidJosephTemprine * Alyssa MarieThompson JennGr RoseYasinskas Nicole Zakrewsky AmyMarie Zurcky *Julie Zappile * Andrea L.Zelko * Bonnie G.Thompson * Kelsey Deirdre Tobias Bobbie LynnTondora The College of Science and Engineering Dr. Prahlad N.Murtry, httrzinDlrln Master of Science in Bioengineering * Kevin M.Abraham The Passan School of Nursing Dr. Deboiah A-@na,Ihm Master of Science in Nursing 23 a AmyAcosta Trina Marie Adams * Bolanle M.Ahazie Jill Fols * Tiory Foreman *3 Jonathan Kepner Fricke a Theresa Green * Angel Fawn Gressel * Angela Marie Harashinski * ! Shirley Kay Berry Kendra Sue Blankenship * Terri Lynne Bonilla Marcella Roberts Charles Rachel Lynn Cunniffe 23 Melody L. Danko-Holsomback *a r tacey Marie Dixon I *'23 23 * Rose Marie Dunn r L Stephanie M. Herman 23 Jessica Ashley Hertzog * LaToyia Ranell Holman Falcone a SigmaThetaThu r Tncey Briana Hawkins Nicole Marie Heffner Gresa Heller-'Wescott Teralynn Dubose * Ashley Melissa Melissa Leigh Ferrante * Degree in Absentia �IT{ASTER'S DEGREE CANDIDATES Master of Science in Nursing * Alyxandra Mary Howard - Condilileil Obianuju Okpala * Anita Raquel Patricia Howell * * Dennis Hunter * 23 t Darlene Phillips Stephanie L. Philpott * Amber Nicole Putnam Veronica Ramirez BethAnn Rhoads Jenqm L. Seely * Julia Nicole Silvestri G*gory Daniel Snyder Candace Ibrahim TinaJohnston StephanieJones Suzette Jones Kelsie ElizabethJudd Tonya Kemp LauraJane Krick * Sanghee Kweon * Amy Renee Lee * Allison Ann Maria Padilla Theresa Diane Pearman * Mark Gregory Sonenschein * Tyrone Sptiogs Lyavdansky 23 Rhoda Madamombe Tabitha Michelle Martin * Bonnie Denise McGowan x Melissa Minton Katie Stanford MariaVazquez Tiffany L.Walck * DevinJ.Wengelt * Andrea Estelle'Williams * Barbara HudsonWilliams Elizabeth Conde Morenry Catherine Margaret Myers * Andrea Noordyk *'a Michelle Marie Oglesby *'23 23 23 SigmaThetaThu * Lillie M.Wilson Carol Ann Clower'Wise Degree in Absentia �BACHELOR'S DEGREE CANDIDATES The college ofArts, r{umanities, and social sciences Dr. PaulT. Riggs, Dear Criminology le RachelJean Kubicki, Suuma Cum lauile BriannaWentzel Psychology, Second Degree Sociology, Seconil Majot History la Nicole Catherine Kolessar, Summa Cum lauile lnternational Studies Michelle Gheorghe Psychology le TinaA. Doshi Alexandria Marie Gartner RachelJean Kubicki, Summa Cum ltude Criminology, Second Degree Priscilla Lazar Sociology I 2 Trystin Lamereaux 2'30 Tobias Obadiah Neutzman Mintzmyer, Magna Cum laude The School of Education Dr. Rhonda M. Rabbitt, Dean Elementary & Early Childhood Education 11'12 11'12 Marisa M. Gribble, Magna Cum l-auile Megan MarieJohanssen, Sumna Cum l-auile 11,12 Victoria Lynnyazwinsky,Mogoo r1J2 Qianne Rae Salvadore, Summa Cum laude Cum Lauile Middle Level Education 12 Quynh Nguyen I .2.Alpha ta Phi E E s E t G E F Kappa Delta AlphaTheta te pi ,, Koppo Delta t2 pennsyluaniaTbacher Certffimtion 30 Psi Honors program Graduate * Drsru in Absentia chi �BACHELOR'S DEGREE CANDIDATES The College of Science and Engineering Dr. Prahlad Murthy, Intqimthat Biology a'30 a Dillon Michael Dais, Laura Solomon, Cum l-auile Magna Cum laude Madelyn Rae Dolinsky, Magna Cum laude a Eveline Kaminski, Magna Cum laude a Thomas O'Connell,Jr. a EmilyTirylor a Zachary l.Walter, Magna Cum laude Computer Science JeremyA. Miller Jonathan Stephen Sims Earth and Environmental Sciences Casidy Heid Engineering Managernent * Hamad MohammedAlmutairi Environmental Engineering e Wyatt O. Sebring Kelly C. Egan,Jr., Magna Cum laude * BrendanJames Fritz Jonathan JamesYouells Mechanical Engineering DanielThomas Eicher * CaseyJ. Evans JeffreyA. Lisk ThomasJ. McClintock Brian Paul McKenna DustinJones Medical Laboratory Science x Ohood Sami Althowaini a Beta Beta Beta e Honors in Engineeing 30 Honors Program 10 Craduate * Degree in Absentia �BACHELOR'S DEGREE CANDIDATES The Juy S. Sidhu School of Business and Leadership Dr.Abel Adekola,Dean Accounting Ausin Kubin Business Administration * Kayur Patel Finance * Yingchen Nada Essa Alnasser, Magna Cum l-aude Shao Amanda Jane tW rllis, Magna Cum Laude Mohammad Muqbel Alshalwi NoorAlzuwayed, Summa Cum laude Yuchen Xie,Magna Cum lauile M anagemen t, Seco n il M aj o r Alexander Charles Premici Managernent * Bianca Figueiredo Cocozziello Dewitt Clinton Chase Haskins,Jr. SoksovanaryJescida Douangchanh , Magna Cum Laude *'6 Marina Bianca Gallucci, Cum l-aude * Eric Robert Geiger Marketing, Second Major * David E. Heiser,Jr. CraigThomas Janczak Emily Messina Masi, Cum l-auile Marketing Colin Gardner, Magna Cum l-aude JeffreyA. Roedell Jonah David Kramer, Magna Cum Iaude Sports and Euent Management, Secontl Sports and Event Managernent Brandon M. Latierno Sports Managernent Zachary Ian McKitish I I r l. The Passan School of Nursing b Dr. Deborah A. Zbegner, Dean r I I * * Pamela Stephanie Gronsky,Magna Cum laude Sommer L. Ortiz Jennifer D.White, Cum l-aule 6 Deka Mu * Degree in Absentia Deba 11 Major �Scholarly Societies and Special Designations 1 Denotes Membership in Alpha Chi, the National College Honor Scholarship 2 Denotes Membership in Alpha Kappa Delta, the International Honorary Society. Society in Sociology. Denotes Membership in the Eta Pi Chaptet of Alpha Signa laabda, the honor soeiety recogn[zing the aeademic excellence of adult part-time students' 3 Denotes Membership in Beta Beta Beta, the National Honotary Society in Biology. Denotes Membership in Chi Alpha Epsilon, the Honorary Soeiety which recognizes students who were admitted io the Uniyersity through Higher Education Aecess Opportunity programs Denotes Membership in the Zeta Psi Chapter oJ Delta Mu Defua, the National Honor Society in Business Administration. 7 I 9 10 11 12 13 Denotes Honors in Biology. Denotes Honors in Englkh. Denotes Honors in Engineering. Derntcs Membership in Iambda Pi Eta, the National Honorary Society in Cotnmunications. Denotes Membership in the Phi Phi Chaptu of Kappa Delta Pi, the International Honorary Society in Education. Denotes Candidates Jor Pennsyluania Tbacher Certifuation' Denotes Candidates for Pennsylvania Prinripal Certification' 14 Denotes Membership in Phi AtphaTheta, the National Honorary Society in History. 15 Denotes Membership in Phi l-ambda Sigma, the Pharmacy kadership 16 Society. Denotes Membership in Phi SigmaThu, the National Honor Society in Philosophy. 1'7 Denotes Membership in Pi Kappa Delta, the National Honorary Forensic society. 18 Denotes Membership in Pi Sigma Alpha, the National Political 19 Denotes Membership in 20 Denotes Membership in Phi Eta Sigma, the National Honot 2t Denotes Membership in Psi Science Chi, the National Honorary Society in Rho chi, the National Honor Society Honor Society. Psychology. Jor College Freshmen. society in Pharmacy. 22 Denotes Mernbership in sigmaThu Delta, the National Honorary society in English. 23 Denotes Membership Society for in the Zeta Psi Chapter of SigmaThetaThu, the International Honot Nursing. X, the *ientfu 24 Denotes Mernbership in and acknowledgment by Sigma 25 DenotesTbm Bigler Seholar. 26 Denotes Pre- Medical Scholar. 27 Denotes Membership in the I'Jational Student Nurses Association' 28 Denotes Membership 30 Denotes Honors Program Craduate. * in Sigma Atpha Pi, the National Society of Degree in Absentia 12 Raemeh %ciety' kadership and Suaess �Acadernic Costurne The celebration of Commeflcement is surrounded by rich traditions. The established community of scholars prouen scholars ry the Faculty the Cradudtes conuene to recognize the newest group of fficially and welcome them infellowship. Craduates don the attire - symbolized scholarly - attainment. thatfor years has During the MiddleAges those seeking an education traveled to European centers o;f learning. learning and universities were closely allied with the clerics of the time, and the scholars donned garb similar to that worn by the dergy.This euolued into the academic unform, a long black gown, hood, and cap, which proved useJul for studying in unheated and drafty buildings. Centers o;f The hood serued simultaneously as a head couering, a repository for coins and alms and the Jorerunner of the modern day book bag.The hood was adorned with the colors of the uniuersity and designated the young scholar's school or uniuersity affliation. By their distinctiue clothing the students were set apart and dktinguished the phrase "town and gown." from the citizens of the town; hence the origin of American colleges and universities adopted the wearing of the traditional apparel in Colonial for academic apparel was established in the mid-nineteenth century. times, and a common code The hood is the most distinctive feature of academic regalia. The inside of the hood is lined with the fficial colors of the institution; today you seeWilkes graduates wearinghoods lined with the blue and gold colors of the (Jniuersity.The ueluet trim around the outside of the hood designates the degree orfeld of study of the graduates.The ueluet colors worn by today\ graduates signfy the following: ColdenYellow Blue Apricot White Drab Brown Oliue Science Arts, Letters, Humanities Business Administration Fine Arts Pharmacy Education Nursing The style of the goum distingukhes graduates by the degree they have earned. Those earning the bachelor's degree wear a simple black goum with elongated pointed sleeues. Holders of the master's degree wear goums with a longer, closed, square cut sleeue.The doctoral gown is trimmed with uelvet stripes on the sleeves and panels of veluet on thefront closure of the gown. Some American uniuersities haue adopted doctoral gowns in their distinctiye colors.You will notice the slate of Columbia, the red of Cornell, the burgundy of the (Jniuersity of Pennsyluania, the bright blue of the Uniuersity of Mkhigdn. To haue earned the priuilege of wearing academic costume regalia signifies not only the completion of a program of studies, but entrance into the comradery of scholarship. L. �� 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 Commencement Programs, 1941-2020 Description An account of the resource Wilkes College and Wilkes University Commencement programs from 1941 when the college was a satellite campus of Bucknell University through Winter 2020. Creator An entity primarily responsible for making the resource Wilkes University Publisher An entity responsible for making the resource available Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1941-2020 Format The file format, physical medium, or dimensions of the resource PDF files Type The nature or genre of the resource Programs 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 January 20, 2019 Winter Commencement 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 Program https://omeka.wilkes.edu/omeka/files/original/4fec6e8dd9890f91dbdfe002c7d67da0.pdf 9601e4b3a94d0087779a72e6c7850556 PDF Text Text �THE STAR-SPAI\GLED BAhINER O say, can you see, by the dawn\ eaily light, What so proudly ute hailed at the tutilight\ last gleaming, Whose brcail stripa anil bright star, Through the puilous fight, O'u the ramParts we watched, Were so gallantlY streaming? And the rockets'red glare, The bombs bursting in air, Gave proof through the night That ourfiag was still there. O say does that star-spangled banner yet wave O'er the land of thefree And the home of the brate? Words by Francis Scott Key Arranged by John Philip Sousa Harmonized by Walter Damrosch ALT,IA MATER Wilkes, our Alma Mater, We pledge our hearts to thee, Honor, faith, and courage, Tiuth and loyaltY, In our work. and in our Pleasure, Guide us as afriend; We shall always love thee, I-oyal to the end. Thou shalt lead us onward In search offiner things. May wefind the wisdom That tlry spirit bings. May our deeds oJ loue and seruice Euer swell thy fame - Wilkes, we stand to greet thee! Glory to thy name. Words and Musk by Eleanor C. FarleY �! I k t r F t r l I t r I ffi F I I i!' t i 1935 i a t t: I I E F WILKES UNIVERSITY'S SEVENTY-SECOND ANNUAL r tl i I i L+ Spring Commencement �Order of Exercises PROCESSIIOI{AL futdltffi{fuhtfimldorttv Arthur Sulliuan is nq*d A ldse as thc procession begins.) $rE fu The Wilkes University Commencemenr Band u/ELCOME.............. ANNE A. Srunorn Senior Vice Presiilent and prouost INVOCATION......... ........ KalsrrN M. OsrpownR Coodinator, Campus Interfaith The Star-Spangled Banner....... (The words toThe Star-Spangleil Banner Woils by Francis Scott Key ltinted on the insidefiont cwer of the prograu. the National Anthen wiih the chontsind bindj are The audience is requested to stand and sing The'Wilkes lJniversity Commencement Band and Choir Gaudeamus Igitur......... GREETINGS............ Tiaditional Jasoi.r Gp.rccs'90 Member, Board of Tlustees ANon Ew P. Mnrrn Chair, Facuhy Affairs Council As sociate Professor, Poltical Science Kva A. Lrwrs Member of the Class of 2019 �Order of Exencises PRESENTATION OF A'WARDS PRESENTATION OF HONORARY DEGREES THE CONFERRING OF THE DEGREES Parn rcr F. Lranv Presiilent ALUMNI INDUCTION.......... ......Cor.ourr MARK Raoo '80 Unilen PRESIDENT'S Alma MESSAGE Mater........ Stares Anny (Rethed) ..........Parnrcr F. Lnanv ..........E1eanor C. Farley Arrangement, Terry Zipay (The words to the Alma Mater are printed on the insideJront couer of the program. The audience is requesteil to stand and join in the singing.) The Wilkes LJniversity Commencement Band and Choir BENEDICTION KRrsuN M. Osrpowrn .. t: i ii tt i. t r I RECESSIONAL March of the Belgian Paratroopers............. March from Scipio The'Wilkes I-Iniversity Commencement Band E E E E: ra j E Ir T' E r t t T Music Prcvided By: Wilkes Univmity Commetuement Band Wilka Uniuerity Commencement Choir Dr. Philip G. Simon, Conductor E E c. IE E , t L; 'j . Cerernony Interpreted By: JenniGr Herrera and Carmen Lugo 360 Tianslations International, Inc. Pierre Leemans G. F. Handel �HONORARY DEGREES DOCTOR OF BUSINESS............... ...RoNaroW. Stivtus Native of MountainTop, PA; graduate of Wyoming Seminary andWilkes College with the Bachelor of Science degree in Commerce and Finance;military education at the ArmyArtillery School, the fumy Command and General Staff College, the National Defense Universiry and the fumy War College; currently President and Chairman of the Board of Mountain Productions ind Chairman of the Board for Petroleum Services Company; officer or director on more than 30 governing boards, including service on the Wilkes Universiry Board of Trustees, served ,i chrir-r., of the Board for First Heritage Bank, Honesdale Gas Corporation,PG Energy, PEI Power Corporation, Pennsylvania Enterprises, the Pennsylvania Gas Development Coiporation; and awarded the Wilkes Universiry President's Circle Award fromWilkes University with your wife, Rhea, in 2001' in theWyomingValley, raised your family !ere, and established .rr...rr{iib.rrinessesthat have thrived and contributed to the economic vitality of Northeastern Pennsylvania and beyond; because you served your country honorably in the United States Army, rising from the rank of Private, First Class to Lieutenant Colonel; because you de-o.rrtr"te"d your business acumen again and again by being selected to serve on and lead Because you lived your life boards in the banking, energy and health care fields; and because you understand the importance of stewardship, giving of your time, expertise and financial resources to enrich our culture and enhance ihe q"aiiry of life in our communiry by the power vested in me by the Board of Tfustees of Wilkes University and the Commonwealth of Pennsylvania, I confer upon you, RonaldW Simms, the Doctor of Business degree, honoris causa, with all the rights and privileges appertaining thereto. ..'..... RossRr A. Bnuccpwonrn DOCTOR OF BUSINESS ............... Native of Pittsburgh, PA, to where your lifelong sports allegiance remains steadfast; graduate of Dallas Area High School and Wilkes College, where you earned a Bachelor If S.i..r.. degree in Electrical Engineering manufacruring engineer at AMP where you advanced to p1r.rt manager at age 26, rising evenrually to the role ofVice President of global compuier and coniumer eiectronics in Hong Kong; President and CEO for RFMD; ind the cuirent President and CEO of Qorvo, a semiconductor company with more than 8,000 employees in 17 countries and annual revenues of over $3 billion; board member at the Semi-.orrdo.tot Industry Association and MSA Safety Incorporated; and former board member for LightPath Tiechnologies, Guilford Technical Communiry College and Wilkes Universiry. Because yours has been an exemplary career that propelled you 1o key executive and leadership roles; because you have been adept at developing successful organizations by focusing on collaboration, by establishing effective systems and processes, a1d by creating positive corporate coltu.ei; because you have developed international companies with an entrepreneurial spirit and the agiliry to respond to the instantaneous demands of the globai technology industry; and because your vision, your passion for excellence, and your by the polrer vested in me by the Borid of Trostees of Wilkes Universiry and the Commonwealth of Pennsylvania, I confer upon you, Robert A. Bruggeworth, the Doctor of Business degree, honoris causa, -ri. yo, a role model to study and emulate, Impowering sryle has with all the rights and privileges appertaining thereto. �A\X/ARDS TT{E MABLE SCOTT WANDELL AND STERTING LEROY WANDELL AU/ARDS .................... LauruN N. Bnzm, 19 Corr R.Warmps'19 Ile *c pmd n ilu nm aill unman who haue attaineil the highest amdemir q? fu de Iow yr.rln at Wilka lJniuusity. ffiffi*'m* THERESAJORDAN AND FRANK MEHM PRIZE....... ...... Rorr,reo Rosanro '19 Thk annual pize raogniza an indfuidualfiom theWilkes conmunity ttho by uote of a select committte, exemplifia moral courage, yterseuerante, Jormidablefaith and a sense of unwauering optimism. Presentation by Ptw S.Aoarrrs Vice President, Student Affairs ALUMNI A\MARD FOR LEADERSHIP..... Kva A. Lrwrs '19 is giuen by theWilka Uniuasity Ahnni Assodaion a tlw nemba of the graduating das considereil to haye made tlw stnryx cmrihttions a studot lfe This award and the stuilent aAiuitia progott of Presentation el, ilullaiwsity. MARKA. RADo '80 Colonel, United Sates Arnry (Rdfued) ARMED FORCES RISERVE OFFICER APPOINTMENT UNITED STATES AIR FORCE................ Dorrarr.uQuE BERGERoN, 1 9 DyraN McCasn '19 MrcHasr SHuruocr'19 hesentation 6y RonERt HarruaNN Lieutenant Colonel, United States Air Force �BACHELOR'S DEGREE CAI{DIDATES The College ofArts, I{urnanities, and Social Sciences Dr. PaulT. Riggs, Decr Cornrnunication Studies Clayton D. Basalyga 'o 10 10 10'17 Joh, Michael key,Magna Cum l-aude Benjamin Rodney Saunders Allyson N. Sebolka *ro,2s Nicholas J. Filipek Marie Fritz, Magna Cum l-aude Jordan Michelle Marie Grossbauer Aislinn Niamh Speranza Marketing, Second Degree fuhtonW Gyenizs, Cuml-aude JeromeJoseph Hannon, Cum laude Natalie C. Stephens Criminology 2 Sara Renee Pendley, Magna Cum laude Political Science, Second Major AlexJonathan Altenham Nicholas Capozzi, Cum hude Sociology, Second * Vishesh Mehta Ramlall Major * Kryl, Jeftey Stephen Dudick II Ryan Patrick Senholzi Giuseppi Giovanni Durso Sociology, Seconil Maj or Sociology, Second Major 2'1e Tabitha R. Gravius S o ci ology, Secon d #'1e Marie Schinse Jessica Snyder, Magna Cum lnude Maj or Alyson SavynneThcury RachelJean Kubicki, Summa Cum ltude Sociology, Seconil Major # BriannaWentzel Psychology, Second Degree Sociology, Second Maj or DylanJames McCabe Jeremy EdwardYzeik Sociology, Second Major Sociology, Second Major PatrickWalter Miko Digital Design and Media Art * Collin Joseph Gryskiewicz Kate Lyn Landis Autumn Marie'Washington MohammedAlmulhem Lisa Marie Blackwell Patrick E Daniels Briana Fedorko English 22 12 MackenzieT. Egan, Magna Cum Iaude Secondary Education, Seconil History, Second Major 2 ts phi Lambda Alpha Kappa Sigma Matthew Judge, Cum l-aude t7 Major Eta t2 PennsyluaniaTbachet certfication 25 22 Tom Bigler Scholar SigmaThu Delta Psi Chi H Kappa Deka * Degree in Absentia *January 2019 Craduate Delta 10 l-ambda H 1e �BACHELOR'S DEGREE CANDIDATES The college ofArts, Humanities, and Social scien continued I{istory tt't2"tr grooke Ariel Giarraanq Summa Cum l_aude Nf Dhrei,fuorul Major BenjaminWatson Pierce IanJ.Valles *rr l\Eodc Cderinc l(desac .9,rrrd Cum l_auile International Snldies 1182 Corr"e SBonnercridt fu.CnLa& # 5 NeishmyTabth Rodriguez Michelle Gheorghe Musical Theatre * JustinTyler Gaskill, Magna Cum lnude Joshua Michael Shepail,Magna Cum l-aude Neuroscience 17 Thomas Stanley Krutsick 1e'2e'30 LearaJ.Pande, Magna Cum l-auile Psychology, Second Maj or Psychology, Second Maj or Political Science 18'2e DominicJ. Butchko, Magna Cum laude Braddock C. Chow 18 Erin Shirley Hickman EricaJane Martzen 18 Geraldine Ndidi-Kesiana Ojukw,u, Cum Laude 18 Kyle R. Snyder-strawser Philosophy, Second Maj or Jenna MaryVella Intemational Studies, Suond Major International Studies, Second Maj or Psychology le Kelly Marie Barnefiher Gabrielle Alexus Buder Brianna Mazzaccaro, Cum l-aude s Nalleyn Nuflez # TinaA.Doshi Nicole Marie Nyce, Cum l-aude Romeo Rosario le Makayla Kristine Sarnosky, Magr a Cum Lauren A. Esser e'tr'ze 6ollin Christopher Fir/riel,Magna Cum Laude 1e # Katelyn M. Segilia Cameron Ford, Cum l-auile # Alexandria Marie Gartner Kristie Lynn Swetts, Magna Cum Laude NicoletteTowlen Mathew R. Kelly #'1e Laura Amelia Kessler, Cum lauile RachelJean Kubicki, Summa Cum Lauile Jondan MarieVasarkovy Criminology, Seanil Maj or &ciology,Thhd Major Criminology, Second Degree # Priscilla Lazar Erin NicoleVolutza, Cum laude MorganWilliams TaylorA. Leicht I t7 I i Alpha Chi s ChiAlphaEpsiton t1 phi phi Pi Kappa Deka t8 pi SigmaAtpha te psi Chi * Degree in Absentia 12 2e I Alpha l-ambda Certifuation Delta *January 2019 Craduate i l PennsyluaniaTbacher 7 30 1a phi AlphaTheta Honors program Cruduate l-auile �BACHELOR'S DEGREE CAI\IDIDATES Continud The College ofArts, Hutnanities, and Social Sciences Sociology #'2'30 Sarah Fasulka Ciminology, Seeonil Major Jordan D. Stiles Criminology, Second Major Alexandra Rae Garcia 2's CierraJoan Ke\ Hornbaker Ymari Umoji'Williams Criminology, Second Major #2 Trystin Lamereaux 2 Tobias Obadiah Neutzman Mintzmyer, Magna Cum Valerie Lower, Cum l-aude Ciara Michno Criminology, Setond Major Spanish 3r Madison Danielle Becker, Cum laude *'12'30'31 1'4'2e'31 Harrison Richard Eckert, Sierra Rae Musa, Summa Cum Laude Seandary Eilucation, Second Major Management, Second Degree Summa Cum l-aude 31 Jasmine QuintanaAvila Biology, Second Degree Biology, Seconil Degree Theatre Arts James Danielle E Lutz Brian Cahill Gabriella Vict o.ia Lajaru, Cum laude 2 Alpha Chi Alpha Kappa Delta Alpha Lambda Deha x Hoiors Program I D Beta s ChiAlpha Epsilon PennsyluaniaTbacher Certfication * Degree inAbsentia *January 2019 Gruduate Craduate 31 Sigma Delta Pi a Beta Beta 12 �BACHELOR'S DEGREE CANDIDATES The School of Education Dr. Rhonda M. Rabbitt, Dean Elementary & Eurly Childhood Education 12 12 11'12 11'12 Alexis LlmnAyache, Cuml-auile Abigail Mary Baur, Sumna Ctm l-auile 11'12 Christina Madleine Colao,Magna Cum l-auile 11,12 Madison Everetts, Magna Cum l-auile 12 11'12 Shayna Marie Fehrle, Cum l-aude Nicole Elizabeth Gaeani, Magna Cun Haley Elizabeth Gayoski, Cum l-aude Megan Kane, Summa Cum l^aude 12 Anthony Meneo IV Nicole Alexandra Olveq Cum l-aude 11'12 Savannah Marie Smith, Magna Cum l-aude 11't2 CourtneyA. Stanley, Magna Cum ltude 12 Laude Middle Level Education 12 o Kroboth Emily Elizabeth Messinger, Sumna Cum laude *'" Ry.o Novak Jessica L. 11,12 t'11"12'22 Haley RachaelWelker, Summa Cum l-aude Qryrh Nguyen The College of Science and Engineering Dr. Prahlad Murthy, Intedm Dean Biology a a'7 KeatonJamesAllison, Cum laude Michelle N. Brenneman tylorJ. Brus ca, Magna Clinical l-aboratory 4'7'1e'30 Cum laude Scienee, Seconil Brendon E.K.lly, Cum l-auile a'1fr MorganBella Novakovich, Suwma Cum l-aude Major Dhruv Patel, Magna Cum lauile Isaiah Pinkerton, Magna Cum l-aude 4's'7'1e Carly Cummings #,4,2e,30 Neuroscience, Seconil Dillon Michael Dwis,Magna 31 Cum l-aude Dionna DeFazio #'a,2a 1'a'2e,31 Major Jasmine Quintana Avila Spankh, Second Degree Madelyn Rae Dolinsky , Magna Cum laude Harrison Richard Eckert, Summa Cum Laude a'31 Nicholas M. Racanelli, Cum l-auile Spanish, Second Major 4'7,2e AnaRahman, Summa Cum Laude 4'7'2e Zoyt Rahman, Summa Cum laude Jacob Schmid Spanish, Second Degree *,4 Sean Gilhooley, Cum laude MasonTheodore Gross Stephenie Mudeizi Gyidei +'z'ze':o Joseph Srrzelecki, Summa Cum l-aude #3 EmilyTaylor a Leah Elizabeth Thomas, Cum laude Amanda Hedge Marisa NicoleJarrell *'+2t ZrcharyJ.Waltea Cum l-aude Kayla M.Judge Neuroscience, Second Maj or ShaunaWatkins r'42e Kellie Lynn Kalada, Cum l-aude Neha Ekta Kansal Ashley NicoleWojciechowski, Magna Cum Laude Chemistry Holly Caroline Arcure, Cum laude Katlyn Elizabeth Beidler DarrenJ. Dolan * Nicholas Antonio Fitzpatrick, KellyAnn Eilish McGraw Cum laude Robert Joseph Sperazza, Magna Cum l-aude Computer Science, Second Degree I Alpha Chi s Epsilon Beta Beta Beta Honors in Biology ! Kappa Deha pi cetifration le psi chi sigmaThu Delta Alpha lambda Delta * Degree in Absentia nJaniary 2019 Grailuate 3t Sigma Delta Pi Crailuate ChiAlpha PennsyluaniaTbachu -.12 30 r i i i t t Honors hogram 4 7 22 2e �BACHELOR'S DEGREE CANDIDATES The College of Science and Engineering - Continued Computer Infortnation SYsterns Austin Kenneth Naughton Tyler D. Besecker Cornputer Science Zrchary Daniel Bevan Ryan M. Roskowski, Cum laude RobertJoseph Sperazza, Magna Cum laude * Justin Bodnar Matthew Btice, Summa Cum Laude Ch emi stry, S eco n d Degree Mark Samuel Roche Earth and Environmental Sciences 2e Morgan Marie Balliet # Cassidy Heid Ellen ClareWeber, Magna Cum laude Michael StanleyYanchtck, Magna Cum laude Electrical Engineering Jacob LeRoy Plank, Cum l-aude Jonathan Henry Smith Evan Steward Runye Cui Timmy Gallagher, Cum l-aude Joshua A. Gentilesco BenjaminAlan Gibson MatthewJ. Helwig CamryAaron Huff,Magna Cum l-aude e Ryan Scott Marshall Summa Cum l-aude , BradThomer Noah GalenTfoxell e'30 MichaelVanchieri, Magna Cum laude Engineering Managernent Nicholas Mark Bidwell II Environrnental Engineerin g David Heinz e Zarlasht Abub akr, Magna Cum laude TaibahAlhatem Khrista Nicole Baran * James Jeremiah Berger e'2e Alexander Blake Criswell , Cum laude * AbrahamJohn King FrankJayson RadanYi Steven Aaron Ross e Denise Shtey,summa Cumlaude # BrendanJames Fritz Mathernatics 1'12 I LindseyTaylorJacobs, Lauren Nicole Bezek, Summa Cum laude l AlPha 2e Alpha l-ambda Deha e Chi 30 Honors in Engineering Honors Program Craduate 10 12 * Summa Cum l-aude P ennsyluania Tbacher C ettification Degree inAbsentia #January 2019 Craduate �BACHELOR'S DEGREE CANDIDATES The College of Science and Engineering - Continueit Mechanical Engineering Abdulrahman H F F I{H Alajmi Abdulaziz Alb ahrani, Magna Cum laude Bruce A. Hettler,Jr. q2e JusdnAdam Higgs, Magna Cum # Dustin Dai\Jones Daniel N. Kristan EthanA. Lauck Othman S.AAAlbolushi BradleyJames Alderson Abdulaziz Aldosary AhmadMShMDAlenezi Jonathan M. Lesko Meshaal Mohammed Almahashir Tievor Levardi Shaya HamadAlmakhalas Monir Magharbil # ThomasJ.McClintock # Brian Paul McKenna Abdullah E M A Almarzotq, Cum lauile Hussain Almoddahi Naiaf F M MAlotaibi Zeck ery Flandermyer Metz BadrAlshammari Kyle S. Becher 2e Brandon Lloyd Braye, Cum l-aude Aidan Brosious Abdulwahab A. E S. Dawood Jese Muniz ChueAllan Osborne 30 SeanAnthony Reese John Rudolph Ritter ConnorJ. Robers Johnathan Deremer Joseph Rudedge Electrical Engineering, Second Maj or RuhedM.Salman AnthonyJohn Dex MoharndAhmed Samandar MatthewJ. Schreiber, Cum l-aude MichaelThomas Shudoch Cum l-auile Michael Eisenhart Todd Richard Evans S. Faydi Kaysson D. Simmons Electrical Engineeing, Seeond Major Erik Paul Staerk, Lee Dai.id Gustinucci,Jr. Honors in 30 Cum laude Engineering 2e Alpha lambda Deln Cum l-aude Kaidyn Swarz Shane Haley April Ruth Haupt, e Alex Palmer, Cum l-awle DerickJ. DeMorrow, Cum laude Mohammed l^aude JohnTylerWeitzel, Cum l-aude LukasToddWood n Honots Program Craduate 11 #January 2019 Craduate �BACHELOR'S DEGREE CANDIDATES The Jay S. sidhu School of Business and Leadership Dr. Abel Adekola, Dean Accountitg 6 Kyra Maureen Boccio, Cum laude Nicholas J. Poyer 6 Christine Laura Quinn, Summa Cum l-aude Management, Second Degree Management, Second Degree Amanda Cohick, Magna Cum laude Gerard Patrick Setteducato, Magna Cum laude NoahThatcher Durnin, Cum laude Finance, Second Maior Finance, Second Degree Sam 1'6 Richard Eyle4 Alyssa Shaver Cum l-aude Laude Jack Benjamin Fischer, Summa Cum Man agement, Seco n 6'30 Amy Autumn Smith, Magna Cum l-aude Management, Second Degree d D egree Joshua R. Stoll Brandon Stephen Gerhat AaronJoseph Strait Matthew A.Vanderham 6 Michael E. Hauck, Summa Cum laude KyleJosephJoyce, Summa Cum laude Business Adrninistration * Natasha lYlfllazzo, Magna Cum laude Lucas E. Stemba Lorraine Avery Joshua Ellis * 6 JohannaA. Koch Michelle M. Lenhart 1 Angus Collin Mead * 1 DebraThylor Jason GregoryTroth, Summa Cum laude Entrepreneurship Joshua S. Gundle Finance 6 SultanAlaboudi 6 * JamesJohn Benes, Cum laude Jacob G. Brook * Wyatt Cox Bo Cui NoahThatcher Durnin, Cun Aaounting, Se co Kyle Gatrus o, Magna Cun ltude Jorge Oscar G onzalez, Jr. Austin M. Hackenberg, Cum laude Nicole Ashley Harmer, Cum Iaude 6 Jonathan P. Heroth, Cum ltude l-aude nd D egre e # Alexander Charles Premici # Amanda Janet'Willis, Magna Cum l-aude 6 Management, Second Major Brady'Wing, Cum ltuile Hospitality Leadership 6 I Jordan Nicole Adkins,Magna Cum l-aude Alpha Chi 6 Delta Mu Deha 30 Honors Prcgtam Graduate 6{ MingzhuYue , Magna Cum Iaude Marketing, Second Degree Man agement, Se con d M aj ot * Degree inAbsentia #Januaty 2019 Gtaduate �BACHELOR'S DEGREE CANDIDATES The Jay S. Sidhu School of Business and Leadership contirueit Management Abdullah Khaled Alhayek KyaAntoinette Lewis Michael P. Maishefrki MatthewJohn Maranca 6 Christine Laura Quinn, Summa Cum laude M arketing, Se cond M a| or Shyann Barrett 31 Madison Danielle Becker, Cum laude Spanish, Second Degree 6 Arcounting, Second Degree Ky'a Maureen Boccio, Cum l-aude 5 Fantasia Marie Rodriguez Accounting, Second Degree 1'6 Hospitality ltadership, Second Major * Jaquelyn Sandra Castro # Bianca Figueiredo Cocozziello CaineV Seidel 6'30 Jack Benjamin Fischer, Summa Cum l-aude AmyAutumn Smith, Magna Cum l-aude Arcounting, Second Degree s Brenda RaquelVelasquez Accounting, Second Degree # Dewitt Clinton Chase Haskins,Jr. Conroy fucardoYearde Marketing, Second Maj or Jacee MarieYorks, Cum l-aude Joshua M. King Melisa Zappala Marketing 6 ThomasJohn Bowen, Cum l-aude Management, Second Maj or Nicole Rose Rizzolino, Cum l-aude JefteyA. Roedell # Jakob Andrew Chiasson, Cum laude h r $ Sports and Euent Management, Second Imani E Claudine 17 Olivia G. Fakhoury DylanJohn Farrow, Magna Cum laude # Colin Gardner, Magna Major Aislinn Niamh Speranza Communications, Second Degree Anne Stramara Cum lauile Trenton Michael Hagen 30 Patrice R. Lonardi, Summa Cum laude 2e'30 ZacharyJ.Walser Chrisline RoseWalsh, Magna Cum l-aude tavisJamesWoolGnden 6'30 Management, Setond Major MingzhuYu e, Magna Cum l-aude Nilab Mominzada MichaelA. Murphy, Cum Iaude Management, Second Maj or Hospitalily ltadership, Second Degree Sports and Event Management # Brandon M. Latierno Kyle Matthew Price Sports Management 6'2e * Caitlin E. Brossman Dotter, Cum l-aude Connor M. Evans Ryan Greskewicz Megan Marie Lercara Daniel H. Mashel Richmond Kwame Tweneboah Owusua kaiah Davis Robinson James Lee ElmerJ. Strollis PeterJosephTerranova s Anthony T. Marcincavage 1 Alpha 30 chi s David E Zydko, Cum Laude pi Kappa Delta Epsilon 6 Delta Mu Dehi Alpha lambda Dela Cnduate 31 Sigma Deba Pi * Degree in,lbsiiia #January 2019 Crailuate chi Alpha Honots Program 17 t3 2e �BACHELOR'S DEGREE CAINDIDATES The Passan School of Nursing Dr. Deborah A. Zbegner, Dean Aaliyah Massey Allyson Lee Mclaughlin Ashley Elizabeth Miscavage Katelyn Elizabeth Muraski Amber LynnAnkudovich Kandace Antonelli, Cum ltude Alexandra Rose Balavage *'zt Jatice Bang Eckman,Magna Cum l-aude Allison Bednarski, Cum l-aude Dominique C. Bergeron 23 Jade Boris, Magna Cum ltude Caitlin Christine Brown Olivia Rose Campion 23 * Alysa M. Myro Allison Nelson Olivia Lynn Ozack Brittany Paulson David Penrose Madalyn Marie Pfafl Cun l-aude 23 Kelsey Llnrn Phillips, Magna Cum laude * Lorraine Elizabeth Poliey MelissaAnne Roberts, Cum ltude Erica Rose Schwartz, Summa Cum Laude 23'30 Maura Elizabeth Serio,Magna Cum laude 30 Amy Cherinko Alvaro Fernandez Maldonado Morgan Fuller Emily Patricia Glynn Kaitlin Paige Harmon Thomas E. Haskoor 23 Ellen Held 23 Dannielle Hickok, Magna Cum ltude Jared R. Hockley Jessyca AliandraAlexis Smith Bailey M. Smith 23 Stephanie Rae Smith, Cum laude Kayla Christine Stachokus 23'2a Agrres Maria Srypulkowski, Cum laude Bailey Renee Tackett 23 GabrielAnthonyVelez, Cum laude Bryanna Louise Hurn, Cum Iaude Joseph Thomas Jenkins Bernice Bradstad Johnson KendellAnne Kocher Olivia Taylor Koj adinovich 23 23 Alicia Marie Kotz, Cum l-aude Anzhela Kozub, Cum l-aud.e MeganTeresa Kramer Hay'ea Marie Kuhn 1e'23 Kelly Nicole Kwolek, Magna Cum Laude 23 AstrleyTheresa Lalik, Magna Cum laude Taylor Mack ts Psi 2s Alpha Lmbda Chi Delta Peter Sidari, Magna Cum laude * 23'2e 23 30 Caleigh JennaVercusky, Magna Cum l-aude Korri RaeWandel Virginia L.Williams, Cum l-aude Kaitlyn Marie'Willis, Magna Cum laude NoahJ.Yurkanin Cierra Nicole Zimmerman, Magna Cum ltude SigmaThetaTau Honors Program 2a Sigma crad.uate * Xi Degree in Absentia �ScholarlY Societies and S-P""i"t D esignations 1 DenotesMerubershipinAlphaChi,thel.JationalCollegeHonorscholarshipSociety, 2 DenotesMembershipinAlphaKappaDelta,theln-ternationalHonorarySocietyinsociology. l-ambda' the honor society of Alpha Sigma in th' nto O' Denotes Membership 3 recognizing the academic Denotes Membership 4 '.'7iil"" tt"o"u pirt-time in Beta Beta Beta' the I'lational in Chi Alpha Epsilon Denotes Membership 5 who were admitted " Denotes Membership students' ''i"lt Honorary t!;'lonorarV Society in Biology' whkh recognizes students program' Access opportunity Society u;gl'e'''idu'otion the National Honor oJ Delta Mu Delta, " 'niu'i{*if,[t'-"'sn psi chapter Zeta the in *;ri in Business Administration' 7 8 e Denotes Honors in Denotes Honors in English' 10 Denotes Menfuership Denotes Honors BiologY' in Engineering' li u*aao H Eta' the National Honotary society in communiuttons' llDenotesMembershipinthePhiPhiChapterofKappaDeltdPi,thelnternationalHonorary SocietY in Education' Certification' 12 Denotes Candidates Jor PennsyluaniaTeacher Certification' 13 Denotes Candidates Jor Pennsylvania Prineipal laDenotesMembershtpinPhiAlphaTheta,theNationalHonorarySocietyinHistory. 1s Denotes Membership the Pharmacy kadership in Phi l-ambda Sigma' Society' 16DenotesMembershipinPhisignaThu,theNationalHonorSocietyinPhilosophy. Society' National Honorary Forensic in Pi Kappa Delta' the 17 Denotes Membetship lsDenotesMembershipinPisigmaAlpha,thel.JationalPoliticalscienceHonorSociety, Society in Psychology' Chi' the National Honorary 1e Denotes Membership in Psi 20DenotesMetnbershipinPhiEtasigtna,thel,lationalHonorSocietyJorCollegeFreshmen, Honor Society in Pharmaey' 27 Denotes Membership in Rho Chi' the I'Jational 22DenotesMembershipinsigmaThuDelta,theNationalHonoratySocietyinEnglish, 23DenotesMembushipintheZetaPsiChapterofsigmaThetaThu,thelnternationalHonot t;:::#X:r by Sigma x, societv' ttw &imtifu Raeuch in and aturoutedsnent 24 25 DenotesTbm Biglu *holat' 26 Denotes he'Mediul *holat' NursaAssociation' 27 Denotes Membuship in the National Sudeat 2sDenotesMembershipinsigmaAlphaH,theNationalsocietyoJkadershipandSuceess, Delu National Honot Society' 2e Denotes M'nbn'hip inAlpha l-ambda 30 Denotes Honots kogram Gruduate' National 31 Denotes Membuship in Sigma Delta H' the * # Degree in Absentia C-radwte January 2019 15 Hispanic Honor Society' �20Ig Student Awards Academic Awards BEHAVIORAL & SOCIAL SCIENCES li SigmaRtptaAward in Political Science .....Geraldine Ojukwu Corrine Bonnerwith Rachel Kubicki .' " Oustanding Graduate in Psychology "' :" " "' ; " "' il;;dtd Leana Pande Graduate in Neurosciince Award nwr""ta i-. Ritz Valerie Lower Award (Sociology) BIOLOGY "O;;;;;s & HEAUTH SCIENCES Scholar in Biologv (highest GPA) ..............Ana Rahman """""" Zoya Rahman Dillon Davis Outstanding Research Award Isaiah Pinkerton ZacharyWalter *tfif*ilY RosentharAward Outstanding Service Award in " ""AshleyWojciechowski Biology ABBA ....... Michelle Lenhart *:1ru1in;;'*:."i},::'1-^#Xl ACCOUNTING, FINANCE & MANAGEMENT - -- j"o"r'o'lr' Kyle Joyce Setteducato Gerard ""' Patrice Lonardi """""""Jack Fischer Kyle Gattuso """"" Accounting"""""""""' Academic Achievement Award Finance Academic AchievementAward Management """""" Academic AchievementAward PICPAAwaTd for Excellence inAccounting professorTed Errgl. n*;fo. f*..U.r.. ii Fi.tr.r....... in Management """"""""' Dean'sAward for Excellence """"" !IP.,t*tHl tffi iilt'il4;*r,*i t n.ra.*i.n.mevementAward-Marketing"""""'-:"""' ff:1:H:i:H:ffi:ffiffi;fi1.'',ii;1-.i;1i; ilii:ffi:ffH:il:ilil:::iliil'pJil?;;;;h" MARKET ING, ENTREPREITEU\STIPi t/'"r r LEADERSHIP no sp IrraurY r1\/Jf SPORTSi' MANAGEMI'I\ r o' ..........christineWalsh O.rrt A*ttd for Excellence in Marketing""""' -,:"""""' Managelenl,: """"""" """ "" O.r"t A*.a for Excellence in Sports B:xililx',ifl;i;;:'ilil:iliffi;;; i?,ai"r"p MASTER OF BUSINESS ADMINISTRATION Academic AchievementAward - MBA"""""" Patrice Lonardi .-...IamesDotter """' rr",T,:ffffi: r##f*:# DYlan F David ZYdko MingzhuYue -- ' ---irfot, ffiffi CHEMISTRY DarrenDolan Ctt "'Holly Arcure - -,r--r n.,."rrn Alfredw. Butrers A-rrdil orr*iarg ir".J.* *,.4 Societyi Co[ege SeniuAvrrrd---- J*:*1;,:fmlfff.ffi ...NichorasFitzpatrick �2019 Student Awards Academic Awards (continued) COMMUNICATIONS STUDIES Outstanding Communicarions StudiesAward................. ......John-Michael Rey Tom Bigler ScholarAward ..............Nicho1as Filipek TEACHER EDUCATION PROGRAM Outstanding Elementary & Early ChildhoodTeacher Education Student.......... Outstanding Middle Level Education Student Ousanding Secondary Education Student......... Outstanding Special Education Education Scudent Marla Hosie MemorialAward.................. Messinger .....Lauren Bezek Brooke Giarratano ....Abigail Baur ................Laura Cassaro ELECTRICAL ENGINEERING & PHYSICS Dr. Umid R. Nejib Award for OutstandingAchievement in Electrical Engineering. Electrical Engineering Service Shayna Fehrle ....E-ily Ryan Marshall Award MichaelVanchieri OutstandingBioengineeringGraduareSrudentAward ...............StephenSeibert MECHANICAL ENGINEERING & ENGINEEzuNG MANAGEMENT Engineering Engineering.. Award outstandingAchievement in Mechanical Top Academic Performer in Mechanical Mechanical Engineering Service ........ Matthew Schreiber ...................Justin Higgs ..............Joseph Rutledge ENVIRONMENTAL ENGINEERING & EARIH SCIENCES OutstandingAchievement in Earth and Environmental Science. ..... EllenWeber OutstandingAchievement in Environmental Engineerirg .................................Denise Shuey Outstanding Leadership Award in Environmental Engineering and Earth Sciences........ ....... Alexander Criswell ENGLISH Alnette Evans HumaniriesAward.... Mackenzie Egan FrankJ.J. DaviesAward MatthewJudge Patricia Boyle Heaman & RobertJ. Heaman Scholarship .........Brianna Schunk Taft Achilles Rosenberg Naparsteck Scholarship ... .................... Maddison Black GLOBAL CUXIURES PhiAlphaThetaAward..... Outstanding Graduate in Spanish..... INTEGRATIVE ..........8rooke Giarrarano ......Sierra Musa MIDIA,ARI & DESIGN OustandingAchievement in Integrative Media,Art & Design...... Richard Fuller Excellence in the Arts Award ...Kate Landis Lisa Blackwell ...........Laura Kessler MATHEMATICS & COMPUTER SCIENCE James DeCosmo MemorialAward........... Outstanding SeniorAward in Computer Science......... ................Lauren Bezek LindseyJacobs ...............Matthew Brice Ryan Roskowski Robert Sperazza 17 �201,9 Student Awards Academic Awards (continueil) NURSING a--_^r Award Award ..................JosephJenkins """"""'Erica Schwartz """" Megan Kramer .:-_ Outstanding Clinical Practice Award Academic Excellence Outstanding Leadership / PERFORMINGARTS RomeoRosario R;'rlazevnick """"""""J"tin Gaskill fH::iH* Theatre Award H3L?LU.X3ffi'u*'e DistinctionAward Patrice Lonardi AND SOCIAL SCIENCES COLLEGE OF ARIS, HUMANITIES tEft:fffrtlf:fi#ills, and Social sciences"" " ENGINEERING COLLEGE OF SCIENCE & -oltgt of Science and Engineering ;-t Graduate Outstanding " """' """"'t""' '1* LEADERSHIP SIDHU SCHOOL OF BUSINESS & School of Business"" Stdh. rolititJ;;S' outstanding crrao," f,::Sfl,.:?J':ffi"?'\choor p'*' ^ry*ti^*fili Patrice Lonardi """"' " " "'Lauren Bezek Nursing"" """""""Peter Sidari orEducation PASSAN SCHOOL OF NURSING Stt'oot of Outstanding Coa,"Jfo' tf'-t Racher Kubicki 18 �2019 Student Awards Extracurricular and l*adership Awards OFFICE OF ALUMM RELATIONS Alumni AssociationVolunteerAward....... ............... Cody Morcom DEPARTMENT OF ATHLETICS (Mate)........... (Female)........ Athlerc oftheYear Male)........... Athlete of fieYear (temale)........ Colonels E1irc....-.-.-.---ScholarAthlete of theYear ScholarAthlete of theYear ....................]rck Fischer ..................Ha1eyWa1ker ........Dona1d Flynn .......H"I.y Gayoski ....ColeWalters KeatonAllison Jonah Harder Nicholas Malatesta Nolan On Brandon Reno Haley Gayoski Kyra Boccio Corey Cowitch Nathan Hunter Lukowski XavierAbdella Edv/arrd Jivan Sidhu Nicolas Lorenzo Gerard Setteducato Daniel Mack AIec Levin Kevin Singhel Celine Podlesney HaleyWelker Kristie Najdek Gianna Roberts Michael Brown Nicholas Racanelli Thomas Stokes Catherine Gregoire Nicole Harmer Courtney SaoLy Shayna Fehrle Julie Murphy Kaitlin Sunon DEPARTMENT OF COMMI.'MCITIIONS STT'DIES Outstanding Leadership & ServiceAvarrrl OFFICE OF CTVIC ENGAGEMENT Helping Hands ServiceAwenrl -WISE..-...-.. ............Nicho1as Ffipek ... Fanrasia Rodriguez Nicole Gaetani �2019 Student Awards Extracurricular and l*adership Awards (continued) Erica Martzen Helping Hands Service Award - LEAP Cassie Merrill Jasmine Quintana Summer Rivera Morgan Burton OFFICE OF CAREER DEVELOPMENT & INTERNSHIPS o;;*rd; S.ri*i*..n.. KeithTopfer Memorial Award ..........'....'. ""'Morgan Novakovich David Zydko "Jarrett McSpirit-Brush DEPARTMENT OF EDUCATION Teacher Education Service Award """' Lauren sezeK DEPARTMENT OF ET{VIRONMENTAL ENGINEERING & EARIH SCIENCES Environmental Engineering & Earth Sciences Extracurricular Achieveient Award ' ' ' ' ' ' Mary Phillips Scott Heffelfinger ' CENTER FOR GLOBAL EDUCATION & DTVERSITY NJV*Ji., MemorialAward PASSAN SCHOOL OF NURSING Nursing LeadershiP Award """ Nilab Mominzada Imani Claudine Megan Kramer Benjamin Gibson April Haupt Sanh Hughes KimberlyJones Megan Kramer Theodore Marines Erica Martzen Cody Morcom Jacob Plank Romeo Rosario Justine Seynour Evan Steward Ernest Stiner JaceeYorks �2019 Student Awards Extracurricular OFFre and, l*adership Awards (continued) OF STT]DENT DEVELOPMENT e-Menor (Graduating Seniors)......... Shyann Barretr Caidin Brossman Harrison Eckert Dylan Fox Ashton Gyenizs MariaKatherine Hubbard Kya Lewis Emily Messinger Cody Morcom Romeo Rosario Kridy, Swartz Emilytylor YmariWilliams WILKES UNTVERSITY STUDENT GOVERNMENT Award Award.................. ofService..... Faculry Choice StaffChoice TwoYears .................Dr. Michael Steele ...................Ji11 price ................Jasmine euintana IanValles Harrison Eckert Cailtin Brossman Alexandra Panek AshleyWojciechowski Kya Lewis Alyssa Korman Zarulvlirza RimaAvasatthi Neha Kansal EllenWeber JeremeyTomaine Class of 2Ol9 OFFICERS Jasmine Quintana kxie Panek PRESIDENT VICE PRESIDENT Zaral$itzt Alyssa Korman SECRXTARY TRXASURXR �Acadernic Costume The celebration of Commencement is surrounded by rich traditions. The established convefle to recognize fficially the newest group of the Faculty and welcome them infellowship. Graduates don the attire community of scholars proven scholars thatfor years During - the Craduates - has symbolized scholarly attainment. the MiddleAges those seeking an education traueled to European centers oJlearning. Centers of learning and uniuersities were closely allied with the clerics of the time, and the scholars donned garb similar to that worn by the clergy.This euolued into the academic unform, a long which proued usefulfor studying in unheated and drafty buildings. The hood serued simultaneously as a head couering, a repository for coins and alms and the forerunner of the modern day book bag.The hood was adorned with the colors of the uniuersity and designated the young scholar's school or uniuersity ffiliation. By their distinctiue clothing black gown, hood, and cap, the students were set apart and distinguished Jrom the citizens of the town; hence the origin oJ the phrase "town and gown." American colleges and uniuersities adopted the wearing of the traditional apparel in Colonial times, and a common codefor academic apparel was established in the mid-nineteenth century. The hood is the most distinctiue feature of academic regalia. The inside of the hood is lined with the fficial colors of the institution; today you seeWilkes graduates wearing hoods lined with the blue and gold colors oJ the Uniuersity.The velvet trim around the outside of the hood designates the degree orfield oJ study of the graduates.The ueluet colors worn by today\ graduates signify the following: ColdenYellow White Drab - Science Arts, Letters, Humanities Business Administration The style of the gown distingubhes graduates by the degree they haue earned. Those earning the bachelor\ degree wear a simple black gown with elongated pointed sleeues. Holders of the master's degree wear gowns with a longer, closed, square cut sleeue.The doctoral gown is trimmed with uelvet stripes on the sleeues and panels of ueluet on thefront closure oJ the gown. SomeAmerican uniuersities have adopted doctoral goums in their distinctive colors.You will notice the slate of Columbia, the red of Cornell, the burgunily of the Uniuersity of Pennsyluania, the bright blue of the University of Michigan. Tb have earned the priuilege of wearing academic costume regalia signifies not only the completion of a program of studies, but entrance into the comradery of scholarship. 22 �The Lfniversity Mace and Presidential Chain of Office The mace and the presidential rhain of oftce weil in uailanic ctlehations rE)resent tailitions dating to the sixteenth century.The ruace symboliza the aurtoity oJ the uniuersity anil the chain of ffice designates the presidential leadership of the academy. TheWilkes Uniuersity mace and presidential chain of ofiee u,ere gfts of loctl ilonors anil werefirst used in 1970 at the inauguration of the second praident ofWlkes.They were designed by Ottie Hill Chwalel< '67 and executed by Kurt MatzdoS a naaqtionally recognized gold and siluersmithfrom the State [Jniversity of NewYork at New Paltz. The Uniuersity Mace The sterling siluer mace has a gilt knob at its base and a gilt circle at the top bearing the inscription "Wilkes College 7933."The bowl, rising aboue the neck of the mace, signffies Wilkes-Barre's role as a melting pot, forming a new and uigorous community of people from many diferent baclegrounds. This theme is reiterated in the inscription of the (Jniuersity\ motto "Unity Amidst Diuersity" which surrounds the upper part of the bowl.The gilt fiame symbolizes the enlightenment gainedfrom higher education, while the piece of anthracite coal set in the center of the fiame commemorates the origin of the [Jniuersity in a community known for i* coal mining past. The P'rcsifuntial Chain of Offcc The Presidential Chain of ffie, oeated Jrom sterling siluer, has alternating bowls and gilt fiames, rqteating the motif of the mace. On the Jront of the Jour-foot chain hangs a gilt seal of Wilkes u*ieh k suspeniled from a cluster of oak leaues with acorns, suggesting the strength anil sturiliness oJfuture generations. On the back of the Presidential Chain of Ofue k a sihter portrait of Dr. Eugene S. Farley, the first Prcsident of Wilkes. Dr. Farley\ portrait is suroundeil by gilt oak leata commemorating his strong leadership of the emerging institution. 23 �Llniversity Center on Main McHale Athletic Center FIRST AID Medical personnel are available for first aid assistance at the First Aid Station in the Engel Room just offthe lobby. Should you need assistance please contact the usher or a Public SaGty Officer. Because of the space limitations, safety and control, no one, and members ofthe press with appropriate credentials, will be allowed access to the stage area for the purpose oftaking pictures or video-taking. A photograph will be taken of each graduate as the diploma is presented by the PICTURE TAKING except the professional photographer President. Rest rooms are accessible from the lobby and on second floor. REST ROOMS A woman's restroom is available at the rear of the McHale Athletic Center. BEVERAGES Water is available at the drinking fountains on the first floor of the building. Starbucks will be open during the ceremony. A post-commencement reception will be held in the First Floor Lounge Henry Student Center immediately following the ceremony. oJ the �Platform Pafiy 72'd Annual Spring Comrnencement for the Conferring of Bachelor's Degrees PaulAdams. MarkAllen Abel Adekola................. Robert Bruggeworth................ Raymond Dombroski. Jonathan Ference Jason Griggs Susan Hrit2ak................ Joseph Kultys Patrick Leahy.......... Kya Lewis Ellen Lohr Andrew Mi11er......... Pratrlad Murthy Kristin Osipower Loren Prescott ................ .............Vice President, StudentAffairs Dean of Students ......Dean, Sidhu School of Business and Leadership .... Honorary Degree Recipient ..Member, Board ofTiustees ....'.Associate Provost Member, Board of Tiustees .......Registrar .........Associate Registrar ..............President Student SPeaker .............Associate Registrar Chair, FaculryAffairs Council Interim Dean, College of Science and Engineering ...Coordinator, Campus Intedaith .. Vice President, Finance and Support Operations/General Counsel Rabbitt Paul Riggs Philip Ruthkosky.......... Anne Sk1eder................. Elizabeth Slaughter Ronald Simms......... John Stachac2................ Margaret Stee1e.......... Scott Stolte. WagihaTaylor............... TereseWignot................ MichaelWood.............. GretchenYeninas............. Deborah Zbegnr'r Rhonda ...........Dean, School of Education Dean, College ofArts, Humanities and Social Sciences .............Associate Dean, StudentAffairs ........SeniorVice President and Provost ...... Member, Board of Trustees .. Honorary Degree Recipient .............Dean, Eugene S. Farley Library . Chief Development Ofticer ......Dean, Nesbitt School of Pharmacy .................Facu1ry Marshal ................InterimVice President for Enrollment and Marketing SpecialAssistant to the President ..........Associate Dean, StudentAffairs . Dean, Passan School of Nursing ; �t1 � 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 Commencement Programs, 1941-2020 Description An account of the resource Wilkes College and Wilkes University Commencement programs from 1941 when the college was a satellite campus of Bucknell University through Winter 2020. Creator An entity primarily responsible for making the resource Wilkes University Publisher An entity responsible for making the resource available Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1941-2020 Format The file format, physical medium, or dimensions of the resource PDF files Type The nature or genre of the resource Programs 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 May 18 2019 72nd Annual Undergraduate Spring Commencement 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 Program https://omeka.wilkes.edu/omeka/files/original/5f74442be33d7d5bf1a2eb393eb83cec.pdf 52c469d3ba54fdbf04fef69ce3642b49 PDF Text Text trs ffil:r NN NX m H WILKES UNIVERSITY'S SEVENTY-SECOND ANNUAL Spring Commencement FOR THE CONFERRING OF GRADUATE DEGREES Saturday, May Eighteenth Two-thousand and nineteen . 10 a.m. ��ffi 1e35 WILKES UNIVERSITY'S SEVENTY-SECOND ANNUAL Spring Commencement n i �Order of Exercises PROCESSIONAL- *i, _ . r,_..1_^ Arthursulliyan and March oJthe Peusfrom lolanthe (The audience is requesteil to fnt rNvocArroN nse as the ltocession begins')- Band Wifft"s University Commencement .... 5;ffi:X,y:"Pr'^';Y,r:r", " "; " " " The Star-Spangled Banner" " " " " " " : " " " " " " " : *:': Ke! ::::cis #:!;# The'Wilkes lJniversity Gaudeamus -scott star-sp*,skd,l:::::::,,!::t::,i::ifrir',fr{lT,or';!r;#; ith th;'";::,,i;T;:{,r;:;fr ii[ i, i,,i."r ,qn hei :!:*::!,u:" Choir (The wods toThe Cl'-t"ttment Band and Tiaditional Igitur....."" GREErINGS............ ,t#f,:fh::r7:,:,,?,?, ANoRsw P. Mtrrns' Chair, FacultY Afiairs Council Science Assoeiate ProJessor, Political IaYsoN PoPP Member ofihe Class oJ 2019 �I Order of Exercises i t I i COMMENCEMENT ADDRESS ANNn A. Srrsopn Senior Vice President and Prouost r THE CONFERRING OF THE DEGREES ParRrcr F. Lpasy President t t ALUMNI INDUCTION.......... .CoroNm Manr A. Raoo'80 United States Army (Retired) I F t t PRESIDENT'S MESSAGE........... ................Parnrcr F. LEaHy I I i' I I iF A I E Alma Mater........ ..........E1eanor C. Farley D. Orcutt'69 Arrangernent, Eail (The wods to the Alma Mater r' are printeil on page 16 of the program. The audience is requested to stand andjoin in the singing.) I I The'Wilkes IJniversity Commencement Band and Choir i/ * r' t T t * i I tI BENEDICTION Kr.rsrIN M. Osrpowpl g E tt E RECESSIONAL March oJ Paratroopers. Scipio........- the Belgian Marchfrom The Wilkes lJniversiry Commencement Band F B t ! t tr ! E Music Provided By: Wilkes Uniuersity Commencement Band Wilkes Uniuersity Cornmencement Choir Dr. Phfip G. Simon, Conductor F F Ir a : E Cerernony Interpreted By: JenniGr Herrera and Carmen Lugo 360 Tianslations International, Inc. Pierre Leemans C. F. Handel �DoCToRoFEDUCATIoNCANDIDATES The School of Education Dr. Rhonda M. Rabbitt' Deaa Robyn Ricketts Euker Kaitlin Gilboy Besko Joshua fuchard Farr MichaelJ. Boccella # # Victoria A.Jones Jeanne S. Conahan Gary Michael Magorien # Anthony Conston,Jr. Katherine Zielinski Georgia Costalas CherylAnn Doll DOCTOR OF NURSING PRACTICE The Passan School of Nursing Dr. Deborah A. Zbegnet, Dean # Abiola Lokoyi # Dawn Renee Ball + KimberlyAnn Makuta-Michael Florizel Bethune McCatY # Magdaline Mervil Grace Isoken Ogala Vivian Owusu-Mensah # Yanick Noel Price # Ross * Judy Crystal Camille Roden Yana Ryzhakova # Sherri Antoinette Sadler Esther Rani Benedict # Jeremy Brook Janet Elizabeth CiPoletta Elizabeth Cook * Jennifer Marie Cox # Raeleen Delos Santos # Shiny Mary Easo 23 De Jesus Eufemia Nunfiz Garcia April Lee Gheller # Cornelia Racquel-Ann GilPin # Karen Gonzelez # Nancy Sanon CloverJean Smith Loretta Margaret SParkman Vivian Delores Green Mark AnthonY Sison Gregorio # Jewel R. Haran Shirl Hortzog Hargrove Lisa-Marie Elizabeth Horne # Kenisha Latoya Linton * IngridTatham ChristaJo'Wall Sheilah KayeYohn DoCToRoFPHARMACYCANDIDATES The Nesbitt School of PharmacY Dr. Scott K. Stolte, Dean 2e Magna Cum l-aude Jamie Ronelle Akoury 21 Tyler Steven Bartol, Summa Cum laude Himayapsill Batista Quevedo 21 Amy Caroline Beckwith Nikko Bonavo{\a, Cum laude 21 , Magna Cum l-aude DeannaJean Getgen, Cum laude 21 Bethany Chmil Morgan Ren6 Confer Cadean Daugherry Cum laude t5 MatthewWilliam Gorton, Magna Cum laude Mark Gryskevicz, Cum laude Brittany Gurreri Carissa A. Hart Kendra Marie Croker, Cum l,aude 2e MichaelA. DiMaggio Arielle Domashinski, Summa Cun laude AshleY Rose Eden, Cum Laude 1s Alexandra Marie Fanucci, Cum laude 1s Eileen Eilzabeth Ftiery, Cum Laude Amanda Elizabeth Boyer,Magna Cum laude 2e Sabrina Lynn Btennan 1s KathrynAnn CamPf Griflin Anthony DiBile o, Cum l-aude Lorena Rose DiGuisePPe Phi l-ambda Sigma 2t Rho Deka Degree in Absentia Alpha Itmbda * 4 Chi 23 SigmaThetaThu #January 2019 Graduate �DOCTOR OF PHARIT,IACY CANDIDATES (Continueil) 2t'D Ktyla Marie Hart, Summa Cum laude Christopher John Hartman Michael Hasbrouck, Magna Cum l-aude Gabrielle Hayward , Kayla Michelle Hiryak, Magna Cum taude t2tD TrylorJanice Hodle, 2t'2e 15.21 21 Master of Business Admin{stration, Second Degree 21 Summa Cum l-aude Clair Huck, Summa Cum hude Michael Paul Hummel Kelly Rose Sones Zackery Spears Andrew Mark St. Clair,Magna Cum laude t5 ChiAlpha Epsilon Stevens, Magna Cum laude Joshua Varghe se, Cum hude Kristin MarieVeltri, Cum laude Kellie Ann Palko, Cum l-aude Aurumn Lee Peck 2e Rebecca Leigh Pfeftea Magna Cum bude 5 AbbyWilson Madison Brooke Scine Gina Marie Strauseq Magna Cum l^aude Elizabeth Laurel Tigner, Magna Cum l,aude Rubi Alexis Mink, Cum l-aude 21 Laura Misiewicz, Summa Cum l-aude 2e Abigail Fay Nemeth, Magna Cum laude Chi t-aude Sierra Nicole Smith, Magna Cum l-aude William Mclay Alpha Summa Cum l-aude Leslie Ann Shumlas Dylan Paul Smith, Cum 2e HaleyJane Mesaros 1 MatthewAdam Seltzer, Katelyn Marie Shaffer, Cum l-aude Krushna S. Shah, Summa Cum l-aude Megan Elizabeth Sheriff Jessica Justin Kacyon Johanna Shea Kelly Meghan Lynn Kisela, Magna Cum laude t5'21'2e Kacey Marie Knapp, Summa Cum laude D Emily Rose Kneeream 15 AaronWade Knopp, Cuml-aude 2t Zachtry Michael Koehler, Summa Cum laude Lucia Elizabeth McGettigan i Alex Thylor Ponce, Summa Cum l-aude OliviaAnn Schlottmann, Summa Cum l-aude t5 5 15.21 Phi Ltmbda Sigma Amanda LeighWalsh, Magna Cum laude Jacob ThomasWeaver, Cum laude Youstena Emad Zaki, Cum Laude Erika Zarfoss, 21 Rho Chi Summa Cum l-aude 2e Alpha l-ambda Delta �MASTER'S DEGREE CANDIDATES Master of Fine Arts in Creative'Vriting * Jeremiah Scott Blue Janine Pokrinchak Dubik Karley Marie Stasko DanielleWatson Camika Cheron Spencer Master of Arts in Creative'Writing * Patricia L. Naumann * Lindsey Lee'Wotanis Sarah May Bedford Toddvl Conatser Master of Business Adrninistration The Jay S. Sidhu School of Business and Leadership Dr.Abel Adekola,Dean # Shannon Marie Al-Daoud 6 6 # 6 6 #,6 #,6 Zaid Mohammad Orsan Elliot Alexander Baldwin Cara N. Basile Amy Marie Bozenko Stephen Richard Brazon Dawn Marie Britton MichaelJohn Connor * Benjamin M. Pippenger 6 SaidatAbidemi Sanni 21 Olivia Ann Schlottmann Alanna Mari Denauski Michele Gerette Foust oJ Pharmacy, Second Degree Doctor JasminJaen Eleni BluWechsler Nicole LeeJubin 6 Laul Ellen McBride Lohr 6 Justin Michael Marino # ThomasAdam Matthews 6 Stacie L. New 6 Claudia Nicolae Michaela Marie Keats Master of Science in Education The School of Education Dr. Rhonda M. Rabbitt, Deaz * Erin Leigh Brown * Angela Marie Bucci-Herb * Chrysan Buck Raymond Patrick Abdalla Samantha Alicea*swindell Amanda Melissa Altemose Laura Ann Aquilante Megan Lynne Arvonio Danielle C. Badders * PeterT. Bard * Danielle Marie Bartholomew * ,r * B. Benevides * Jordan Blomgren * Christine Blumenthal Jennifer Bonanni Karen M. Bonfiglio * Brianne D. Bream * Rebecca Conner Brigman if Kayla Nicole Bringenberg Gretchen Kristine Brobst-CaPan 6 Delta Mu Delta Jessica L. Campbell Nathan Royce CamPbell CamPbell Madison Elizabeth Carr Jenna Aleece Castellani Dana Catanese Jodie Lynne Chappel Chris M. Chemerka x RobertAndrew Sarah Elizabeth Bauer * Megan Sarah Elizabeth Burkarth Leilani Cabrera Janene Lucille Cain 2t Rho Chi * * * Kat\ Amanda Elizabeth Cloud Megan Elaine Coldsmith * Degree in Absentia 6 Ciaciulli Caitlin Potter Ciorletti #January 2019 Graduate �* * * * * * * IT,IASTER'S DEGREE CANDIDATES Master of Science in Education Deg Continued # Karie Lynn Breanne Elizabeth Cole Shannon Marie Collier Ashlea Lynae Collum Scott D. Conklin KendraJ. Cook Alexandra Rose Cooperman Kayleigh Crockenberg CoryAnn Stacey Hockenbroch * * * Crossin Catherine Mary Dale ChristopherJames Dauber ChristopherWilliam Deily * * RobertJoseph Hudak Amanda L. Detrick CoreyJon Derweiler Lauren Margaret Dillinger Megan K. Dinney Caitlyn Brooke Doerner * # * Steven Dolak * * Brittany Everitt Devon Leigh Farley * * Kathleen Marie Farrell Katie E.Johnson MeganA.Jordan # Jennifer Michelle Kadjeski Lindsay Elizabeth Feger * KeyinAustin Kearney EmilyAnn Fehrenbach Ashley Marie Keating * Scott L. Keller * Morgan L. Kelly * Rachael Kennedy * * Lee Kessler Vicky I. Klem Jena Kramer Kelly Kreitzer * Krystina Marie Kubeika * Courtney Elizabeth Leaidicker * Tonya Rae Lee * CarolineJeanne Lehman * * Andrew Keith Gruver JohnAndrew Hagerman Claire Ann Marie Haja x * Lamar R. Hayes Megan Catherine Hayman-Rau * Degree in Absentia Amber Geist Kepler Rachel Katherine Kern * Jamie Lindsay K. Kint * Erin Elizabeth Kirkpatrick R. Haller * Jennifer Marie Lentine Janel N. Lewis Ashley Nicole Lichtenwalner JudyJoy Lippy Katherine Marie Little Jessica Lloyd Kacie Jeane Long #January 2019 Craduate 7 E Daniel M.Johnson HeatherJones Christopher Paul Feger * Julie Melissa Hope'Witt Hamby * Brianna R.Johanson KrisrinJohnson Mack D.Johnson,Jr. Sarah Marisa Ferenchick # Mariane C. Ferrantino * Heather Marie Flook * Ella Mae Fought-Martin * Alycia Anne Franks * Thmmy Sue Fulginiti * Alyssa Brooke Fultz # Ashlie Funkhauser Amanda Geiman * Alexsandria Elizabeth Giovannangelo Sindy Diane Goodhart Morgan Lee McAdoo Gordon Wendy L.Gorrucz * Sharon Mary Graft * Mallory Lynn Grammer * Ashley Michele Grossman * Angela Dawn Iula * GarrettJohnJames * Rebecca MarieJenkins Jelfrey L. Dougherty Hayley Dutka x TonishaJoann Elmore * * * Michael Todd Hofrnann, Jr. Tiffany L. Hogg Kimberly Marie Hoskins Keri Angela Hove-Steiner William Lee Hower * Meredith Kryby Hudome * Gerald G. Huesken,Jr. * Erin E. Hughes * CorrieJane Hulihan Marianne Endslow Deose * * * Hennessey * DerekJ. Herr * Nicholas H. Hessert * Elizabeth Christine Hockenbery �IVIASTER'S DEGREE CANDIDATES Continued Master of Science in Education Deg * Rachel Marie Rhody * Andrew Paul Rice * Kacey Beth Rice * Allison Diana futchey Megan Gillis Long Sara E. Longenecker Danielle Marie Lonzinski Alexandra Kay Madden Nicolle Marie Maioriello Sara Lyn Makovsky * Christa Lauren Mantz * Ginger Louise Martin {< * Mary Francesca Martin * * Lauren Matarazzo Kristen H. Matthew Holly Beth McCalla Cornelius J. McHugh, x * Keli Maria Melhorn CarolAnn Metz * Abigail Moore * Maud Moore * Cory Murphy Michelle Lauren Musto * Cinzia Messina Neary * DanielAlan Nichols * Starr Ann Nordgren * PatrickJoseph Nork Amber Falyn Smith * Erika Nicole Smith I Jayci Lynn Specht SaraAnn Olechovski Carolyn O'Neill * Steven Orendor{f * Mrry Catherine Osmolenski * Alison Oxley * Marion A. Parry * Linda Marion Patterson # AnthonyWilliam Spinnraker Jacquelyn Maria Stabach * Penilla * Holly Rebecca Pethick Susan * N. Pifer Faith Price TiavisWayne Quici SarahTaglioli Raber * Ryan Scott Rabuck # Anna L. Radspinner x Caidyn Nicole Raub AndrewWilliam Read * * * Kali Reb Scott Allen Reininger Robert Richard Reitz DeedraA. Rhodes Stahl Stauffer * Jena Melanie Louiie Steele * MichaelJames Stein * Sherry Steppe * Trisha Marie Stetts Erin D. Pleskach * Molly Jennifer Stancombe Alexsandra Stapp Laura Suzanne Stark * * * Amy Lynn Staub * David M. Stauffer * Jessica Ralph A. Peschek * Brandy Michelle Sawyer Vivian Smallwood Donna Colangelo Novicki * Nicole Marie Rothrock Anthony Charles Rotondo * LaurenAnne Seamon * Meagan Louise Shaffer * Tyler Edward Shappell * Douglas Scott Shatzer * Amanda Marie Shelley * Colleen Mulkerin Shimko * Leah Simendinger * Edward Slatky Ashley Marie Miller * NaTasha Gabrielle Rosenberry Jennifer Llmn Sayers Linda LaiYin Scaletta Rachel Leigh Scarano * JenniGr Lee Schloo * Kaidin Elizabeth Scott III Rachael Mariana Mclnturff Kayla Rae E McKenna * David Paul Roberts Abbey Elizabeth Robertson Amanda M. Robinson Danielle Rohrer Ann Stevens Schiding * Jennifer BrianJoseph Stevko * Bobbie Stine Kristen Michelle Stout * Sara Louise Strohm KaylaAnn Summers * Joseph * * Degree in Absentia F. Svetecz Diane Szader #January 2079 Craduate 8 �IT,IASTER'S DEGREE CANDIDATES Master of Science in Education Deg continued * LaurenElizabethTarwater ldtElizabethThylor *I Brooke N.Thoman * MeghanE.Tomcykoski + Bobbie Lynn Tondora * AndreaD.Torres x Megan Renae Tiate * JesicaT.Tiichilo TLlly F,:rl *.1 Janis-Marle19 U,mlerger *:.t.ElVodofiky KellyJoWalke. Marie MatthewVincentY/alters * JohnJosephWarminsky # Jessica HarlessWash SarahWashkau * Karhryn Marie Wasickanin * * AryssaA#wawroski LynnWeingart * Jamie Matthew D.Weiser * ChristinaMarieWenclewicz * Thomas HowardWhitmyer III * AmandaElizabethWillson * Kelly Marie Winegardner x CourtneylynnWolgemuth # Jennifer itoi.yrrtn,k., * -Coo.tn.y pyerger * KaseeD.yinghr;g * A]ysa Marie'young Mtry Zajac # Ann'Maiie Zarucky * Katelp Zapp * KaGZech" Master of Science in Bioengineering The College of Science and Engineering Dr. Prahlad N. Murthy, Interim Dean I NuzhatAhmed Austin Bryan Ford Daniel Ryan Goetz Stephen H. Seibert Master of science in Engineering Management The College of Science and Engineering t E * E Dr. Prahlad N. Murthy Interim Dean KerryWilliams I Master of Science in Mathematics I The College of Science and Engineering F T Dr. Prahlad N. Murthy, Interim Dean F * F AnthonyJ. Bianco r l * Degree in Absentia #January 2019 Graduate �IVIASTER'S DEGREE CANDIDATES Master of Science in Nursing The Passan School of Nursing Dr. Deborah A. Zbegne4 Dean #,23 x Phoebe Sue Long Monica Lei Louis Florence MaffeuTamwo # Tabitha Michelle Martin * Nhlanhla MoYo AmyAcosta * Reza Stephen fumaghan Charlotte Marie Ballard * Elizabeth Bendas * Katherine Elizabeth Benson * Camille L. Bocker * * * * JerrodWilliam Nestor # Obianuju Mary Frances Bosek Arthur Edward Brouse Susan Marie Cacciatore * Hyangsook Lee Patel Jennifer Carangio Debora Clark " Mtry Creeden-Redan +'zr Melody L. Danko-Holsomback * Justin Randall Day Carline Desir 23 * * # * * * * * Bridgette Doyle Vanessa Felicia Fernandez Jude Mary Gaughan Christiana Rose Gebhardt Nancy Dee Georgetson #'23 Theresa Green Carla Reni Gruber-Webb * Kimber\ Haskett 23 Dana M. Hatwig #,23 #,23 t r ' Nicole Marie Heffirer Tanya M. Hendrickson Stephanie M. Herman KerryAnn Hoffman Carey LynnJohnson Jacinda Kennedy Denisse Leon Elisabeth Dawn Lipperini 23 SigmaThetaThu StePhanie L. PhilPott Mrry Richards Colleen Flynn Ries Ebony Shuntrece Rockwell Marlene Rosell CourtneY Rosu Ann Marie Rusnak Matthew D. Scott Sheryl M. Seifer April Marie Shearing Mallory C. Sponenberg Claire Elizabeth Steininger GraceAnnTiutt Molly Urbancic GeorgeWWeaver YaninaWiegand Alyce R.Williams Lawrence E.Wood * ElizabethAnneWraY * Lisa ElaineYork * Shelly BrinkYoushock Ideana Shanta Hunter * Melissa Sue Perri Karrie Dawn Peterson :ffi[iH,Yffi* Ana Linsangan Hunt t OkPala CarolA. Omara * Degree in Absentia 10 #January 2019 Graduate �Scholarly Societies and Special Designations Alpha Chi, the National College Honor Scholarship 1 Denotes Membership in 2 Denotes Membership in Alpha Kappa Deha, the International Honorary Society in Sociology. 3 Denotes Membership Society. in the Eta Pi Chapter of Alpha Sigma lambda, the honor society recognizing the acailemic excellence of adult part-time students. Denotes Membership in Beta Beta Beta, the National Honorary Society in Biology. in Chi Alpha Epsilon, the Honorary Society which recognizes stuilents who were admitted to the Uniuersity through Higher Edumtion Access Opportunity prcgrams. Denotes Membership kta in the Psi Chapter of Delta Mu Deba, the National Honor ciety in Busines s Adminisfiation. Denotes Membership So 7 Denotes Honors in Biology. 8 Denotes Honors in English. 9 Denotes Honors in Engineeing. 10 Denota Membuship in l-ambda Pi Eta, the National Honorary Society in Corumuniutions. 11 Denotes Membership in the Phi Phi Chapter of Kappa Delta Pi, the International Honorary Society in Education. 12 Denotes Candidates for Pewuyluania Tbacher Certification. 13 Denotes Candidates for Pennsyluania Principal Certification. 14 Denotes Membership in Phi AlphaTheta, the National Honorury Society in Hktory. 15 Denotes Mernbership in Phi l-ambda Sigma, the Pharrnacy kadership t6 Denotes Membership in Phi SigmaThu, the National Honor Society in Philosophy. 17 Denotes Membership 18 Denotes Membership in Pi Sigma Alpha, the National Politiul Science Honor Society. 19 Denotes Membership 20 Denotes Membership in Phi Eta sigma, the National 21 Denotes Membuship in Rho Chi, the National Honor 22 Denotes Membuship in SigmaThu Deha, the National Honorary Society in Englkh. 23 Denotes Membership in the kta Society for in Pi Kappa Delta, the National Honorary Forensic in Psi Chi, the National Honorary Society in Honor Society. Psychology. society for College Freshmen. Society in Pharmacy. Psi Chapter of StgmaThetaThu, the International Honor Nursing. 24 Denota Membmhip in and arhowledgment by Signa Xi, the Scientfu Reseanh Society. 25 Denotes Tom Bigler Scholar 26 Denotes Pre- Medical Scholat 27 Denotes Membership in the National Student 28 Denotes Membership in 29 Denotes Membership in Alpha l-ambda Delta National Honor Society. 30 Denotes Honors Progrant Grailuate. 31 Denotes Membership * * Sigma Nurses Association. Alpha H, the National Society of ltaduship and in Sigma Deba Pi, the National Hkpanic Honor Degree in Absentia January 2019 Graduate 11 I Society. Society. Success. �Student Awards 201-9 Acadernic Awards Nesbitt School of PhanrracY APhA Mortar and Pestle ProfesionalismAwerd Dean's Outstanding "'-- Kayla Hiryak -Ericka Zx{o[l' StudentAward School of Pharmary Excellence in Clinical Practice School of Pharmary Communiry Service Award -.----." Eileen Friery Award """AlexPonce The Barbara L. Nanstiel Pharmacy lnformationAward............. ... KristinVeltri Department of Pharmacy Practice ResearchAward""""""""' "" Sierra Smith Mylan Excellence in PharmacyAward................. The Luzerne County Pharmacists Association Academic Achievement .........'.'..Olivia Schlottmann Award........... Taylor Hodle Nesbitt School of Pharmacy Academic Achievement Award ..... '..... '............'....'.'K.yla Hart The'Wolters Kluwer Excellence in Clinical CommunicationAward......'........ AmandaWalsh Pennsylvania Pharmacists Associarion Ouistanding pharmacy Student Award ...... Alexandra Fanucci Lackawanna Counry Pharmacists Association Jurisprudence Award Pennsylvania Sociery of Health-System Pharmacists Rule Sisters Award..... PharmacyAward The Arthur H. Kibbe Excellence in Pharmaceutical Science ResearchAward .. .. .. . .. .. ... ... Jamie Akoury ....Abby Stevens """""'Gina Strauser Olivia Schlottmann """"""""' """""'Abigail Nemeth KaceyVeltri The Jay S. Sidhu School of Business and Leadership AcademicAchievementAward -MBA..'... "il; 12 iffi:rll;; �Acadernic Costume The celebration of Commencement is surrounded by rich traditions. The established community of scholars the Faculty convene to recognize fficially the newest group of the Craduates and welcome them infellowship. Graduates don the attire - symbolized scholaily - attainment. thatfor years has proven scholars During the MiddleAges those seeking an education traueled to European centers of learning. Centers of learning and uniuersities were closely allied with the clerics of the time, and the scholars donned garb similar to that worn by the clergy.This euolved into the academic unform, a long black gown, hood, and cap, which proued usefulfor studying in unheated and drafty buildings. The hood served simuhaneously as a head covering, a reytository for coins and alms and the forerunner of the modern day boob bag.The hood was adorned with the colors oJ the university and designated the young scholar\ school or uniuersity ffiliation. By their dktinrtive clothing the students were set apart and distinguishedfrom the citizens of the town; henre the origin oJ the phrase "town and gown." American colleges and universities adopted the wearing of the traditional apparel in Colonial times, and d common codefor amdemic apparel was established in the mid-nineteenth century. The hood is the most distinctive feature of academic regalia. The inside of the hooit is lined with the fficial colors of the institution; today you see Wilbes graduates wearing hoods lined with the blue and gold colors of the (Jniuersity.The ueluet trim arounil the outside of the hood designates the degree or field of *udy of the graduates.The ueluet colors worn by to,dayl graduates signfy the following: GoldenYellow Oliue Blue Apricot White Drab Brown Science Arts, Letters, Humanities Business Administration Fine Arts Pharmacy Education Nursing The style oJ the gown dktinguishes graduates by the degree they haue earneil. Those earning the bachelor\ degree wear a simple blacl< gown with elongated pointed sleeues. Holders of the master's degree wear gouns with a longet; closed, square cut sleeye.The doctoral gown is trimmed with veluet stripes on the sleeues and panels of veluet on thefront closure of the goum. Some American uniuersities haue adopted doctoral gowns in their distinctive colors,You will notice the slate oJ Columbia,the red oJ Cornell, the burgundy of the (Jniuersity of Pennsyluania, the bright blue oJ the tJniuersity of Mhhigan. Tb haue earued the priuilege of wearing academic costume regalia signfies not only the completion of a program of studies, but entrance into the comradery of scholarship. j i t 1.3 E �Ttre flniversitY Mace and Presidential 6ain of (office traditions used in academic celebrations represent The mace and the presidential chain of ofice and the uniuersity Th, *oiriy*bollzes the authority of the dating to the sixteenth of the academy' designates the presidential leadership chaii of ;;;"; ffice t loul donors chain of ffice were gftt The wilkes IJniuersity mace and presidential of the second president ofwilkes'They were and were first used in 1g7b at the inauguration ,xecutei by Kurt Matzdorf, a .nationally recognized designed by Ouie Hill Chwalek. '67 and (Jniuersity of NewYork at New Paltz' goli *d. sllversmithfrom the State The llniuersitY Mace the base and a gilt circle at the top bearing The sterling siluer mace has a gilt knob at ,its mace, signifies 1g3;.,,The bowl,rising aboue the neck of the inscription,wilkes colQ o n,wind uigorous community of peoplefrom Wilkes-Barre's role as a melting pot,forming is reiterated in the inscription of the Uniuersity's many dfferent backgrounds. ,,(Jnity Amidst ;rich surrou.nds the upper part oJ the bowl'The gilt flame motto th, piece of anthracite coal h.ighu.rduroiin, symbolizes the enlighten'm-rl,ntionra Jron known the oigin of the (Jniuersity in a community set in the cerner of theflo*, ,ol**r*irates fili tlri*, olrrrttj; for ihil, its coal mining Past. The Presiilential Chain of Ofiict The Presidential Chain of Ofice, ;;i created from stetling :il*'Y,alyrnatins,bluns y":"I":!::-!:,i' ::::: ,"r;;;;;;:;;,'";',,;;; ';:;;"; i,i,",, i iii,' *ni'i i' u.'p'n 1,io,,: d from ..a "Y !-*':;.*,,:::::, "ff ,;";"rL;"i,'rrirr'i',"i""'i'"*iitltyt;-:t*:,?Iff ^' 'tff:;' ;3i::;:;";;:u ptortrait ,1o' y"q'* s' Fotet' y-ffi H7'#H d *^'*"'a;*tir rqs YiTr:{rr:,"r'ii,i,""""u"'unded bv"gitt ook t'o"' ,h; of th, o" ,?, de 'tufu the emerging ins titution. 14 n �Llniversity Center on Main McHale Athletic Center FIRST AID Medical personnel are available for first aid assistance at the First Aid Station in- the Engel Room just off the lobby. Should you need assistance please contact the usher or a Public SaGty Officer. PICTURE TAKING ofthe space limitations, safety and control, no one, -Because except the proGssional photographer and members ofthe press with appropriate credentials, will be allowed access to the stage area for the purpose oftaking pictures or video-taking. A photograph will be taken of each graduate as the diploma is presented by the President. REST ROOMS Rest rooms are accessible from the lobby and on second floor. - is available at the rear of the McHale Athletic Center. A woman's restroom BEVERAGES is available at the drinking fountains on the first floor of the -Water building. Starbucks will be open during the ceremony. A will be held in the First Floor Lounge of the Henry Student Center immediately following the ceremony. post-commencement reception l5 ;.i**aiitffib* �THE STAR.SPAhIGLED BANNER O What so dawnl early light, say, can you see, by the prouitly ue haileil at the nailight's last gleaming Wlwse broail saliPes od hight st6s, Thagh lrc Pctitasffi, O'u tlw ffiry68 ue tfrM, Wue so Anil gallmtrtY stftanfug? the toekets'teil glarc, The bombs burcting in air, Cave Proof through the night That ourfiagwas still there' O say does that star-spangled banner yet wave O'er the land of theJree And the home of the brave? Words by Francis Scott KeY Arranged by John PhiliP Sousa Harmonized by Walter Damrosch ALMA MATER Wilkes, our Alrna Mater, We pledge our hearts to thee, Honor, faith, and courage, Tiuth and loYakY, In our work anil in our Pleasure, Guide us as afriend; We shall always love thee, Loyal to the end. Tlwu slult lead us onwatd h, scq* tt{ay Sfia wfud fu rthtgs- lldtdont Thrrtlrf trphilhtueL Mry ow fufs dhEdnrb Evu well thYfone - Wilkes, we stand to greet thee! Glory to thY name. Words and Music by Eleanor C. Farley t6 �Platform Pafty Graduate and Professional Cornmencement Ceremony PrulAdams MlrkAllen AbelAdekola.............. Bonnie Culver...... Jonathan Ference Jason Griggs....... Kathleen Hirthler Susan Hritzak Joseph Kultys Patrick Leahy........ Karirn Letwinsky Andrew Miller....... Prahlad Murthy Julie Olenak............... Kristin Osipower Jayson Pope ........ Loren Prescott Rabbitt Paul Riggs Philip Ruthkosky Anne Skleder..... John Stachacz..........-. Margaret Steele........ Scott Stolte 'WagihaTaylor .....Vice president, StudentAffairs ........Dean of Students ...Dean,Jay S. Sidhu School : i I h ................Associate provost ....Mernber Board ofTrustee ... Chair, Graduate Nursing ................Registrar ..Associate Registrar .........president .......Chair, Department of Educational Leadership ...........Chair, FacultyAffairs Council Interim Dean, College of Science and Engineering .. ... ........ Deborah Zbegner GretchenYeninas d.-;M Assistant Dean, Nesbitt School of pharrnacy ...........Coordinator, Carnpus Interfaith .Student Greeter ....... Vice president, Finance and Support Operations/ General Counsel ..Dean, School of Education .....Dean, College ofArts, Hurnanities and Social Science ............Associate Dean, studentAffairs SeniorVice president and provost ......Dean, Eugene S. Farley Library ............Chief Developrnent Oflicer Dean, Nesbitt School of pharmacy ......Faculry Marshal 'Wignot..... ...... Michael'Wood............ Terese Business and Leadership Director, Creative'Writing Rhonda J, of . .. InterirnVice president for Enrollment and Marketing ..SpecialAssistant to the president ....Associate Dean, Student Affairs Dean, passan School of Nursing �rffi * -Yg €Fg ata a%\ -+ w � 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 Commencement Programs, 1941-2020 Description An account of the resource Wilkes College and Wilkes University Commencement programs from 1941 when the college was a satellite campus of Bucknell University through Winter 2020. Creator An entity primarily responsible for making the resource Wilkes University Publisher An entity responsible for making the resource available Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1941-2020 Format The file format, physical medium, or dimensions of the resource PDF files Type The nature or genre of the resource Programs 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 May 18 2019 72nd Annual Graduate Spring Commencement 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 Program https://omeka.wilkes.edu/omeka/files/original/e28a17b11677aa339ca442a55c7c3591.pdf 7c1e39abc255638a6488bb78f3c4d937 PDF Text Text �THE STAR.SPANGLED BANNER What eaily light, O say, can you see, by the dawn's so proudly we hailed at the twilight's last gleaming, Whose broad stripes and bright stars, Through the perilous fight, O'er the ramparts we watched, Were so gallantly streaming? And the rockets'red glare, The bombs bursting in air, Caue proof through the night That ourfiag was still there. O say does that star-spangled banner yet wave O'er the land of thefree And the home of the braue? Words by Francis Scott Key Arranged by Philip C. Simon ALMA MATER Wilkes, ourAlma Mater, We pledge our hearts Honor, to thee, faith, and courage, Tiuth and loyalty, In our work and in our pleasure, Cuide us as afriend; We shall afuiays love thee, Loyal to the end. Thou shalt lead us onward ofjner things. May wefind the wisdom ln search That thy spirit brings. May our deeds of loue and seruice Euer swell thy fame - Wilkes, we stand to greet thee! Clory to thy name. Words and Music by Eleanor C. Failey A for graduates and their Jamilies will be held in the Ballroom of the Henry Student Center immediately following the ceremony. reception �re 1935 W'ILKES UNIVERSITY'S WINTER COMMENCEMENT for the Conferring of Degrees ir �Order of Exencises XPROCESSIONAL TrurnpetVoluntary.... Music --....Clarke .....'..Handel/Haszo Exceipts fromTheWater 'WELCOME.............. Terese M.Wignot Interim Senior Vice Presiilent anil Prottost *INVOCAIION......... Kristin M. Osipower Coorilinator, Campus Intefaith *THE STAR-SPANGLED BANNER.............Words by Francis Scott Key Arranged by Philip G. Simon Chair, Faculty Afairs Council As sociate ProJessor, Chemistry KristinV Donati Member of the Graduating Class *The audience is requested to ise. �F Order of Exercises COMMENCEMENTADDRESS ..... PaulT. Riggs Dean, College of A*, Humanities anil Social CONFERRING OFTHE DEGREES Sciences Paul S.Adams Interim President PRESIDENT'S xAT MA MESSAGE.............. MAIER... .Paul S.Adams ........ Eleanor C. Farley Arrangement, Terry Zipay *BENEDICTION................; .. Kristin M. Osipower Coorilinator, C ampus Intefaith *RECESSIONAL Just a closerwalkwithThee,Traditional.......... ----.-....arr by Luther i I ! a t I I t f, I t l1 t Music proviileil by theValley Brass Quintet Dr Philip G. Simon, Director Hannah Fritz'2 3, Vocalist 3 : E f E tL : E T *The auilierue is requested to rise. Henderson �DOCTOR OF EDUCATION CANDIDATES The School of Education Dr. Rhonda M. Rabbitt, Dean GopuAmbari Kiron Kathleen P Muniz Jolie A. Bach Nicholas Paul Caminiti Jonathan M.Joseph Christine Diane Goehring Juhasz Christina K. Murakami MartinThomas DOCTOR OF NURSING PRACTICE CANDIDATES The Passan School of Nursing Dr. Deborah A,. Zbegner, Dean Kori Ann Morgan BrendaJoyce CallE Gail M. Crump * Jorri Shonte Davis 23 Arianna Beatrice Dempsey * Mahsa Motevalli * Alec Orlick *'William Manuel Clemente Gorzalez Connie Jeanette Hatfield * Jerome Schultz ToniValentine Steres Kathr),n Elizabeth Teniente Olga Louise Husbands 23 SigmaThetaThu * Degree inAbsentia �MASTER'S DEGREE CAI\IDIDATES The Jay S. Sidhu School of Business and Leadership Dr. Abel Adekola, Decn Master of Business Administration 6 * Steven S. Kheloussi KristinVictoria Donati Melissa Margaret Duda *'6 Emily Alne Franchetti Tony Lajeune Lewis Lanen * Cynthia Benjamin T. Haushalter Anry Marie Markowski 6Jessica S. Strotrl The School of Education Dr. Rhonda M. Rabbitt, Dean Master of Science in Education Marlene C.Aitken Jessica Marie Allvord * Luke D.Angley Felecia Brianne Anthony * Marisa Nicole Avery 11 x Jennifer Benko * * MeganWaldron Gifford x Tiavis L. Berwick Sammantha Lee Gilley Kelly Lynn Gilroy Jessica * Jessica Ruie Benjamin * Anne Elizabeth Bozievich * Alyson Brader * E-ily E. Gray * LeonardVincent Greaney x Megan Amber Brown Angela Nicole Bryner HaileyA. Guerriero * MarisaVere Bloss Haggerry * Kristina Lynn Hancock * Kathryn Rafter Harmon * Caidin Ann Burns * AlysonJoy Burton * TerrenceJoseph Cannon * Gabrielle A. Capuano Alicia Anne Harris * Colin Hatten * Drew Michael Hercik * Nathan Christopher Hertzog John Carlisle * Brittany Chan * Lance Chappelle * Angeline Danielle Clark * Elizabeth Coons * Foster Diana L. Gentile Alexander Keith Gibson Maura Reilly Gifford * Ryan Berger * A. Foster * Shawn Henry * Carina Garcia * x Valerie Jeanne Heverly Jordan Timothy Higgins * Angela Hoffinan Alycia Catherine Dente * Taylor Ray Hon * Neena Marie Hurley Fatih Durmaz * Kristin GailJohnson * DonaldJ. Kaiser III Jordan Nicole Delp * Michele Lynn DiPillo * Christina Lee Donatelli Angela MarieJanaro * Helen Marie EgoH * Lindsay Eliasoph * Deanne Kalin * Nicole M. Karausky * Kristen Anne Faller HollyJ. Keller Tiicia Marie Feilbach Ashley Cavanaugh Kessel Amber Faith Kessler * David Alan Klinger * Jeffrey Edward Kobernick * Peggy A. Fetterhoff * Christina Leigh Fickes * Carolyn Marie Foose 6 Deka Mu Deha '1 Kappa Deha 5 Pi * Degrec in Absentia �IT,IASTER'S DEGREE CANDIDATES Continucd Master of Science in Educati * * * Sarah Letitia Rotella * Lucas Sandoe Jarrod Kramer Julie A. Lartz Maria Alena Scavone Jennah Nicole Laughlin * Megan Schanely * Brenda Jean Schweighofer * Brianna Irene Lesko * Victoria Lewandowski * Christine Margaret * Ana Lisi * TracyA. Long * Justine Noelle Seely Lipsey * Matthew Brian Severcool * E-ily E. Seydel Jennifer L. Shay Vonenna Sheleman Joni Maclnryre * MichaelJ. Mady,Jr. * Kristin Leigh Malock * Shana Matz * x Peter M. McDonald RebeccaJo Siebert Cassandra H. Siebler Bobbi Rose Sisock Karen Emily Smith * Christina Marie Merrick Lisa Michener * * * Jennifer Miller MelissaAnn Smith * Joshua Stouffer * Jenna ElizabethThom * KimberlyThomas * Robert Tomascik,Jr. J. * Tiffany Marie Mittereder Kersrynn Nikole Montgomery * Karen Beth Morrison * Heather Natt * Sarah Nelson * Chantelle Marie Neupauer * Heather Elaine Nielsen Rebecca Elizabeth Tonge * Benjamin Owen Townsley * Mickayla Marie Nowak * Anita Park DavidTiemblay Ann M.Tucsnak Jason Kathleen M.Tuohy * David RobertWacker,Jr. * I Laura A. Shola Rachel Pettis Morgan Elizabeth Pierce * Janine Elizabeth Pietrangelo * Rachelle Mae Piper * Thra L. Reigle * * * Jessica'Wirinski Megan Elizabeth Zahurtnec Lauren Zemperini * Degree in Absentia 6 �I},IASTER'S DEGR]EE CANDIDATES The College of Science and Engineering Dr. Prahlad N. Murthy, Intefim Dean Master of Science in Bioengineering Michael PYuhas The College of Science and Engineering Dr. Prahlad N. Murthy, Interim Dean Master of Science in Engineering Management * RobertWilliam Davies The College of Science and Engineering Dr. Prahlad N. Murthy, Interim Dean Master of Science in Mathernatics * BenjaminJ. Colfins The College of Science and Engineering Dr. Prahlad N. Murthy, Interim Dean Master of Science in Mechanical Engineering JamesV Copley,Jr. I t E t t F I t' i * Degree in Absentia 7 ,it L . �MASTER'S DEGREE CA]\IDIDATES The Passan School of Nursing Dr. Deborah A. Zbegne4 Dean Master of Science in Nursing * PrestonA.Addae Mutiat BldemiAjibade 23 * Eve\n C.Al-Dubais JenniGr Anne M.Jimenez * ValerieJohns Ebiaredo Alofe * CameoJohnson * Shirielle T.Avakian * A*y Chrisandra Baremore * Jannie Anderson Jordan Julia Mercedes Jurkiewicz 23 Jill Kathleen Kepner Amanda A. Beecham x Girish Bhalodi * Kathleen Suzanne Lambert * KaliA. Leach * Karen Leinhauser *':: gri., Cherie Lyden * Denise Bonnett 23 Megan Claire O'Reilly Brennan Sharon L. Brown Yaneisy Camps * Amanda Marie Huber Girard Anthony Jenkins 23 * Patricia Cecilia Castillo Michele Patricia Clarke Deirdre Coleman Kimberly Colston Monica Gay Crain Jamie Mancuso * Brenda Raye Manning 23 * Kathryn A. Crockett Brittani Marie Mosiniak Rodalyn L. Dayoan * KariAnn Myder Kara Leanne Dorsey Adrienne Drago ShawnJay Dugan Rachel Florence Ennis Danielle Lynn Eveland 23 Christine O'Donnell SylenaJ. Parham A-y Ly, Quiggle * Kimberly Michelle Rinaldo * Amanda Selman RobinW Gara Melissa Rose Gaydos * * 23JaimeJo Muscianesi Stephanie E. Destafirey * Jusrin Gentile * Debra Denise George * AmandaV Greer-Arthur Mariah Erin Hamilton Gina Harrison *.':l 23 Amanda Elizabeth Martinez Simran Esther Marx ThomasJames Mcknifi Jennifer L. Mclaughiin Tracy Shenk Hannah Lee Smith Natalia Snyder Christina Ann Stoller * Dwayne MatthewToomer * Robin EileenWalker Deanne AngelaWalters Erin Hash Catherine Hewlett Jessie * 23 SigmaThetaThu Julie LynneYenzi * Degree inAbsentia �BACHELOR'S DEGREE CANDIDATES The college ofArts, Flurnanities, and Social'sciences Dr. Paul T. Riggs, Dear Cornrnunication Studies 10' 17 Natalie D. Carleo Samantha Lynn Earley 10 Luke Modrovsky Seconil Degree, Sports Managemenl * Jonathan G.'White Crirninology * Joseph S. Gaglioti Abigail Rhode Machay Second Major, Sociology B k E. * ti F E I{istory * Eileen Blaine, 11'12 r Summa Cum laude Mauri L. Bohan, Cum AlecJohn Dupras ltude 11'12 Second Degree, Secondary Education Joanne Nicole Monfiletto, Summa Cum Laude Second Major, Secondary Education r Neuroscience * Dylan Hunt I Jordan McKeaige Philosophy Thryn Skinner il , Political Science Carlie Lynn Coolbaugh i * E. B Psychology E H t r I E rI ]E * Gena Cadwalder Joseph Andrewfucelay r * James Joseph Ardoline Cassandra Ila Laureano JenniGr M. Bone * Maura Catherine Brownsey Adam Hugh Seiwell * PhoebeYost Sociology * Steven S. Lada sl[ 1 G. a E F .: , r i t I; E E F I Is t l I to l-ambda Pi Eta 11 t7 Kappa Delu pi Kappa Delta D 12 Pennsyluan.ia Tbarher Certification * Degree in Absentia �BACHELOR'S DEGREE CANDIDATES The School of Education Dr. Rhonda M. Rabbitt, Dean Elernentary & Early Childhood Education 12 Emily A.'Wirth, Cum l-aude Middle Level Education x'12 12 Margaret Lyn Hoskins, Cwn laude John H.Tudgay III Secondary Education 11' 12 Mauri L. Bohan, Cum l-aude Secorul Degree, History The College of Science and Engineering Dr. Prahlad N. Murthy, Interim Dean Biology Brice M. Rowlands Jacob S. Baranski 2e Corinne N. Brown, Cum Felicia Marie Cicco a'7 l-aude Emily Russavage, Magna Cum ltude *'a'7 Cafter C.Whittemore, Summa Cum laude Danay Sachiel Rosa Chernistry Nikki Zula Cornputer Inforrnation Systerns Abdulrahman A1i Alzamil Cornputer Science Ian Kelly Electrical Engineering ThylorJade Zawierucha Engineering Managernent Abdulrahman Ali AlGhamdi Environrnental Engineering Abdulrahman Alqallaf Abdullah Alasousi Mechanical Engineering James Michael Peaney a Beta Beta Beta JohnTylerWink 7 Honors in 2e Biology 11 Alpha Lambda Kappa Deha Deha 10 * Pi 11 Pen.nsylvaniaTbaher certfuation Degree in Absentia �BACHELOR'S DEGREE CANDIDATES The J"y S. Sidhu School of Business and Leadership ; Dr.Abel Adekola,Dean Accounting Maryam Ali Almarhoon ri b MajedAlmehmadi * Anea] Knowles-Massiah Andrew Joseph MacDonald Jivan-Jujhar Singh Sidhu Business Adrninistration LturaJ.Perry, I Summa Cum l-aude Entrepreneurship ChristosJames Alevras I Ho 6 t s p itality Le ader s hip ThomasJ. Kivak, Summa Cum Ltude Managernent MohammedTheeb Alajmi Bryce Harrison Marketing Mariah Lynne Curtis, Salvatore N. Piccone Cody Ryan Puza Summa Cum l-aude Sports Management 6 Ryan Balliet, Cum laude Lauren Nicole Leppo Second Maj or, Marketing I to Gabrielle Celeste Giordano Luke Modrovsky S e co nd D egree, C o mmunimtions The Passan School of Nursing Dr. Deborah A. Zbegner, Dean I i Alesha Marie Carey Patricia Louise Kott, Summa Cum laude Mariam FtyezHanna Brigid M. Mauro Veronica Sarie Hernandez Elizabeth Catherine Hildebrandt Larissa Elizabeth Rosendale Megan Nicole Rosvanis Olivia EleanorJulian * Karen Marie Kakaley 23 Jaime Lee Swanick Renee Taylor, Summa Cum Laude Carrie Kathryn Kobrynich ; r r 6 Deha Mu Deba to 23 Lambda Pi Eta i i t1 i L SigmaThetaThu * Degree in Absentia �Scholarly Societies and Special Designations 1 Denotes Membership in Alpha Chi, the National College Honor *holarship Society. 2 Denotes Membership in Alpha Kappa Delu, the lntenationol Hotmary .9raery 1 Denotes Membership in the Eta Pi Chaptct ofAlpha Signa Lalnbila,tlr recognizing the academic excellence of adub part-time stuilenc Denotes Membership h Sociology. Mw suidt in Beta Beta Beta, the National Honorary fuiety in Biolry. in Chi Alpha Epsilon, the Honorary Society which recogniza stwla$ who were admitted to the LJniuersity through Higher Education Access Opportunity prograffis. Denotes Membership 6 Denotes Membership in the Z-eta Psi Chapter oJ Deha Mu Deba, the National Honor Society in Business Adm.inistration. 7 Denotes Honors in Biology, 8 Denotes Honors 9 Denotes Honors in Engineering. in Englkh. l0 Denotes Membership in lambda Pi Eta, the I'lational Honorary Society 11 Denotes Membership in tlrc Phi Phi Chapter of Kappa Deha Pi, the lnternational Honorary Society in Communimtions. in Eduution. 12 Denotes Can 13 Denotes C an di dates for Pennsyluania Princip al Certification. 14 Denotes Menrbership in Phi AlphaTheta, tlrc National Honorary Society in History. t5 Denotes Membership h 16 Denotes Membership in Phi SigmaTau, the National Honor Society in Philosoplry. 1'7 Denotes Membership 18 Denotes Membership in Pi Sigma Alpha, the National Politiul Science Honor Society. 19 Denotes Membership in 20 Denotes Membership in Phi Etn Sigma, the National Honor Societyfor College Freshmen. 21 Denotcs Membership in Rho Chi, 22 Denotes Membership in SigmaThu Delta, the National Honorary Society in Englkh. 23 Denotes Membership in the Zeta Society di dates for Pennsyluani a Tbacher Certifuation. Phi l-ambda Sigma, the Plmnnacy Itadership Society. in Pi Kappa Delta, tlrc National Honorary Forensic Psi Society. Chi, the National Honorury Society in Psychology. the National Honor Society in Pharmacy. Psi Chapter of SigmaThetaThu, the lnternational Honor for Nursing X, 24 Denotes Membership in and arknowledgnent by Sigma 25 Denotes Toru Bigler Scholar. 26 Denotes Pre -Medical Scholar. 27 Denotes Membership 28 Denotes Mewberchip in Sigma Alpha Pi, the National Society of Itadership and Sucess. 29 Denotes Membership in Alpha l-ambda Delta National Honor Society. 30 Denotes Honors Program Graduate. * in the National Student Degree in Absentia 12 tlte Scientifu Research Society. Nurses Association. �Acadernic Costurne The celebration of Commencement is surrounded by rich traditions. The established community of scholars prouen scholars thatfor years During - - the Faculty the Graduates - - convene to recognize fficially the newest group oJ and welcome them infellowship. Graduates don the attire has symbolized scholaily attainment. the MiddleAges those seeking an education traveled to European centers of learning. Centers of learning and uniuersities were closely allied with the clerics of the time, and the scholars donned garb similar to that worn by the clergy.This euolued into the academic uniform, a long gown, hood, and cap, which proued useful for studying in unheated and drafty buildings. The hood serued simultaneously as a head couering, a repository for coins and alms and the black i forerunner of the modern day book bag.The hood was adorned with the colors of the uniuersity and designated the young scholar's school or university ffiliation. By their distinctive clothing the students were set apart and distingukhedfrom the citizens of the toum; hence the origin the phrase of "town and goutn." American colleges and uniuersities adopted the wearing of the traditional apparel in Colonial in the mid-nineteenth century. times, and a common codefor academic apparel was established The hood is the most distinctiue feature of academic regalia. The inside of the hood is lined with the fficial colors of the institution; today you see Wilkes graduates wearing hoods lined with the blue and gold colors of the University.The ueluet trim around the outside oJ the hood designates the degree or field oJ study of the graduates.The ueluet colors worn by today\ graduates signify the following: GoldenYellow Brown Oliue Blue Apricot White Drab Science Arts, Letters, Humanities Business Administration Fine Arts Pharmacy Education Nursing The style of the gown distingubhes graduates by the degree they haue earned. Those earning the bachelor's degree wear a simple black gown with elongated pointed sleeues. Holders of the master\ degree wear goums with a longer, closed, square cut sleeue.The doctoral gown is trimmed with ueluet stripes on the sleeues and panels of ueluet on thefront closure of the gown. Some American universities haue adopted doctoral gowns in their distinctiue colors.You will notice the slate of Columbia, the red of Cornell, the burgundy of the (Jniuersity of Pennsyluania, the bright blue of the Uniuersity of Michigan. Tb have earned the priuilege of wearing academic costume regalia signifes not only the completion of a program of studies, but entrance into the comradery of scholarship. 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 Commencement Programs, 1941-2020 Description An account of the resource Wilkes College and Wilkes University Commencement programs from 1941 when the college was a satellite campus of Bucknell University through Winter 2020. Creator An entity primarily responsible for making the resource Wilkes University Publisher An entity responsible for making the resource available Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1941-2020 Format The file format, physical medium, or dimensions of the resource PDF files Type The nature or genre of the resource Programs 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 January 19th 2020 Winter Commencement 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 Program https://omeka.wilkes.edu/omeka/files/original/502a880089ead69f3a6d0ba22ccfcf18.pdf 3a8b15b26685bcbeecfdcea2c01ace22 PDF Text Text ��WILKES UNIVERSITY The Fifty-Sixth Annual Spnng Commencement fot the Confernng of Degrees Saturdry Morning Mry 17,2003 at eleven o'cloclt �Ordq of Exucises FANFARE Fanfare For The Common Man ......... Aaron Copland PROCESSIONAL Entrance and March of the Peers from Iolanthe ................Arthur Sullivan (The audience is requested to nse ds the procession enters the area.) INVOCATION ........... Rrr,unrNo DoualoJ. Gmurs, C.S.C., C.R. Affairs Kngs College Vice President, Academic America, The Beautiful............. Wordsby KnthenneLeeBates Musicby Samuel A. Ward (The words of Amenca The Beautiful are pnnted on thebach cover oJ the program. The audience is requested to stand and join in the singlng.) GREETINGS .............. Joseeu E. Gruoun President ElzesetH A. Sr-a.ucHrrn'68 Membet; Board oJ kustees ANNe HuNrueN Beronv'68 P roJessor of Business Administratton Devro DrMenlNo'00 MBA'03 �Ordq of Exqcises PRESENTATION OF AWARDS PRESENTATION OF HONORARY DEGREE RoNelo L. SencrNr Doctor of Humane Letters COMMENCEMENT ADDRESS THE CONFERRING OF THE Alma Mater .. DEGREES RoNelo L. Sancrxr ......JoserH E. Gmroun ............... .... Eleanor C. Farley (The words of the AlmaMater are pinted on thebach coyer oJ the program. The audience is requested to stand and join in the sin$ng.) BENEDICTION.......... KevrN GeucHrNnaucH C o ordinat o 4 C ampus RECESSIONAL March from Scipio G. F. Handel Music Provided By: W ilhe s U ntu er sig B r as s Ensembl e Terry Zipay, Conductor i ! F r Wilhes U niv er sity Chorus Steven Thomas, Conductor L I ! t t i t i 2 F t F a L. Interf aith Ceol Mor Ptpe and Drum Band �HONORARY DEGREE . RoNern L. SencENr DOCTOR OF HUMANE LETTERS ............ A man of conviction, commitment and focus, you have become the President and Chief Executive Officer of Staples, Inc., a Fortune 500 Company with $11.6 billion in annual sales,58,000 associates and more than I,500 superstores worldwide. The first in your family to attend college, your upbringing in the working class neighborhood of Covington, Kentucky instilled in you the values of hard work and perseverance. With a career in retail sales that started in your teens, you armed yourself early with an array of reliable skills and practices that focused on product and service quality. Whether it was stocking shelves, working the cash register, or staffing the mailroom, you distinguished yourself, no matter the role. After earning undergraduate and graduate degrees from Harvard, it was 1989 when you made the courageous decision to leave a promising career as a young executive to accept a position as a regional vice president with the upstaft Staples. You obviously chose wisely as evtdenced by your success in climbing the Staples corporate ladder. In 13 years with Staples you have worked as a regional vice president, led the catalog and delivery divisions, ran the North American opera[ion, served as Chief Operating Officer, and now lead the corporation as President and Chief Executive Officer- Knowing that financial goals alone will not differentiate Staples from its competitors, you have guided the cultural transformation of the corporation through your new TeamCARE values. Focusing on teamwork, customers, associates, and the simplification of process, you lead by example with your sense of personal accountability and focus. As a leader who "walks the talk," you personify the Staples mission and vision by being a watchful steward of corporate assets and by undertaking meaningful change clearly connected to strategy. With compelling modesty, and ambition first and foremost for Staples success, you have produced impressive results. Through innovation and inspiration, you guided Staples in2002 to its most profitable year in the company's history. While leading a corporation to the top of its industry might be reason enough for the recognition we bestow today, it is the powel of your vision for the future, your passion for excellence, your integrity, and your harddriving style that make you a model of. organrzational leadership to be studied and emulated, and the reason why we truly honor you. By the power vested in me by the Board of Trustees of Wilkes University, and the Commonwealth of Pennsylvania, I hereby confer upon you, Ronald L. Sargent, the doctorate of humane letters, Honoris Causa, with ali the rights and privileges appeilaining thereto. �i AMARDS THE MABLE SCOTT WANDELL AND STERLING LEROY WANDELL A\MARDS Jrssrce Sruracx '03 Eruc Zunrn'03 These awards ore presented to the man and womcn who have attained the highest acad,emic awrage for the four years atWilhes University. MenewNr Lorscnre Provost ALUMNI AWARD FOR LEADERSHIP............. ...... Sena ANNr Croroll'03 This award is glvenby the Wilhes lJniversig Alumni Association to the member of the graduating class considered to have made the strongest contnbutions to studentlife and the student activities progrom oJ the University. Presentation by Wtt-lnrra GoloswonrtN' 7 6 President, Wilkes Universlty Alumni Association ARMED FORCES RESERVE OFFICER APPOINTMENT UNITED STAIE AIR FORCE............... CaNorcr M. Aoaus '03 DoNalo J. Lear,cv '03 Presentation by DoNNe Lu.tN Stutru Lieutenant Colonel, U.S. Air Force �DOCTOR OF PI{AR}VIACY CANDIDATES Summa Cum Laude 1,22 KistenMane Graver 22 Frdncesca Ann Roberto 22 AdamVanWert Magna Cum Laude James Cavage 22 Lisa Charneshi NathanDolh HanhLe ChauDuong Bro ohe Elizab eth F arley Natalee Helene Felten t5,22 22 5 r) 22 15,I8,22 Jonathan Dayid Ference Marcy LynnFitz MelissaLynn Gapinshi Sarah Gardner James Hollands P sy chologtrt, S 22 Michelle Macumber Lrso 22 econd Maj or llingaman Nallon VuMinhPhan KettinM. Topa Cum Laude Rhonda J e an Ho agl and- Thom as Robert A. Panzrh 16 WilliamM. Rowe GeorgeWaschho t5 Nohomie R. Welsh I Alpha Ai 5 Chi Alpha Epsilon t5 Plu lambda Sigma 6 16 Phi Eta Sigma 18 Psi Chi 22 Rho Chi �DOCTOR OF PI{ARIVIACY CANDIDATES Sarah Sue Bech Kelly Lynne Lebo Charlene Bunell Jeremy Usman CherylM. Campenni PnyaS. Maheshwai AlisonJ. Casq Sean Nguyen 16 Kelly Rebehah Cassidy Julie Lynn Olenah GregKihor Derdeian lennifer Parnsh MichaelJ. Fox Vishal Rashmihant Janet Lynn Gaito Stacie Lynn Podrashy Jeruny M. Gerber SaraPourshahnan Jennifer Gordan MelissaNg4leman SylwaA. Green DonnaRothroch KanLynnHilbert Susan Monica Sincavage Kmberly AnnHitzah Heather Mane Tetlah Kimberly Hulme J ennif er J . BianAndrew n"*pf P atel Thib o deault Philtp August Tochelli ill Thanhlluynh Andrew J ose ph Tomlinson EnchPaull{night Elizabeth Ann Yablonshi Thomas F. Koscelnah * Absentra t6 PhiEtaSigma 7 �IVIASTER'S DEGREE CANDIDATES Master of Business Administration Degree '7 Amy R. Amato James L. CafJrey 7 Adrienne Elizabeth Carnp 7'* Jeremy Conrad 7 PrestonPhungDang 7'* MarhJudeLewisoinellis 7 David DlMartino 7 Jeremy M. Gerber 7 MarthaL.Heffers AndreaHinestrosa 7 JenniJer C. James 7 TaraEllenKojsza 7 Linda Elliott Learn 7 7 7 7 7 7 JasonJ. Nocella KenQuoc Ong MelanieOpalha NataliaAndiannaOsadchuh Katie Lynn Pearson Maie Potter JoAnne 7 DonnaManePretho r'* 7 EncaSchultzProwisor Le e James Toussaint Robert Joseph Klepadlo Master of Science in Education Degree * John David Achille Russell J. Gavalis * KarenM.Glenville * JacquelineAlexander * KennethPatichGlenville,Jr. * LisaAnneAntonio * Jacquelyn Mane Bain Regina Gluchowshi * NchardW Gober Stephen StratfordBatory * Michele A. Bech SusannahJ. Graham * TammY M. Grega * JoanktthBone RaymondA. Guydish SusanL. BrandtBracht * JennLRebeccaHagenbuch * JohnA.Brander * JennieLynnHall * Tracy Sue Bishey * ShanonL. Hall * Joel C. Buch * Janelle E. Bushong Shernll Lyn Hall Rachel Sovahinas Havnlla Elizabeth Ann Ciamberlain * Robert JefJrey Chistiansen Deborah A. Heier * ShawnK. Hershey CynthiaL. Craig * MeredithMorii Sean Chistopher Hoffman Davison * TamiLynnHolfman LauraElizabethDeibert * Colleen D. HoPPes * Jennifer L. Dex * David Anthony DiVito KarenL. Howard * MichaelJamesHncho * JenniferAnnDumas * Marcy A. Huber x Don AnnDumbn * RobinL.Hudak * VichiKayeFggler * RobinB. Huffman * Paul C. Eichifberger * JoelWayne Evans RuthannM. Hull * RalphN. Imdorf Tami Evans * DannY E. Janah * GiaM.C.Fahey TinaL. Joline LindaJo Ferraro-Swearer Thomas A. Kameroshi Kerry A. FitzgeraldFesta * Jean M. Fetzho Lon M. Keister * Joyce M. Keller Tammy Lyons Flannery * Scott C. Kerper M. Francis * JohnJ. Krh * Carole Theresa C. Franh * Bnan Lee Y'naub Gail L. Franho * SusanE. Koehler * Gretchen G. Fnschmann Connie LYn Larson Mane A. Futer * JenniJerA Gffiey SandraYuleel-ausch * Janice Lawless * Heidi G. Gathany * Absentia 7 DeltdMuDelta �IVIASTER'S DEGREE CANDIDATES Master of Science in Education Degree Continued * * Chistopher J. lazevnich AngelaM. Leo TheresaM. Leyerence Michele AnnLevich Long, Jr. * Joseph Daralopasky * Anne E. Loving F. Daniel L. Rossino * * Melissa Ann Rydbom * Jennifer Anne Satz Lynnette Elaine Sauers Chnsty Anne Savahinas * Kimberly A. Marhowshi A. Mason, Jr. * John Matthew William Masters * Carne Donaldson McAndrew * KathleenM. McGeehan * * * * * Scott Robert Michael Bethanne ThelmaMoyer * Wendy KatheNeubauer Chistrna Maie Neyman * JonathanMichaelNyce Cynthia O'Malia Madonna Oneshy LisaG. Onhotz * * * ThomasM Orlf F rances Margaret O'Shea * JenniJer Lynn Paczewshi 13,* LucretiaM. Page * * * AdienMeleaPalmer x JaneEllenPardue Rene Pastor * Joy Michael G. Petersen SharonMaus Pitoniah t3'* Andrew Marc Potteiger * * * * * Renee A. Roth FrancisJ. Sabina KeiL.Sopp AmandaEnnScheetz Susan E. S chn ei der-M o rgan Brenda Scioli Seely SusanM. Shultz Amy Lynn Smith Guy Michael Smith Valeie A. Stepphe Diana Luccia Stevenson Mana A. Strouse Thomas A. Swanson Melissa A. Tucher Laune B. Vanderpool SusanM. Ventura Gary Gillespie Vinh EllenManeWagoner Tony LeeWagoner Kathenne A. Walher Jonathan A. Walz DianaM.Ward Timotlry D. Weaber * * * Race Roth SusanMaie RobertMcHenry * Jay ThomasWMcLaughlin * - * * t3,tF * Beth A. Prohesch Denise L. Reaman Paul Joseph Reedy * * * WilliamF. Rennard Donna Zampetti Nchards Tara Elizabeth Richards Kelly Richmond * * * Nancy J. Nngler EicHWeidler Courtney ShermanWeihert P aticia M e tz Werhheis e r MargaretW Whisheyman NicoleWitemaine J erald P aul Wilczynshi AnnM.Wolh SandraL.WoodJord Gregory AdamWoods GilbertM. Zsolnay Master of Science in Electrical Engineering Degree * ChandanaKallun Master of Science in Nursing Degree te Sharon K. Davis * KarenF. delaCruz * Absentia t3 Pennsylvania Pincipal CertiJicdtion 9 te SigmaTheta Tau �BACHELOR?S DEGREE CANDIDATES College of Art, Sciences and Professional Studies Summa Cum Laude 1'e'11'12'23 Jenny S. Beach, English t6 Kevin Franh, Environmental e,t2,23 I rI 12 Enginee nng Leslie Lane KraJt, English r8 Melissa Leskoshy, Psycholog Elementary Educatton, Second Major Keith Michael Milden, Psycholog t'7 George Charles Mornson, Business Administration l rr'r2 18 Broohe Allison Qutnn, Psychology Elementary Education, Second Major r'rr t2 2r Knstin Lee Roberts, English Elementary Education, Second Major e'17,23 Peter E. Schmidt, Political Science English, Second 1 rr.16 Malor 21 Enn A. Schultz, English Elementary Educatlon. Second Maior l'e Communications Major t2t6 Desirae Tnplett, Music Music Edication, Second Major t't0't6 Eric Zube7 Englneenng Management J essica Shutach, English, Second Magna Cum Laude 7 Elizabeth Alles, Ch ad Alti en, Co Business Administration mmuni c ati ons Robert J on Bierbow er, Communications 10't6 Robert Marcel Calarco, Jr., Mechanical Engineeing I I'r 2 Kathry n Elizab eth Camme rota, P sy ch ologt El em e n a rry Educati o n, Se cond M aj o r t t t'tz'zt l{yla Mane t6,re Sdra Anne C arnpb ell, Communic ations Aotoli, Nursing 7 Diane Doran, Accounting D ennis Communications F r anh F erenchich, tB Pamela Mane Gaughran, Psychologt Dale R. Heller, Communications Theatre Arts, Second Degree tt t)'21 Ldurd Elizabeth Hoffman, English Elementary Educalion, Second Maior 7 Jeffrey Kowalshi, Accounting 4,8,16,20 Del M. Lucent, Biolog Physics, Second Degree s rr'r2'23 Ann Mane Miller, English Elementary Education, Second Maior 3'7 lenniJer Ann Quinn-Bulford, Accounting Chistiana J oy Reid, Sociology Stacy A. Rizzo, Earth 6 Environmental Science rt t)'tB Sldcey V. RuLt, Psycholow El e-m en t a I Alpha Ai tl ry EduZation, Ye c on d Ma j o r to Honors in Engineeing e 4 Beta Beta Beta 7 Deltd Mu Delta I Honors in Biologt Honors in English tz Pennsyl,rania Teacher CerttLftcation tt Phi Lambda Sigma t6 Phi Eta Sigma Kappa Delta 23 t7 Phi Sigma Alpho 18 Psi Chi te Sigma Thetd Tau 20 Signa Sigma Tau De-lta Pt Xi 10 �BACHELOR'S DEGREE CANDIDATES College of Art, Sciences and Professional Studies Magna Cum Laude - Continued continued te Shen Lynn Saraha, Nursing 4,8 Samuel Sayloa Biologt \7 DownMaie Schwartz, Political Science tt't2 te Kevin Richard Sichle Psycholow , Eleme ntary Education. Second Major 11'12'18 Courlney Stolarslzi, Psycholow El e m e n ta ry Edu c a tio ni S e c o nffMai o r t'7 Talon Torressen, Business Administration '''* A^y K. Westgate, History Soc iol ogy, Secon d Maj o r Cum Laude 6 Candice Mane Adams, Communications Justin Scott Bagley, Psychology tt't2'16 Kelly Mane Bosanshv. Sociolow 16'\8 t8 e El6 mentary Efucatiin', Se cond fr aio r Knsten Mane Br adigan, Communications JenniJer M. Butlef Psychology Justin H. D'Angelo, Communications English, Second Major t8 Heather Fanucci, Biochemistry t1't2 Faithe C. Fedor Psychology Elementary Educ aiion. Se{ond D e gree 5 Philtp C. Gibbons, Theatre Arts tB MarhEdward Gonslry, Psychologt Kenn e th H as s enb ein, P sy cholo g RuthE. Hough, Chemistry t2)B Apnl Jones, Psychologt Elementary Education, Second Major Business Administration 7 Seth l{udnch, rt'tz Jennielle Mane Ingana, Psychologt Elementary Educa[ion, Second Major Melissa D. Lasechi, History ra Jennder Luhesh, Psycholog \e Kimberly Ann Manganiello, Nursing SrcvenJ. Manierre, Biolog 4'20'24 5'12 Aaron J. Morech, Electncal Engineeing Lorelei Anne Morgans, Psycholog Elementdry Education, Second Major 17 Kistin Mane Patchell, Political Science Broohe Elaina Shreav es, Business Administration 5'tt't2 Matthew Smallcomb, Music Education 2t Marcus Edward Sowcih, Communications 12 Erih Donald Stahlnecher, Mathematics tB Brian oseph Walter P sy chologt J I Alpha Ai Alpha Kappa Delta a Beta Beta Beta 5 Ai Alpha Epsilon in United States Air Force 7 Delta Mu Delta I Honors in Biologt e HonorsinEnglish tt KappaDeltaPi t2 PennsylvaniaTeacher Certification ta PlnAlphaTheta t6 PhiEtaSigma 6 2 Commissioned 2nd Lieutmdnt tTPhiSigmaAlpha tBPsiC}li teSigmaThetaTau zoSigmaX ztTomBiglerScholar zaPre-MedicalScholar I1 �BACHELOR'S DEGREE CANDIDATES College of Art, Sciences and Professional Studies - Bachelor of Arts Qsntirutgfl Mary E. Dougherty (posthumously) Accounting * Nicole V Ference Santo Gencarelli, Jr. Amy B. Augustine Marybeth Cologle Jonathan Robert Else Applied & Engineering Sciences Chistopher Ger ard Tedesco Biochemistry AmandaAnnHvizda DerehB. Gilpin Biology 16,18 t2 JasonJ. Kohut Shamima A. Sarher Debra S. Stillman Melissa A. Babcoch ChnstaMaie Chmarney TedJachson Business Administration 7 * lenniJer A. Bowman Ty R. Bowman JasonE. Mina Steve S. Cho NafidNabi Kevin Richard Engelman Steven B. Eynon TinaMaieMooney ScottD. Fenstemacher Johnnell TheresaNidoh Matthew Olson Russell C. Silcox Francine Anne Katheine Johanson loanne Sromovshi Kistil{unllo KarenVanNess lelJrry Marshman kavis Miller JosephWaschho * Absentia 7 DeltaMuDelta t2 P ennsyl,r ania Tedcher CertiJication L2 t6 Phi Eta Sigma I , tB Psi Chi �BACHELOR'S DEGREE CANDIDAIES College of Arr, Sciences and Professional Studies - Chemistry (sn1iru1gfl Bradley Sechler Computer Information Systems Jayshree Ajmera Michael.lames l(nothe Anston Chua 5 Robert C. DieJenderJer Richard A. Dunhailo Corey Fleisher Corey Hughes Roshani Patel Owen Searfoss Eic D. Swendsen Randy l. Vautour Communications 6 leanette Bell Michael D. DaRe Gary Ferentino Donald Joseph Lealey, Jr. L6 Timothy l. Millard James Moran 5 Melissa A. Gallup AdamF. Polinger lefJrey Gaydoscih Aiel Selene Hermele John A. Kosich Roger Joseph Rossi Natalie Scarantino ttl Computer Science BernardWilliam Graham MarhN. Semhew Michael Macaseh Computer Information Systems, Second Major Marh Robert Mittich 20 Leo John Plocichi lll John E. Thomas, Jr. Criminology Matthew Lee Bech Earth * Ez Paul R. Olson Environmental Science BenjaminL. Bulishah Eric J. Coslett Robert Rabe Cory Martin Rosenberger Jennifer L. Dittmar Kmberly A.Wite JamesW Mach * Absentia 5 chi Alpha Epsilon t6 6 commi.ssioned 2nd Lieutenant Phi Eta Sigma, 13 zo Sigma Xi in lJnited stdtes Air Force �BACHELOR'S DEGREE CANDIDATES College of Art, Sciences and Professional Studies continued - Economics JohnR. Sopp Elementary Education t2 Inttie Olson P sy cholo gy, S econd D egre e Electrical Engineering 10 AmanChadha Andrew S. Lttah lelfrey Bian Olson MichaelR. Chaump JohnDabbien JedJ. Starner H enry Alb ert Michael Turchanih Joan ColleenJoyce III Engineering Management Rob Gebhard English 23 LauraBrody C ommunic ations, t2'23 Kelly \2,23 Sec on d M g o r Joanne Grace Holgate MauranitaM. Miller e.23 Durhin Bidgette Nadine Petro Environment Engineering John Etarts Emanuel T. Posluszny, Jr. WilliamM. Bezts MarhVincentDudinyah History * * Julio P Caprai JasonMatthew Leach 12 James Bernard Ford * Absenha e HonorsinEnglish ra RichardLee Leibig, Jr. Elementary Education, Second Maj or Robert Emmett Gallagher SeanJ. Gorman t2 Michael A. Grasso D ennis Rob ert Moore, J r. Timothy R.Walsh HonorsinEtrglneeing t4 t2 PennsylvarnaTeacher CertrJrcation 23 SigmaTauDelta �BACHELOR'S DEGREE CANDIDATES College of Art, Sciences and Professional Studies - Continued Individu alized S tu dies 5 MarthaM. Zabishi International Studies t7 Jennifer M. Instovica Spanish, Second Degree Mathematics t2 lvltchael t2 Michael A. Amitia 12 S. Lorady Joshua Cole Mechanical Engineering * SoniaL. Ebert James S. Hower JosephD. Paone Robert R. Russich, Jr: ThomasWighard, Jr. Timothy E. Letcher Medical Technology Kelly Delguercio Nursing te Paticia C. Scholing te Kmberly Ann Serano Marc B. Baron DawnD. Demchah 5.te Heidie Lynn Shappell Kimberly Ann Harns te l-oiElizabeth Smith Amber Maie Nichole Toma te Georgette A. Van Horn Crystal Saxe Jimmie Kerry Karpinshi Deborah DiBiasi Keezer MichelleM. Marchetti x Absentia 5 Ai Alpha Epsilon t2 Pennsylvania Teacher CertiJication l5 )7 Phi Sigma Alpha te Sigma Thetd Tdu �BACHELOR'S DEGREE CANDIDATES College of Art, Sciences and Professional Studies Qsn1irutsfl - Philosophy 5 MadiBobb English, SecondMajor Political Science * l. Hanson, Jr. lnternational Studies, Second Maj or James RyanL. Nboldi Taunia Lynn Noecher Psychology t2 Michael David Bergeshi 2,18 Elementary Education, Second Maj or Kylee N. Gostony * Matthew Schiefen Scott Dwight Hunter Caitlin Elizabeth Lee 12 Ciminologt, Second Maj or Anna Lucia Montalbano RoxanneMane Shema Holly Rachael Shiber Renee Elizabeth Sloat Joseph Tanty Nicole L. Nadlinger L2 Lottre Olson Ltza AnnTimchach Elementary Education, 5,12 I{rmb erly Claire P aquette C riminologlt, Se c ond Maio r S econd JenniJer ManeWard D egree Jason Francis Pantzar Elementary Education, Second Major Sociology RachelMaie Judy AnnRodig,+ez JillM. Struchus Fosco Lon Ann Gialanella Heather LynnHite Spanish t7 Jennifer M. Iastovica lnternational Studies, 5 econd D egree Theatre Arts Alexander William Paul Kashatus * Absentia 2 AlphaKappaDelta 5 ChiAlphaEpsilon 12 P atnsylv arua Teacher CerttJication 16 t7 PhiSignaAlpha tB Psi Chi �Scholarly Societies and Special Designations r z 3 a 5 Denotes Membership in Alpha Ch| the National College Honor Scholarship Socieg. Denotes Membership in Alpha Kappa Delta, the International Honorary Society in Sociolog. Denotes Membership in the Eta Pi Chapter of Alpha Sigma l-ambda, the honor society recognizing the academic excellence oJ adult part-time students. Denotes Membership in Beta Beta Beta, the National Honorary Society in Biolog. Denotes Membership in Chi Alpha Epsilon, the Honorary Socie$ which recognizes students who were admitted to the lJniversi$ through lhgher Education Access Opportunity programs. 6 7 Denotes Commissioned Second Lteutenant, United States Air Force. 8 e Denotes Honors in Biology. 1o tt t2 13 Denotes Membership in the Zeta Psi Chapter Societj in Business Administration. oJ Delta Mu Delta, the National Honor Denotes Honors in English. Denoles Honors in En$neenng. Denotes Membership in the Phi Phi Chapter of Kappa Delta Pi, the International Honorary S ocieg in Education. Denotes Candidates t'or Pennsylvania Teacher Certification. t4 Denotes Candidates Jor Pennsylvania Pnncipal Certification. Denotes Membershrp in Phi Alpha Theta, the National Honorary Society 15 16 Denotes Membershtp in Membershtp in Phi Lambda Sigma, the Pharmacy Leadershtp Society. Denotes Freshmen. Phi Eta Sigma, the National Honor Society 17 18 Denotes Membership Phi Sigma Alpha, the National Political Science Honor Society. Denotes in Membershrp in Psi te 20 zt Ch| for in History. College the National Honorary Society in Psychologt. Denotes Membershtp in the Zeta Psi Chapter of Sigma Theta Tau, the International Honor Society Jor Nursing. Denotes Membershrp in and achnowledgmentby Signa Denotes Tom Bigler Scholar. K, the Scientific Research Society. 22 Denotes Membership in Rho Chi, the National Honor Socie$ in Pharmacy. 23 Denotes Membership in Sigma Tau Delta, the National Honorary Socie$ in English. 24 Denotes Pre-Medical Scholar. * Degree in absentia T7 �2003 Student Awards College of Arts, Sciences and Professional Studies Biolog, Chemistry andHealth Science Programs Rosenthal Memorial Award Outstanding Research Award Outstanding Senior Scholar in Biology ... Steven Manniere Del M. Lucent Del M. Lucent Ruth E. Hough .... Award BastressAward Freshman Chemistry Award ACS Section AlfredW ... AmandaA. Hvizda ....Mark S. Hunter Business Administr ation and Accounting Excellence in Business Administration .............. Outstanding Student Award MBA Program PICPA Award for Excellence -in Accounting ...... ....... E du c ati o n an d P sy chol o . ....... George C. Morrison J. Toussaint ...... Whitney B. Bull ... ... . .. . .. . .. Lee gt Outstanding Elementary Teacher Education Student Outstanding Secondary Teacher Education Student Outstanding Graduate in Psychology Courtney L. Stolarski ....... Christina Baigis ....... Melissa Leskosky Engineeing and Physics Electrical Engineering Achievement Award AaronJ. Moreck .............. Outstanding Achievement in Engineering Management Eric R. Zuber .... ... ... . .. Robert M. Calarco Outstanding Achieyement in Mechanical Engineering.. ... ... GeoEnyironmental Sciences and Englneeing Outstanding Achievement in Environmental Engineering .... . .................Kevin Frank Outstanding Achievement in Enyironmental Science ... ..... Stacy A. Rizzo Humanities Annette Evans Humanities Award FrankJ. J. Davies Award Leslie L. Kraft ...........Jenny S. Beach Laura M. Osborn John E Kennedy Award Phi Alpha Theta Book Award ........ A-y K. Westgate Melissa D. Lasecki Mathematics and Computer Science Computer lnformation Systems Award . ... ... . . Computer Science Award Adriana Solorzano ..... Leroy Mrozowski LeoJ. Plocicki Mathematics Award Erik D. Stahlnecker Nursing Award Award Award Outstanding Clinical Practice Academic Excellence Academic Excellence .... Kimberly A. Serano ..... Sara A. Ciotoli . Michele Lakitsky 18 �2003 Student Awards (continued) So cial Sciences and Communications Communications Department Award ......Kyla M. Campbell Tom Bigler Scholars Award Pi Sigma Alpha . ... .. ... . Dr. Jaroslav G. Moravec Award Raymond R. Ritz Award .. Marcus E. Sowcik Peter E. Schmidt Amy K. Westgate ........ Rachel M. Fosco Student AfJairs TheresaJordan and Frank Mehm Prize ........... Kelly M. Bogansky College of Arts, Sciences and Prot'essional Studies Outstanding Graduate for the Arts ............ Outstanding Graduate for Professional Studies Outstanding Graduate for the Sciences .... Dale R. Heller Whitney B. Buli ......... Del M. Lucent Nesbitt School of Pharmacy ...... Nokomie Welsh AphA-ASP Mortar and Pestle Professionalism Award .... Sarah Gardner Roche Pharmacy Communications Award ....... Adam Van Wert TEVA Pharmaceuticals Outstanding Student Award .James Hollands Pfizer U. S. Pharmaceuticals Outstanding Leader Award ....... Kimberly Hritzak GiaxoSmithKline Patient Care Award Mylan Pharmaceuticals Excellence in Pharmacy Award Jonathan Ference ....... Julie Olenak Eli Lilly Achievement Award ... Alison Casey CVS Excellence in Community Pharmacy Practice Award Perrigo Award of Excellence in Non-prescription Medication.......... Priya Maheshwari Facts and Comparisons Award of Excellence .... Francesca Roberto in Clinical Communication ............ Luzerne County Pharmacists Association Lisa Charneski Academic Achievement Award Luzerne County Pharmacists Association Exceilence A1ison Casey in Community Pharmacy Award Pennsylvania Pharmacists Association Elizabeth Yablonski Outstanding Pharmacy Student Award Dean's Outstanding Student Award Julie Olenak U S Public Health Service Excellence in . Nokomie Welsh Public Health Pharmacy Practice Award American Society of Health-System Pharmacists . Johanne Duong Student Leadership Award Natural Medicines Comprehensive Database Recognition Award . ... ... . .. . .. Alison Casey Lisa Charneski Pfizer Non-prescription Drug Therapy Award Kevin Topa Rite Aid Award for Excellence in Community Pharmacy Practice t9 �2OO3 Student Awards (continued) Extracurri cular Awards Athletic Department The Correen Santoro Memorial Award Jennifer G. Compton TaraE. Friedman Whitney B. Bull Peter E. Schmidt ...... Whitney B. Bull ........ CoreyJ. Fleisher Year Year Year Year Female Scholar Athlete of the Male Scholar Athlete of the Female Athlete of the Male Athlete of the Business SIFE Administration and Accounting Scholars................. Center .... Richard L. Billings Brandon M. Clark Emily L. Gabardi Abhishek K. Nemani Tara M. Smith Ward Stanford for Continued karning Andrew S. Litak Adult Learner of the Year Communig Service and Carnpus Interfaith Helping Hands Service Award Cindy M. Staviski Cooperatwe Education Outstanding Senior Intern Keith Topfer Memorial Award ........ Dale R. Heller ...... Nicholas A. Romanowski Engineenng and Physics American Society of Mechanical Engineers I.E.E.E. J. J. Ebers Memorial Award G e oEnv ir o nm e ntal S ci en ce Award s an d En gine e ing Outstanding Environmental Leadership Award GeoEnvironmental Science and Engineering Extracurricular Award Nursing Leadership Nicholas A. Romanowski Aman Chadha Award Residence Life OlJice Residence Life Distinguished Service ..........Jennifer L. Dittmar Stacy Ann Rizzo Kasandra M. Saffioti JosephJ. Stein Mark Weir ..........Miche1e M. Marchetti Award 20 ElizabethA. Roveda �2OO3 Student Awards (continued) Student Alfairs Intercollegiate Leadership Wilkes-Barre Kristophor C. Kostura Melissa T. Merok Elizabeth A. Roveda Madhan K. Srinivasan Michael P Vigoda Who's Who Among Students in American Universities and Colleges Melissa T. Merok Candice M. George C. Morrison Michelle A. Leroy E Mrozowski Justin S. Susan E. Pellock Kelly M. A. Quinn Brooke Allisa K. L. RiPPer Nicole Ty R. Brian R. Sheakoski Jeffrey R. Holly R. Shiber Whitney B. Kevin R. Sickle Kyla M. D. Solorzano Adriana A. Sara Marcus E. Sowcik Kevin Adams Auker Bagley Bogans\y Bowen Bowman Brittain BuIl Campbell Ciotoli Frank Jason M. Leach Danielle M. TalonJ. Torressen McDonald Kimberly A. Whipple Sndent Government Faculty Choice Award .....Dr. William Terzaghi Appreciation Award Brittain Kyla M. Campbell Jason E. Kishbaugh JeffreY R. Jason M' Leach Nicole L. RiPPer Brian R' Sheakoski Class of 2OO3 OFFICERS Jason Kishbaugh VICE PRESIDENT Peter Nguyen PRESIDENT Scott Fenstermacher TREASURER 2l �Academic Costume The celebration of Commencement is surroundedby nch traditions. The estoblished communig of scholars the Faculty convene to recognize ofJrcially the newest group - and welcome them in Jellowship. Graduates don the Graduates the attire that t'or years has symbolized scholarly attainment. of proven scholars Duing the Middle Ages those seehing an education traveled to European centers oJ learning. Centers of learning and uniyersities were closely allied with the clencs of the time , andthe scholars donnedgarb similar to thatwornby the clerg. This evolvedinto the academic uniJorm, alongblach gown,hood, and cap, whichprovedusejul for studyingin unheated and drat'ty buildings. The hood served simultaneously as a head cotteing, a repository for coins and alms and the Jorerunner oJ the modern day boohbag. The hood was adornedwith the colors oJ the university and designated the youngscholar's school or university ffiliation. By their distinctive clothing the students were set apart and distin- g.+ishedfrom the citizens of the town;hence the on$n of the phrase "town and gown." Ameican colleges and universities adopted the weanng of the traditional apparel in Colonial times, and a common code Jor academic apparel was established in the mid- nineteenth century. The hood is the most distinctitte feature of academic regalia. The inside oJ the hood is fficial colors of the institution; today you see Wilhes graduates weanng hoods lined with the blue and gold colors oJ the Untuersig. The velvet tim around the outside of the hood designates the degree or Jield oJ study oJ the graduates. The velvet lined with the colors wornby today's gradudtes signiJy the following: GoldenYellow Drab Pinh Brown Olive White Science Arts, Letters, Humanities Business Administration Musrc Fine Arts Pharmacy The sgle of the gown distingtishes graduatesby the degree they have earned. Those earning the bachelor\ degree wear a simple blach gown with elongated pointed sleeves. Holders of the master's degree wear gowns with a longer, closed, square cut sleeve. The doctoral gown is tnmmed with velvet stnpes on the sleeves and panels of velvet on the t'ront closure of the gown. Some Amencan uniyersities haye adopted doctoral gowns in their distinctive colors. Youwill notice the slate of Columbia, the red of Cornell, theburgundy P ennsylv ania, the bnght blue of the U niv er sity of Michigan. oJ the Universig oJ To have earned the pivilege of weanng academic costume regalia signiJies not only the completion of a program of studies, but entrance into the comradery of scholarship. 22 �tI l The Llniversity Mace and Presidential Chain of Office The mace and the presidential chain oJ olJrce used in academic celebrations rEresent traditions dating to the sateenth century. The mace symbolizes the authoity of the university and the chain of ffice designates the presidentialleadership of the academy. TheWilhesUniversity mace andpresidential chain of ffice were glfts oJlocal donors and were Jirst used in 1970 at the inauguration oJ the second president of Wilhes. They were designed by Ottie Hill Chwaleh '61 and executed by l{urt Matzdorf , a nationally recognized gold and sifuersmith Jrom the Stdte University of New Yorh at New Paltz. TheUniversity Mdce The sterling silyer mace has a gilt hnob at its base and a $lt circle at the top beanng the insciption "'Wilhes College 1933." Thebowl, ising above the nech of the mace, signiWilhes-Barre's role as a melting pot, Jorming a new and vigorous community of people from marry different bachgrounds. This theme is reiterated in the inscription oJ the Unitersity\ motto "Unity Amidst Diversity" which surrounds the upper pdrt oJ the bowl. t'ies The glltJlame symbolizes the enlightenment gainedJromhigher education,while the piece of anthracite coal set in the center of the flame commemordtes the oigin of the University in a community hnown Jor its coal mining past. ThePresidential Chain of Office The Presidential Chain of Office, created from sterling silver, has alternatingbowls and gilt Jlames, repeating the motif of the mace . On the Jront oJ the four-Joot chain hangs agllt seal oJWlheswhichis suspendedfrom a cluster of oohleayeswith acorns, sugesting the strength and sturdiness oJ future generations. On thebach of the Presidential Chain oJ Olfice is a silver portrait of Dr Eugene S. Farley, the first President oJ Wilhes. Dr. Farley's portraitis surroundedby gllt oahleayes commemoratinghis strongleadershtp oJ the emerginginstitution. 23 �FENNER QUADRANGLE FIRST AID Medical personnel are available for first aid assistance and emergencies. - located ln Breiseth Hali, room 103 and in the tent to the left of the They are audience, near the stage. An ambulance is positioned by the side entrance of Breiseth HaII. Should you need assistance please contact an usher or a security officer. Because of space limitations, safety and PHOTOGRAPHS and VIDEOTAPING control, no one, except the proflessional photographer and members of the press with appropriate credentials, will be allowed access to the stage area for the purpose of taking photographs or videotaping. A photograph will be taken of each graduate as the diploma is presented by the President. A videotape of the entire ceremony will also be made available to interested graduates. Rest rooms are available on the first floor of Breiseth Hall and in - lobby of the Stark Learning Center. the first floor REST ROOMS is available at different locations around the Commencement -Water site. Vending machines are available in the lobby of the Stark Learning Center. BEVERAGES TELEPHONE Pay telephones are avalTable Center and- at Breiseth Hall. in the lobby of the Stark Learning ARNAUD C. MARTS SPORTS AND CONFERENCE CENTER Medical personnel are available for first aid assistance at the First Aid - in the lobby Should you need assistance please contact an usher or station located a security officer. FIRST AID Because of space limitations, safety and control, no one, photographer and members of the press with except the professional appropriate credentials, will be allowed access to the stage area for the purpose of taking pictures or video-taping. A photograph will be taken of each graduate as the diploma is presented by the President. A videotape of the entire ceremony will also be made available to interested graduates. PICTURE-TAKING REST ROOMS Rest rooms are accessible from the first and second floor lobbies. Rest rooms are also located on the lower level. - BEVERAGES building. - Water is available at the drinking fountains on the first floor of the TELEPHONE-Pay telephones are avallable on the lower level and the second floor will divert traffic from the front of the Marts Center following the ceremony. Please cooperate with the police officers and follow their directions as they attempt to alleviate traffic congestion. Local police A post-commencement reception will be held on the Krby / Aase lawn immediately following the ceremony. 24 ��� 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 Commencement Programs, 1941-2020 Description An account of the resource Wilkes College and Wilkes University Commencement programs from 1941 when the college was a satellite campus of Bucknell University through Winter 2020. Creator An entity primarily responsible for making the resource Wilkes University Publisher An entity responsible for making the resource available Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1941-2020 Format The file format, physical medium, or dimensions of the resource PDF files Type The nature or genre of the resource Programs 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 May 17 2003 56th Annual Spring Commencement 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 Program https://omeka.wilkes.edu/omeka/files/original/7ac7e4b6821d5d8dd2409e0ee8c37dd1.pdf 8f6035c06258d1ce2ca060f2d901a161 PDF Text Text '' Al »; J lj ' ' I irl If if ; I I �Three Pennsylvania Women CASSATT CECILIA BEAUX MARTHA WALTEE MARY MARCH 22-APRIL 27,1980 SORDONI ART GALLERY WILKES COLLEGE E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKFS-BA'jP ] Sponsered by the Junior League of Wilkes-Barre 1 �ARC 'IVES I'. SORDONI ART GALLERY OF WILKES COLLEGE X T Director WILLIAM STERLING Coordinator CARA BERRYMAN Advisory Commission ALBERT MARGOLIES, Chairman ALETA CONNELL PATRICIA DAVIES JULIETTE EPSTEIN RICHARD FULLER THOMAS KELLY SHIRLEY KLEIN SUE KLUGER PAUL MAILLOUX MARILYN MASLOW ROBERT OTT SANDY RIFKIN JILL SAPORITO HELEN SLOAN ANDREW SORDONI, III ACKNOWLEDGEMENTS This exhibition is the first to show, in any collective w; the work of these three artists in northeastern Pennsylvai It would not have materialized without the generous assistance of numerous people and institutions. We are f and particularly grateful to the lenders who have provid the works comprising the exhibition. We also wish to extend our fullest gratitude to the Jur League of Wilkes-Barre for its sponsorship of the exhibit! without which the scope would have been far more modt and for its help in the preparations surrounding the exhibition. We thank Mr. Alan David for his help in securing the Walters. From the college, Cara Berryman, Exhibitions Coordir ator, Jane Manganeila, Associate Director of Public Relations, and Dr. Thomas Kelly, Dean of External Affi have provided indispensible service. Finally, we wish to recognize our Director Emeritus, J Philip Richards, who initiated the idea for this exhibitioi and offer our thanks to the Advsory Commission of the Gallery and to Robert S. Capin, President of the College their steady support. WILLIAM H. STERLII Director Sordoni Art Gallery JUNIOR LEAGUE OF WILKES-BARRE President JUDITH SCHALL Chairwomen ALETA CONNELL NANCY GRABENSTETTER JUDITH SEROSKA 2 [The modest scale of this exhibition does not permit a comprehe: overview of each artist's oeuvre. We have limited ourselves to paintings and pastels, with the exception of some of Mary Cassatt' prints, since she was unusually accomplished and prolific in that medium. As to selection, we were fortunate to locate works from a stages of Cecilia Beaux's career. Martha Walter is represented by I early and middle works. Cassatt is represented by early, middle an late works, but due to their extreme value or fragility, her large compositions were unavailable to us.] �ACKNOWLEDGEMENTS This exhibition is the first to show, in any collective way, the work of these three artists in northeastern Pennsylvania. It would not have materialized without the generous assistance of numerous people and institutions. We are first and particularly grateful to the lenders who have provided the works comprising the exhibition. We also wish to extend our fullest gratitude to the Junior League of Wilkes-Barre for its sponsorship of the exhibition, without which the scope would have been far more modest, and for its help in the preparations surrounding the exhibition. We thank Mr. Alan David for his help in securing the Walters. From the college, Cara Berryman, Exhibitions Coordin­ ator, Jane Manganella, Associate Director of Public Relations, and Dr. Thomas Kelly, Dean of External Affairs, have provided indispensible service. Finally, we wish to recognize our Director Emeritus, J. Philip Richards, who initiated the idea for this exhibition, and offer our thanks to the Advsory Commission of the Gallery and to Robert S. Capin, President of the College, for their steady support. WILLIAM H. STERLING Director Sordoni Art Gallery LENDERS TO THE EXHIBITION Anonymous Lenders Mr. and Mrs. Philip I. Berman, Allentown, Pennsylvania Brooks Memorial Art Gallery, Memphis, Tennessee David David, Inc., Philadelphia, Pennsylvania J. W. Fisher, Fisher Governor Foundation, Marshalltown, Iowa Judy and Alan Goffman Fine Art, Blue Bell, Pennsylvania Hall Galleries, Fort Worth, Texas The High Museum of Art, Atlanta, Georgia Indianapolis Museum of Art, Indianapolis, Indiana Johns Hopkins Hospital, Baltimore, Maryland Lehigh University, Office of Exhibitions and Collection, Bethlehem, Pennsylvania Morgan State University, Gallery of Art, Baltimore, Maryland National Collection of Fine Arts, Smithsonian Institution, Washington, D. C. National Portrait Gallery, Smithsonian Institution, Washington, D. C. Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania Robert Rice Gallery, Houston, Texas Rutgers University Art Gallery, Fine Arts Collection, New Brunswick, New Jersey [The modest scale of this exhibition does not permit a comprehensive overview of each artist's oeuvre. We have limited ourselves to paintings and pastels, with the exception of some of Mary Cassatt's prints, since she was unusually accomplished and prolific in that medium. As to selection, we were fortunate to locate works from all stages of Cecilia Beaux's career. Martha Walter is represented by both early and middle works. Cassatt is represented by early, middle and late works, but due to their extreme value or fragility, her large compositions were unavailable to us.] The Westmoreland County Museum of Art, Greensburg, Pennsylvania Whitney Museum of American Art, New York Mr. Jacques S. Zinman, Jenkintown, Pennsylvania 3 92-18^5^6 �INTRODUCTION □ The last decades of the nineteenth century and the first decades of the twentieth constituted one of the most rapidly changing and revolutionary periods in the history of art. After nearly half a millenium of dominance, the Renaissance tradition finally began to collapse as the foundation of pictorial art in western culture. Radical new art forms emerged from the maelstrom of frenetic creative activity which filled those decades. Beginning with Realism and Impressionism and moving on to Cubism, Constructivism, and Dada among many other styles, those fifty-odd years left reverberations which are still being felt in art. Mary Cassatt, Cecilia Beaux, and Martha Walter, like most serious and thoughtful artists of the period, were caught up in this storm of change and cast in their different directions by it. Along with their contem­ poraries, The Eight (whose work was shown at the Sordoni Gallery last year), these artists reflect the early phases of transition which led to modern art. □ Although the grouping together of these three painters may be arbitrary, they nevertheless share some important common ground. First, the fact that they were women compels, today, a concern about their achievement which did not exist so strongly in their own era. Women faced special obstacles in pursuing a career in the visual arts. While all well-bred and well-educated women of the 19th century were expected to acquire a certain amount of cultural polish, even to the point of becoming amateur practitioners in drawing and painting, they were hardly ever encouraged to enter the professional art world. That place was already becoming tainted with a reputation for libertinism and bohemianism. Once in a while, however, some schoolgirl would so impress her drawing instructor 4 with her abilities that an exception had to be made. Though she would hardly be encouraged to plunge pell-mell into the man's art world, a careful chaperoning through the right academies and into the right professional circles might be attempted. Though most of the academies had become coeducational, many classes, such as drawing from the nude model, still remained segregated. Once the woman ascended to a full-time career, her most acceptable specialties, if she were a painter, would be portraiture or history painting. The portraitist, because of the usual status of her clientele, rarely left the precincts of the wealthy and respected, where little harm could come to her. The J 9th century was not without its female mavericks, of course. Rosa Bonhcur, for example, enjoyed early success, but adopted the life style of her male­ companions, even to the point of dressing like them. □ It was fairly remarkable, then, for the properly bred Mary Cassatt to strikeout on her own in 1866. Even though an umbrella of familial contact and wealth still sheilded her as she journeyed to France in search of the vital artistic currents of her time, there was no tradition of interest in art in her family, and the moral support she received was apparently more obligatory than heartfelt. It was similarly remarkable for young Cecilia Beaux, a virtual orphan, and Martha Walter, to make similar moves a little later. Here were three women willing to sacrifice the usual comforts and rewards, and possibly even the respectability, enjoyed by their sisters who had chosen marriage and motherhood. For it was assumed that a woman could not easily pursue a career in art while raising a family. (There were exceptions. The other major woman Impressionist, Berthe Morisot, was able to build both a career and a family, but her husband was the brother of the great painter Manet, and was entirely supportive of his wife's career). Even for one independently wealthy, as Mary Cassatt was, there were too many demands and restrictions in marriage to allow room for the CASSATT 1-7 �V I I abilities that an exception had to be made. Though d hardly be encouraged to plunge pell-mell into the : world, a careful chaperoning through the right s and into the right professional circles might be d. Though most of the academies had become ional, many classes, such as drawing from the nude ill remained segregated. Once the woman ascended ime career, her most acceptable specialties, if she inter, would be portraiture or history painting. The it, because of the usual status of her clientele, rarely recincts of the wealthy and respected, where little Id come to her. The 19th century was not without : mavericks, of course. Rosa Bonheur, for example, iarly success, but adopted the life style of her male ms, even to the point of dressing like them. fairly remarkable, then, for the properly bred Mary □ strike out on her own in 1866. Even though an of familial contact and wealth still sheilded heras . eyed to France in search of the vital artistic □f her time, there was no tradition of interest in family, and the moral support she received was Iv more obligatory than heartfelt. It was similarly )le for young Cecilia Beaux, a virtual orphan, and Valter, to make similar moves a little later. Here ;e women willing to sacrifice the usual comforts rds, and possibly even the respectability, enjoyed listers who had chosen marriage and motherhood, s assumed that a woman could not easily pursue a art while raising a family. (There were exceptions, r major woman Impressionist, Berthe Morisot, was uild both a career and a family, but her husband jrother of the great painter Manet, and was entirely ve of his wife's career). Even for one independently as Mary Cassatt was, there were too many ; and restrictions in marriage to allow room for the I CASSATT 1-7 [ih Xv-? 5 �kind of total commitment required of a serious artist. All three of our women, therefore, eschewed marriage in favor of their careers. Of course, it is difficult to say to what extent the choice was calculated. One can imagine art becoming, early on, a surrogate to romantic love. In any case, after their adolescence, there are no indications of serious romantic attachments, although Cassatt is known to have had a very close, but probably platonic relationship with that severe bachelor among the Impressionists, Edgar Degas. Whatever impelled these women, aside from their own artistic gifts, they all unhesitantingly took up the challenge of competing in a predominantly male profession, with little precedent or tradition, known to them, to fall back upon. It required considerable determination and great self­ confidence. This fact, by itself, binds these artists. ■I □ Pennsylvanians can also appreciate the fact that our three painters were born and reared in this state. They all spent their formative adolescence in and around Philadelphia, and went on to enroll at the Pennsylvania Academy of Fine Arts, which was the oldest and one of the most important art schools in the United States. Being of different generations, their stays at the Academy did not coincide, and they apparently were not acquainted with each other until many years later. If there was any Philadelphia style or Academy style in the late 19th century, it was the sober realism of Thomas Eakins, the most eminent teacher at the Academy and one of the outstanding painters America produced in the 19th century. Cassatt had gone by the time Eakins came to teach; in fact, she was a student at the Academy at the same time he was (1861-1864), but there is little stylistically which is common to them. Cecilia Beaux enrolled in the Academy, but appears not to have studied much there, preferring instead the private classes of William Sartain. 6 Martha Walter attended the Academy after Eakins had gone. While his influence was still felt, Walter studied under another strong personality, William Merritt Chase. Of the three, only Beaux's style bears a resemblance to Eakins'. Her early portraits are close enough, in fact, to suggest his direct influence. As a portraitist in Philadelphia, during the period of Eakins' preeminence in that genre, she could hardly have avoided his style. Given these facts, there is little to connect our three women in terms of a geographical style. Jon,inant nX’i^' vherCint>"va was Romantic escnted ,n a subjects "ere "grousing the dee the intention ° ; jncient the viewer, the settm; wildernesses p the rOrnan emotion al im^ Qne inost of t< " JAnris'Moralizing or literarj academic • ,etl3ntically, rt triples of classical idealism. L for.clul mnvern. □ We may profit more from a consideration of their achievements vis a vis the artistic period in which they worked. Mary Cassatt was born in 1844. Martha Walter died in 1976, in her hundredth year. This is the span of time covered by rhe lives of the three. To a large extent, however, their work as artists compresses into a narrower stylistic frame than a span of 132 years might suggest. The half-century between 1875 and 1925 were the crucial years for our artists. Beginning with the development of Impres­ sionism in the early 1870's, and climaxing with the most extreme forms of abstraction immediately before and after World War I, many new avenues of artistic expression opened up, creating the vast heterogeneity of styles which continues to characterize art today. Cassatt, Beaux, and Walter confronted that rapidly changing world in their own ways. Yet, as painters formed in the second half of the 19th century, they were all to one degree or another affected by Impressionism. It is to this seminal movement in the history of modern art that their work must be related. Commonplace subjec ts, st were depicted matter-of-factly a tality or moralizing. In pic torial not necessarily imply photograp than not, the subject was represe brushwork and strong contrasts topresent an image with the pot* Impressionism was c lose to R* attitude toward subjec t mat ter. I or stories, or even very rnuc h in j surprising that a Realist such as toward Impressionism, or an liri] could remain < lose to Realism. T I The differences between the t emerge only when we examine! �Vcademy after Eakins had gone, elt, Walter studied under /illiam Merritt Chase. style bears a resemblance to re close enough, in fact, to <s a portraitist in Philadelphia, ireeminence in that genre, she ; style. Given these facts, there ■omen in terms of a i consideration of their tistic period in which they ?rn in 1844. Martha Walter h year. This is the span of ae three. To a large extent, s compresses into a narrower 132 years might suggest. The nd 1925 were the crucial years h the development of Impresnd climaxing with the most immediately before and after rues of artistic expression heterogeneity of styles which today. :r confronted that rapidly . ways. Yet, as painters formed i century, they were all to one y Impressionism. It is to this itory of modern art that their □ Before Impressionism was created, there were three dominant artistic modes in Europe and America. The first was Romanticism, wherein emotional, often melodramatic subjects were represented in a variety of artistic styles, with the intention of arousing the deepest subjective rsponses of the viewer. Exotic places, ancient eras, and nature's wildernesses provided the settings which engaged the emotional impulses of the romantic artist. The second mode was Classicism, the one most often championed by the academies. Moralizing or literary subjects were usually represented, often pedantically, according to the rationalist principles of classical idealism. Lastly, there was Realism, which became a forceful movement at mid-century. Commonplace subjects, such as scenes from everyday life, were depicted matter-of-factly and without any sentimen­ tality or moralizing. In pictorial form, however, Realism did not necessarily imply photographic precision. More often than not, the subject was represented with broad, vigorous brushwork and strong contrasts of light and shade, in order to present an image with the potency of real life. Impressionism was close to Realism in terms of its frank attitude toward subject matter. It had no interest in myths, or stories, or even very much in personalities. It is not surprising that a Realist such as Manet could gravitate toward Impressionism, or an Impressionist such as Degas could remain close to Realism. □ The differences between the two movements clearly emerge only when we examine their purely visual aspects. The sense of spontaneity and freshness is even greater in Impressionism than it is in Realism. Off-beat, and some­ times seemingly off-balance compositions, resembling modern snapshots, were often employed. Pictures were sometimes left deliberately “unfinished" (by traditional standards), and many paintings were completed in a single session, without reworking and, customarily, without preliminary sketches. Unlike Realism, Impressionism concentrated upon a single aspect of reality: light, with its corollary, color. Threedimensional mass and space were subordinated to the play of light and shade (i.e. tone) upon the surfaces of nature. Visual experience was regarded as a purely tonal phenomenon, to the extent that solid shapes and continuous outlines were often submerged in an atmosphere of flickering colors. In order to analyze color and light properly, the Impres­ sionist had to paint directly from the subject; landscapes, for example, had co be painted out-of-doors, on the spot, in order to capture the fleeting tones and colors as they appeared at a given moment. This was one of the reasons for the often sketchy, unfinished appearance of Impres­ sionist paintings. Just as important as accuracy of tone and color was a sense of natural vibrancy. By using a high tonal key, intense hues, and small, contrasting, briskly applied brushstrokes, such vibrancy was approached far beyond any previous style of painting. This effect is much admired today, but in the 19th century, most critics, unused to it, thought it garish and reckless. □ Impressionism, then, was a style devoted to the sense of sight and the pure enjoyment of seeing. But while the Impressionist sought to analyze and record the light and color he saw in nature, he also realized that the painted picture was physically limited as an effigy of the external world. Paint could never have the brilliance of true sunlight, nor could a small canvas encompass the true scale of a landscape. The picture, therefore, had to have a life of its 7 �i'i I I own, an internal harmony and structure which might serve as an equivalent to nature rather than a replica of it. In dealing with this concept, the Impressionists, for all their interest in reality, began to enter a world of abstraction. The vibrant, colored surfaces in the painting, with their harmonies and rhythms, were cherished for themselves. The various Impressionist painters employed these techniques in quite varying ways and degrees, with Claude Monet being the most extreme practitioner. Later gener­ ations of painters in Europe and America extended aspects of Impressionism into distinctly new styles, such as Fauvism and Futurism. Without question. Impressionism was a crucial step toward the creation of 20th century modernism. !i ill ill ___ JJ □ As dedicated painters coming to maturity during the era of Impressionism, Mary Cassatt, Cecilia Beaux, and Martha Walter had to confront it, or resign themselves to the comfortable oblivion of unquestioning traditionalism. Mary Cassatt has been accepted by history, as she was by her peers in the movement, as one of the premier French Impressionists, even though she was an American. She went to Paris in 1866, absorbed the lessons of old and new masters prodigiously on her own, and gradually achieved recognition by the art establishment. But she was not content with the status quo, and by the early 70's was clearly moving into more experimental forms. In 1877, only a few years after Impressionism had emerged as a distinct movement, its members invited Mary Cassatt to join them. Her work continued to mature and strengthen in the 80's and 90's. Like her friend Degas, Cassatt was an Impres­ sionist who exhibited other strong tendencies, which often inflected her work with Manet's brand of Realism 8 (cf. no. 1-2). But, until ill health and failing eyesight caused her to cease painting in 1914, she remained essentially an Impressionist. Indeed, she was generally hostile to most of the later developments in modern art. By temperament and capacity, Mary Cassatt and Impressionism seemed made for each other. Her preference for the human figure as a subject, however, caused her to retain more solidity of form than was usual usual among among her her colleagues, colleagues, even though all the freshness of color, spontaneity of stroke, and informality of attitude characteristic of Impressionism animated her art to the end. In the 90'5, a dose study of Japanese woodcuts heightened her sense of pattern, as did her tacit apprenticeship to Degas who had never foregone that element in his own work. Other progressive artists, such as Gauguin and Seurat, revealed similar tendencies at the same time. Only after the turn of the century, then, did Cassatt no longer seem to respond to the tides of artistic experimentation. Up to the end of the 19th century, America was culturally provincial, and any reasonably sophisticated artist or patron knew that, in matters of taste, the European centers of Paris, London, and Munich set the standards. America certainly had had artists of genius, but not a single one had significantly influenced developments in Europe and not until the last quarter of the century, was one even accepted as a progressive master equal to Europe's own. Whistler and Cassatt were among the first to crack that barrier. □ It does not belittle Cecilia Beaux's remarkable talents to say that her art remained essentially an offshoot of a more conservative European tradition. This was due, to someextent, to her choice of portraiture as a special field. Cassatt did many portraits, but they were informal studies of close friends and relatives. Beaux was a portraitist in the stricter She >jr style, dramati/' background^-’ moredw t'1 ’ whom she ha-m" ' < .. .... Be-u ! , f Ui ; . pii'blyfehth«‘i‘hadli“,e' However, her ip"- • ' certainly showed Impressions most rc -peit though, i! seem with the Realists Rather than element', of artistic form, Beau with presenting her subjt-c ts rc tradition-- of portraiture, she r< grate, and <i quiet fori efulne .-. preten e. With Whi .tier. barge one of the last pr.n titii>r;> r' of portratiure. Portraiture in the 1 usurped by the camera, leaving hands of lesser, usually mecha phenomenon in the work of v j -moved from the old portr �til ill health and failing eyesight caused j in 1914, she remained essentially an ?d, she was generally hostile to most of nts in modern art. By temperament and salt and Impressionism seemed made for ference for the human figure as a subject, t to retain more solidity of form than was lleagues, even though all the freshness :y of stroke, and informality of attitude ipressionism animated her art to the end. study of Japanese woodcuts heightened n, as did her tacit apprenticeship to Degas egone that element in his own work, artists, such as Gauguin and Seurat, ndencies at the same time. Only after the y, then, did Cassatt no longer seem to es of artistic experimentation. f the 19th century, America was culturally ly reasonably sophisticated artist or patron ters of taste, the European centers of d Munich set the standards. America I artists of genius, but not a single one had uenced developments in Europe and not rter of the century, was one even accepted master equal to Europe's own. Whistler e among the first to crack that barrier. little Cecilia Beaux's remarkable talents to remained essentially an offshoot of a more ropean tradition. This was due, to some mice of portraiture as a special field. Cassatt aits, but they were informal studies of close itives. Beaux was a portraitist in the stricter sense. Her work was usually commissioned, and she was obliged to accommodate the tastes of her "establishment" patrons. She was not reluctant to extend their expectations when it seemed possible, but a portraitist could never be very radical with a generally conservative clientele. She first followed Eakin's lead with a tightly analytical style, dramatized by spotlighting the figure against a dark background (cf, no. 2-5). Her style gradually became looser, more in the bravura manner of John Singer Sargent, with whom she has most often been compared (cf. no. 2-8). Like Cassatt, Beaux had gone to Europe (in 1888) to polish her skills, but she did not come under the spell of the avantgarde. She was not antagonistic to Impressionism, but probably felt that it had little to offer a portrait painter. However, her increasingly colorful and sketchy backgrounds certainly showed Impressionist influence (cf. no. 2-6). In most respects, though, it seems more logical to place Beaux with the Realists. Rather than experiment radically with the elements of artistic form, Beaux was much more concerned with presenting her subjects forthrightly. In the best traditions of portraiture, she rendered them with dignity, grace, and a quiet forcefulness, avoiding sentiment or pretense. With Whistler, Sargent, and Eakins, Beaux was one of the last practitioners of this grand manner of portratiure. Portraiture in the 20th century has been largely usurped by the camera, leaving the painted portrait in the hands of lesser, usually mechanical talents, or as an isolated phenomenon in the work of various modernists, where it is far removed from the old portrait tradition. □ Younger by a generation than her companions in this exhibition, Martha Walter felt the strong winds of change which followed Impressionism during her maturing years a painter. As Cassatt and Beaux had done before her, she attended the Pennsylvania Academy, where she came under the strong influence of William Merritt Chase, a popular and energetic painter, whose eclectic style contained elements of both Sargent and Impressionism. From the beginning, Walter showed a predilection for quick, fluid brushwork and strong tonal contrasts (cf. no. 3-2). This approach was intensified during the first of her many trips to Europe. That was in 1908, when Impressionism had become a more or less acceptable style, and much more radical styles, such as Fauvism and Cubism, were beginning to appear. Walter's adoption of Impressionism followed easily upon her preparations tinder Chase, and seemed an ideal approach for her favorite subject: the figure in the landscape. Becoming an Impressionist in 1908 was not a radical thing to do, but it was certainly more progressive than conservative, and Walter underscored her progressiveness by inflecting Impressionism with more modern elements. Brilliant splashes of intense color against cool grounds and almost recklessly bold brushwork brought her work close to that of Fauve painters such as Matisse and Derain (cf. no. 3-5). A loose surface pattern of color and texture predominated over illusions of depth. Sensuous paint became the proxy of sun-dappled gardens and summer beaches. Objects on the verge of dissolving into luminous atmosphere were held in focus only by boldly contrasting patches of color. Sometimes, her work veered closer to her American counterparts in "The Eight," such as Henri, Luks, and Prendergast, or independents like Edward Potthast. 9 �f r ■ : :< □ Beneath the representational surface of all three women's work lay an important modernist attitude, namely that the artistic form was as important as the subject matter. The abstract verities of that form — balance, harmony, tension, and rhythmic movement — were felt to be quite as satisfying to our senses as identifiable shapes and gestures. Design, color, and surface were recognized as expressive and appealing entities in themselves, a fact understood by all great painters of the past, but rarely stated with such boldness before the advent of modern art. In the process of capturing the sensations of the external world, our painters simultaneously created an internal world, as lush and beautiful, in their shimmering canvases. Cassatt, especially, showed an awareness of artistic structure, supported by a sound instinct for its creation. She orchestrated into a taut compositional unity the selection and application of color, the measured spontaneity of brushstrokes and sketched outlines, and the balances and tensions of masses and spaces, lights and darks. Beneath the vivacious color, commonplace subjects took on simple grandeur and eternal poise. Beaux, although more preoccupied with the specific appearance of her subjects, as required by objective portraiture, nevertheless managed to adapt those appear­ ances to rhe abstract realities of paint, color, and composition, as had her exemplars Whistler, Velasquez, and Hals. The fresh spontaneity of her brushwork both defines objective fact, and, by adhering to the solid shape of the 10 va-‘. « x subject, exists in its own right as an appealing surface in a state of flux. Like Cassatt, she had a sure eye for composi­ tion, placing her figures in solid relationship with adjacent shapes and with the edges of the canvas. Her dramatic use of light and dark, in the manner of Realists such as Manet, took the place of Cassatt's impressionistic interplay of vibrant, but tonally close colors. The result, however, is only slightly less abstract, as a distillation of reality into a visual structure compatible with the texture of paint and the design potentials of the flat, rectangular canvas. Late nineteenth century interests in surface and pattern are clearly evident in the works of both these artists. Walter was equally affected by these concerns, and to some extent, she seems to have combined the formal qualities of Beaux with those of Cassatt. The loose, liquid, brushwork of the former merges with the intense color and rhythmic excitement of the latter. But an even higher key and a greater nonchalance of stroke, the difference between an early twentieth century sensibility and a late nineteenth century one, set Walter apart from her two companions. □ We might be tempted, with these three painters, to look for a peculiarly feminine style, but nothing valid seems to come forth from any analysis along these lines. One could see as much "feminine" taste (stereotypically speaking) in the art of Renior as in that of Cassatt. Nothing partic ularly sexual seems to differentiate the styles of Beaux and Sargent, for example, or Walter and Prendergast. Although Cassatt favored female or maternal subjects, that had little to do with her style of painting, and certainly one could find male artists with similar predilections. AU three women showed an independence of mind and vigor of spirit which seems to have had nothing to do with their gender. �its own right as an appealing surface in a e Cassatt, she had a sure eye for composifigures in solid relationship with adjacent the edges of the canvas. Her dramatic use in the manner of Realists such as Manet, Cassatt's impressionistic interplay of illy close colors. The result, however, is ; abstract, as a distillation of reality into a compatible with the texture of paint and the ; of the flat, rectangular canvas. Late try interests in surface and pattern are i the works of both these artists. ually affected by these concerns, and to seems to have combined the formal x with those of Cassatt. The loose, liquid, e former merges with the intense color and nent of the latter. But an even higher key rebalance of stroke, the difference between h century sensibility and a late nineteenth Walter apart from her two companions. empted, with these three painters, to look eminine style, but nothing valid seems to any analysis along these lines. One could linine" taste (stereotypically speaking) in as in that of Cassatt. Nothing particularly lifferentiate the styles of Beaux and nple, or Walter and Prendergast. Although emale or maternal subjects, that had little /le of painting, and certainly one could with similar predilections. All three women endence of mind and vigor of spirit which d nothing to do with their gender. �□ Impressionism, 'fin de siecle' Realism, and Fauvism, the styles which most strongly affected our artists, have come to be among the most widely accepted styles in modem art, in part, perhaps, because all three represent vibrant responses to a seemingly untroubled and luxuriant world which no longer exists. To a large extent, it was the world of the gentry, created out of fourth and fifth generation wealth and culture — confident, relaxed, and responsible. It was the primary source of America's intellectual and political leadership in the late nineteenth century, but it wore its culture graciously and its wealth discreetly. Our three painters grew up in that world, understanding its values, sharing its tastes, and, in turn, mirroring its richness in opulent pigment, its solidity in firmly structured composi­ tions. Ultimately, then, it was an aesthetic rather than a style, which they shared, an aesthetic native to that gentry world, and one which survives for us today in these paintings. Only Walter, in her choice of subjects, began to sing a popular tune similar to The Eight's. Though still infused with an air of elegance, her paintings represented the emergence of a new generation, from which came forth the American Scene painting of the 1920's and 30's. WILLIAM STERLING SELECTED BIBLIOGRAPHY Background with Figures, Boston, 1930. Beaux, Cecilia. Boyle, Richard. American Impressionism, Boston, 1974. Mary Cassatt: A Catalogue Raisonne of the Graphic Work, Washington, D. C., 1979. Breeskin, Adelyn D. Breeskin, Adelyn D. Mary Cassatt: A Catalogue Rai-mtne of the Oils, Pastels, Watercolors anil Drawings, Washington, D. C„ 1970. David, Carl. "Martha Walter," American Art Review, May, 1978, pp. 84-90. Neilson, Winthrop and Frances.. Painters, Philadelphia, I960. Seven Women: Great Pennsylvania Academy of the Fine Arts. Cecilia Beaux: Portrait of an Artist, Exhibition Catalogue, Philadelphia, 1974. I he History of Impressionism, New York, 1961. Rewald, John. Sweet, Frederick A. bu-in‘ but H' With h. ■ >•’ >•.> ‘ r Parte t® cCrtt‘nUe Chapl'’lC,e,'o7'i trips in the f ' *• 11 ['no big 11 J|u * Philadelphia, but Italian Kenan sanniejues in I’arma followed before ■ As early a . 187 the Pari . Salon, tl I uropt. Although in style, it shower of the great Inipi t 1874 Salon, be rei do." t oilowing an < ourbet and Man in the a tivities of "Independents," but < cmservative ‘ finally introdu P'-nder.ts," who m Zionists. T wo i Miss Mary Cassatt, Impressionist from Pennsylvania, Norman, 1966. Cassatt's prefe ^r‘d young womp, fluent v.s.ts pa ^^Pres.dent U5Ins, and the.r t 12 �SELECTED BIBLIOGRAPHY Beaux, Cecilia. Background with Figures, Boston, 1930. Boyle, Richard. American Impressionism, Boston, 1974. Breeskin, Adelyn D. Mary Cassatt: A Catalogue Raisomme of the Graphic Work, Washington, D. C., 1979. Breeskin, Adelyn D. Mary Cassatt: A Catalogue Raisonne of the Oils, Pastels, Watercolors and Drawings, Washington, D. C., 1970. David, Carl. "Martha Walter," American Art Review, May, 1978, pp. 84-90. xieilson, Winthrop and Frances. Seven Women: Great Painters, Philadelphia, 1969. Pennsylvania Academy of the Fine Arts. Cecilia Beaux: Portrait of an Artist, Exhibition Catalogue, Philadelphia, 1974. lewaid, John. The History of Impressionism, New York, 1961. Sweet, Frederick A. Miss Mary Cassatt, Impressionist from Pennsylvania, Norman, 1966. MARY CASSATT Mary Cassatt was born in the Pittsburgh suburb of Allegheny City in 1844, the daughter of a successful businessman. The family moved to Philadelphia in 1849, but from 1851 to 1855 they lived and traveled in Europe. In 1861, at the age of 17, Cassatt entered the Pennsylvania Academy of the Fine Arts, where she studied until 1866, With her father's reluctant consent, she then moved on to Paris to continue her studies with such academicians as Chaplin, Gerome, and Couture. She also went on sketching trips in the French countryside at this time (cf. no. 1-1). During the Franco-Prussian War, she returned to Philadelphia, but by 1872, was back in Europe, studying the Italian Renaissance masters as well as printmaking tech­ niques in Parma. Trips to Spain and the Low Countries followed before she finally settled again in Paris in 1874. As early as 1872, Cassatt had had a painting accepted in the Paris Salon, the major proving ground for artists in Europe. Although her work at this time was still traditional in style, it showed a vigor and solidity which caught the eye of the great Impressionist Degas. Admiring her work in the 1874 Salon, he remarked, "There is someone who feels as I do." Following an allegiance to older "moderns" such as Courbet and Manet, Cassat became increasingly interested in the activities of the younger generation radicals, the "Independents," who no longer showed in the prestigious, but conservative Salons. In 1877, she and Degas were finally introduced, and he invited her to join the "Inde­ pendents," who were later to be known as the Impres­ sionists. Two years later she first exhibited with them. Cassatt's preference for intimate portraits of children and young women was at least partly' occasioned by the frequent visits paid her by her brothers (one of whom became president of the Pennsylvania Railroad), sister, cousins, and their families. Her mother also visited often, and in 1887, her parents moved into her new apartment on the Rue Marignan. Among her artist friends, the aloof and often difficult Degas remained one of her closest, and she his. Cassatt also hosted art-loving Americans in Paris, and became an important adviser to several major collectors, such as the Henry O. Havcmeyers (whose collection later became one of the finest in the Metropolitan Museum). Cassatt had her first solo exhibition in 1891. The next year, she was commissioned to do a large mural for the Woman's Building at the World Columbian Exposition in Chicago (a work now lost). Although a member of the avant-garde and never one to promote her own work, she did enjoy a respectable success in the Parisian art world. In 1904, she was made a Chavalier in the French Legion of Honor. She was still not well-known in her native land, spending little time there (only three visits after 1872). In 1914, however, the year she stopped painting because of increasing blindness, the Pennsylvania Academy awarded her their Gold Medal of Honor. From that point on, her reputation as America's greatest woman painter and America's greatest Impressionist, (although she lived among the French), became well established. She died at her villa, Chateau de Beaufresne, in 1926, the same year as did her eminent colleague Claude Monet. Mary Cassatt's Impressionism followed the more structured approach of her friend and critic, Degas, rather than the more diffuse style of Monet and Renoir. Especially after 1880, she showed a predilection for modelled shapes as well as linear designfcf. no. 1-5) The design aspect became even more apparent after her contact with Japanese art, particularly at the great 1890 exhibition in Paris. Her graphic work, both in drypoint and aquatint, was especially influenced by oriental pattern and composition. The ten color prints she executed in 1891 constitute one of the great achievements in the history of printmaking. 13 �I CE Like Degas, Cassatt worked frequently in pastel, increasingly so after the turn of the century when her eye­ sight began to fail. This affliction also affected her style, often forcing her to replace subtle nuances with simpler, flatter shapes and brighter colors (cf. no. 1-7). But to the very end, Cassatt retained her powerful sense of design, her vibrant surfaces, and her warm, unsentimental interpreta­ tions of subject. "Two Women, One Sketching" oil on canvas, ca. 1869, 30 x 21 Vi" On loan from Mr. and Mrs. Philip I. Berman h ! 1-2 "Young Girl Reading" oil on canvas, n.d. 9 x 8" On loan from The Collection of The High Museum of Art, Atlanta; J. J. Harvey Collection, 1949 1-3 "Sketch of a Mother Looking Down on Thomas" pastel on paper (counterproof), 1893,21% x 17" On loan from The Hall Galleries, Fort Worth 1-4 "Baby John on IJis Mother's Lap" pastel on paper, n.d., 31 x 23" On loan from J. W. Fisher, Fisher Governor Foundation, Marshalltown, lotoa 1-6 "Sketch of Jeanette" pastel on paper, ca. 1902,21 x 1772" On loan from The Gallery of Art, Morgan State University, Baltimore; Mr. and Mrs. Abraham Adler Collection Cecilia Beaux of a French I daughter Her rn0ther^ddtoFrai 1-7 "Bebe Souriant a Sa Mere" pastel on paper, 1913,33Vz x 24" On loan from The Westmoreland County Museum of Art, Greensburg, Pa.; Mary Marchand Woods Memorial Fund She was listed on the r 1-8 "The Stocking" drypoint, 1890,10% x 7^6" On loan from The Fine Arts Collection, Rutgers, The State University of Neto Jersey 1-9 "Tea" drypoint, ca. 1890, 7-1/6 x 6Vs” On loan from The Fine Arts Collection, Rutgers, The State University of Neto Jersey 1-10 "Nursing" drypoint, ca. 9% x 7" On loan from The Fine Arts Collection, Rtitgers, The State University of New Jersey 1-11 1-5 "Sara in a Green Bonnet" oil on canvas, ca. 1901,16% x 13% " On loan from The National Collection of Fine Arts, Smithsonian Institution; Gift of John Gellatly 14 "Kneeling in an Armchair" drypoint, ca. 11% x 9fts" On loan from The Fine Arts Collection, Rutgers, The State University of New Jersey although there is som training there. She die most extensive studie about 1881 to 1883, ai regularly and winning "Les Derniers Jour d ’ collection), was enter. Beaux was astonished In 1888, Beaux wer enrolled in the Acadei that the great museur ularly to those exubei Rubens, and Velasqu, returned to Philadelp: at the Academy, she v Sargent's work in Lor sionist Monet at his h in 1897, she had her f enjoy continuous crit City, and never want, most distinguished cc Was invited by the Ur Portraits of the war h B«tly, and George C "nPPhnghip injury a �CECILIA BEAUX cetch of Jeanette" ;tel on paper, ca. 1902,21 x 1, - : loan from The Gallery Art, M.'-y.:-: Sture utarersify, timore; Air. ami Nirs. .nt r.. ■....... —....r e.. .xt.... ?. be Souriant a Sa Mere' tel on paper. 1913,331 r x 24 loan from The Weshrtorel.-.rt.i County Mns.-zm: of Art, ■gnsburg, Pa.;.Mary Mor.-'rrv.r i'.’oo.f.- Momort.-’ Fund ,e Stocking" joint, 1890,10^ x7he loan from The Fine Arts CclAurtthn, Rutgers, State University cf .X’rtr Jersey >oint,ca. 1890, 7-1 6xe-.s" oan from The Fine ArtsCollection. Rutgers, State University of New Jersey rsing" oint, ca. 9?'s x 7" tmi from The Fine Arts Collection, Rutgers, State University of A'e:r lersez leling in an Armchair" oint, ca. 11 "a x9hs" ran from The Fine Arts Collection, Rutgers, itate University of New Jerse-j Cecilia Beaux was born in Philadelphia in 1855, the daughter of a French businessman and his American wife. Her mother died a tew days after her birth, and the bereaved father returned to France. leaving his infant daughter in the care of her maternal relatives. The latter were sympathetic to her interest in art as it emerged in her mid-teens, and, in 1S72. they sent her to private art classes. In 1877 and 1878 she was listed on the roles of the Pennsylvania Academy, although there is some doubt about the extent of her training there. She did exhibit at the Academy in 1879. Her most extensive studies were with William Sartain, from about 1SS1 to 1SS3, and by 1885, she was exhibiting regularly and winning awards. In 1887, one of her paintings, Les Derniers Jour d ’Enfance" (Pennsylvania Academy roZecticn was entered in the Paris Salon by a friend, and Beaux was astonished to learn that it had been accepted. In 1888, Beaux went to Europe for the first time. She enrolled in the Academie Julian, but also absorbed much that the great museums had to offer, being drawn particularlv to those exuberant handlers of pigment, Titian, Rubens, ar.d Velasquez. After a year and a half in Paris, she returned to Philadelphia. In 1896, after a brief teaching stint at the Academy, she went off again to Europe, seeing Sargent’s work in London and visiting the great Impresfionist Monet at his home in Giverny. Returning to America in 1897, she had her first large exhibition, and began to er Ay continuous critical acclaim. She settled in New York City, and never wanted for important clients. One of her most distinguished commissions came in 1919, when she was ir.r ited by the United States government to do the portraits of the war heroes, Cardinal Mercier, Sir David Beatty, and George Clemenceau (cf, no. 2-10). Only after a crippling hip injury and the onset of cataracts in 1924 did her productivity decline. Her autobiography "Background with Figures" was published in 1930, and a year later she was elected one of the twelve most distinguished living women in America by Good Housekeeping magazine, an indication of her widespread recognition. Cecilia Beaux died in Gloucester, Massachusetts in 1942. Although Beaux executed some of her strongest and freshest work in the early twentieth century, she seems today completely a painter of the nineteenth century. Indeed, she had little respect for the more radical develop­ ments of modem art, feeling that they had lost touch with humanistic values. Her greatest admiration went to such contemporaries as Eakins (cf. no. 2-5), and later Whistler and Sargent (cf. no 2-7). Her visit with Monet in 1896 was very cordial, and she liked the almost abstract works he exhibited in 1911. She never followed Impressionism, however, except in partial ways, such as some of her land­ scape backgrounds (cf. no. 2-9). The increasing bravura of her brushwork, the atmospheric treatment of solid forms, and subtle coloring (cf. no. 2-8), bore some resemblance to Impressionism, but it was equally akin to Sargent and such old masters as Velasquez and Hals. In regard to Sargent, who could be a very superficial painter, the great connoisseur Bernard Berenson once remarked that Beaux's work was superior to that of her better known peer. William Merritt Chase, another leading painter and teacher of the period, called Beaux "not only the greatest living woman painter, but the best that has ever lived." While that might be argued, there can be no question that Beaux found admirers among the most astute critics of the time. For her, modernism, per se, was irrelevant. She regarded her way as timeless and unneedful of labels. Her subjects were still more important to her than the style or method of their portrayal. Even so, Beaux's style rarely lacked an expressive blend of liveliness, elegance and formal structure, so that ultimately her paintings either transcended their subjects or epitomized them with a few bold strokes (cf. no. 2-10). 15 �"Self Portrait" oil on canvas,ca. 1880-85,18 x 14 On loan from The National Portrait Gallery, Smithsonian Institution 2-7 "Adelaide Nutting" (First Superintendent of the John-IS Hopkins Hospital School of Nursing, 1894-1907) oil on canvas, n.d., 38 x 25" On loan from Johns Hopkins Hospital, Baltimore 2-2 "Landscape With a Farm Building" oil on canvas, 1888,11 x 14" On loan from The Pennsylvania Academy of the Fine Arts; Gift of Henry S. Drinker, 1950 2-8 "Mrs. Samuel Hamilton Brooks" oil on canvas, 1911, 48 x 34" On loan from The Collection of the Brooks Memorial Art Gallery, Memphis; Gift of Mrs. Samuel Hamilton Brooks 2-3 "A Breton Woman, and Other Studies" oil on canvas, 1888, 15 Vs x 10s/s" On loan from The Pennsylvania Academy of the Fine Arts; Gift of Henry S. Drinker, 1950 2-9 "Mrs. Addison Clay Harris" oil on canvas, 1917,55 x 41 Vz" On loan from The Indianapolis Museum of Art; Gift of Mrs. Addison C. Harris 2-4 "A Young Woman" oil on canvas, ca. 1895, 295/s x 22% " On loan from The Pennsylvania Academy of the Fine Arts; Gift of Henry 5. Drinker, 1950 "George Clemenceau" oil on canvas, 1920,47 x 36% " On loan from The National Collection of Fine Arts, Smithsonian Institution; Gift of the National Art Committee 2-5 2-11 "Portrait of Ethel Page (Mrs. James Large)" oil on canvas, 1884, 30 x 25" On loan from Judy and Alan Goffman Fine Art "Dr. Henry Sturgis Drinker" oil on canvas, ca. 1923, 50 x 37" On loan from Lehigh University, Office of Exhibitions and Collection 2-6 I 2-10 I >' LA "Dorothea in the Woods" oil on canvas, 1897,53% x 40" On loan from The Whitney Museum of American Art, New York; Gift of Mr. and Mrs. Raymond J. Horwitz' 3-5 IB �i ' (First Superintendent of the ’ohn< School of Nursing, 1894-1907) 38 x 25" ; Hopkins Hospital, Ba’Hrscro lilton Brooks" ,48x34" Collection of the Brook's k—.4^ Gift of Mrs. Samtie’. "■3 i y Harris" ,55x41-;" ndianapc'is Museum :• .~^t ■ jn C. Harris ■■ .3 au" ,47x36\" National Collection C" .-.-rs. ution; Giri 0! ,\r;„ ':.~i ■ Cr-;-::r:co i s Drinker" 923,50 x 37" gh Univ: rsity, Office c Election WALTER ■ ■ 'i V- -• 0 17 �MARTHA WALTER Martha Walter was born in Philadelphia in 1875. Follow­ ing high school, she entered the Pennsylvania Academy, where she studied with the eminent quasi-Impressionist painter, William Merritt Chase. In the first decade of the twentieth century, Walter's work showed not only the influence of her master, but also that of painters such as Henri, Sargent, and Whistler, with whom she shared a taste for rich surfaces and dark tonalities (cf. no. 3-1). In 1908, she won a two-year traveling scholarship, which took her to Spain, Italy, Holland, and France. In Paris, she studied at the Grande Chaumiere, but finding its classical curriculum stiffling, she moved to the Academie Julian. Shortly after­ ward, she established her own studio, and began to work in a somewhat Impressionist manner, including out-of-doors painting. The full impact of Impressionist color did not make itself felt in Walter's art until about 1912, however. In 1909, she won the Academy's "Mary Smith Prize," for best work by a woman. With the outbreak of World War I, Walter returned to America and began a series of beach scenes at Gloucester and Atlantic City (cf. no. 3-5). Here, the full potency of Impressionist light and color came into play, but with an added impetuosity that resembled the style of the Fauves, whom she had seen in Paris. Sometimes, Walter called upon earlier inspirations, such as Boudin's works of the 1870s, for her cloudy beach scenes (cf. no. 3-10). Walter was a constant traveler, shuttling between Paris and her studios in New York and Gloucester (where Cecilia Beaux also had a studio). In addition, she taught at the New York School of Art and, for a time, in Brittany. Perhaps because of her own cosmopolitanism and her interest in less 18 fortunate travelers, she spent several months in 1922 paint­ ing a series of thirty-six pictures of the crowded immigratioi halls of Ellis Island. In that same year, she had a large exhibition in Paris, from which the French government selected a painting for the Musee du Luxenbourg collection. 171-' Walter traveled to North Africa in the 1930s, and responded to that special quality of light and color there, which had also intrigued such painters as Delacroix and Matisse. In 1941, she had a large exhibition at the Art Club of Chicago, and a few years later opened a studio in Palm Beach. Walter continued painting well into her nineties, and died at the age of one hundred in 1976. To the end, she remained a painter of locales — beaches, gardens, market­ places —- just as Cassatt had been a painter of friends and family. Not unlike Cassatt, she was most stimulated by the strong patterns and rich colors of her subjects, and projected them with great facility and verve. Despite a long and successful career, Walter's art is still not widely known, but this seems destined to change. 'While not an innovator among the modernists of her age, she did develop a distinctive style. Her often daring color, vivacious brushwork, and consistently solid compositions have endured the tides of fashion, much as have those similar qualities in such contemporaries of hers as Henri, Sloan, and Marsh. Like theirs, Walter's paintings retain their wonderful freshness and energy. Air Kids" licgNude" aioacanvas.1912,14x18" Ch :^vDmidDmid,Inc., Philadelp Parasol' --.’actEvas, 1918,14x18" '■■ r:'~ ’ ^-“-'sZmman Section �S' sne SDen, 1 3-7 lgover At Ur§ CollectiOri ■ ~Ior there, and .ArtQub ’ne hundred in 1976 £her nineties - of locales — beach * she assatt had been a paiX^fo ' ?**' Cassatt, she was mos‘ d rich colors of her subjeccility and verve. “Boy in Black Cape oil on canvas, 1904,51 x 38 On loan from David David, Inc., Philadelphia Shady Spot in Luxembourg Gardens, Paris" oil on canvas, 1919, 20 x 25" On loan from a private collection 3-2 “Paris Cafe" oil on canvas, 1906,22V: x 17^2 " On loan from David David, Inc., Philadelphia 3-8 H "Coney Island" oil on panel, 1922,14 x 18" On loan from David David, Inc., Philadelphia i ! 3-9 ) and d by ** d Pr°J'ected nd successful career, Walter's art is still ■ but this seems destined to change. While mong the modernists of her age, she did ' “The Fresh Air Kids" oil on canvas, 1910,78 x 38" On loan from David David, Inc., Philadelphia "Mother and Baby" oil on canvas, 1922, 30 x 24" On loan from David David, Inc., Philadelphia 3-4 “Reclining Nude" oil on canvas, 1912,14 x 18" On loan from David David, Inc., Philadelphia 3-10 "After the Storm" oil on canvas, n.d., 24 x 30" On loan from The Robert Rice Gallery, Houston i i /e style. Her often daring color, vivacious msistently solid compositions have 3-5 "Japanese Parasol" oil on canvas, 1918,14 x 18" On loan from Mr. Jacques Zinman )f fashion, much as have those similar ntemporaries of hers as Henn, Sloan, ana , Walter's paintings retain their ss and energy. 3-6 "Young Woman in Black Hat" oil on canvas, 1918,21 x 26" On loan from a private collection f 19 �! WALTER 20 3-10 �MILKES COLLEGE LI8RARV �� 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 1980 March 22-April 27 Three Pennsylvania Women: Mary Cassatt, Cecilia Beaux, and Martha Walter Creator An entity primarily responsible for making the resource Sordoni Art Gallery Publisher An entity responsible for making the resource available Sordoni Art Gallery; Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1980 March 22- April 27 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition book https://omeka.wilkes.edu/omeka/files/original/b1e4525250ab0ce13153d517adead8d3.pdf e8e3ea6832da561c69f79e020726b5db PDF Text Text �AN EXHIBITION OF PAINTINGS BY THE EIGHT robert hcnri arthur b. davies william glackens ernest lavvson georgeluks maurice prendergast E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA everelt shinn john sloan MARCH 9 — APRIL 1, 1979 WILKES COLLEGE SORDONI ART GALLERY 1 �ACKNOWLEDGEMENTS Mr. J. Philip Richards, Director of the Sordoni Gallery, who lent invaluable aid in the selection process; The Advisory Commission of the Wilkes College Sordoni Art Gallery makes grateful acknowledgment to the follow­ ing lenders and to those who through their interest, generos­ ity, and cooperation have so greatly enhanced the success of this exhibition: Mrs. Cara Berryman, Exhibitions Coordinator of the Sor­ doni Gallery, who expertly handled the many logistical prob­ lems involved in an undertaking so wide in scope; Dr. William Sterling, Chairman of the Wilkes College Art Department, for his exacting work in this catalogue; BUCKNELL UNIVERSITY, (George M. Jenks, Director) Mr. Robert S. Capin, President of Wilkes College, whose cooperation knew no bounds; LEHIGH UNIVERSITY, (Ricardo Viera, Director of Exhibitions and Collection) - Dr. Thomas Kelly, Dean of External Affairs of Wilkes College, whose liason work smoothed all problems; PENNSYLVANIA ACADEMY OF THE FINE ARTS, (Richard J. Boyle, Director) Mr. George Pawlush, Director of Wilkes College Public Relations, and Mrs. Jane Manganella, Assistant Director, who handled all phases of publicity and public relations; READING PUBLIC MUSEUM & ART GALLERY, (Bruce L. Dietrich, Director) SYRACUSE UNIVERSITY, (Domenic J. lacono, Director) Mrs. Arnold Rifkin, who contributed her intimate knowl­ edge of The Eight, and assisted in much needed gallery con­ tacts; VASSAR COLLEGE, (Peter Morrin, Director) THE WESTMORELAND COUNTY MUSEUM OF ART, (Paul A. Chew, Director) Mrs. Esther Davidowitz, for her invaluable suggestions in promoting this retrospect. MUSEUM OF ART, PENNSYLVANIA STATE UNIVERSITY, (William Hull, Director) And to all members of the Sordoni Art Gallery Advisory Commission without whose aid and support this presenta­ tion might not have been made possible. COE-KERR GALLERY INC. BERRY HILL GALLERIES We sincerely wish that all visitors who are destined to view this show, might share the same excitement, we who gathered it experienced during the past twelve months. KRAUSHAAR GALLERIES HIRSCHL & ADLER GALLERIES INC. Several private area collectors who for personal reasons chose to remain anonymous. ALBERT MARGOLIES Chairman, Advisory Commission The exhibition of works by the Ash Can School — the carefully selected product of the Immortal Eight, could not have been mounted to engage our intelligence; to exhilarate our feelings; to stimulate our sensual experience, without the dedicated assistance of the following: Sordoni Art Gallery Wilkes College Wilkes-Barre, Pennsylvania 2 SIGNIFICANCE OF THE EIGI Just about a lifetime ago, on February 3,1903 ant exhibition of paintings opened in New YorJ Gallery. It was to be among a handful of landr which, over the next few years, would arouse A out of its complacency and into the mainstream o century modernism. The exhibition consisted o eight American artists who were operating eithei or barely within the artistic establishment of the ert Henri, John Sloan, William Glackens, George rett Shinn, Maurice Prendergast, Ernest Lawson, B. Davies. Two years later, Henri and Sloan helped to o other landmark show, the Exhibition of Indepenc in direct competition with the annual display by t Academy of Design, that august bastion of ai conservatism. In 1913, another member of the Ei B. Davies, became a prime mover of the renowr Show which brought together, for the first time hundreds of works by the leading avant-gard Europe and the United States. Today's spectator would perceive striking sty ences between the 1908 and 1913 events. The A highlighted such radical groups as the Cubists a ves, while the exhibition of The Eight offered w< ly representational character, with an occasion; into Impressionism. Europe's progressive front on from Impressionism some twenty years earl: Matisse's Fauvism was officially three years old, was on the verge of Cubism. The pace of artis ment in America clearly lagged behind that of sweeping changes were not to be made ovem 1850s and 1860s the French realist painters C Manet had turned their backs on the accepted < romantic traditions of the French Academy, and �ip Richards, Director of the Sordoni Gallery, luable aid in the selection process; Jerryman, Exhibitions Coordinator of the Sorvho expertly handled the many logistical prob­ in an undertaking so wide in scope; Sterling, Chairman of the Wilkes College Art or his exacting work in this catalogue; S. Capin, President of Wilkes College, whose lew no bounds; ; Kelly, Dean of External Affairs of Wilkes : liason work smoothed all problems ; Pawlush, Director of Wilkes College Public I Mrs. Jane Manganella, Assistant Director, II phases of publicity and public relations ; 1 Rifkin, who contributed her intimate knowl|ght, and assisted in much needed gallerv conDavidowitz, for her invaluable suggestions in ; retrospect. lembers of the Sordoni Art Gallen- Advisory-ithout whose aid and support this presentahave been made possible. y wish that all visitors who are destined to v, might share the same excitement, we who erienced during the past twelve months. 1GOLIES nsory Commission alienPennsylvania SIGNIFICANCE OF THE EIGHT a path for fresh thinking that ultimately drew along it the Impressionists, the Post-Impressionists, and every radical movement of the early twentieth century. Just about a lifetime ago, on February 3,1908, an import­ ant exhibition of paintings opened in New York's Macbeth Gallery. It was to be among a handful of landmark events which, over the next few years, would arouse American art out of its complacency and into the mainstream of twentieth­ century modernism. The exhibition consisted of works by eight American artists who were operating either outside of, or barely within the artistic establishment of the time: Rob­ ert Henri, John Sloan, William Glackens, George Luks, Eve­ rett Shinn, Maurice Prendergast, Ernest Lawson, and Arthur B. Davies. In America, The Eight performed a similar, if somewhat belated function. They were spoilers who championed artis­ tic freedom in a society which had held tenaciously and rev­ erently to the academic line. They were not the first non-con­ formists; men such as Thomas Eakins, Winslow Homer, and Albert Ryder had successfully gone their own way, but they had not crystallized widespread rebellion; Mary Cassatt and Whistler had created more radical styles in their time, but only as expatriates little known or appreciated in their native land. The Eight, on the other hand, set off the first explosion to seriously undermine the power structure of the academic establishment in America. Two years later, Henri and Sloan helped to organize an­ other landmark show, the Exhibition of Independent Artists, in direct competition with the annual display by the National Academy of Design, that august bastion of authoritarian conservatism. In 1913, another member of the Eight, Arthur B. Davies, became a prime mover of the renowned Armory Show which brought together, for the first time in America, hundreds of works by the leading avant-garde artists of Europe and the United States. The show was precipitated when the National Academy refused to accept works by Sloan and Glackens for their 1907 exhibition. Henri, a member of the Academy jury, could not prevail upon his colleagues, and in fact, found his own work luke-warmly accepted. Therefore, he determined to organ­ ize an independent exhibition which would show work of the more liberal artists. The show of The Eight, as a con­ troversial event, was very well attended, and received as much favorable as hostile criticism. All in all, and with $4,000.00 in sales, it was a success. Today's spectator would perceive striking stylistic differ­ ences between the 1908 and 1913 events. The Armory show highlighted such radical groups as the Cubists and the Fauves, while the exhibition of The Eight offered work of solid­ ly representational character, with an occasional excursion into Impressionism. Europe's progressive front had moved on from Impressionism some twenty years earlier. By 1908, Matisse's Fauvism was officially three years old, and Picasso was on the verge of Cubism. The pace of artistic develop­ ment in America clearly lagged behind that of Europe, and sweeping changes were not to be made overnight. In the 1850s and 1860s the French realist painters Courbet and Manet had turned their backs on the accepted classical and The painters of the Eight did not constitute a homogene­ ous group, and they never exhibited all together again. Lawson and Prendergast were strongly influenced by Impres­ sionism, though in quite different ways, and Davies was a Fantacist, loosely related to the French Symbolists. Only Henri, Sloan, Shinn, Luks, and Glackens formed a long­ standing and fairly closeknit group. These five shared a style of briskly painted realism, similar to Manet's, as well as a passion for ordinary subjects unsentimentally presented, particularly ones drawn from their own urban surroundings (hence their later designation "The Ash Can School"). romantic traditions of the French Academy, and had broken 3 �them squarely in a late nineteenth-century aesthetic. It was as if they had reinvented the wheel, and historians whose primary criterion for achievement was innovation had diffi­ culty looking at work which was "out of date." Robert Henri, the eldest of these five, had been their in­ spirational mentor and supporter back in their Philadelphia days, when he was teaching at the Pennsylvania Academy and they were working as newspaper artists. With their journalistic backgrounds, Glackens, Luks, Shinn, and Sloan responded naturally to Henri's spontaneous realism. These men had not deliberately set out to break new artistic ground, and certainly they don't look very radical today. Indeed, they revered such old masters as Hals, Velasquez, and Goya, who mated candor with powerfully graphic styles. Henri and his Philadelphia friends sought to reveal twen­ tieth-century life with the same candor and visual pungency. The other three members of The Eight were more involved with poetic transformations of the natural world, but all eight were ill-treated by an art establishment which still fa­ vored romantic idylls, classical pastiches, and vignettes of drawing room morality. Several things have happened in the last decade which may be changing this approach. For one thing, as we recede farther from the birth of modernism in Paris, the significance of its initial moments no longer overshadows so completely the importance of the hours of assimilation which followed, especially within the context of the cultural differences which existed between Europe and America. A somewhat analogous situation would be the adoption of Caravaggio's style by younger painters, such as Velasquez, in the seven­ teenth century. The intrinsic power and beauty of Velasquez' early work are not belittled because it resembles Caravag­ gio's. There has also been a widespread return to various forms of naturalism in contemporary art, which places the center of vanguard taste somewhat closer to The Eight than it has been for quite a few decades. At the same time, American scholars (and not just the chauvinistic ones) have begun to outgrow their inferiority complex, vis-a-vis Europe, when it comes to any discussion of American art before our own rev­ olutionary period of the forties and fifties. More than ever before, American art of the past is being looked at on its own terms and for its inherent strength. As historical cata­ lysts, The Eight have always been recognized; as artists in their own right, they may now receive a fresh appraisal. The historical position of The Eight is usually fixed in terms of the group's catalytic role in bringing about an im­ portant change in America's artistic values. By promoting liberalized exhibition opportunities for less conventional art­ ists, they opened the door for a much broader exchange of ideas and tastes. It might not be reaching too far to assign another significance to these painters, particularly the AshCan contingent. Their brash, bravura, paint-loving techni­ que and their sensitivity to the vital presence of the Ameri­ can urban environment place them closer to the Abstract Expressionism of the fifties than we might initially suppose. In a spiritual sense, The Eight were the forerunners of the New York School which erupted on the international scene after World War II. It is the purpose of this exhibition to reveal The Eight on both these levels. As we experience them together again, we can perhaps more easily imagine their impact in IPOS.* At the same time, we can look at them with an open mind, in the solace of another day. Yet, except for Prendergast, whose style approached a Fauve-like abstractness and therefore seemed more modem, The Eight have rarely enjoyed the limelight in twentieth­ century criticism. Modernist scholars were not inclined to look beyond the fact that these painters resembled Manet and his generation more than anyone else, which placed * The present show, while representing al! the artists of The Eight, does not include those pictures which were in the original exhibition (with one exception). Many oi these works are later, and show something of the various directions the artists leek during their careers. 4 SELECTED BIBLIC ARTHUR B. DAVIES, 1862-1928. Introduction by H. K. Prior. V Institute, Utica, New York, 1962. BERRY-HILL, H & S. Ernest La~.cn pressionist. Leigh-on-Sea, Englar BREUNING, M. Maurice Prendergi BROWN, M. W. American Paintin to the Depression. Princeton, 195 CARY, E. L. George Luks. New Yor DU BOIS, G. P. Ernest Lawson. Nev DU BOIS, G. P. John Sloan. New Yi DU BOIS, C. P. William J. Glacken: THE EIGHT (Exhibition Catalogu Art, Brooklyn, 1944. FINK, L. M. and J. C. TAYLOR Aca Tradition in American Art. Wash GALLATIN, A. E. John Sloan. New �th-century aesthetic. It -was ■heel, and historians whose it was innovation had diffi"outof date." J in the last decade which For one thing, as we recede sm in Paris, the significance overshadows so completely ssimilation which followed, >f the cultural differences and America. A somewhat e adoption of Caravaggio's as Velasquez, in the sevener and beauty of Velasquez' tuse it resembles Caravag- ;ad return to various forms rt, which places the center er to The Eight than it has t the same time, American nistic ones) have begun to ;, vis-a-vis Europe, when it can art before our own revind fifties. More than ever t is being looked at on its Irength. As historical cata:n recognized; as artists in eive a fresh appraisal. tion to reveal The Eight on ce them together again, we their impact in 1908.* At em with an open mind, in SELECTED BIBLIOGRAPHY GLACKENS, I. William Glackens Er the Ashcan Croup: The Emergence of Realism in American Art. New York, 1957. ARTHUR B. DAVIES, 1862-1928. (Exhibition Catalogue). Introduction by H. K. Prior. Munson-Williams-Proctor Institute, Utica, New York, 1962. GOODRICH, L. John Sloan, 1871-1951. New York, 1952. HENRI, R. The Art Spirit. Philadelphia, 1923. BERRY-HILL, H. & S. Ernest Lawson, N.A.; American Im­ pressionist. Leigh-on-Sea, England, 1968. HOMER, W. I. Robert Henri & His Circle. Ithaca, 1969. BREUNING, M. Maurice Prendergast. New York, 1931. HUNTER, S. "The Eight-Insurgent Realists," Art in Amer­ ica XLIV. (Fall, 1956), 20-22,56-58. BROIVN, M. W. American Painting from the Armory Show to the Depression. Princeton, 1955. THE LIFE & TIMES OF JOHN SLOAN (Exhibition Cata­ logue). Introduction by H. F, Sloan & B. St. John. Dela­ ware Art Center, Wilmington, 1961. CARY, E. L. George Luks. New York, 1931. PERLMAN, BENNARD The Immortal Eight. New York, 1962. DU BOIS, G. P. Ernest Lawson. New York, 1932. DU BOIS, G. P. John Sloan. New Y'ork, 1931. PHILLIPS, D., ET AL. Arthur B. Davies: Essays on the Man and His Art. Cambridge, Massachusetts. 1924. DU BOIS, G. P. William J. Glackens. New York, 1931. 1HE EIGHT ■ Exhibition Catalogue), Brooklyn Museum of RHYS, H. H. Maurice Prendergast. Cambridge, Massachusettes. 1924. Art, Brooklyn, 1944. SCOTT, D. & J. BULLARD John Sloan. Washington, 1971. FINK, L. M. and J. C. TAYLOR Academy: The Academic Tradition in American Art. Washington, D. C., 1975. YOUNG, M. 5. The Eight: The Realist Revolt in American Painting. New York, 1973. GALLATIN, A. E. John Sloan. New York, 1925. I artists cf The Eight, does not include Bbiticn (Hith ere c*rcf*Ucr,} Man> ot Bthe various directions the artists took 5 �Show and several other important exhibitions of the Lime. ROBERT HENRI I Henri's success as a painter was matched by that as a teacher, and his students included such major figures George Bellows, Edward Hopper, and Man Ray. In terms of local interest, it may be noted that during the summer of 1902, Henri painted-landscapes at Black Walnut, Pennsyl­ vania, northwest of Wilkes-Barre, at the home of his wife's parents. "Picnic at Meshoppen," in the present exhibition dates from this visit. In 1907-08, Henri again travelled to Wilkes-Barre, to paint portraits of Mr. & Mrs. George Cot­ ton Smith and Miss Edith Reynolds. (1865-1929 Born in Cincinnati, Ohio) Henri was the doyen of the Philadelphia, or Ash Can, con­ tingent of The Eight. Having lived most of his adolescence in the middle and far west, Henri displayed something of the audacity and rugged individualism typically associated with the American frontier. His father, a land speculator, had killed a man in self-defense in Nebraska, but before his name was cleared, he had changed it and had fled to New Jersey. His son, Robert Henry Cozad, thus became Robert Henri (Hen'-rye). Henri studied at the Pennsylvania Academy under Thomas Anshutz, one of Thomas Eakins' foremost students. His natural inclinations for candor and realism flowed easily into the Eakins tradition. Henri's ambition to excel as an artist carried him to Paris in 1888 for several years of study at the Academe Julien, during which time he was temporar­ ily 'attracted to academic painters, such as his teacher Bougereau. His attempts at acceptance into the prestigious Ecole des Beaux-Arts met with failure until 1891, Gradually, he gravitated toward the loosely-painted realism of Manet, as well as to old masters such as Velasquez and Hals. "Cafe at Night, Paris" oil 32 x 25%" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. 2. "Rue de Rennes" oil 25% x 32" On loan from Vassar College Art Callery, Poughkeepsie, New York. Back in Philadelphia, Henri's charisma drew a large and faithful following to the weekly open-houses at his studio, where art, literature, philosophy and politics were discussed along with regular forays into madcap fun and frivolity. Henri, Sloan, Glackens, Shinn and Luks cemented their ties there. 4. "Picnic at Meshoppen, Pennsylvania, July 4, la02" oil 26 x 32" On loan from The Westmoreland County Museum of Art. Greensburg, Pennsylvania. After a well-reviewed one-man show at the Pennsylvania Academy in 1897, selection into three Paris salons, and the purchase of one of his paintings by the French government, Henri's place in the art establishment was well-secured. From that position, he fought to liberalize the establishment, particularly with regard to exhibition opportunities for young and progressive artists. He was chief instigator of the exhibition of The Eight and also had a hand in the Armory 5. "Dutch Fisherman" oil 24 x 20" On loan from The Westmoreland County Museum of Art, Greensburg, Pennsylvania. 6 Bridgie Beg' oil 20 x 24" On loan from a private collection. �■ important exhibitions of the time, painter was matched by that as a its included such major figures as I Hopper, and Man Ray. In terms of . noted that during the summer of dscapes at Black Walnut, Pennsylkes-Barre, at the home of his wife's hoppen," in the present exhibition 1907-08, Henri again travelled to ortraits of Mr. & Mrs. George Cot1 Reynolds. J iversify, Department of Exhibitions m, Pennsylvania. '.allege Art Gallery, Poughkeepsie, mnsylvania, July 4,1902" moreland County Museum of Art, ia. moreland County Museum of Art, ia. 3. "Bridgie Beg" oil 20 x 24" On loan from a private collection. 7 �WILLIAM ARTHUR B. DAVIES (1870-l°38 Bom m Phi (1862-1928 Born in Utica, New York) o Davies was not one of the Ash-Can painters, and at first glance it would seem unlikely that he could have had much in common with them. But like them, he sought to free art from the grip of the Academy. With a talent for organiza­ tion and a perspicacious eye, he was largely responsible for putting together the Armory Show in 1913. ft j Davies initially studied landscape painting, then attended the Chicago Academy of Design, and briefly considered a career as a draftsman. He went to New York to further his studies in painting and in 1893 was off to Europe. His dreamy landscapes, often inspired by myths and poems, put him into the orbit of late Romantic and Symbolist artists such as Bocklin, Puvis de Chevannes, and Odilon Redon. I J 7. "Seven Nudes" oil 11 x 213/4" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. After the Armory Show, Davies began to experiment with Cubism, and also turned more and more to printmaking. His Cubist work put him irrevocably into the mainstream of twentieth-century art, and along with Prendergast, made him the most apparently modem of the painters of The Eight after World War I. 6. "Silvered Heights" oil 18 x 40" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. 9. "Lane with Trees and Fence" watercolor 4Vz x 7" ' On loan from Lehigh University. Department of Exhibitions and Collection, Bethlehem, Pennsylvania. 8. "Bam Swallow" watercolor 7 x 5V2" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania, 10. "Cows Out to Pasture" watercolor 4Vs x 6Vs" On loan from Lehigh University, Department of Exhibition? and Collection, Bethlehem. Pennsylvania. 8 Glackens had little formalj a natural facility and a prod: naturally suited to the artist/ est in serious painting soon newspaper colleagues, to He with whom he came to share France for a year before settli a taste for Manet, the Impress Impressionists. In 1898, Glackens risked li War for McClure's Magazin but mainly from the vantage heard about the day’s events Manet, Glackens’ later work ful vein, similar to Renoir's I Saco at Conway," for examp scenes to nudes, landscapes, Albert Barnes. Glackens wr procuring many of the maste and post-impressionist pain important Barnes Foundation vania. 11. "Nude Dressing Hair’ oil 30 x 25" On loan from Lehigh Univen and Collection, Bethlehem, P 13. Mixed Bouquet, White Vast oil 16 x 14" On loan from the Kraiishaar ( �WILLIAM GLACKENS (1870-1938 Bom in Philadelphia, Pennsylvania) Glackens had little formal art training, but was gifted with a natural facility and a prodigeous visual memory’. He was naturally suited to the artist/reporter profession. His inter­ est in serious painting soon led him, via his Philadelphia newspaper colleagues, to Henri, who encouraged him and with whom he came to share a studio. Glackens travelled to France for a year before settling in New York, and developed a taste for Manet, the Impressionists, and several of the PostImpressionists. In 1898, Glackens risked life and limb to cover the Cuban War for McClure’s Magazine. (Luks also covered the War, but mainly from the vantage point of tl^e taverns, where he heard about the day's events.) Early under the influence of Manet, Glackens' later work followed a lighter, more color­ ful vein, similar to Renoir's Impressionism (as seen in "The Saco at Conway," for example). He also turned from urban scenes to nudes, landscapes, and still-lifes. A friend of Dr. Albert Barnes, Glackens was instrumental in selecting and procuring many of the masterpieces of French impressionist and post-impressionist painting which now comprise the important Barnes Foundation Collection in Merion, Pennsyl­ vania. y, Department of Exhibitions nsylvania. [./, Department of Exhibitions Insylvania. I/, Department of Exhibitions fisylvania. ____lXS.1 12. "The Saco at Conway" oil 25 x 30" On loan from the Kraushaar Galleries, New York. II. "Nude Dressing Hair" oil 30 x 25" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. 14. "Nude with Black Stockings" oil 16J/2 x 13" On loan from a private collection. 13. "Mixed Bouquet, White Vase" oil 16 x 14" On loan from the Kraushaar Galleries, New York. 15. "Flowers in a Pitcher" oil 24 x 18" On loan from the Berry Hill Galleries, New York. 9 ( �a. i.. ,• j. - ERNEST LAWSON j 7-.^ . (1873-1939 Born in Nova Scotia, Canada) *■- •T Lawson was the only member of the group who was pri­ marily a landscapist. During his lifetime, he travelled widely, beginning with a stint as a draftsman in Mexico, where his father was engaged in an engineering project. He later moved to New York, and studied under the American impression­ ists Twachtman and Weir. ■ -'Vh7,. "A ' - -J"/ - -a" - —— In Paris, he came under the influence of European Impres­ sionism as a friend of Sisley. Later trips took him to Spain, Nova Scotia, and west and midwest of the United States, and finally to Florida, where he died. Today, however, we associate Lawson mostly with the up­ per reaches of Manhattan and the Harlem River, where he was living at the time of the Exhibition. More than any other painter, he preserved, with poetic substantiality, the charac­ ter of those places. Working with the palette knife, he ma­ nipulated his scumbled impastos into a surface of "crushed jewels," as one critic described it. And though he is typically thought of as an impressionist, Lawson shared with the Symbolists a belief that color should be used to evoke partic­ ular emotions rather than merely depict natural facts. 16. "High Bridge-Winter" oil 19 x 24" On loan from The Reading Public Museum and .Art Gallery, Reading, Pennsylvania. 17. "Spring" 19. "The Blue Hill" oil ■16 x 197a" On loan from Vassar College Art Callcry. Poughkeepsie, New York. oil 25 x 30" On loan from the Syracuse University Art Collections, Syra­ cuse, New York. 18. "The Everglades" oil 30 x 40" On loan from Vassar College Art Gallery, Poughkeepsie, New York. 20. "The Lock" oil 177a x 3174" On loan from The Westmoreland County Museum of -Art, Greensburg, Pennsylvania. 10 GEORGE 1 (1867-1933 Bern William; Luks, the son of a cuitured phys a free spirit and a mocker of Vi went to Philadelphia in 1833, appa ville performer. He briefly attende emy, and then spent several years met his fellow Ash-Can painters ir Philadelphia Press, where thev r staff of the New York World, lie t ing comic strip, "The Yellow Kid." ly involved in painting, he devi Henri's with dark tonalities and fondness for seventeenth-century dent in this work. Luks, only ha that Frans Hals was incarnate witl came lighter, more colorful, often ; With his irrepressible theatrical was the group's clown prince, gi1 instigating barroom brawls. But h ly honest. On his impulsive and claimed, "I can paint with a shoe lard .,. Guts! Guts! Life! that's mt 22. "Portrait of a Man" oil 3072 x 2574 " On loan from The Westmorelanc Greensburg, Pennsylvania. 23. "Beggar Woman" oil 20 x 16" On loan from a private collection. �GEORGE LUKS ('iScv-lP-'-’ Born in Williamsport, Pennsylvania) I I I I I I I I I Luks, the son of a cultured physician, was from the outset a free spirit and a mocker of Victorian respectability. He went to Philadelphia in 18S3, apparently to become a vaudeville performer. He briefly attended the Pennsylvania Academy, and then spent several years traveling in Europe. Luks met his fellow Ash-Can painters in the art department of the Philadelphia Press, where they regularly met. Joining the staff of the -Veto York World, he took over the first continuing comic strip, "The Yellow Kid." As he became increasingly involved in painting, he developed a style similar to Henri's with dark tonalities and broad brushstrokes. His fondness for seventeenth-century Dutch painting was evi­ dent in this work. Luks, only half-jokingly, used to claim I that Frans Hals was incarnate within him. His later work be| came lighter, more colorful, often garish. Bridge-Winter" ■24" from The ■ng, Pennsylvania. useur: and Art Gallery, 21. "Boy with Bowl" oil 30 x 25" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. With his irrepressible theatrical flair and brashness, Luks I was the group's clown prince, given to practical jokes and I instigating barroom brawls. But his painting was unfailing| ly honest. On his impulsive and brutally realistic style, he claimed, "I can paint with a shoestring dipped in pitch and lard... Guts! Guts! Life! that's my technique." Blue Hill" 22. "Portrait of a Man" 24. "Old Timer" oil 3074 x 25" On loan from the Hirschl and Adler Galleries Inc., Neto York. I oil 1972" ’an from ’. assar College Art Gal’er-j, Poughkeepsie, York. Lock'­ t317i" an from The Westmoreland County Museum of Art, sburg, Pennsylvania. 30% x 25*4" I Or. loan from The Westmoreland County Museum of Art, I Greensburg, Pennsylvania. 23. "Beggar Woman" 25. "Little Tommy" oil 23 x 177a " On loan from the Coe-Kerr Callery Inc., Neto York. oil 20 x 16" On loan from a private collection. ll �■ ■■--■w. . ?: :-y:x ■ ■ ' EVERETT SHINN Ct (1876-7953 Born in Idstown. New Jersey) MAURICE PRENDERGAST (1859-1924 Born in Newfoundland, Canada) Prendergast, although the eldest of The Eight, was the most avant-garde in style. He came to serious painting graduauj, _____ o ' t as a show-card painter in Boston. ually, out Three having years instarted Paris (1892-95) were spent absorbing the lat­ est developments in art created by the Impressionists, the Neo-Impressionists, the Symbolists, and the Nabis, Despite the fact that he was a provincial painter in his middle thir­ ties, Prendergast gravitated easily to this radical current. By 1900 he had developed a personal style reminiscent of Pierre Bonnard's. Both men shared a love for the festive promenades and graceful landscapes of urban parks. The dancing rhythms of Prendergast's bright patchworked color exuded an air of bourgeois elegance. Perhaps more than any other American painter of the first decade of the twentieth century, Prendergast approached the lyrical color explora­ tions of Matisse. His abstractness, lack of "finish," and lav­ ish color caused his work to be the most strongly attacked by the critics of The Eight, but this was no deterrant to a mature and independent spirit. Later on, he experimented with a somewhat pointillist technique of painting, partly de­ rived from Paul Signac. From beginning to end, Prendergast remained an individualist who charted his own artistic course. "Marblehead Rocks," in the present show, was in the original exhibition of The Eight. Everett Shinn, the youiue.t of The Eight, had the mt varied career. In addition to painting and illustration. Shit at one time or another, teas involved in set design, moti picture art direction and playwriting. i % i 27. , „ "Marblehead Rocks watercolor 14 x 10" On loan from a private collection. Shinn met the other Philadelphia painters at the Penns vania Academy, which he attended while working as an lustrator for the Philadelphia Press Ilis ambition, upon i grating to New York City, was to establish himself ai fashionable illustrator for the better magazines and public ing houses. His pastel of the Metropolitan Opera House a snowstorm, rendered overnight to meet the deadline landing a job with Harper's Weekly, helped to launch h toward the fulfillment of his ambition. Unlike the other A‘ Can painters, Shinn gravitated to the fashionable sections town rather than the humbler ones. Art, University Park, Pennsylvania. His interest in the theater was stirred by his trip to Pr in 1901, and the* pictures he showed with The Eight indue stage scenes. Partly because of this interest, he was parti larly drawn to the art of Degas. He also shared with Dei a love for pastel as a medium, two examples of which app in the present show. 29. "Cresent Beach" oil 10% x 13/16" On loan from Bucknell University, Ellen Clarke Bertrand Li- : 31. "Strong Man, Clown and Dancer" oil 10 x 8" On loan from the Pennsylvania Academy of the Fine A 28. "Bathers in a Cove" oil 20 27% from " On Xloan Pennsylvania State University, Museum 26. "La Rouge: Portrait of Miss Edith King" oil 28/z x 31/2" On loan from Lehigh University, Department of Exhibitions brary, Lewisburg, Pennsylvania. Philadelphia, Pennsylvania. 30. "Paris Omnibus" oil 10/4 x 13%6" On loan from Bucknell University, Ellen Clarke Bertrand Li- ' 32. "Clown" oil 9 x 7>/z" On loan from Vassar College Art Callery, Poughkeep brary, Lewisburg, Pennsylvania. and Collection, Bethlehem, Pennsylvania. 12 of New York. �EVERETT SHINN " ■ -if-i--j-. -d r-,- 'ection. (1876-1953 Born in Woodstown, New Jersey) Everett Shinn, the youngest of The Eight, had the most varied career. In addition to painting and illustration, Shinn, at one time or another, was involved in set design, motion picture art direction and play writing. Shinn met the other Philadelphia painters at the Pennsyl­ vania Academy, which he attended while working as an il­ lustrator for the Philadelphia Press. His ambition, upon mi­ grating to New York City, was to establish himself as a fashionable illustrator for the better magazines and publish­ ing houses. His pastel of the Metropolitan Opera House in a snowstorm, rendered overnight to meet the deadline for landing a job with Harper's Weekly, helped to launch him toward the fulfillment of his ambition. Unlike the other AshCan painters, Shinn gravitated to the fashionable sections of town rather than the humbler ones. tia State University, Museum of isylvania. His interest in the theater was stirred by his trip to Paris in 1901, and the pictures he showed with The Eight included stage scenes. Partly because of this interest, he was particu­ larly drawn to the art of Degas. He also shared with Degas a love for pastel as a medium, two examples of which appear in the present show. iversity, Ellen Clarke Bertrand Livania. 31. "Strong Man, Clown and Dancer" oil 10 x 8" On loan from the Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania. liversity, Ellen Clarke Bertrand LiIvania. 32. "Clown" oil 9 x 71/2" On loan from Vassar College Art Gallery, Poughkeepsie, New York. 34. "Snowstorm, Washington Square" pastel 25 Vz x 19V2" On loan from a private collection. 33. "The Green Ballet, 1943" oil 19% x 30" On loan from The Westmoreland County Museum of Art, Greensburg, Pennsylvania. 35. "Startled Nude" pastel 15 x 14V1" On loan from a private collection. 13 �37. "Horace Traubel" JOHN SLOAN (1871-1951 Born in Lock Haven, Pennsylvania) oil 32 x 26" On loan from the Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania. Sloan was the "slow starter" of the Ash-Can group, ut one of its most durable successes. He continued to work as an artist/reporter for Philadelphia newspapers long after his journalist colleagues in The Eight had turned to painting. He was the last of them to move to New York, and the only one never to go to Europe. For a long time he received little attention as a painter, and sold his first painting only after 38. "Self Portrait" oil 24 x 20" On loan from the Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania. he was past forty. His manner of painting was also slower than that of his Philadelphia friends. He had less facility with the quick study than men such as Luks and Glackens, and during his newspaper career concentrated on illustrations for the Sun­ day sections rather than attempting on-the-spot recordings of fast-breaking news. On the other hand his work took on an increasing structural solidity, and he gained early recogni­ tion as an illustrator with his art-nouveau drawings and his etchings for novels. 39. "Gloucester Harbor" oil 26 x 32" On loan from Syracuse University Art Collections, Syracuse, New York. When he began his career as a serious painter in New York, Sloan turned to the realities of the urban environment for inspiration. So candid and forceful was his work that several paintings submitted to an exhibition in 1906 were rejected for their "vulgarity." Sloan's deep attachment to the humbler elements of urban society aroused more than artistic interest in them, and he ran for the State Assembly in 1908 on the Socialist ticket, but was defeated. In 1912 he became art editor for the socialist magazine, The Masses. His social consciousness continued to influence his painting and illustration for several years, but after World War I, he turned more fully to formal problems, such as the study of the nude. Like his own mentor, Henri, Sloan became an in­ fluential teacher, whose students included such later mas­ ters as Alexander Calder, Adolph Gottlieb, Barnett New­ man, and Reginald Marsh. 40. "Dolly Reading" oil 20 x 24" On loan from a private collection. 36. "Balancing Rock, Gloucester Harbor" oil 26Vz x 32 Vz" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. 14 �idemy of the Fine Arts, ademy of the Fine Arts, ,rt Collections, Syracuse, Ir" Department of Exhibitions Ifoania. �Director J. PHILIP RICHARDS Coordinator CARA BERRYMAN Advisory Commission MR. ROBERT CAPIN MRS. STANLEY DAVIES MRS. CHARLES EPSTEIN MR. RICHARD FULLER DR. THOMAS KELLY MRS. ALLAN KLUGER MR. MICHAEL KOLESAR mrs. john McDonald MR. ALBERT MARGOLIES MR. ANDREW SORDONI, III DR. WILLIAM STERLING WILKES COLLEGE SORDONI ART GALLERY WILKES-BARRE, PENNSYLVANIA 18766 16 �llliffl 100D183318 MILKES COLLEGE LIBRARY �� 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 1979 March 9 - April 1 An Exhibition of paintings by The Eight Subject The topic of the resource Exhibition program Creator An entity primarily responsible for making the resource Sordoni Art Gallery Publisher An entity responsible for making the resource available Sordoni Art Gallery; Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1979 March 9 - April 1 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Book https://omeka.wilkes.edu/omeka/files/original/bfb32e94c237890f6135edd7f59012d7.pdf c5ddf8940566b2aeda263dccda889514 PDF Text Text ! Ir gARCHIVES I SQR.D GA ! 2269.2 N43C6 I 1999 �THE COLLECTOR AS BOOKBINDER The Piscatorial Bindings of S. A. Neff, Jr. �ITINERARY Cleveland Museum of Natural History Cleveland, Ohio January 9 through March 14, 1999 THECOLLECTC The Piscatorial Bi: Sordoni Art Gallery Wilkes University Wilkes-Barre, Pennsylvania June 13 through August 15,1999 Rochester Institute of Technology, Cary Collection Rochester, New York October 7 through December 17, 1999 American Museum of Natural Flistory New York, New York April 7 through July 2, 2000 The American Museum of Fly Fishing Manchester, Vermont July 9 through September 29, 2000 Essays by Elisabeth R. Agro Stanley 1 Grand Binder’s Statement, Catak S A. Neff, Jr. New York State Museum Albany, New York October 6 through December 10, 2000 Sordoni Art Caller. • Wilkes I. �THE COLLECTOR AS BOOKBINDER The Piscatorial Bindings of S. A. Neff, Jr. Essays by Elisabeth R. Agro Stanley I Grand Binder's Statement, Catalogue Entries, and Glossary by S. A. Neff, Jr. E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA Sordoni Art Gallery • Wilkes University • Wilkes-Barre, Pennsylvania �6-A .• -L. N L/ 3 *_ BINDER'S STATEMEN T S. A. Neft Ir I ci q Copyright © 1999 Sordoni Art Gallery, Wilkes University All rights reserved 1700 copies were printed by Becotte & Gershwin Catalogue design: John Beck Photography: Jeff Cornelia Typeface: Palatine ISBN 0-94294S-14-X Front Cover: A Treasury of Reels, Vol. I (Front) Back Cover: A Treasury of Reels, Vol. I (Back) <11 cwkk in the exhibition was produced over a tv period beginning in ll»si. Both the exhibition am logue have been arranged in chronological order viewer to •.*■* the development ot the concept- and the ti the work has been created for mv per-onal angling hbrar it is the culmination ol one angler’s passion tor fishing I; flv. As will be clear to the viewer, m.inv ot the sets contai beyond the written word In fact, ome ot the set- bvioni miniature mil: <-uin that attests to and supports the w ritti Included in the various sets are photograph ot angling < actual fishing flies and the materials used for dressing th angling arid.ids, and paraphernalia. 1 was introdui ed to bookbinding in mv mid-forties, an beginning I km w this < rilt would be .< >me one ■ >f th* mo directions in my life Asm1, kill- developed I r* aiized ft twenty-five year's experience m graphic design in.id'.ert trained me to be a bookbinder 1.a rived into the w* rid ol with a well-dec eloped as-th, tic sen.-* a kec-nlv h i.-.d he coordination, a sense ot proportion, and patience. A sense of history prompted me to look cl* sely at the t developed bv bookbinders of past centuries These book! bookmakers have built a very -el .1 n <u:.dation. and I h.: behooved to continue to build O'- that inheritance 1 have re-.pect for the rules of that rich tradition t*< attempt to br to negate them altogether. My direct! as a b vkb.nder i creative as possible while firmly remaining witSn th ■ p* �BINDER'S STATEMENT S. A. Neff, Jr. in the exhibition was produced over a twelve-year period beginning in 1986. Both the exhibition and the cata­ logue have been arranged in chronological order to enable the viewer to see the development of the concepts and the techniques. All the work has been created for my personal angling library. In a sense, it is the culmination of one angler's passion for fishing for trout with a fly. As nnll be clear to the viewer, many of the sets contain material far beyond the written word. In fact, some of the sets become a kind of miniature museum that attests to and supports the written word. Included in the various sets are photographs of angling environments, actual fishing flies and the materials used for dressing them, letters, angling artifacts, and paraphernalia. I was introduced to bookbinding in my mid-forties, and from the beginning I knew this craft would become one of the most significant directions in my life. As my skills developed, I realized that my twenty-five year's experience in graphic design inadvertently had trained me to be a bookbinder. I arrived into the world of bookbinding with a well-developed aesthetic sense, a keenly honed hand-to-eye coordination, a sense of proportion, and patience. A sense of history7 prompted me to look closely at the traditions developed by bookbinders of past centuries. These bookbinders and bookmakers have built a very solid foundation, and I have always felt behooved to continue to build on that inheritance. I have far too much respect for the rules of that rich tradition to attempt to break them, or to negate them altogether. My direction as a bookbinder is to be as creative as possible, while firmly remaining within the perimeters of he work these traditions. Some people think of my work as design binding, but I consider it fine binding because I have chosen to follow the tradi­ tions set by past generations of bookbinders. Almost from the start of my career, I have been intrigued with the concept of creating containers to house bindings and other volumes. Many of the containers take the form of a drop-back box covered with goatskin. All are decorated to various degrees, and this decoration generally sets a theme for the housed volumes. In juxtaposition with experimenting with container forms, I have continued to explore techniques for decorating them. Although a detailed description of techniques evolved for the decoration of the containers and bindings is inappropriate in a catalogue of this nature, some bookbinders and viewers may be interested in a brief description. In the late 1980s I began working with Japanese dyed paper and gilt paper to create decorative panels used on covers as well as doublures (decoration on the inside of the cover). As this method was refined, the panels became more complex; and some comprised hundreds of shapes. The process is begun by making a detailed drawing on tracing paper. Appropriate colors are then selected from a chart of dyed paper swatches. Next the images in the drawing are traced onto the dyed papers and cut out. When all the shapes have been cut out, they are glued to a piece of gilt paper then put under a light weight to ensure that they dry evenly. Later, each shape is carefully cut out, allowing a border of 1 /16". When all the shapes have been prepared, they are glued in position on a piece of bristol board, commencing with the sky and finishing with the foreground. The process is not unlike assem- j J -'••’iJjQ' 5 �bling a puzzle. When the panel is completed, it is trimmed to size and glued into a slightly depressed area in the goatskin cover or doublure. As I continued to become familiar with working in goatskin, I began to explore the possibilities of using it for decoration. The first experi­ ments were done with flat on-lays (thinly pared goatskin pasted onto the binding) with blind-tooled edges. Then I worked with raised on­ lays (thinly pared goatskin glued onto four-ply Bristol board shapes). When working with either type of on-lay (separately or in conjunc­ tion) I expanded the decoration with either blind or gilt tooling. At first I executed the tooling with conventional tools, then I learned of the flexibility of the Ascona tool, a specially cut brass tool used with stiff paper templates as guides. This method allows a binder to tool curvilinear lines more fluid than those made with conventional tools. By working with these tools and multiple, interlocking templates, I blind-tooled complex designs onto goatskin covers. Sometimes the blind-tooled lines do not give enough definition to the design, but I resolve this problem by gluing very narrow strips of goatskin, of a contrasting color, into the linear depressions. This allows me to draw with leather. One experiment leads to another, and sometimes another technique of decoration emerges within a relatively short period. Rarely have 1 set out to create something different. Rather, I follow a direction dictated by the content of the text, the materials, and the tools. At the risk of sounding self-serving, I must say that although my containers and bindings may appear to be nearly flawless, the proce­ dure has never been flawless. There have been occasions when I have needed to repeat a process several times before achieving a satisfac­ tory result. Bookbinding is an old-world craft that requires an essen­ tial discipline and devotion. In this computer age it is almost an anomaly to work patiently with one's hands, using simple tools. S. A. NEFF, JR., ANGLING ARTISAN Caught by Trout, Piscatorial Books, a Elisabeth R. Agro Carnegie Museum of Art of S. A. Neff, Jr., piscatorial bookbinder, is alluring for those who appreciate masterh design, high quality binding, and (perhaps) trout. At a mere glimpse of his work, the viewei mesmerized—transfixed by each binding's exacting beauty. Neff literally ensnares (or should I say hooks and reel?? > his viewer into 1 world, assembled in goatskin and Japanese paper The essence or 5. Neff, Jr., consists of three inseparable and integral elements: he is a devout angler, a collector of angling books and a piscatorial fine binde: The piscatorial bindings of S. A. Neff. Jr. illustrate not onlv his passion for angling for tn>ut and collecting books on anglinu but al* his work as a fine binder for his personal collection. Neff's fane . ~ fly-tying and angling for trout began when he w as fifteen.: in the tor five years since then, he has waded trout rivers throughout the L nit States, Ireland England and Central Europe Because he warwd .. know the trout ana its environment Neff pecan to collect old anglir books: with his ;:r*. purchase, at the age cf-twvnri he embarked or, education in aquatic entomology, the devising and dressing of flies the hand-c: at ting of fly rods, anti the under# ending *. UStorv .> \ f c id Iv . w c . ttne caught upio, ..*.-: ■ : *. ■ ■- gnlti.-t :ci c*b.’>'ks He eo tv Priisburgc t*ib!io.<'.,<*- ot ;:w-ctwOec" omtains two th w-.-rc J. csident tortwo. r1•; x* ' ■ . ■ v toe ' :.! ' <? : :* -. .me. ’> . c..<. he work �definition to the design, but I irrow strips of goatskin, of a ssions. This allows me to draw ,d sometimes another technique ely short period. Rarely have I lather, I follow a direction materials, and the tools. I must say that although my o be nearly’ flawless, the procejve been occasions when I have es before achieving a satisfac■ld craft that requires an essentnputer age it is almost an hands, using simple tools. S. A. NEFF, JR., ANGLING ARTISAN Caught by Trout, Piscatorial Books, and Fine Binding Elisabeth R. Agro Carnegie Museum of Art of S. A. Neff. Jr., piscatorial bookbinder, is alluring for those who appreciate masterly design, high quality binding, and (perhaps) trout At a mere glimpse of his work, the viewer is mesmerized—transfixed by each binding's exacting beauty. Neff I literally ensnares (or should I say hooks and reels?) his viewer into his world, assembled in goatskin and Japanese paper. The essence of S. A. Neff. Jr., consists of three inseparable and integral elements: he is a devout angler, a collector of angling books, and a piscatorial fine binder. The piscatorial bindings of S. A. Neff, Jr. illustrate not only his passion for angling for trout and collecting books on angling but also his work as a fine binder for his personal collection. Neff's fancy for fly-tyring and angling for trout began when he was fifteen; in the fortyfive years since then, he has traded trout rivers throughout the United States, Ireland, England, and Central Europe. Because he wanted to know the trout and its environment, Neff began to collect old angling books: with his first purchase, at the age of twenty, he embarked on an education in aquatic entomology, the devising and dressing of flies, the hand-crafting of fly rods, and the understanding of piscatorial history. As Neff's collection of old angling books grew, he became caught up in their history' and significance as books. He joined the Pittsburgh Bibliophiles, of which he was a member for seventeen •. ears and president for two. His library' now contains two thousand volumes on fish and fishing, focusing on books prior to the twentieth he work century, with some dating as far back as 1600. This collecting enthusi­ asm propelled him to the next logical step: the care and restoration of his fine collection. In 1982—in order to make small repairs on some of the books in his growing collection—Neff took a few simple workshops on binding methods in the Pittsburgh area. Reflecting on his late start as a book­ binder, Neff often refers to T. J. Cobden-Sanderson (1840-1922), known as the Father of Modern Bookbinding, who also began his career as a bookbinder at middle age. Realizing that he would not have enough time to learn all the various methods and styles of binding, and being an autodidact by nature, Neff struck out on his own, teaching himself procedures that would be most applicable to the care and repair of his personal library. Neff soon realized that his twenty-five years as a graphic designer and illustrator, coupled with his long experience as an angler, provided him with the skills and design sensibility needed to become a bookbinder: "My development of hand-to-eye coordination during my longtime activities as a de­ signer and flytier inadvertently trained me in bookbinding." Since 1982, Neff has continually added new methods, techniques, and materials to his bookbinding repertoire. Initially, he worked in quarter- and half-leather, then in full leather with simple gilt-stamped designs (the stamping dies are of his own design). After taking a vellum workshop in 1985, he began creating half- and full-vellum *7 �J bindings. With this new skill, Neff created his first multiple set of bindings and boxes for .4 Book ofSmall Flies (Figures 1-4). This unique edition, originallv a two-volume set, comprises four volumes bound in full vellum over raised foundations with marbled paper panels and on-lavs of goatskin. Neff created two additional volumes, which include objects bevond the text such as materials used in making flies, and photographs taken bv Neff based on the text of the book. This set was the first four-volume set of angling books to contain a related grouping of all these piscatorial materials. A Book of Small Flies marks the beginning of Neff's serious commitment to bookbinding: it was the first work Neff exhibited nationally and was selected for inclusion at the juried Guild of Book Workers' 1986 national exhibition. In 1988, Neff began to experiment with Japanese dyed paper to create decorative panels, using it in conjunction with Japanese gilt paper to provide a linear definition between the shapes. He used this technique on a set of two bindings in a box, A Modern Dry-Fly Code, second edition, and In the Ring ofthe Rise, both by' Vincent C. Marinaro, published in 1970 and 1976 respectively (Figures 6 & 7). The two volumes are found within a drop-back box portraying the Cumberland Valley, which provides the viewer with a glimpse of what is contained inside. The image found on the decorative panels of each binding represents the subject of that volume. A Modern Dry-Fly Code investigates the meth­ ods of flv fishing on the Letort Spring Run in the Cumberland Valley in Pennsylvania. Neff portrays this small river, including an image of the predominant variety of mayfly, the Ephemerella dorothea (Figure 7). He depicts the stream in detail on the panels for In the Ring of the Rise, which throroughty examines the feeding habits of the Letort trout. Neff includes an illustration of a trout that has just risen to the surface for a mayfly, resulting in a rise-form, or "ring of the rise" (Figure 7). The viewer is first struck by the image of the Cumberland Valley on the box. Neff says, "The viewer moves into the valley when looking at the covers of the Code, and finally to the river's surface with the covers of the Ring." This application of pictorial panels to foretell the contents of a box and bindings was the beginning of a style formula for Neff. Neff further developed this innovative pictorial panel technique. The application of panel decoration in combination with box sets 8 • The Collector c* Bookbinder containing two or more volumes imparts a particular expression to Neff's work. He says, "I have always been interested in creating sets of books, rather than simply putting a cover, albeit a decorative one, on a book." Neff calls these sets "containers" because they usually hold items such as actual fishing flies, photographs, letters, and reels in addition to the text of a book or essay. As an observer of Neff's work, I am more inclined to call these box sets "environments." Each panel draws the viewer into the subject explored within a box and volume. The specific angling materials placed within each box further the experience of the subject. Giving the subject matter of each book careful consideration, Neff essentially documents the specific angling environment on the panels of the box set and the bindings it contains. The three-volume set Miniature Nymphs: A Chapterfrom "The Masters on the Nymph" (1989) exemplifies this angling environment (Figures 8-12). This set contains text, actual trout flies dressed by Neff and materials for making them, manuscript, photographs used in the text, and correspondence with the publisher. On the box are scenes of limestone and freestone rivers, two of the earth's three river types. The highly detailed images of a brown trout in a limestone river, rainbow trout in a freestone river, and nymphs on the bottom of the rivers appear individually on the bindings of each volume. The pictorial panels found on this set inform the viewer of the contents of each volume. In 1990, Neff began experimenting with full goatskin bindings over raised foundations, flat on-lays, raised on-lays, and blind tooling. Neff integrated these new techniques with his decorative panels and boxed-set formula. Catskill Rivers, written by Austin M. Francis (1983), was bound in 1991 and is a product of this integration (Figures 15-18). The covers on the box and volume are incredibly fine. Neff describes the design as follows: The panel on the front cover depicts the trout of the Catskill rivers; the brook trout (leaping downward) declined at the end of the nineteenth century, to be replaced by the brown trout (moving upward). The vivid colors of the panel are in direct contrast with the subtleties of the binding. The dark green on-lays quietly set the scene on the book's cover for the three bands of bright blue raised on-lay the Catskil! rivers. . mbolizin, Revealing the connection between the box and the binding, states, "There is no apparent relationship between the box cot binding [at first glance] until the book is opened to reveal the doublure portraying a scene on one of the rivers." This Catski environment is made whole by a second river scene, which a; the back doublure, and aquatic insects, which are found in th, ground of each panel. A set consisting of two volumes housed in an inner and ou( made for Rodolphe L. Coignev's Izank Walton: .4 Nor Btbliogn 1653-19S7 (1989) represents Neff's interest in creating twentis century designs based on seventeenth- and eighteenth-centur designs (Figures 23-28). "As a twentieth-centurv binder and I designer, I can immerse myself in period design, but to attem produce a similar design would simply be making a facsimile actually a personal aesthetic effort," states Neff. Therefore, he rated these bindings with a twentieth-centurv version of a sevt centurv panel design. Of particular note in this container are the interior of the ot and the cover of the inner box, which form a triptych (Figure When the viewer opens the box, he or she finds a scene depic Charles Cotton's Fishing House, Piscaforibus sacrum, on the Ri Dove in England, which ran through Cotton's estate. An angl and close friend of Walton, Cotton memorialized their friends the cypher "IWCC" inscribed on the keystone above the door Piscatoribus sacrum. Neff uses this cypher as a decorative elem the box and binding, thus linking them to Walton, Cotton, Pis sacrum, and the River Dove. Two aquatic insects found on the long before the seventeenth century' are also in full view in th: container. In this boxed set, Neff creates a twentieth-century ’ based on a seventeenth-century binding style, effectively juxt. two periods. He accomplishes this by binding both volumes i seventeenth-century style, including a doublure panel depict! angler of that period and another portraying a modern angler �rts a particular expression to ?een interested in creating sets cover, albeit a decorative one, liners" because they usually photographs, letters, and reels ly. As an observer of Neff's box sets "environments." Each :t explored within a box and ; placed within each box further re subject matter of each book documents the specific angling set and the bindings it contains. ’hs: A Chapterfrom "The Masters on ng environment (Figures 8-12). ; dressed by Neff and materials raphs used in the text, and n the box are scenes of limestone 5 three river types. The highly limestone river, rainbow trout in ?ottom of the rivers appear nlume. The pictorial panels : the contents of each volume, with full goatskin bindings over 1 on-lays, and blind tooling. Neff his decorative panels and tten by Austin M. Francis (1983), f this integration (Figures 15—18). ! incrediblv fine. Neff describes nets the trout of the Catskill iownward) declined at the > be replaced by the brown id colors of the panel are in s of the binding. The dark ne on the book's cover for the three bands of bright blue raised on-lays symbolizing the Catskill rivers. Revealing the connection between the box and the binding, Neff states, "There is no apparent relationship between the box cover and binding [at first glance] until the book is opened to reveal the front doublure portraying a scene on one of the rivers." This Catskill river environment is made whole by a second river scene, which appears on the back doublure, and aquatic insects, which are found in the fore­ ground of each panel. A set consisting of two volumes housed in an inner and outer box made for Rodolphe L. Coigney's Izaak Walton: A New Bibliography 1653-1987 (1989) represents Neff's interest in creating twentieth­ century designs based on seventeenth- and eighteenth-century panel designs (Figures 23-28). "As a twentieth-century binder and binding designer, I can immerse myself in period design, but to attempt to produce a similar design would simply be making a facsimile, and not actually a personal aesthetic effort," states Neff. Therefore, he deco­ rated these bindings with a twentieth-century version of a seventeenth­ century panel design. Of particular note in this container are the interior of the outer box and the cover of the inner box, which form a triptych (Figure 24). When the viewer opens the box, he or she finds a scene depicting Charles Cotton's Fishing House, Piscatoribus sacrum, on the River Dove in England, which ran through Cotton's estate. An angler, poet, and close friend of Walton, Cotton memorialized their friendship in the cypher "IWCC" inscribed on the keystone above the door to Piscatoribus sacrum. Neff uses this cypher as a decorative element on the box and binding, thus linking them to Walton, Cotton, Piscatoribus sacrum, and the River Dove. Two aquatic insects found on the river long before the seventeenth century are also in full view in this container. In this boxed set, Neff creates a twentieth-century version based on a seventeenth-century binding style, effectively juxtaposing two periods. He accomplishes this by binding both volumes in a seventeenth-century style, including a doublure panel depicting an angler of that period and another portraying a modern angler in the same setting, using the IWCC cypher as a decorative motif, and including contemporary photography of what he calls "the relatively unspoiled beauty" of Dove Dale and the river. Neff designed this set to be experienced in stages, which he feels makes it "more complex and interesting than a simple binding." The panel decorations, together with the binding techniques described here, aid Neff in achieving his goal of developing a sense of move­ ment through space and history within his containers. Since 1992, Neff has continued to excel at binding and creating pictorial panels. His recent bindings and containers include A Treasury of Reels (1995, Figures 36-40), The Angling Letters of S. A. Neff, ]r. and J. S. Hewitson (1997, Figures 41-44), and Angling in Hibernia (1998, Figures 45-49). A Treasury of Reels is a two-volume set that contains text and actual nineteenth-century and early twentieth-century fly reels. These are housed in a drop-back box, which is embellished by designs that mimic ten actual reel designs. The volumes are contained in a chest with a bas-relief of a brook trout on the top. Angling Letters is a grouping of correspondence, dating back to 1965, between Neff and Hewitson. Neff has organized each decade in a drop-back box. Also included are photographs Neff took to illustrate a point from one letter for each year of the correspondence. Angling in Hibernia is an autobiographical work of Neff's experiences of angling in Ireland. This impressive five-volume set contains text, related photographs, flies tied by Neff, materials used for making Irish trout flies, and a life box containing piscatorial objects. These works represent Neff's persistence in striving to perfect his skills as a binder and binding designer. The combination of Neff as artist, angler, collector, and binder—coupled with his vivacity and dedication—result in the achievement of high quality in his work. Although the combination of talents and interests Neff exhibits would seem to be unique, his work can be placed within a historical framework. Thomas Gosden (1780-1840) should easily come to mind for bibliophiles who collect sporting books. Gosden described himself as a bookbinder, publisher, and printseller. Like Neff, he was an outdoor enthusiast and a lover of books who brought his enthusiasm for angling to his work. Gosden is best known as a binder whose The Piscatorial Bindings of S. A. Neff, Jr. • 9 �angling books are stamped with small piscatorial and emblematic designs. In 1819, he published T. P. Lathey's poem The Angler, which he embellished with a full-length portrait of himself outfitted with a fishing rod and net as a frontispiece. In this engraving, Gosden signals the depth of his knowledge of angling and angling literature by including the IWCC cypher of Walton and Cotton on the plinth upon which he is leaning. The portrait verifies William Loring Andrews's description of Gosden in An English XIX Century Sportsman, Bibliopole and Binder ofAngling Books (1906) as "a true disciple of Izaak Walton." As a fly-fisherman of trout, a book collector, and a binder, Neff has continued in the tradition of Gosden as a twentieth-century "sporting bookbinder" and enthusiast. Since Gosden, many' others have produced distinctive angling books. Some angling authors—such as William Blacker (1814-1856), W. H. Aldam (active mid-nineteenth century), Preston Jennings (18931962), and Charles Phair (1875-1943)—took their published works a step further by incorporating flies and fly-tying materials into their texts. Blacker and Aldam, both British, published notable works in 10 • The Collector as Bookbinder 1842 and 1843 and 1876. They were followed by the Americans Jennings and Phair in 1935 and 1937 respectively. Although these books were deluxe editions, they were commercial in nature. In the twentieth century, firms such as Robert Riviere & Son and Sangorski & Sutcliffe were known to have produced magnificent bindings, but their binders were usually not anglers. Neff has followed in the tradition of Blacker, Aldam, Jennings, and Phair by incorporating angling materials into his angling "environments." As a collector and binder, Neff can be placed in a special category of twentieth-century collectors of angling books who execute fine bindings for their personal collections. The depth of his knowledge of angling and of the content of each book in his library—along with his design expertise—brings the quality of his work to a high level. Each binding reflects his base of knowledge; each design is unique and particular to the subject of the book. His pictorial bindings are excep­ tional, superbly executed, and innovative. S. A. Neff, Jr., guides the viewer through an exploration of the history' of angling for trout. His work becomes a lens into this fascinating and special world. ANGLING BOUND The Bindings of S. A. Neff, Jr. Stanley I Grand Wilkes University he "essence" of S. A. Neff, Jr., writes Elisabeth Agro of three inseparable and integral elements: being a angler, a collector of angling books, and a piscatori binder." In the remainder of her essay for this catalogue sh Neff's development as a fine binder and locates him withir historical context of artist-binders of angling literature. Nel statement likewise focuses on binding techniques and inne This essay, on the other hand, looks at the images that Netf and their relationship to the books they adorn. It is concerr fore, with iconography ("picture writing"), angling writing fishing for trout, the center link in Agro's tripartite chain. In his binder's statement, Neff observes that he has an "t sense, a keenly honed hand-to-eye coordination, a sense of and patience" along with a well-developed "sense of histoi are precisely the qualities one associates with fly fishing. Ti of the beautifully streamlined and colored trout in pure flo waters, by means most graceful and refined, is built on aes values. Moreover, it is a pursuit rich in history’. The traditio catching fish on a hook decorated with bits of feather and f ancient (Figure 12), as is the practice of writing about it. As the third century, we find an unequivocal description of fly Claudius /Elianus’s De Animalium Nalura: "The fishermen i wool around their hooks and fasten to the wool two feathe grow under a cock's wattle and which are the colour of dar After TElianus, no true angling literature is to be found unti publication of The Treatyse of Fysshynge wyth an Angle (publi �re followed by the Americans >37 respectively. Although these were commercial in nature. In the tobert Riviere & Son and Sangorski & duced magnificent bindings, but glers. Neff has followed in the ngs, and Phair by incorporating ■ "environments.'' can be placed in a special category of gling books who execute fine ions. The depth of his knowledge of i book in his library’—along with his ity of his work to a high level. Each edge; each design is unique and ik. His pictorial bindings are exceplovative. S. A. Neff. Jr., guides the the history of angling for trout. His zinating and special world. ANGLING BOUND The Bindings of S. A. Neff, Jr. Stanley I Grand Wilkes University he "essence" of S. A. Neff, Jr., writes Elisabeth Agro, "consists of three inseparable and integral elements: being a devout angler, a collector of angling books, and a piscatorial fine binder." In the remainder of her essay for this catalogue she traces Neff's development as a fine binder and locates him within the historical context of artist-binders of angling literature. Neff's own statement likewise focuses on binding techniques and innovations. This essay, on the other hand, looks at the images that Neff has created and their relationship to the books they adorn. It is concerned, there­ fore. with iconography ("picture writing"), angling writing, and fly fishing for trout, the center link in Agro's tripartite chain. In his binder's statement, Neff observes that he has an "aesthetic sense, a keenly honed hand-to-eye coordination, a sense of proportion, and patience" along with a well-developed "sense of history." These are precisely the qualities one associates with fly fishing. The pursuit of the beautifully streamlined and colored trout in pure flowing waters, by means most graceful and refined, is built on aesthetic values. Moreover, it is a pursuit rich in history. The tradition of catching fish cn a hook decorated with bits of feather and fur is ancient (Figure 12), as is the practice of writing about it. As early as the third century we find an unequivocal description of fly fishing in Claudius /Elianus's De Animalium Natura: "The fishermen wind red wool around their hooks and fasten to the wool two feathers that grow under a cock's wattle and which are the colour of dark wax."1 After /Elianus, no true angling literature is to be found until the publication of The Treatyse ofFysshynge anyth an Angle (published in 1496 but written some seventy-five years earlier), which most attribute to Dame Juliana Berners. Its importance, as John McDonald notes, is that since it "has no known antecedent in fishing history and asserts for the first time distinctive sporting attitudes toward fishing, it serves as the point of origin of modem angling."2 Earlier writings on fishing had treated the subject as a profession or occupation rather than a sport. More than simply a collection of recipes and tactics, "what is noteworthy is that Dame Juliana sets the cheerful and pious tone which is so characteristic of English books on angling."’ The 1496 printing of Dame Juliana's treatise included a woodcut famous in angling circles, a copy of which Neff has inlaid on the cover of the Catalogue of the Library of Thomas Westwood, Esq. (Figure 13). Here we see a fifteenth-century angler, who, to judge from his costume, is a member of the merchant class—a gentleman but not an aristocrat. Bending, he reaches out toward the taut line while simultaneously lifting a fish from the stream. He wields a two-piece rod to which is attached a tapered horsehair line (made by twisting together hairs from the tail of a white horse) and a cork float or bobber. The fish dangling from the end of his line is about to be swung ashore, des­ tined to join two others swimming in a short wooden barrel. If our angler has followed Dame Juliana's advice, the lower section of his rod or "rodde" is made of hazel, willow, or aspen; and the flexible tip section, a yard in length, of blackthorn, crabtree, medlar, or juniper. During the century and a half between the publication of Dame Juliana's Treatyse and the first edition of Izaac Walton's The Coinpleat Angler (1653), only a handful of new angling books appeared. One of 11 �► these, The Arte of Angling (1577), author unknown, was familiar to Walton, who "borrowed" numerous sections without attribution or credit. Having gone through five editions in Walton's lifetime and well over four hundred to date, The Coinpleat Angler is not only one of the most influential books in angling literature but also one of the most widely published books in the English language (Figures 14, 32, & 33). Keeping track of all the editions has become a cottage industry: in the nineteenth century, Thomas Westwood, the piscatorial bibliophile­ collector mentioned above, along with Thomas Satchell, published a bibliography entitled The Chronicle of the Coinpleat Angler (1864), which was followed, most notably, by Peter Oliver's A Nero Chronicle of the Coinpleat Angler (1936), Bernard S. Home's The Complete Angler 1653-1967 (1970), and Rodolphe L. Coigney's Izaak Walton: A New Bibliography (1970), 1653-1987 (1989, Figures 23-28). Until the present century, the appeal of Walton's Angler has re­ mained relatively constant—excepting only a period of obscuration between the publication of the fifth edition and his rediscovery by Moses Browne—because, as Charles Lamb observed in 1796, "It breathes the very spirit of innocence, purity and simplicity of heart.... it would sweeten a man's temper at any time to read it."4 Written in the form of a discourse between Piscator, Venator [Viator or "Way­ farer" in the first edition; Venator in all subsequent editions], and Auceps, the Angler is part of a pastoral literary tradition that includes Theocritus's Idylls, Virgil's Eclogues, and in angling literature, John Dennys's Secrets ofAngling (1613). The Angler begins with a chance encounter of three sportsmen who commence a friendly exchange on the relative merits of their respective pastimes (fishing, hunting, falconry). Following a medieval formula (utilized by Dame Juliana as well) of argument followed by instruction, a conversion occurs in the course of their discussions when Venator requests instruction in the art of angling and Piscator agrees to be his Master. The Angler's charm is enhanced by a liberal sprinkling of poems, songs, ditties, and rhymes amid an exposition on the characteristics of a wide variety of fish, their habits and preferences, and tecliniques for ensuring their capture. Walton lived through a period of civil unrest, an interregnum when Cromwell headed England. A Royalist, Walton found a respite from 12 • The Collector as Bookbinder the political divisiveness of the time in pastoral pursuits. The most famous of his pastoral retreats is Piscatoribus sacrum, a fishing house built by his friend Charles Cotton in 1674 along the banks of the River Dove in Derbyshire, which Neff represents on the inside panels of the outer box containing Coigney's Walton (Figure 24). Cotton memorialized his friendship with Walton by linking together their initials to form a cypher (Figures 14 & 23), which he had carved above the fishing house entrance. This cypher also appears at the beginning of Part Two ot the fifth edition of the Angler (1676) in which Cotton's own contribution, a supplemental manual entitled Being Instructions How to Angle in Trout or Grayling in a Clear Stream, appeared for the first time. Unlike Walton, Cotton concentrated on two fish known for their willingness to take a fly; he is consequently known as the "father of fly fishing." 1 he "mother of fly fishing," of course, is Dame Juliana, whose classic patterns for a dozen artificial flies reigned supreme for two centuries. On the back doublure of the binding for Coigney's Bibliography (Figure 27), Neff depicts a seventeenth-century angler catching a carp, a much maligned fish today, but one that Walton called the "queen of rivers."’ Reflecting Walton's observation that one must have "a very large measure of patience ... to fish for a river Carp," Neff has thought­ fully provided his angler with a three-legged stool." Ihe seventeenth­ century angler holds a rod not much changed from the time of Dame Juliana. The absence of a reel is expected since they were reserved primarily for salmon fishing (a fish that Walton claims, erroneously, will "not usually [bite] at a fly, but more usually at a worm").' Walton does note, however, that salmon fishers use a rod and reel combination. a ring of wire on the top of their rod, through which the line may run to as great a length as is needful, when he [the fish] is hooked. And to that end, some use a wheel about the middle of their rod, or near their hand."’ In the century after the death of Walton, the reel became an increas­ ingly common sight on British streams. Along with other technical innovations, there was a great advance in, and disbursement of, piscatorial knowledge. However, as Major John W. Hills wrote in A History of Fly Fishingfor Trout (1921), "When we leave them [Walton and the other seventeenth-century' writers] we leave the reign of the book, and come lo th it ot the manual typical example or ar, . .ghtei r.lh-century tr-ioi ■>! i i noteworthy exception is Cl'.irk < Bowik-■:'I ■■ 19-20). I bis volume, which first appeared in 1747 und Charles's father Richard, went through numerous edit sions, and revisions. Bowlki r is remembered tor hi;- di willingness to challenge received authorities (Berners, and original flv drvs-.ings based on his knowledge of ent, spirit ot the Enlightenment, Bowlker championed closi and scientific method over the existing, authoritative,. classical paradigm. By the end of the eighteenth if-ntui influence was preeminent: .is Arnold Gingriih <n i Cotton and Ronalds [see below], and the dawn of an e approach. Bowlker is the one main landmark." The nineteenth century v.itne- .ed not only a great V also an outpouring of titles devoted to angling, ini ludi British Angler (Figure 31). Combined with the contribu centuries, these and countless other books established as the undisputed font of da sic angling literature, loh has summarized the century's great piscatorial achieve were explored and promulgated in angling books as fc work of the nineteenth century was in the creation of e the decisive shift to upstream fishing, and the inventio which together formed the greatest revolution in flv-fi since the sport has been known.",T In this conne :tion, t innovations from the second half of the nineteenth ten of mention: floating fly lines of oiled silk and FI. S. Hal fine-wire hooks with eyes (previously all hooks were- " and snelled). Austin Francis views these developmentlarger societal change when he argues in Catskill Risers American Ely Fishing (Figures 15-18) that "Fly fishing ii England, grew out of the Industrial Revolution. And a industrialization trailed England'sby a good half centi coming of age as anglers." In the decades after the Civil War, the effects of indu immigration, and urbanization profoundly defined lhe �>f the time in pastoral pursuits. The most ■eats is Piscatoribus sacrum, a fishing house Cotton in 1674 along the banks of the River i Neff represents on the inside panels of the ey's Walton (Figure 24). Cotton memorialized i by linking together their initials to form a vhich he had carved above the fishing house appears at the beginning of Part Two of the 1676) in which Cotton's own contribution, a tied Being Instructions How to Angle for Trout appeared for the first time. Unlike Walton, ■o fish known for their willingness to take a m as the "father of fly fishing." The "mother ; Dame Juliana, whose classic patterns for a d supreme for two centuries. the binding for Coigney's Bibliography seventeenth-century’ angler catching a carp, v, but one that Walton called the "queen of s observation that one must have "a very' . to fish for a river Carp," Neff has thought'ith a three-legged stool.6 The seventeenthnot much changed from the time of Dame el is expected since they were reserved g (a fish that Walton claims, erroneously, fly, but more usually at a worm").' Walton non fishers use a rod and reel combination: f their rod, through which the line may' run edful, when he [the fish] is hooked. And to about the middle of their rod, or near their eath of Walton, the reel became an increas:ish streams. Along with other technical eat advance in, and disbursement of, vever, as Major John W. Hills wrote in A nt (1921), "When we leave them [Walton century writers] we leave the reign of the book, and come to that of the manual."’ The Gentleman Angler is a typical example of an eighteenth-century manual (Figures 21-22). A noteworthy exception is Charles Bowlker's The Art of Angling (Figures 19-20). This volume, which first appeared in 1747 under the name of Charles's father Richard, went through numerous editions, expan­ sions, and revisions. Bowlker is remembered for his direct approach, willingness to challenge received authorities (Berners, Cotton, et al.), and original fly dressings based on his knowledge of entomology. In the spirit of the Enlightenment, Bowlker championed close observation and scientific method over the existing, authoritative, and essentially classical paradigm. By the end of the eighteenth century, Bowlker's influence was preeminent: as Arnold Gingrich observes "Between Cotton and Ronalds [see below], and the dawn of an entomological approach, Bowlker is the one main landmark."10 The nineteenth century witnessed not only a great Walton vogue but also an outpouring of titles devoted to angling, including The Improved British Angler (Figure 31). Combined with the contributions of earlier centuries, these and countless other books established the British Isles as the undisputed font of classic angling literature. John McDonald has summarized the century's great piscatorial achievements, which were explored and promulgated in angling books as follows: "The real work of the nineteenth century was in the creation of entomologies, the decisive shift to upstream fishing, and the invention of the dry fly, which together formed the greatest revolution in fly-fishing history since the sport has been known."11 In this connection, two other innovations from the second half of the nineteenth century are worthy of mention: floating fly lines of oiled silk and H. S. Hall's invention of fine-wire hooks with eyes (previously all hooks were "blind," heavy, and snelled). Austin Francis views these developments as part of a larger societal change when he argues in Catskill Rivers: Birthplace of American Fly Fishing (Figures 15-18) that "Fly fishing in America, as in England, grew out of the Industrial Revolution. And as American industrialization trailed England's by a good half century, so did our coming of age as anglers."12 In the decades after the Civil War, the effects of industrialization, immigration, and urbanization profoundly defined the development of American fly fishing. As the great eastern cities, Boston, New York, and Philadelphia grew, railroad arteries spread out, linking these centers to the rest of the country and opening up new areas for commerce and recreation. By 1851, the Erie Railroad had already made the Delaware River a relatively easy destination. Twenty-one vears later, in 1872, the Ulster & Delaware and Ontario & Western rail lines each inaugurated rail service to the Catskills. Urban sportsmen no longer had to endure long, brutal, and unpleasant journeys by horse and stage to reach these pristine destinations. Such was the impact of the transportation revolution that by the end of the century great stretches of the Catskills were owned by the various captains of industry, their sporting sons, and fishing clubs like Salmo Fontinalis, established in 1873. Within a dozen years or so after the opening of the Catskills to "sports," as these fishermen were called, the fishery had declined precipitously due to a combination of factors including overharvesting of the native, eager brook trout (Salvelinus fontinalis is actually a char, not a trout) and the diminution of habitat caused in part by logging which, among other things, raised water tempera­ tures, contributed to greater fluctuations in water levels, and added to pollution (Figure 37). Fish managers responded by introducing two new species to the Catskill streams: the brown trout (Salmo trutta), a European import often called the German brown, and the rainbow (Oncorhynchus mykiss, formerly Salmo gairdneri), from California (Figures 9 & 11). Neff commemorates the successful establishment of the European transplant and the decline of the brook trout on the box cover of Catskill Rivers (Figure 15). On the binding itself, he represents three Catskill rivers by means of undulating on-lays, flowing in tandem (Figure 16) (of the famous Catskill waters, three are rivers— the Beaverkill [Figures 17 & 18], Neversink, and Delaware—and three are creeks—the Willowemoc, Esopus, and Schoharie). The brown trout's successful introduction in the Catskills, and subsequently throughout the American continent, was due in part to its willingness to take a floating or dry fly (Figure 47) and its innate adaptability’ to a variety of waters. Prior to the nineteenth centurv, artificial flies were, with few exceptions, fished wet, that is, below the surface of the water. Animated by the current or the angler, most wet The Piscatorial Bindings of S. A Neff. Jr. • 13 �flies, such as the Childers salmon fly (Figure 35), act as attractors or lures. Anglers, however, had long observed that various insects on which trout fed spent a portion of their brief, ephemeral lives on top of the water. As knowledge of the various insects became more systematic and widespread, fostered by influential studies such as Alfred Ronalds's The Fly-Fisher's Entomology (1836), anglers in the British Isles began to develop dry flies specifically tied to correspond with, and imitate, particular stages in the life cycle of the mayfly. (As a general rule, subject to the usual qualifications, of all the various insects found on trout streams—caddis flies [Figure 17] which are called sedge flies in England [Figure 24], stoneflies, midges, terrestrials like ants or grasshoppers, et cetera—the mayfly is the most important.) Comprising approximately five hundred species, the mayfly is a complex, varied, and adaptable creature belonging to the order of Ephemeroptera. Like the butterfly or moth, the mayfly undergoes a series of striking metamorphoses during its life. After hatching from their eggs, most mayfly nymphs spend a year living and growing on the bottom of a stream. Depending on the type of water—moving or still, rocky or silty—the different species have developed specialized body types. Although all mayfly nymphs have heads; wing pads at the thorax, abdomen, and gills; legs; and tails (either tw'o or three part), the proportions of these components vary' depending on habitat. Neff has carefully observed and rendered these differences on the covers (Western limestone nymphs on the front and Catskill nymphs on the back) of his manuscript from The Masters on the Nymph (Figure 10). At the proper time, the nymph leaves its underwater home and drifts k or swims upward to the surface of the water where it shucks its ny'mphal shell. (A few species crawl onto rocks for this transforma­ tion.) Now called a dun (subimago), the newly emerged mayfly drifts dowmstream helplessly while its upright w’ings dry. In this vulnerable stage the dun provides a ready meal for rising trout and the inspira­ tion for the dry fly. Figure 47 shows a brown trout in an Irish stream about to take a green drake: the upwinged construction identifies the fly as a dun imitator (Ephemera danica, the green drake found in Ireland, differs somewhat from the North American green drake, Ephemera guttulata [Figure 18]). Other prominent parts include the head, body, 14 • The Collector as Bookbinder legs (simulated by hackle), and the tail. Neff clearly shows how surface tension keeps the fly afloat. Once its w ings dry, the dun tto a nearby tree or other resting spot, where it undergoes its final meta­ morphosis. Now known as a spinner (imago), the mayfly mates. its brief life ends, the female deposits her eggs back into the stream, and the cycle begins anew. (Since classical times, the Ephemeroptera—from the Greek meaning "over in a day"—have been a symbol of life and its stations, a conceit Neff revives in his boxes for the angling correspon­ dence of S. A. Neff, Jr., and J. S. Hewitson [Figures 41-44]). The spinners, their wings now down and transparent, fall back upon the water and again provide the hungry trout a meal. 1 he development of imitative dry flies, therefore, required an understanding of the life cycle of the mayfly, with an emphasis on the important postnymphal stages. The insights of Ronalds were pivotal to the development of the floating fly. Others expanded on this knowledge; and Frederic M. Halford in particular, the author of Floating Flics and How Io Dress Them (1886), was to have a tremendous impact on American fly fishing. Since the brown trout was nonindigenous, American anglers quite naturally turned to European sources for information on its habits. Here again England provided the lead; but the ecology of American streams was and is rather different from that of streams in the British Isles. Interestingly enough, Izaak Walton had recognized the need to match artificials and naturals: "there are in Wales, and other countries, peculiar flies, proper to the particular place or country; and doubtless, unless a man makes a fly' to counterfeit that very fly in that place, he i like to lose his labour, or much of it."' In the Catskills, Theodore Gordon understood this; as Francis points out, "the thing that sets Gordon apart from the other early American dry-fly enthusiasts is the fact that he scrutinized English dry' flies and dry-fly tactics and found them unsuited to American trout streams."" Cordon not only knew Halford s books, he also corresponded with him. (Neff's angling correspondence, then, should be viewed as referencing and continuing a well-established tradition.) Gordon's initiatives were continued by others, including Preston Jennings, whose landmark A Book of Trout Flies (1935) proposed new mayfly patterns based on his in-stream studio-of the iqi itn ;j ■; undi: the . r.-k states that Jennings ' -lands in the -imv n tot>■ «i-—h angling a- Ronald . do. , lo British; ea<_r> <>• them w think ot serving as a link between angling and ent. first to approach the role propt riv, and Jo it right most appropriate th it Sett has included actual file the container tor I rancis'sGtl-LL Ki r . In addition to Its willingness to take the dn tlv. unlike the brook trout- has proven retnarkabli ad types of water. Browns are nov. found in the truest Catskills (I tgure 8), the limestoners of South Ccntr (Figures ft & 7) and the spring creel s ot the West if Vincent Marinaro In the Ring of the Ri*c (Figure 7); synopsis of the differences among these waters 1 r stream originates in elevated terrain when surfaci melting snow trickles downhill and merges with o brooks, streams, and finally rivers. Water flow isei with the greatest volume occurring most often dur year. During the summer, the flow declines, and th ture tends to increase. With their rocky bottoms sc and vegetation bv spring Hoods anil winter ice jan generally much less fertile than limestoners. Limes hand, are meadow streams, flowing through areas vast, primordial seas. Unlike the freestoners, whos inorganic, the limestone streams originate in bedrc skeletal remains of the microorganisms that once ii gone ocean-.. Being both porous and easily dissolvi action, limestone makes an ideal aquifer, and the rr springs from these ancient underground reservoir' significant that the flow from these underground constant, in terms of both \ olume and temperature the limestoner does not undergo the cyclical varict stoner. Perhaps even more important, these aikalin calcium carbonate, support a wide variety of aqua! streams are less subject to the cleansing effect- of fl on their bottoms to provide anchorage for wateren �tail. Neff clearly shows how Once its wings dry, the dun flies to ■vhere it undergoes its final meta;r (imago), the mayfly mates. As its ter eggs back into tire stream, and times, the Ephemeroptera—from —have been a symbol of life and its s boxes for the angling corresponritson [Figures 41-44]). The d transparent, fall back upon the trout a meal. The development of td an understanding of the life is on the important postnymphal ital to the development of the s knowledge; and Frederic M. Floating Flies and How to Dress Them ipact on American fly fishing, enous, American anglers quite is for information on its habits, ad; but the ecology of American Tom that of streams in the British alton had recognized the need to a are in Wales, and other countries, ir place or country; and doubtless, feit that very' fly in that place, he is In the Catskills, Theodore points out, "the thing that sets American dry-fly enthusiasts is the flies and dry-fly tactics and found earns."1'' Gordon not only knew ed with him. (Neff's angling wed as referencing and continuing n's initiatives were continued by whose landmark A Book of Trout atterns based on his in-stream studies of the aquatic insect life found in the Catskill rivers. Gingrich Gingrich states that Jennings "stands in the same relationship to American angling as Ronalds does to British; each of them was, if not the first to think of serving as a link between angling and entomology, at least the first to approach the role properly, and do it right."15 It therefore seems most appropriate that Neff has included actual flies tied by Jennings in the container for Francis's Catskill Rivers. In addition to its willingness to take the dry fly, the brown trout_ unlike the brook trout—has proven remarkably adaptive to divers types of water. Browns are now found in the freestone streams of the Catskills (Figure 8), the limestoners of South Central Pennsylvania (Figures 6 & 7) and the spring creeks of the West (Figures 8 & 9). Vincent Marinaro bi the Ring of the Rise (Figure 7) provides a useful synopsis of the differences among these waters. The typical freestone stream originates in elevated terrain when surface water from rain or melting snow trickles downhill and merges with other rivulets to form brooks, streams, and finally rivers. Water flow is extremely varied, with the greatest volume occurring most often during the spring of the year. During the summer, the flow declines, and the water tempera­ ture tends to increase. With their rocky bottoms, scoured free of silt and vegetation by spring floods and winter ice jams, freestoners are generallj’ much less fertile than limestoners. Limestoners, on the other hand, are meadow streams, flowing through areas once covered by vast, primordial seas. Unlike the freestoners, whose rocks tend to be inorganic, the limestone streams originate in bedrock composed of the skeletal remains of the microorganisms that once inhabited the longgone oceans. Being both porous and easily dissolved by chemical action, limestone makes an ideal aquifer, and the modem limestoner springs from these ancient underground reservoirs of water. It is significant that the flow from these underground sources is relatively constant, in terms of both volume and temperature, which means that the limestoner does not undergo the cyclical variations of the freestoner. Perhaps even more important, these alkaline waters, rich in calcium carbonate, support a wide variety of aquatic life. Since these streams are less subject to the cleansing effects of flooding, silt remains on their bottoms to provide anchorage for watercress and other aquatic plants, which in turn add essential oxygen to the water and host whole colonies of tiny snails and bugs—the basic building blocks of the food chain. (Western spring creeks, for the most part, are comparable to the limestoners.) From an ecological standpoint, this means that more and bigger trout are likely to be found in fertile waters (although big fish are also found in large freestone waters because there is a sufficient volume, if not density, of food). Each type of stream has different conditions; and American anglers and angling authors have studied their own home waters closely. For example, fish that live in fast-moving broken water such as rapids or riffles, must decide quickly and impulsively whether to grab a passing morsel before it is swept downstream. The famous, gin-clear, slowmoving streams of Central Pennsylvania, on the other hand, produce wary trout who carefully inspect each offering for any sign of artifici­ ality (color, size, silhouette, or drag). Their selectivity has prompted numerous studies including Vincent Marinaro's In the Ring of the Rise (1976), which interprets the rise patterns of trout as a key to under­ standing their feeding habits (Figure 7). Earlier, Marinaro's studies of the Letort and other limestoners resulted in A Modern Dry Fly Code (1950). Although this work argued for the importance of terrestrials in the diet of these trout and included innovative dressings for flies based on these conclusions, Neff has chosen to represent the Ephemeralla dorothea, known to anglers as the sulpher dun, on the cover (Figure 7). Neff's homage to Marinaro includes flies tied by the master, slides, an audio cassette, and letters—all housed in boxes along with his seminal books. Marinaro's influence is felt in Angling in Hibernia. When Neff first went to Ireland in 1964, and on his return in 1966, he applied Marinaro's experimental approach to the streams of Eire and developed new designs for flies with which to imitate the full range of Irish aquatic insects (Figure 47). Memories of Ireland appear in the abstract land­ scapes of mountains, meadows, rivers, and lakes that adorn both covers of The Angler's Calendar (Figure 14). More literally, we are transported back three decades by the objects preserved in a Cornelllike life box: Mucilin, the old-reliable, pre-silicon floatant; a Hardv Lightweight reel on a simple two-ring reel seat from a cane rod; a The Piscatorial Bindings ofS. .4. Neff, Jr. • 15 �finger vise, small hackle pliers, scissors, hooks, and silk for tying flies streamside; a small glass to identify insects; photographs and pam­ phlets; an amadou for drying flies; a spool of leader material; and a combination scale and measuring tape that promises, like some Baroque allegory, the triumph of truth over falsehood (Figure 49). In Neff's time, trout fishing with the fly has undergone dramatic changes. Once mostly the sport of an elite, often Anglophile, group of men—for whom fly' fishing was an emblem of class—who fished with silk, gut, and Tonkin cane, the sport has gradually found more and more adherents. In the 1940s, after World War II, nylon leaders re­ placed gut, which required soaking prior to use. Next, modern float­ ing lines banished silk, with its confusing designations and high maintenance (C. F. Orvis invented the ventilated reel in the late nineteenth century to facilitate the drying of silk lines [Figure 40, lower center]). Finally, fiberglass at first, and now graphite rods have triumphed over hand-made, split-bamboo wands (except in the eyes of a small band of dedicated partisans). With technological advances, increased environmental awareness, and a wealth of new angling titles, fly fishing has rebounded from its nadir in the early 1950s when it appeared that spin-fishing, a postwar French import that exploited the properties of newly available nylon, would relegate it to history. Yet along with its democratization, many of the sport's traditions have been lost, or are of little interest, to its new adherents. One need only listen to an old-time fly tier talk of water-bird, forest-bird, and other feathers; water-shedding muskrat-beaver-seal furs, or hair from the woodland deer, the meadow hare, the wily fox to understand a great, interconnected cycle that comes together in the flash of a rise or the underwater wink, in Skues's immortal image, of the trout. Today, artificial materials increasingly predominate. Neff's entire endeavor is an homage to tradition and values, craft and sport; it is a studied, but natural, anachronism. In both his bind­ ings and his angling, he stresses continuity and innovation (Figures 26 & 28). He does not disdain his own time, but he moves slowly and reflectively before embracing change. His moral compass does not swing freely with the relativism of the postmodern age but remains 16 • The Collector as Bookbinder fixed. He traverses an ordered landscape where precedent and learn­ ing are the major features. In the face of the cheap, the arriviste, the tawdry, and mass culture, he flaunts his love of the handmade, the beautiful, the unique, and, of course, the trout. Like the cloistered scribes who kept alive great books during the centuries after the fall of Rome, Neff is at heart a preservationist. He is the keeper of the tan­ gible remains of friendship—the letters—for which he constructs elaborate, modern reliquaries or treasuries. Like a carefully considered garden, fly fishing is a magnificent obsession in which civilization and art elevate and transform the mundane into a conceit. It is not a simulacrum; there is really nothing else like it. NOTES 1. Quoted in Charles Jardine, The Classic Guide to Fly-Fishing for Trout (New York: Random House, 1991): 10. 2. John McDonald, The Origins of Angling, 1963 (reprinted New York: Lyons & Burford, 1997): 6. 3. Margaret Bottrall, Introduction in Izaak Walton, The Compleat Angler, 5th ed. 1676 (reprinted London: Dent, Everyman's Library, 1906,1970): viii. 4. Quoted in Bottrall, Introduction, p. v. 5. Izaak Walton, The Compleat Angler, 5th ed. 1676 (reprinted London: Dent, Everyman's Library, 1906,1970): 132. 6. Walton, Cornpleat Angler, p. 137. 7. Ibid., p. 117. 8. Ibid. According to McDonald, the first mention of the reel occurs in Thomas Barker's The Art of Angling (1651) (Origins, p. 23). 9. Quoted in Arnold Gingrich, The Fishing in Print: A Guided Tour Throng': Five Centuries of Angling Literature (New York: Winchester Press, 1974): 60 10. Ibid., p. 73. 11. McDonald, Origins, p. 106. 12. Austin Francis, Catskill Rivers: Birthplace of American Fly Fishing, HN (reprinted New York: Lyons & Burford, 1996): 22. 13. Walton, Compleat Angler, p. 8. 14. Francis, Catskill Rivers, p. 41. 15. Gingrich, Fishing in Print, p. 277. GLOSSARY Adhesives Poly vinyl acetate (PVA) is a flexible glue romi adhering cloth and paper to binder s board Wheat st for adhering leather to binder's board or to leather. Ascona tool A small brass tool with a wooden handle u« templates for blind-tooling Basswood A soft, finely grained wood that is easily rant Binder's board An extremely dense paper board (availab nesses) used for cover boards and boxes. Binding (full) 1 he entire book cover is of goatskin or oth Binding (half) 1 he spine and part of the sides and either edge are covered with goatskin; the remainder is covi decorated paper. Binding (quarter) The spine and part of the sides are cov the remainder is covered with cloth or decorated pap Bound, case A binding technique used primarily lor clotl block is sewn on linen tapes and the cover is made se and last sheets (papers or pages) of the text block are cover bv gluing or pasting. Bound by hand A technique used primarily for leather b block is sewn on linen tapes or cords which are then 1 binder’s board to form an integral unit and then cove Bristol board A stiff acid-free paper made m sec eral thicl tooling templates, bases for raised on-lays, and other Chemise folder A folder made with Bristol board and co Doublure Usually a decorative panel on the inside of the either paper or leather. Drop-back box A container made for storing rare or fraci strutted of cloth or leather over binder’s board Edge T he top edge is the top of the text block: the fore-ed of the text block. A deckle-edge is an uneven edge usi handmade paper; it may be left uncut or trimmed. Tri be treated with graphite or gold leaf and polished. End bands Hand embroidered silk bands or goat-4 in bar ends of the spine of the text block. End papers The first and last few leaves (pages; of the te1 mav be plain, colored, or decorated. �i landscape where precedent and leamthe face of the cheap, the arriviste, the flaunts his love of the handmade, the course, tire trout. Like the cloistered ooks during the centuries after the fall of -vationist. He is the keeper of the tanhe letters—for which he constructs or treasuries. Like a carefully considered icent obsession in which civilization and mundane into a conceit. It is not a thing else like it. The Classic Guide to Fly-Fishing for Trout ): 10. s of Angling, 1963 (reprinted New Y'ork: don in Izaak Walton, The Coinpleat Angler, lent, Everyman's Library', 1906, 1970): viii. :tion, p. v. Angler, 5th ed. 1676 (reprinted London: 970): 132. 137. Id, the first mention of the reel occurs in ig (1651) (Origins, p. 23). The Fishing in Print: A Guided Tour Through (New York: Winchester Press, 1974): 60. rs: Birthplace of American Fly Fishing, 1983 rford, 1996): 22. 3. 277. GLOSSARY Adhesives Polyvinyl acetate (PVA) is a flexible glue commonly used for adhering cloth and paper to binder's board. Wheat starch paste is used for adhering leather to binder's board or to leather. Ascona tool A small brass tool with a wooden handle used with stiff paper templates for blind-tooling. Basswood A soft, finely grained wood that is easily carved. Binder's board An extremely dense paper board (available in six thick­ nesses) used for cover boards and boxes. Binding (full) The entire book cover is of goatskin or other material. Binding (half) The spine and part of the sides and either the corners or foreedge are covered with goatskin; the remainder is covered with cloth or decorated paper. Binding (quarter) The spine and part of the sides are covered with goatskin; the remainder is covered with cloth or decorated paper. Bound, case A binding technique used primarily for cloth covers. The text block is sewn on linen tapes and the cover is made separately. The first and last sheets (papers or pages) of the text block are attached to the cover by gluing or pasting. Bound by hand A technique used primarily for leather bindings. The text block is sewn on linen tapes or cords which are then laced into the binder's board to form an integral unit and then covered with goatskin. Bristol board A stiff acid-free paper made in several thicknesses; used for tooling templates, bases for raised on-lays, and other applications. Chemise folder A folder made with Bristol board and covered with cloth. Doublure Usually' a decorative panel on the inside of the cover; it can be either paper or leather. Drop-back box A container made for storing rare or fragile books; con­ structed of cloth or leather over binder's board. Edge The top edge is the top of the text block; the fore-edge is the front edge of the text block. A deckle-edge is an uneven edge usually found on handmade paper; it may' be left uncut or trimmed. Trimmed edges may be treated with graphite or gold leaf and polished. End bands Hand embroidered silk bands or goatskin bands attached to the ends of the spine of the text block. End papers The first and last few leaves (pages) of the text; the first and last may be plain, colored, or decorated. Goatskin Chagrin—a hand-finished fine grain leather processed in France using South African goatskin; Chieftain—an even, large grain leather processed in Scotland using goatskin from Botswana; Oasis—medium grain leather processed in England using Nigerian goatskin. Goatskin, in-lays Shapes of goatskin pasted into position on the binding where their corresponding shapes have been removed (so the in-lays are flush with the surface of the binding); linear in-lays are very thin strips of goatskin adhered into blind tooled lines. Goatskin, flat on-lays Thinly pared shapes of goatskin pasted onto the binding. Goatskin, raised on-lays Thinly pared goatskin glued onto shapes of fourply' Bristol board, turned-in, and glued onto the binding. Italian cloth A finely woven book cloth with a paper backing. Japanese dyed paper A paper made in Japan using dyed fibers; available in a multiplicity' of colors. Japanese gilt paper A very thin paper with hand-laminated gold-colored foil; also known as Tea chest paper. Marbled paper Paper that has been colored or stained by hand with variegated patterns to resemble marble. Panel design A vertical design of rectangles and borders reminiscent of binding designs commonly used in the seventeenth and eighteenth centuries. Polished graphite A gray metallic covering applied to the edges of the text block and brought to a high sheen bv hand polishing. Stamping A method of impressing an image into goatskin using a press that will heat a die to the necessary temperature; this plain impression is known as blind-stamping; when gold foil is used (a second time) to create an impression, it is known as gilt-stamping. Stamping die A metal block with a design (in relief) used for creating a blind or gilt impression in goatskin or other materials. Text-block All the leaves (pages) sewn on linen tapes or cords. Tooling A method of impressing a small image or line into goatskin using a hand tool or wheel; the plain image is known as blind-tooling; when gold foil or leaf is used, it is known as gilt-tooling. Tooling templates Shapes cut from Bristol board (to the binder's design) are used as guides with the Ascona tool. Vellum, calf Calf-skin treated with lime to produce a strong, cream-colored material for bindings. 17 �1 S. A. Neff, Jr., et al. A Book of Small Flies. Arlington, Vermont, 1983. Created in 1986. Two drop-back boxes containing a unique four-volume set; in full calf vellum with panels of marbled paper and raised bands; gilt-stamped Oasis goatskin on-lays and spine label. k 21.6 x 16.5 cm. 2 Each box contains two volumes; uniformly case-bound in full calf vellum with panels of marbled paper and raised bands; gilt-stamped onlays and spine labels. Vols. I and III are sewn on Oasis covered vellum strips; silk endbands and marbled endpapers. Contents: Vol. I: text; Vol. II: actual flies; Vol. Ill: color photographs; Vol. IV: feathers and furs for dressing small flies. 7.5 x 6 cm. (each volume) R �i 1 2 �3 S. A. Neff, Jr., et al. A Book of Small Flies. Arlington, Vermont, 1983. Created in 1986. A drop-back box containing No. 54 of the original edition of 60 numbered two-voiume sets; in full calf vellum with a panel design of raised vellum, marbled paper, piscatorial devices and spine label gilt-stamped on Oasis goatskin. 26.9/18.4 cm. 4 Box opened to show the original two-volume set bound by Gray Parrot for the publisher and portraits of the four authors. Also contains a vellum back cloth chemise with the manuscript for Mr. Neff's essay, the publisher's correspondence and announcement, and associated items. ��5 Vincent C. Marinaro. f I A Modem Dry-Fly Code. New York, 1950. II Hies, Letters and Photographs. Sewickley, Pennsylvania, 1973. III "A Limestone Challenge." Sewickley, Pennsylvania, 1973. Created in 1988-89. Three drop-back boxes in Italian cloth with marbled paper panels and giltstamped paper spine labels. Box I contains the 1st and 2nd issues of the 1950 edition of the Code. Box II contains a drop-back box with five flies dressed by .Mr. .Marinaro and a portrait; two chemise folders containing an unbound suite of photographs of the author; and five of his letters. Box III is on': of a set of two, each of which contains a tray of 35 mm. slides and an audio cassette documentary on Marinaro; it functions horizontally and is contained in a cloth slip-case. I: 24.1 z 16 8 cm.; II: 30.1 x 24 cm.; Ill: 26.8 z 28.5 cm. ��7 t 6 Vincent C. Marinaro. A Modern Dry-Fly Code. New York, 1970 (new edition), and In the Ring of the Rise. New York, 1976. Created in 1989. A drop-back box containing two volumes; with Italian cloth back and edges; panels of Japanese dyed and gilt papers and gilt-stamped paper spine labels. 30 / 24 cm. 7 Both volumes are case-bound with Italian cloth back and edges with panels of Japanese dyed and gilt papers, gilt-stamped paper spine labels, silk endbands and color endpapers. The panels on the box portray the Cumberland Valley in Pennsylvania; the Code shows the Letort Spring Kun and a mayfly; th<- Ring reveals a feeding brown trout in that stream. Code: 21.5 / 13.8 cm.; Ring: 28 x 21.2 cm. �•iSk>3^CMK_4. -, H I L if r/ . r ^: �8 S. A. Neff, Jr. Essay from The Masters on the Nymph. New York, 1979. Created in 1989-90. A drop-back box containing three volumes; with green Chieftain goatskin back and edges with panels of Japanese dyed and gilt papers and giltstamped goatskin spine label. The back panel portrays a Catskill river, and the front panel a Western limestone creek. 28.2x19.7 cm. �8 �f 9 Vol. I: Text. Green Chieftain goatskin back and edges with panels of Japanese dyed and gilt papers, gilt-stamped goatskin spine label, silk endbands and color endpapers. The panels show a brown trout in a Western limestone creek. 25.9 x 17.3 cm. t 10 Vol. Ill: Manuscript and Photographs. Green Chieftain goatskin back and edges with panels of Japanese dyed and gilt papers, gilt-stamped goatskin spine label. Contains a cloth chemise with typed manuscript, photographs, and publisher's correspon­ dence. The panels reveal nymphs on the bottom of a Catskill river and a Western limestone creek. 25.9 x 17.3 cm. �9 10 �11 Vol. IF. Flies and Materials. Green Chieftain goatskin back and edges with panels of Japanese dyed and gilt papers, gilt-stamped goatskin spine label. Contains a cloth folder. The panels depict a rainbow trout in a Catskill river. 25.9x 17.3 cm. 12 Vol. Il: Cloth folder. Actual trout flies; furs, feathers and hooks, mounted on printed plates. �11 12 > * * -b4 < - �13 Catalogue of the Library of Thomas Westwood, Esq. New York, 1873, and Charles M. Wetzel. American Fishing Books. Stone Harbor, New Jersey, 1990. Both bound in 1990. Left: bound in full dark red Chieftain goatskin with horizontal raised goat­ skin on-lavs of two shades, and gold leather; pictorial paper in-lay, giltstamped goatskin spine label, leather endbands and marbled endpapers. 24x17.8 cm. Right bound in full dark red Chieftain goatskin with raised horizontal bars, gilt-stamped facsimile of author's signature, gilt-stamped goatskin spine label, leather endbands and marbled endpapers. 25.1 x 18.4 cm. 14 Hi Regan. The Angler's Calendar. London, 1896, and Izaak Walton and Charles Cotton. The Complete Angler. London, 1836. Both bound in 1991. Left bound in full green Oasis goatskin with on-lays of various goatskins, blind tooling, gilt-stamped goatskin spine label, leather endbands and marbled endpapers. Panels contain shapes symbolizing Ireland's moun­ tains, meadows, rivers, and lakes. 24.6 z 18 cm. Right: bound in full dark green Chieftain goatskin with flat and raised on­ lays of various goatskins, blind tooling, gilt-stamped goatskin spine label silk endbands and marbled endpapers. The IWCC cypher was devised bv Charles Cotton in 1674. 17.5x10.5 cm. ��f 15 Austin M. Francis. Catskill Rivers: Birthplace of American Fly Fishing. New York, 1983. Created in 1991. A drop-back box in full dark green Chieftain goatskin with panel of Japanese dyed and gilt papers and gilt-stamped goatskin raised on-lay spine label. The panel depicts the trout of the Catskill rivers: the brook trout (leaping downward) declined near the end of the nineteenth century, to be replaced by the brown trout imported from Europe (moving upward). 40 x 24.5 cm. 16 Bound in full dark green Chieftain goatskin with title in raised on-lays of the same leather; three on-lays of various blue goatskins, pictorial doublures, leather endbands and color endpapers. The three flowing shapes symbolize the major Catskill rivers. 28.5 z 21.5 cm. ��I J 17 Front doublure portraying the upper Beaverkill River and a caddis th panel of Japanese dyed and gilt papers, goatskin edges and hinge. 18 Back doublure showing the East Branch of the Delaware Rix er and a mayfly; panel of Japanese dyed and gilt papers, goatskin edges and hinge. ��19 Charles Bowlker. The Art of Angling. Birmingham, 1792, and Ludlow, 1826. Created in 1992. A drop-back box containing two volumes; in full brown Chieftain goatskin with blind tooling, goatskin on-lays and gilt-stamped goatskin spine label. 19.2 x 13 cm. 20 Uniformly bound in full brown Chieftain goatskin with blind tooling, goatskin on-lays, gilt-stamped goatskin spine label, silk endbands and marbled endpapers. The pattern is a twentieth-centurv version of an eighteenth-century panel design. 17.1 X 10.8 cm. ��21 Anonymous. The Gentleman Angler. London, 1726; 3rd. ed., n.d.; 1786. Created in 1992. A drop-back box containing three volumes; in full dark red Chagrin goatskin with blind tooling, goatskin on-lays and gilt-stamped goatskin spine label. 18.5x12.2 cm. 22 Bound uniformly in dark red Chagrin goatskin with blind tooling, goatskin on-lays, gilt-stamped goatskin spine labels, leather endbands and marbled endpapers. The pattern is a twentieth-century version of an eighteenth-century panel design. 1:16.2 x 9.5 cm. 2:16.4 x 9.6 cm. 3:15 x8.8 cm. ��24 f 23 Rodolphe L. Coigney. Izaak Walton: A New Bibliography 1653-1987. New York, 1989. Created in 1992. A center-opening box containing an inner box with two volumes; in full dark green Chieftain goatskin with cypher of raised on-lays of various goatskins. The IWCC cypher has appeared in numerous editions of The Complete Angler beginning with the 5th edition in 1676. 28.2 x 20.3 x 9.5 cm. 24 Outer box open to reveal triptych of Japanese dyed and gilt papers with goatskin edges and hinges. The center panel is the cover of tire inner box. The panels portray Charles Cotton's Fishing House on the River Dove, built in 1674. ��25 Volumes I and II: uniformly bound in full red hand-finished goatskin with blind tooling, flat goatskin on-lays, raised goatskin on-lays with giltstamped piscatorial images, gilt-stamped goatskin spine labels, pictorial doublures. Vol. I contains the text; leather endbands with multiple color on-lays and color endpapers. Vol. II contains a chemise with Mr. Neff's color photographs of the River Dove and the Fishing House. 26.1 x 17.2 cm. 26 Front doublure of Vol. I: Japanese dyed and gilt papers, leather edges and hinge. The panel depicts a seventeenth-century angler on an English river. 27 Back doublure of Vol. I: Japanese dyed and gilt papers, leather edges and hinge. The panel shows a seventeenth-century angler catching a fish. 28 Front doublure of Vol. II: Japanese dyed and gilt papers, leather edges and hinge, a cloth chemise is attached to the inside of the back cover. A twentieth-century angler replaces the seventeenth-century angler on the same river. ��► 29 Rev. Joseph Adams. Angling in Ireland. London, 1938. (A unique copy.) Created in 1993. A drop-back box in full green Chieftain goatskin with blind tooling and gilt-stamped title. 23.7x15.8 cm. 30 Bound in full green Chieftain goatskin with goatskin on-lays, gilt tooling on covers, spine and top and bottom edges, leather endbands and color endpapers. The blind-tooled design of a flowing river on the box intro­ duces the more developed decoration on the binding. 21.8 x 13.7 cm. ��31 Robert Huish. The Improved British Angler. Derby, 1838. Created in 1990; decorated in 1994. Bound in full gray-blue Oasis goatskin with goatskin in-lays, gilt tooling, gilt-stamped devices and goatskin spine label, silk endbands and marbled endpapers. Contained in a cloth chemise with a goatskin back and a quarter goatskin slip-case, with gilt-stamped goatskin spine labels. This is a r.ventieth-century interpretation of an eighteenth-century panel design. 5bp-ca~e: 14.4 x 11.5 cm.; Chemise: 13.8 x 11.2 cm.; Binding: 13.6 x 10.4 cm. f 32 Izaak Walton and Charles Cotton. The Complete Angler. London, 1797. Created in 1994. A drop-back box in full dark green Chieftain goatskin with linear goatskin in-lays and gilt-stamped goatskin spine label. 20.3 / 13.3 cm. 33 Bound in full dark green Chieftain goatskin with panels of goatskin onlavs. linear goatskin in-lays, gilt tooling, gilt-stamped device and spine label, leather endbands with on-lays, marbled endpapers and polished graphite on top edge. This is a twentieth-century version of a seventeenth­ century panel design. The simple design on the box introduces the developed design on the binding. 18 / 10.4 an. �����I 37 ■i ���41 The Angling Letters ofS. A. Neff, Jr. and J. S. Hewitson. 1965-1999. Sewickley, Pennsylvania, 1997. Created in 1996-97. A uniform set of four drop-back boxes containing letters and photographs from the mid-1960s to the end of the 1990s. 1960s Box: Full dark red Chagrin goatskin with a twentieth-century panel design of concentric circles of linear goatskin in-lays, a raised goatskin onlay on each cover with linear goatskin in-lay circles and a gilt-stamped device, and gilt-stamped raised goatskin on-lay spine label. Contains two cloth chemise folders: one with letters written during the decade and the other with photographs by Mr. Neff that illustrate an angling experience. The gilt-stamped device depicting a mayfly nymph becomes a metaphor for the relationship between the two anglers. 30.7 z 24 cm. 42 1970s Box: The gilt device becomes a mayfly dun as the relationship develops. 30.7x24 cm. ■ ��- )•> 43 1980s Box: The gilt device becomes a mayfly spinner as the anglers mature. 30.7 z 24 cm. 44 1990s Box: The gilt device remains a mayfly spinner. 30.7 z 24 cm. ��45 S. A. Neff, Jr. Angling in Hibernia. Sewickley, Pennsylvania, 1998. Created in 1998. A uniform set of five volumes; in full brown Chieftain goatskin with a Celtic device blind-tooled on each cover, gilt-tooled dots, pictorial doublures with panels of Japanese dyed and gilt papers, on front and back of Vol. I and front only on other volumes. I Vol. I; Text. Vol. II: Contains a cloth chemise with 30 photographs taken by the author. Vol. Ill: Fold-out container with 158 Irish flies devised and dressed by the author. Vol. IV: Fold-out container with the author's fly patterns and the feathers, furs and hooks for dressing Irish flies. Vol. V: Life-box containing the author's Irish angling memorabilia. A pull-out drawer contains Irish angling pamphlets and correspondence. �■ \ J 45 I 1 § I' k F » s ! I !• 11 5’ i i - § ili co 3 co 3- S’ t a i S’ :i’ I'I ■ ■ �46 Vol. Ill: Irish trout flies. 30.8 x 21 cm. 47 Vol. Ill: Panel of Japanese dyed and gilt papers and fold-out container with 158 Irish trout flies. The panel depicts an Irish brown trout about to rise to the author's Green Drake fly. �46 47 1 -» »» - A _ �■ 48 Vol. V: Memento hominem. 30.8 x 21 cm. 49 Vol. V: Panel of Japanese dyed and gilt papers and life box with angling memorabilia and tools. The panel depicts an Irish brown trout in the landing net. �48 49 Wir ‘^Sv: fci �a ACKNOWLEDGMENTS S. A. NEFF, JR. Resides: Sewickley, Pennsylvania EXHIBITIONS 1986 80 Years Later [Guild of Book Workers' 80th Anniversary Exhibition] (juried), Center for the Book, University of Iowa Museum of Art, Iowa City, Iowa; Detroit Public Library, Detroit, Michigan; MIT Museum, Cambridge, Massachusetts; Institute for the Book Arts, University of Alabama, Tuscaloosa, Alabama; Folger Shakespeare >r.' f\ ■ Massachusetts 1993 Exhibition of Design for Communications (invitational). West Virginia Library, Washington, D. C. University, Morgantown, W'est Virginia 1988 Bound To Learn: An Invitational Exhibit of the Book Arts, West Virginia University, Morgantown, West Virginia 1992-1993 Fine Printers Finely Bound Too [Guild of Book Workers' 86th Anniversary Exhibition] (juried), Explore Print!, San Francisco, California; Scripps College, Claremont, California; Dallas Public Library, Dallas, Texas; Minnesota Center for the Book Arts, Minneapolis, Minnesota; The University of Michigan Library, Ann Arbor. Michigan; Newberry Library, Chicago, Illinois; Swarthmore College, Swarthmore, Pennsylvania 1989 ,'L ■ 1992 10th Anniversary Exhibition of the New England Chapter of the Guild of of Our National I k-ritage, 1Lexington, Book Workers (juried), Museum c. Members' Exhibition, Guild of Book Workers, New England Chapter, Museum of Art, Rhode Island School of Design, Providence, Rhode Island ic? II.' ■ 1990 The Collector As Bookbinder: The Piscatorial Bindings ofS. A. Neff, Jr., Fine & Rare Book Room, Hunt Library, Carnegie Mellon University, Pittsburgh, Pennsylvania 1990-1991 Contemporary American Bookbinding; An Exhibition Organized by the Grolier Club at the Invitation of Les Amis de la Reliure Originate (juried), Bibliotheque de TArsenal, Paris, France; Bibliotheca Wittockiana, Brussels, Belgium; The Grolier Club, New York, New York 66 ARTICLES Robert H. Boyle. "Design: A Tier Who Binds in the Angling World," Sports Illustrated (January' 1991). The bookbinder wi-h> to express he. gratitude te hi her support and patience: to Philip R. Bishup for 1>: . tion of the catalogue manuscript and ter his w ise un friends Tom Alden, Elisabeth R. Agro, Robert!! Boy 1.. F. Boker Doyle, Richard A. I uller, Stanley I Grand, ai Elisabeth Agro wishes to thank Tracy Mvers for a i her essay. The Sordoni Ail < ..tilery thanks the artist tor mati possible. In addition, the Gallery wishes to thank Su enthusiasm; 1 lisabeth Agro lor her insightful rs iv. (. hristopher N. Brei eth's and Robert J. Fleaman’s e<; on my essay. Nancy L. Krueger bus provided invalu. all aspects of the exhibition. Finally we thank the following individuals and in will be hosting the exhibition: Nancy Kelley, Coordh rary Exhibits, New York State Museum: James E. Kii Cleveland Museum of Natural History. ( raig Morri American Museum of Natural History; David Peril i Roche ,ter Institute of Tec hnology, Can. Collection: C Director, and Sean Sonderson, Curator, The America Fishing. �ACKNOWLEDGMENTS liter of the Guild of Iritage, Lexington, il). West Virginia 86th Anniversary difomia; Scripps \ Dallas, Texas; innesota; The i; Newberry Library, Pennsylvania The bookbinder wishes to express his gratitude to his wife, Sue, for her support and patience; to Philip R. Bishop for his critical examina­ tion of the catalogue manuscript and for his wise counsel; and to his friends Tom Alden, Elisabeth R. Agro, Robert H. Boyle, Jeff Cornelia, L. F. Boker Doyle, Richard A. Fuller, Stanley I Grand, and Linda Tonetti. Elisabeth Agro wishes to thank Tracy Myers for a critical reading of her essay. The Sordoni Art Gallery thanks the artist for making this exhibition possible. In addition, the Gallery wishes to thank Sue Neff for her enthusiasm; Elisabeth Agro for her insightful essay. I appreciate Christopher N. Breiseth's and Robert J. Heaman's editorial comments on my essay. Nancy L. Krueger has provided invaluable assistance on all aspects of the exhibition. Finallj' we thank the following individuals and institutions who will be hosting the exhibition: Nancy Kelley, Coordinator of Tempo­ rary Exhibits, New York State Museum; James E. King, Director, Cleveland Museum of Natural History; Craig Morris, Dean of Science, American Museum of Natural History; David Pankow, Curator, Rochester Institute of Technology, Cary Collection; Gary Tanner, Director, and Sean Sonderson, Curator, The American Museum of Fly Fishing. —SIG Angling World/' 67 �ADVISORY COMMISSION Bonnie C. Bedford, Ph.D. Freddie Bittenbender Christopher N. Breiseth, Ph.D. Marion M. Conyngham Virginia C. Davis, Chair Stanley I Grand, Ph.D. Robert J. Fleaman, Ph.D. Marv Jane Henry Keith A. Hunter, Esq. J. Michael Lennon, Ph.D. Melanie Maslow Lumia Theo Lumia Kenneth Marquis Hank O'Neal Arnold Rifkin Charles A. Shaffer, Esq. Susan Adams Shoemaker, Esq. William Shull Helen Farr Sloan Andrew J. Sordoni, III Sanford B. Stemlieb, M.D. Mindi Thalenfeld Thomas H. van Arsdale Joel Zitofsky EXHIBITION UNDERWRITERS Friends of the Sordoni Art Gallery M & T Bank Maslow Lumia Bartorillo Advertising Mellon Bank Pennsylvania Council on the Arts The Piscatoribus Press The John Sloan Memorial Foundation, Inc. Andrew J. Sordoni, III Wilkes University SPONSORS The Business Council CBI-Creative Business Interiors Mr. and Mrs. David C. Hall Marquis Art and Frame PNC Bank, NA Panzitta Enterprises, Inc. STAFF Stanley I Grand, Ph.D., Director Nancy L. Krueger, Coordinator Earl W. Lehman, Preparator 4.. 68 Gallery Attendants Deidre Blake Marcy Fritz Jon Geller Jill Klicka Allison McGarvey �«IBE. ? i �ill S � 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 1999 The Collector as Bookbinder: The Piscatorial Bindings of S.A. Neff, Jr. Subject The topic of the resource Exhibition programs Creator An entity primarily responsible for making the resource S.A. Neff Jr. Publisher An entity responsible for making the resource available Sordoni Art Gallery; Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1999 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Book https://omeka.wilkes.edu/omeka/files/original/388a882d0a935ac7fb663f7ed5c634fb.pdf b4ec9a0e2c2db91a0831f26de3405405 PDF Text Text ■ if ' ■■ . g. J I �©IF Ml BW AMERICAN MASTERS co. 1910-cq. ^960 §©&©©« A^T ©ALLIW C@1ULI1©I1 APRIL 12-MAY 17, 1981 E.S. FARLEY LIBRARY WILKES UNIVERSITY wilkes-barre^pa. Sponsored by the Pennsylvania Council on the Arts and The John Sloan Memorial Foundation 3 �FOREWORD This exhibition is devoted to works by twenty-six American artists who studied under members of The Eight, one of the seminal groups of early twentieth century progressive artists in this country. This show provides a sequel to our 1979 exhibition of The Eight themselves. No attempt has been made here to be comprehensive, since over a period of some forty years there were literally hundreds of students, representing all degrees of achievement. The Eight unquestionally influenced many artists who were not their students, as well, although those influences are usually more difficult to ascertain. The artists chosen for this exhibition are generally regarded as major figures in American art, and together they represent a wide range of styles and attitudes, indeed, a virtual cross-section of art in the United States between 1910 and 1960. The exhibition, therefore, illuminates the vitality and diversity of that period, as it also defines, at least in part, the heritage of those among The Eight who shared their ideals through teaching. Numerous persons and institutions deserve recognition for their important contributions to this project. I should first like to extend our deep appreciation to the lenders, whose generosity provided the works which make up the exhibition. We are also greatly indebted to the John Sloan Memorial Foundation and the Pennsylvania Council for the Arts, which provided the funding for the project. I wish to thank personally those persons in the gallery and at the college whose help and cooperation were significant: Cara Berryman, Exhibitions Coordinator; Albert Margolies, chairman of the Advisory Commission, and the members of the Commission; Dr. Thomas Kelly, Dean of External Affairs; and Robert S. Capin, President of the College. 4 Finally, I extend special thanks to Mrs. Helen Farr Sloan for her invaluable advice and support, and for her introductory essay in this catalogue. , ARCHNS ... £ 0 Ri) G i '■ WILLIAM STERLING Director INTRODUCTI by Helen Farr Slot Any serious thoughtful observer o paintings by the group of artists knc would be puzzled by the term Ashcc identify the work they showed at M Words, published long after the evei indelible impression, a misleading in philosophy that brought these artists grouped around Robert Henri. He w the progressive avant-garde at the ti man John Sloan called "The Abraha Art." The diversity of personalities, tale styles of painting shown by those ei aspect of their philosophy: respect fi talent, and the desire to provide opj flourish, with freedom of expression demonstrate the value of work done working for themselves unfettered b commercial demands; on their own "independent" creative personalities, they had a common interest in depit world. (Even Davies' lyrical nymph: landscapes are idealized concepts of There has often been a mistaken ide interest in politics, or a desire to de] fact, Sloan was the only member of became interested in political matter years after that exhibition. As for ti Henri encouraged his friends and sti the everyday world of city and com city subjects show everyday people Parks and restaurants and bathing t Sloan called his subject matter: "Bit: �y, I extend special thanks to Mrs. Helen Farr Sloan nvaluable advice and support, and for her tory essay in this catalogue. WILLIAM STERLING Director I INTRODUCTION by Helen Farr Sloan Any serious thoughtful observer of an exhibition of paintings by the group of artists known as "The Eight" would be puzzled by the term Ashcan school used to identify the work they showed at Macbeth Gallery in 1908. Words, published long after the event, have left an indelible impression, a misleading interpretation of the philosophy that brought these artists together as friends grouped around Robert Henri. He was the natural leader of the progressive avant-garde at the turn of the century, the man John Sloan called "The Abraham Lincoln of American Art." The diversity of personalities, talents, and concomitant styles of painting shown by those eight artists reveal one aspect of their philosophy: respect for diversity of creative talent, and the desire to provide opportunities for art to flourish, with freedom of expression. They wanted to demonstrate the value of work done by American artists, working for themselves unfettered by academic or commercial demands; on their own initiative as "independent" creative personalities. At that time, in 1908, they had a common interest in depicting the everyday world. (Even Davies' lyrical nymphs in mountain landscapes are idealized concepts of a natural real world.) There has often been a mistaken idea that the group had an interest in politics, or a desire to depict urban slums. In fact, Sloan was the only member of the group who ever became interested in political matters, and not until several years after that exhibition. As for the subject matter, while Henri encouraged his friends and students to paint life — the everyday world of city and countryside — most of the city subjects show everyday people engaged in recreation. Parks and restaurants and bathing beaches provided what Sloan called his subject matter: "Bits of joy in human life." The series of independent group shows, beginning in 1901 at the Allan Gallery and culminating in the large Independent Show of 1910, provided experience in organizing exhibitions. The 1910 show was a precursor of the Armory Show of 1913 which brought an illuminating cross-section of modem art to this country for the first time. These exhibitions were organized by the artists, largely financed by themselves and in the case of the 1913 Armory Show, a few art collectors like Mrs. Harry Payne Whitney and Miss Lizzie Bliss. The friends and followers of The Eight taught their contemporaries the importance of voluntary public service, that very fine old characteristic of America's pioneers. The defense of independence, the protection of diversity in democratic cultural institutions; these are principles which the group taught in practical form. ! Several of The Eight were also teachers of drawing and painting in the formal sense. Henri and Sloan and George Luks taught for many years, both privately and at schools like the New York School of Art, and the Art Students League. Some of their most distinguished pupils are seen in this exhibition. It is so good to see that there is a happy extraordinary variety of work — none of it imitating the original teachers. For, in fact, a number of them, having learned the lesson of responsible independence (freedom, not license), learned again from other teachers like Kenneth Hayes Millar or Jan Matulka some insights which helped their talents to develop yet another synthesis. In every case the talent has been forged with integrity. In addition to the well-known teachers who had formal classes, it may be forgotten that a man like Maurice Prendergast had pupils who learned to appreciate the superb design and color of medieval miniatures from France and Persia and India, from him and his brother Charles. And it was Prendergast whose appreciation for Cezanne stimulated interest on the part of his friends who had not seen the work of that great modem, who died in 1906. In Sloan's day of 1910 he tells of finding an article in The 90-17: 5 �fast u1 Burlington Magazine, "Was much interested in the work of Cezanne, some of which was reproduced. A big man this, his fame is to grow." Of course Sloan had never been able to go abroad, having to support his family from the age of sixteen; but even if he had gone to Paris he might not have had the opportunity to see much work by the moderns in the Nineties. Van Wyck Brooks, who knew Prendergast, said that Sloan told him how Prendergast would come in the room and repeat to his friends: "You should know Cezanne I" It was not until the Armory Show exhibited a group of Cezanne's paintings that the work was known in color, in this country. Now that we are accustomed to superb color reproductions in books that survey the world of Impressionists and Modernists, it is exceedingly hard to realize that artists, even those who lived for years in France, were not really familiar with the work. It was shown so little, in a few independent shows, in restaurants and shops run by paint dealers. Maybe it has been more exciting for art students and even mature artists, to make some discoveries, bit by bit — to assimilate fresh ideas without being swamped by what Lewis Mumford has described as image-fatigue, being punch-drunk on familiarity with too much art. Artists at the time of The Eight were not over-exposed. Their immediate problem was that in this country there were so few places to exhibit work. The academic juries had a rigid political control over what got into the big public exhibitions. There were very few art dealers. Sentimental realism, genteel subject matter, imitation impressionism; these styles and subjects were acceptable. "The Eight" was formed by an accidental encounter with the jury system of the National Academy. It was a little protest made by associates of Robert Henri who had been shocked by the negative action of a jury that threw out the work of his students and friends. The show was organized spontaneously. There was no purpose other than to demonstrate the need to encourage the idea of "Open Door" exhibitions, such as the 1910 Independent Show that 6 they were able to organize later. (Henri also initiated the MacDowell jury system, based on proportional representation.) The pupils and associates of the men around Henri have carried back to all parts of the United States this attitude toward open door exhibitions, opportunities to show by both professional and amateur artists. They have been a leavening in the world of American art. Their viewpoint in one direction was "inclusive — open the doors of opportunity" but they were not opposed to the principle that Alfred Stieglitz advocated, "exclusive — selection of quality." Only the Henri crowd felt that the open door must come first, to counteract the power politics of fashion in art institutions. It would always be necessary to demonstrate and defend the democratic principle in cultural matters to encourage variety of expression, to respect independence. The wisdom of this point of view should be clear from study of cultural history in the past hundred years. Suppose Ryder had stopped painting because his work was not appreciated critically and financially! What a gap there would be in our artistic heritage if Prendergast had stopped making frames to earn the free time to paint his joyful scenes. What an unimaginable loss! The students who gathered around The Eight held all kinds of jobs to support their own creative work — night watchmen, accountants, dish washers, illustrators, designers, actors and authors. Some became administrators of the WPA art projects. Several became known as teachers. Richard Lahey ran the Corcoran School of Art, and Kimon Nicolaides' book The Natural Way to Draw has reached several generations of art students. Today the historical situation for young artists is so different from that faced by The Eight. Now there are more opportunities to obtain college scholarships and to exhibit creative work.. New York is not the only art center in the country. Contemporary museums have been established in many places. There is perhaps a more insidious pressure to be influenced by the , a sefiO.U. ,\ contemporary^• cost . be creative -ship of support. Recent Recent " n. history d-’t- ‘ oTce agairX only a small percentage a can survive withonly integrity by counting >ivf * sales. Henri, for instance, made a col­ the itis portrait painting. In addition to tfound patrons early in his career but Hi bloomer. He was in his forties before hi and from that time on he did have patrl and David Smith had many lean years I chapter of financial security. Students, j professional artists need to be reminded] facts - to keep perspective on their wd courage to persevere. 1 �rOnHenri also th k to aUpJ°f -he ’men le United ions, Professional and in the worldamateur 'of or* direction was opportunity" but tb ,at Alfred StiegliS1they [on of quality." Only the door must come first, to fashion in art institutions o demonstrate and defend oral matters to encourage ■t independence. view should be clear from past hundred years. inting because his work was inancially! What a gap there ;e if Prendergast had stopped time to paint his joyful loss 1 round The Eight held all >wn creative work — night washers, illustrators, Some became administrators al became known as e Corcoran School of Art,, Draw he Natural Way to C. — has art students. n for young artists is so ie Eight. Now there are more scholarships and to exhi^ ,t the only art ce^ished m TmoTinX- P— tO contemporary art, a serious pressure for young people to contend with. The cost of living is more complicated by the income that must be set aside for taxes. It usually becomes a necessity for a creative artist to cultivate a side-line in teaching or craftsmanship which can provide a reliable means of support. Recent history does teach this lesson once again that only a small percentage of unique talents can survive with integrity by counting on contemporary sales. Henri, for instance, made a comfortable living with his portrait painting. In addition to the teaching, Bellows found patrons early in his career but Hopper was a late bloomer. He was in his forties before his talent matured and from that time on he did have patronage. Stuart Davis and David Smith had many lean years before the late chapter of financial security. Students, and even professional artists need to be reminded of these realistic facts — to keep perspective on their work and regain the courage to persevere. THE STUDENTS OF THE EIGHT IN AMERICAN ART by William Sterling "The two dominant forces in my early art education were the teachings of Robert Henri whose school I attended and the Armory Show of Modem European art in 1913. These influences were foremost in forming my ideas and taste about what a modem picture should be. Both were revolutionary in character, and stood in direct opposition to traditional and academic concepts of art."1 (STUART DAVIS) After World War II, New York City emerged as the capital of the art world, thereby ending the leadership of Paris, which had prevailed for more than a century. For the first time in its history, the United States led the way to the most radical developments in art. The war had severely disrupted the cultural life of Europe, and even before the war many European artists and intellectuals had emigrated to America to avoid persecution. They brought with them their entire repertoire of avant-garde ideas. At the same time, a generation of American artists achieved its maturity in modernism and stood ready to explore new frontiers. Prior to the war, American artists had, for the most part, been followers rather than leaders. In the late nineteenth century, a few eccentrics, such as Ryder, created their own highly personal expressions, but had little influence on their contemporaries. Several others, such as Whistler and Cassatt, managed to join the European avant-garde, but they remained expatriates. The earliest stirrings of an independent American modernist movement came in the first two decades of this century. In 1908, the famous exhibition of The Eight marked the first significant repudiation of academic dogma and style in art. The Eight, comprised of Robert Henri, John Sloan, George Luks, Ernest Lawson, William Glackens, Everett Shinn, Arthur B. Davies, and Maurice Prendergast, were never a cohesive group. They were simply congenial spirits who came together for a single exhibition at New York's Macbeth Gallery. But that exhibition was one of the salient �st&EfcaafS events of American art. Like the earlier independent salons of the Realists and the Impressionists in France, it struck a blow for artistic freedom in the face of a rigidly conservative academy system. Two years later, Henri, Sloan, Davies, and Walt Kuhn put together a far larger show, the Exhibition of Independent Artists. The taste for adventure and the lure of artistic freedom had begun to spread. The largest and most influential event came in 1913 with the great Armory Show in New York, where the latest European styles were revealed to Americans for the first time en masse. The effect of these exhibitions was to break, once and for all, the grip of the academies upon the American art scene. An American artist could now follow his own course without fear of automatic isolation, and the forbidden fruit of European modernism could be tasted without censure. Two approaches to modernism emerged in the second decade. Henri and his associates took up a rather chauvinistic position, urging American artists to develop an indigenous modernism which would remain independent of European styles. Various realist styles from the "Ash-Can" school to the Regionalists of the 1920s represented this approach. The other approach led to Europe and the adoption of the latest abstract styles, particularly Cubism, Futurism, and later. Surrealism. The prime movers of this approach included the photographer and patron Alfred Stieglitz, Walter Pach, and Arthur B. Davies (who had shared Henri's democratic attitudes more than his tastes). Already by 1915, artists such as Max Weber and Marsden Hartley had gone to Europe and had embraced the very newest discoveries. The "Europeanists" became the more radical group in terms of artistic style, since they favored the various abstract forms which the term "Modern Art" has usually been associated with. The Henri group remained relatively conservative in its adherence to more or less naturalistic styles. Before World War I, The Eight had enjoyed the status of America's avant-garde. Their unsentimental and upcompromising realism was coupled with an outspoken liberalism in matters of artistic self-determination. Most free-thinking artists of the time adopted their anti­ establishment stance, if not their particular styles. This situation changed in the late teens and early twenties, as more and more artists were drawn toward Europe. Some, like Henri's student Patrick Henry Bruce, became expatriates. Others, like another student, Stuart Davis, absorbed European modernism but remained at home. As a result of the Armory Show and subsequent contacts with visiting avant-garde personalities from abroad (for example, Marcel Duchamp and Francis Picabia), America's knowledge of European developments grew rapidly and widely. The Stieglitz faction, centered in his "291 Gallery," promoted an artistic formalism which shunned any narrative or illustrational emphasis. Henri's group resisted such formalism, and resolutely maintained that art must first of all communicate ideas, and that content must take precedence over form. During the years between the two world wars, the relative prominence of one polarity over the other swung back and forth. Especially during the Depression, naturalism enjoyed revitalized popularity, not only in America but in Europe, too. Early abstractionists such as Weber, Hartley, and Morgan Russell returned to figurative work, and generally lost favor with the modernist critics. Only in the forties did a new and unquestionally more original form of abstraction come to the fore in America. It was then that the Abstract Expressionists, led by Pollock and Gorky, burst upon the scene, and inherited the mantle of radicalism from war-torn Europe. The works which make up this exhibition provide something close to a cross-section of that vital and varied period in American art. They also bear witness to the significant role played by a few brilliant teachers. p rx th^1 >5 2 mu ,'uJ‘ nWmore UX’rl idrnt Uont^nt things. I htfBrh you myopm * “dl v.,u some thmg, about t how Then you must > ejpcrkrtce and hard work The students of The Eigh cross-section of American < and forties. From figurativ* Hopper to abstractionists li every new and vital directii among The Eight who wert imposed narrow doctrine. ( an atmosphere of discipline During that era of lmrnei immunity, as well as in it role Played by the sources Oration was enn wd*eArmorys?rmOus- new ideas and7c h°W °pei Ua^alloif°rniS- ^tit F°rs^youendarti^toe> ?OU^torouJartls^ the atalyst �had g' ' ■hthA aMh I tatUs of ' sejf-d an Ouh deterjriinaH PcAen eir Particular toWard as Bruce. becUar°Pe- Some, ler student St 'The best advice I have ever given to students under me has been nest this: ‘Educate yourself. do not let me educate you . . ' Real students go out of beaten paths, whether beaten by themsefess or by others. and have adventure with the unknown.”2 (ROBERT HENRI) 3nalit^dfrS^S|puen\ ^ntacts IVnuteoer the Henri School may have lacked in systematic discipline was more than made up for by positive contributions ... Sy developing the student's confidence in his own perceptions, it gave his work a freshness and personality that was lacking in the student work of other schools." 3 (STUART DAVIS) entered iohis -291 i which shunned any Basis. Henri's group resisted i don't want to interfere with your way of seeing, if you are seeing things. 1 have no tricks to teach you. I don't want to teach you my opinions, but if you can get hold of my point of view 1 don't think it will hurt you. I am here to help you. I want to help you find a purpose, a reason for painting. I can tell you some things about the "how" to paint. Not any one 'how.' Then you must find your way through your own experience and hard work. ‘ * (JOHN SLOAN) r maintained that art must and that content must take te two world wars, the larity over the other swung ing the Depression, popularity, not only in arly abstractionists such as Russell returned to figurative ■ with the modernist critics, ind unquestionally more ,me to the fore in America. It ,ressionists, led by Pollock "“and inherited jrope. his exhibition provide ion of that vital and[ varied to the also bear witness teachers. v brilliant The students of The Eight do indeed constitute a cross-section of American art during the twenties, thirties, and forties. From figurative painters like Bellows and Hopper to abstractionists like Davis and Gottlieb, virtually every’ new and vital direction was represented. Those among The Eight who were active as teachers by no means imposed narrow doctrine. On the contrary, they cultivated an atmosphere of disciplined self-determination. During that era of immense growth in America's artistic community, as well as in its aesthetic sophistication, the role played by the sources of artistic information and inspiration was enormous. Exhibitions such as The Eight and the Armory Show opened eyes and minds to radically new ideas and forms. Institutions like the Art Students League allowed artists to experiment with those new ideas. For some young artists, the very sight of the new was enough to rouse them into action, but for most, the teacher remained a crucial catalyst in their transformation. There were a number of important teachers in the early twentieth century who are identifiable today by the large number of major artists who studied with them. Preeminent with Robert Henri and John Sloan were William Merritt Chase, Kenneth Hayes Miller, and Arthur W. Dow. Probably as many as half of America's historically significant painters, maturing in the teens, twenties, and thirties, studied under one or more of these men. Other than Hans Hofmann and Joseph Albers, perhaps, no teachers since that time have enjoyed such wide influence. Today, as even the formerly most provincial sections of our country have become cosmopolitan (at least in their best schools), the teaching of art has become highly decentralized. New York City may still be the major hub of progressive artistic activity, but most New York artists arrive there after their training, nowadays. Virtually every school and every teacher across the land have ready access to the same periodicals, the same reproductions, and often the same exhibitions. Things were different at the beginning of the century. A few important art academies, and within them a few outstanding instructors, dominated art training in this country, and to some extent aesthetic values as well. Robert Henri had been the prime mover, the original leader of those Philadelphians who made up the nucleus of The Eight: Sloan, Luks, Shinn, and Glackens. Sloan and Luks, in particular, followed Henri in the pursuit of teaching. Lawson and Prendergast also took students on occasion, but they never had the broad impact of Henri and Sloan. Glackens and Davies never taught, although Davies wielded much influence through his activities as an organizer, supporter, and critic. The students of The Eight, therefore, were mostly students of only three members of the group: Henri, Sloan and Luks. Even before their landmark exhibition, Henri was teaching at the New York School of Art, which was run by William Merritt Chase. He held forth there from 1903 until 1907, then ran his own school until 1912. After that, he 9 �i3*7h <tud^ ?tdc>pFerf of \list* ” r taught at the Art Students League, as well as the progressive Ferrer School. Henri was a born teacher, a charismatic man with strong opinions, sharp insights, and cutting wit. As often as not, his classroom discussions dealt with literature, music, or philosophy. Life was the stuff of art, and Henri encouraged his students to study life as vigorously as they studied art. As Stuart Davis said of his mentor's approach, "art was not a matter of rules and techniques, or the search for an absolute ideal of beauty. It was the expression of ideas and emotions about the life of the time." Henri's method was regarded as radical at the time, but his aim seems clear enough today. He sought to instill his students with a sense of art's relevance to real experience. ■ 1 John Sloan continued this approach with equal enthusiasm and success. Having taken pupils as early as 1912, he joined the faculty of the Art Student's League in 1916. In 1931, he was elected president of the League, although he resigned the following year after a heated quarrel with the governing board over its refusal to hire the German emigre modernist, George Grosz. He left the League for three years, during which time he taught at Archipenko's Ecole d'Arte and took over the Luks School of Painting upon the death of George Luks in 1933. i s I During the twenties, Sloan's classes were immensely popular, and like Henri's, they were lively centers of criticism, philosophy, politics, and humor. Sloan shared Henri's sense of the priority of ideas and feeling in painting, as well as his disapproval of "art for art's sake." Yet, Sloan was by no means insensitive to the formalistic concerns of art, which were central to so many modern movements. He once stated that "the subject may be of first importance to the artist when he starts a picture, but it should be of least importance in the finished product. The subject is of no aesthetic significance." 5 This attitude put Sloan in tune with the younger generation. One of Stuart Davis' few criticisms of Henri 10 had been that the latter placed too much emphasis on subject matter. Indeed, Henri, much more than Sloan, had resisted the formalistic preoccupations of the Cubists. Fauves, and Futurists, and had sought to minimize their influence on American modernism. If Henri and Sloan had had only their artistic style to offer their students, little more than a new generation of "Ash-Can" painters would have emerged from their classes. What these teachers did offer their students was considerably more significant. It was an attitude about art and what it meant to be an artist in the twentieth century; it was an attitude about freedom which allowed the student to question any rule or tradition or approach, not excluding those of Henri and Sloan themselves. It is on this basis that an exhibition of artists so diverse in style can reveal something about the course of modern art in America. Some of these artists studied long and faithfully under one master or the other. Others came into the fold for only a year or less, and never said much about their experience. But it is difficult to imagine that any impressionable young art student was not touched by the spirit of freedom, candor, and common sense which was to be encountered in the classes of Henri and Sloan. Although these masters never became radicals in style, they promoted an openness to new ideas which allowed their students unusual latitude in those days. They were the "progressive educators" of the art schools. Robert Henri counted among his students, in addition to the aforementioned Stuart Davis, such determined modernists as Patrick Henry Bruce, Morgan Russell, Man Ray, Walter Pach, and Arnold Friedman. Less radical but no less important were Edward Hopper, George Bellows, Rockwell Kent, Guy Pene du Bois, and Glenn Coleman. It is clear that no common element of style binds these men. Rather, it is their sense of independence and their search for an honest means of self-expression which link them to Henri. X 1 the P- ?erSedAa>can * J t>tf uS e* aS J tranS,en centUrVtic re'leCtlL’ at,endTnyofhi5f^afstrl,ctUr€h bv ^cametobe^ realistsd Giff°rd CeorgeBelloWS an nd grandeur of t conned vvithormah US ( modem today than Hopper , modernism, they continue to speak .nap language. The modernists among Henris student' < of as defectors who had bolted from the p< doesn’t appear that the master ever serious their more radical convictions. For exampl hvely and friendly correspondence with Pa 5B™ceafter flatter had gone to Pans stl ^£ a>..SS‘wb“d’"Spectrum nat''ran''rr the various exhibit; l 'jfganJ Stu, �tHe SSj1'had rtis«c Styie to generation of :r°m their classes. ts Was “itude about art J’entieth century’; lowed the student ach, not elves. rtists so diverse urse of modem ed long and Zithers came into said much about ne that any touched by the nse which was to Sloan. Although le, they promoted heir students the "progressive ts, in addition to errnined in Russell, Man Less radical but ieorge Bellows, enn Coleman. It ,inds these mentd their search fo ink them to Hopper, Bellows, and Coleman remained closer to Henri's style than many students, but each fashioned a strong individual manner. Hopper, of course, eventually emerged as one of the preeminent realists in twentieth century’ American art. Accepting Henri s view of art as an authentic reflection of life as most of us experience it. Hopper added his own sense of the mystery’ of existence attendant to special moments of transience and solitude. Like many of his colleagues, he also developed a stronger awareness of the formal structure of his pictures, so that his works came to be admired as much by’ abstractionists as by realists. need not look closely to see the imprint of his master's teaching. When Henri sent Davis and the other students roaming through the streets of New York to capture the real pulse of the city, he planted the seed which ultimately gave Davis' cubism its highly original stamp. Images of city life, from billboards and signs to chain-link fences and cigarette wrappers, were transmitted through jazz-like rhythms and blasting colors. Brasher, bolder, and cleaner than its European counterparts, Davis' cubism epitomized the energy and efficiency of America in the early twentieth century. Henri's "Ash-Can" scene had been distilled into its elemental shapes and rhythms. George Bellows and Gifford Beal responded to Henri's feeling for the energy’ and grandeur of the American scene, and anticipated the Regionalists in their muscular, almost romantic vision of both city and country’. Bellows' brash, bravura manner was particularly close to Henri's style. Less concerned with formalist structure, his works look less modem today than Hopper's, but outside the context of modernism, they continue to speak in a powerful expressive language. John Sloan's roster of students was equally impressive and equally diverse. Perhaps because he was dealing with a younger generation than had Henri, more of his famous students went on into abstraction. Adolph Gottlieb, Barnett Newman, and the sculptors Alexander Calder and David Smith were among the most influential and radical artists of the forties and fifties, and participated in America's succession to leadership in the world of art. As with Henri, it was Sloan's persona and philosophy rather than his artistic style which most affected these later masters. The modernists among Henri's students could be thought of as defectors who had bolted from the pack, but it doesn't appear that the master ever seriously objected to their more radical convictions. For example, he kept up a lively and friendly correspondence with Patrick Henry Bruce after the latter had gone to Paris, studied with Matisse, and developed his own abstract style. It is also true that he accepted a wide spectrum of modernists into the various exhibitions he helped to organize between 1908 and 1918. While he remained wary of modernism, Henri was really hostile only to reactionary academicism. Of the modernists who studied with Henri, none was more brilliant than Stuart Davis, who is generally regarded as one of the greatest painters America has yet produced. Stylistically, his art veered decisively toward synthetic cubism a few years after he left Henri's studio, but one Sloan was less wary of European modernism than Henri had been, even though he was one of the few major American artists of the time who never visited Europe. Nevertheless, he took a keen interest in the work of men such as Matisse and Picasso, and even shared their interest in African and Pre-Columbian art. Furthermore, he actively supported modernism in his role as president of the Society of Independent Artists, which had been founded in 1917 by Marcel Duchamp, Man Ray, Walter Pach, William Glackens and others, and which remained an important sustainer of progressive artists until 1944. While he never painted abstractly himself, Sloan said he had learned a great deal about artistic form from the "ultra-moderns." Of course, Sloan also had a devoted following of realists, such as Reginald Marsh and Aaron Bohrod. Reginald 11 �SO the Marsh, as an inheritor of the "Ash-Can" tradition, became a virtual alter-ego to his contemporary, Edward Hopper. He filled Hopper's silent streets and desolate interiors with teeming life, and in spirit and imagery, if not in style, paralleled the art of Stuart Davis, as well. Perhaps because of his own experience as an illustrator over the years, Sloan helped to train some of America's leading illustrators, among them Peggy Bacon, Cecil Bell, and Roger Tory Peterson, as well as outstanding cartoonists such as Otto Soglow (famous for "The Little King"), Don Freeman, and Chon Day. Consistent with his democratic attitudes, Sloan made no sharp distinctions between illustration and "fine art." II The catholicity of Sloan's teaching and influence is underscored by the prominence and popularity he enjoyed between the two wars. As a practitioner of realism on the one hand and a supporter of modernism on the other, he easily adjusted to the changing tides of taste which characterized this period. The initial burst of American modernism which followed the Armory Show of 1913 and seemed destined to dominate the American art scene for the generation to come actually subsided after World War I. As in Europe, the energy of radicalism was temporarily spent, and many of the avant-garde were disillusioned by the enormous destruction of the war. In America, the populace adopted a position of isolationism, and American artists, by and large, turned to scene painting and social realism. Just as the fires of modernism were being stoked up again in the late twenties, the Depression dampened them once more. I During the thirties, most of the students of Henri, Sloan, and Luks took part, with thousands of other American artists, in the Federal Arts Project under the W.P.A. Even before that time, many of them had been politically active, usually on the left, Sloan's classes remained a congenial place for social-minded young artists, although his own socialist activism had diminished over the years. In his ■ 12 youth, Sloan had been a committed radical, and in 1910, he had run, unsuccessfully, for the New York State Assembly on the Socialist ticket. Shortly thereafter, he became art director for the radical magazine "The Masses." Many students of Henri and Sloan worked at one time or another as political cartoonists, including Davis, Coleman, Soglow, and William Gropper. Philip Evergood, a student of Luks, was also one of the outstanding "political" painters of the thirties and forties. The Depression did not lead to a significant new wave of socialist art in America, however. Nor did Regionalist naturalism remain for long the dominant trend. The modernists, dispersed though they were, stood ready to return to the fore. The world of the twentieth century, in its technological and existentialist complexity, was ultimately their world. Marsh, Beal, and du Bois no longer seemed to be as relevant as Gottlieb, Newman, and Smith. The students of The Eight had spanned the extremes of American art in the first half of our century. ", . . (a student should) cultivate an attitude toward his studies which is both flexible and critical. It should be flexible enough so that he can change his mind as often as need be; and it should be critical in that he need not take either the professed 'modem' or the professed 'conservative' at their own evaluation." • (JOHN SLOAN) . Le'lderS Altschul An°nyI11C'< - Arthur u Mr5' , MuseUrP ierican Museum of Art The But‘e ° Herbert F. )°h M,„.r. Ar. .IM—' Gallery Everhart Museum of Natural Hist. Scranton Hirshhom Museum and Sculpture The Smithsonian Institution National Museum of American Ar The Smithsonian Institution The Pennsylvania State University Princeton University, Art Museum NOTES Rutgers University, Art Gallery Smith College, Museum of Art 1. Kelder, Diane (ed.) Stuart Davis (New York, 1971) p. 20 2. Henri, Robert, The Art Spirit (Philadelphia, 1951) pp. 134,165 3. Kelder, Stuart Davis, p. 22 4. Sloan, John, Gist of Art (New York, 1977) p. 7 5. Sloan, Gist of Art, p. 41 6. Sloan, Gist of Art, p, 11 An Cod^ um.,icanAr �J radical bortlv State r^tly theIxiagazine .- he Masses " Worked at °ne time or' uding DaVis c 7 ndln8 leman, political”student Painters a? ^significant new wave of did Regionalist eof imant trend. The were, stood ready to e twentieth century, in omplexity, was I, and du Bois no longer b, Newman, and Smith, med the extremes of r century. itude toward his studies hould be flexible enough •n as need be; and it ake either the professed e' at their own (JOHN SLOAN) LENDERS TO THE EXHIBITION Anonymous Lenders Mr. and Mrs. Arthur Altschul The Brooklyn Museum The Butler Institution of American Art, Youngstown Carnegie Institute, Museum of Art, Pittsburgh University of Connecticut, William Benton Museum of Art Cornell University, Herbert F. Johnson Museum of Art Delaware Art Museum University of Delaware, Gallery’ Everhart Museum of Natural History’, Science and Art, Scranton Hirshhom Museum and Sculpture Garden, The Smithsonian Institution National Museum of American Art, The Smithsonian Institution The Pennsylvania State University, Museum of Art LIST OF WORKS 1. BACON, Peggy John Sloan's Lecture etching, 9" x 11" Delaware Art Museum; gift of Helen Farr Sloan 2. BACON, Peggy A Simple Life (1954) watercolor, 24" x 181//" Syracuse University, Art Collections 3. BEAL, Gifford Bareback Rider oil on canvas, 18" x 36" Private Collection 4. BELLOWS, George Life Class lithograph, 19" x 251//” The Pennsylvania State University Museum of Art Princeton University, Art Museum Rutgers University, Art Gallery Smith College, Museum of Art 5 (New York, 1971) Syracuse University, Art Collections Wadsworth Atheneum, Hartford ’hiladelphia, 1951) fork, 1977) P- 7 Whitney Museum of American Art, Nev/ York City 5. BELLOWS, George Summer Surf (1914) oil on board, 18" x 22” Delaware Art Museum, gift of the Friends of Art 6. BRUCE, Patrick Henry Peinture/Nature Morte (Abstract) (1933) oil on canvas, 35" x 46" Museum of Art, Carnegie Institute, Pittsburgh; gift of G. David Thompson, 1956 13 �iii: i\ I I i 7. CALDER, Alexander Trapeze Artists pen and ink, 0.55m x 0.76m The Art Museum, Princeton University; gift of Mrs. Harper, in memory of Raymond H. Harper 13. DAVIS, Stuart Gloucester Landscape (1918) oil on canvas, 24" x 30" Rutgers University Art Gallery, New Brunswick, New Jersey gatc^- 8. CALDER, Alexander Brie & Brae (1963) gouache, T7" x 40" Syracuse University, Art Collections 14. DU BOIS, Guy Pene Conversation oil on board, 13%6" x 9%" Wadsworth Atheneum, Hartford, The Ella Gallup Sumner and Mary Catlin Sumner Collection Mood (1909) oil on canvas, 60' Museum Whitney t of the Artist, 9. COLEMAN, Glenn O. Gloucester Harbor oil on canvas, 34" x 25" The Brooklyn Museum, gift of Mr. and Mrs. Alan H. Temple 15. DU BOIS, Guy Pene Yvonne (1930) oil on canvas, 2136" x 1736" Collection of Mr. and Mrs. Arthur G. Altschul 10. DASBURG, Andrew Poppies oil on canvas, 4034" x 2634" Hirshhorn Museum and Sculpture Garden, Smithsonian Institution 16. EVERGOOD, Philip Canadian Gold Mine (1943) oil on canvas, 25" x 30" Herbert F. Johnson Museum of Art, Cornell University, gift of Harry N. Abrams 11. DAVIS, Stuart Au Bon Coin (1928-29) lithograph, 1134" x 936" University of Delaware Gallery 17. EVERGOOD, Philip Rider on Pink Horse (ca. 1945) oil on canvas, 16" x 12" Everhart Museum of Natural History, Science and Art, Scranton 12. DAVIS, Stuart Composition (1935) oil on canvas, 2234" x 30" National Museum of American Art, Smithsonian Institution (transfer from General Services Administration) I 14 18. FRIEDMAN, Arnold Blue River oil on canvas, 24" x 30" The Butler Institute of American Art, Youngstown, Ohio farn oil on Mu: pelaware Art ?OTTi^Ado1 GOTTLIEB, Adol Nigld Glow (1971 aquatint, 34" x 26 Delaware Art Mu: 22. GOTTLIEB, Adol Seer (1947) oil on masonite, 3 The Butler Institut 23. GROPPER, Willia The Senate lithograph, 14" x : Delaware Art Mus 24. HIRSCH, Joseph Fr»ncis and Bird ( oil on canvas, 27" PriVate Collection �i) 19. GATCH, Lee Pennsylvania Farm (1936) oil on canvas, 14' x 36" Delaware Art Museum, John L. Sexton bequest ery, f on°ecHonhe Gallup Sum^r Arthur G. Altschul of Art, Cornell University, 25. HOPPER, Edward Artist Seated at Easel (ca. 1903) oil on canvas, 18' x 10" The William Benton Museum of Art, The University of Connecticut, Anonymous Donor 20. GOTTLIEB, Adolph Mood (1969) oil on canvas, 60" x 40' Whitney Museum of American Art, New York; gift of the Artist, 1969 (69.150) 26. HOPPER, Edward The Cat Boat etching, 8" x 10" The Butler Institute of American Art, Youngstown, Ohio 21. GOTTLIEB, Adolph Night Glow (1971) aquatint, 34" x IbW" Delaware Art Museum, gift of Mrs. H. Rodney Sharp 27. KENT, Rockwell Northern Light woodcut, 5Vz" x 8%" Delaware Art Museum, gift of Mrs. A. Ralph Snyder 22. GO11LIEB, Adolph Seer (1947) oil on masonite, 30' x 24" The Butler Institute of American Art, Youngstown, Ohio 28. MARSH, Reginald Coney Island Beach (1934) etching, 13" x 10%" Museum of Art, The Pennsylvania State University 23. GROPPER, William The Senate lithograph, 14' x 18' Delaware Art Museum, gift of Helen Farr Sloan 29. MARSH, Reginald Lehigh Valley watercolor, 14" x 20" The Butler Institute of American Art, Youngstown, Ohio 24. HIRSCH, Joseph Francis and Bird (1979) oil on canvas, 27" x 19" Private Collection 30. MARSH, Reginald Negress and White Girl in Subway (1938) tempera on masonite, 24" x 18" The William Benton Museum of Art, The University of Connecticut, Anonymous Donor 45) .1 History, Science and Art, Youngstown, Ohio rican Art, is �31. MORRIS, George L. K. New Year's Eve (1945-46) oil on canvas, 38" x 30%" National Museum of American Art, Smithsonian Institution, Given Anonymously h 32. MORRIS, George L. K. Industrial Landscape (1936-50) oil on canvas, 49%" x 63% " National Museum of American Art, Smithsonian Institution, Given Anonymously 33. NEWMAN, Barnett Black and White (1948) black ink on paper, 24" x 16% " Smith College Museum of Art, Northampton, Massachusetts Gift of Philip C. Johnson, 1952 I I 34. RAY, Man Les Mains Libres: La Femme Portative (1936) pen and ink, 0.38m x 0.28m The Art Museum, Princeton University, purchased with the Laura P. Hall Memorial Fund 35. RAY, Man Untitled (1915) oil on board, IS1/?" x 12% " National Museum of American Art, Smithsonian Institution, gift of Flora E. H. Shawan 36. RUSSELL, Morgan Nu-Assis (ca. 1923-25) oil on canvas, 28%" x 21%" National Museum of American Art, Smithsonian Institution, Museum Purchase 16 37. RUSSELL, Morgan Synchromy (1915-17) oil on canvas, 12%' x 10%" Hirshhorn Museum and Sculpture Garden, Smithsonian Institution 38. SMITH, David Untitled (1956) oil and sand on canvas, 73%" x 11" Hirshhorn Museum and Sculpture Garden, Smithsonian Institution 39. SOYER, Moses Three Men (1974) oil on canvas, 25" x 30" Museum of Art, The Pennsylvania State University 40. SPENCER, Niles Above the Excavation #2 (1949) oil on board, 12" x 16" Herbert F. Johnson Museum of Art, Cornell University 41. SPRINCHORN, Carl Daisy Fields and Clouds, Shin Pond, Maine (1950) oil on canvas, 21" x 29" Private Collection 42. SPENCER, Niles The Bay (1937) oil on canvas, 20" x 32" Herbert F. Johnson Museum of Art, Cornell University �10% " J Sculpture G?r,; c warden. THE ARTISTS PEGGY BACON (1895' 7^Vs” x 11" 1 Sculpture Garden, 'nnsylvania State University 2 (1949) eum of Art, Cornell University Born in Ridgefield, Connecticut, Bacon studied painting at the Art Students League from 1915 to 1920, under John Sloan, George Bellows, and Kenneth Hayes Miller. Self-taught as a printmaker she soon gained attention for her illustrated books. After traveling in Europe between 1920 and 1922, she returned to Woodstock, New York and a career of uninterrupted success as a painter, illustrator poet, and fiction writer. Her most famous work is a book of caricatures of famous contemporary personalities called Off With Their Heads! (1934) Aside from her caricatures and other pictures of social satire, Bacon's work typically focused upon everyday life in the city. Her style exemplifies the kind of illustration which flourished under Sloan's influence: a brisk, energetic handling; dynamic compositions, and graphic vigor. Her sure use of tensive line may also be compared to the acerbic style of the great German satirist, George Grosz. In 1975, Bacon was given a major exhibition at the National Collection of Fine Arts. Shin Pond, Maine (1950) gum of Art, Cornell University 17 �II I 18 GIFFORD BEAL (1879-1956) GEORGE BELLOWS (1882-1925) A native of New York City, Beal graduated from Princeton University before going on to the Art Students' League, where he studied painting with Robert Henri, William Merritt Chase, and Frank DuMond. He joined the League's faculty and served as its president from 1914 to 1929. Like many painters of his generation, Beal executed commissions for the Federal Arts Project of the W.P.A. in the 1930's, including the mural in the Allentown, Pennsylvania post office. Bellows came from Columbus, Ohio. He studied with Henri from 1904-1906, and became the youngest associate of the National Academy of Design in 1908. He joined the faculty of the Art Students League in 1910. He became one of the organizers of the great Armory Show, and with Prendergast, Glackens, Duchamp and others, was one of the founders of the Society of Independent Artists in 1917. His early and continued success was brought to a premature end by a fatal attack of appendicitis. Beal, like his contemporary and colleague George Bellows, produced a muscular romantic naturalism in his painting, but more often than Bellows, he found his inspiration in the rural landscape rather than the urban environment. He also produced dynamic genre subjects, such as the circus scene in this exhibition. This work employs the vibrant palette and rich surfaces of the Impressionists and Fauves, and clearly echoes Henri's straightforward and exuberant approach to the subject. Bellows was one of Henri's most faithful followers. Nevertheless, he fashioned a distinctive and powerful style. His early work was particularly fresh and exuberant, and included some of his most famous pictures, such as the prize fights and Hudson River views of the city. His style is often regarded as a paradigm of the American spirit in the early 20th century: brash, aggressive, optimistic, and indefatigable. In his last years, he turned to portraits, which were as sensitive as his earlier works were bold. Bellows' brisk, graphic style was also well-suited to the print medium, which he handled with consummate skill. PATRICK HENRY BRU A native of Virginia, Bru Henri in 1902 and 1903. He with Matisse in 1907, and d 1912, he had become intere: color experiments of Robert the Armory Show, and con European avant-garde movt evolved his unique manner the early twenties, which h( until he gave up painting in aristocratic spirit, Bruce cot disinterest in his work. He and destroyed many of his New York in 1937. He com Bruce has been rediscove by Pop artists and hard-ed^ regarded as one of the mos American artists of the earl �I rm MS °!OJ- k 4. ■ BELLOWS (1882-1925) came from Columbus, Ohio. He studied with 11904-1906, and became the youngest associate onal Academy of Design in 1908. He joined the he Art Students League in 1910. He became one nizers of the great Armory Show, and with t, Glackens, Duchamp and others, was one of rs of the Society of Independent Artists in 1917. nd continued success was brought to a end by a fatal attack of appendicitis. vas one of Henri’s most faithful followers, is, he fashioned a distinctive and powerful style, ■ork was particularly fresh and exuberant, and me of his most famous pictures, such as the and Hudson River views of the city. His style is led as a paradigm of the American spirit in the tentury: brash, aggressive, optimistic, and le. In his last years, he turned to portraits, 1 as sensitive as his earlier works were bold, isk, graphic style was also well-suited to the tm, which he handled with consummate skill. / A native of Virginia, Bruce studied in New York under Henri in 1902 and 1903. He went to Paris, where he studied with Matisse in 1907, and developed a Fauve-like style. By 1912. he had become interested in the more systematic color experiments of Robert Delaunay. Bruce exhibited in the Armory Show, and continued to be involved with European avant-garde movements during the war years. He evolved his unique manner of geometric still-life painting in the early twenties, which he refined over the next decade until he gave up painting in 1932. A man of sensitive and aristocratic spirit, Bruce could not accept the public disinterest in his work. He became increasingly withdrawn, and destroyed many of his paintings before returning to -\ew York in 1937. He committed suicide shortly afterward. Bruce has been rediscovered in recent years, particularly by Pop artists and hard-edge painters, and he is now regarded as one of the most important and original American artists of the early 20th century. r 8. 6. PATRICK HENRY BRUCE (1881-1937) O ALEXANDER CALDER (1899-1976) The son and grandson of eminent American sculptors, Calder came to his pursuit naturally. Born in Lawnton, Pennsylvania, he studied mechanical engineering at Stevens Institute before entering the Art Students League in 1923. There, he studied painting with Sloan until 1925. The following year, he went to Europe and began working in sculpture, initially doing small improvisations in wire and wood. His contact with the non-objective painter Mondrian in 1930 spurred his exploration of abstract form. In 1931, with his creation of the mobile, Calder became the first American sculptor to stand among the world's foremost artistic innovators. One of the earliest kinetic sculptures, the mobile employed space and natural air movements, as well as boldly colored organic shapes. Calder's lyrical and playful mobiles and non-moving stabiles have become distinctive monuments throughout the world, amalgams of industrial technology and human poetry. Always an experimenter, Calder worked in all media. His prints echoed the forms of his sculptures, but took on an even greater sense of surrealist spontaneity. 19 �GLENN COLEMAN (1887-1932) ANDREW DASBURG (1887-1979) An Ohioan, Coleman arrived in New York City in 1905. He became a student of Henri, and remained one of the staunchest preservers of the Ash-Can style during the twenties. Like his predecessors in that style, he sought out the picturesque comers of the metropolis, and depicted them with straightforward naturalism. Though he lacked the bravura and vigor of a Sloan or a Bellows in these early works, he created honest, well-crafted pictures which revealed something of the tone of city life of that decade. Toward the end of his life and under the influence of Cubism, Coleman began to transmute his urban scenes into monumental stylizations of the city's architecture. The more personal vision was, unfortunately, cut short by his early death. Dasburg was born in Paris, but his family moved to New York in 1892. He studied at the Art Students League under Robert Henri, as well as under Kenyon Cox and Frank DuMond. From 1909 to 1911, he resided in the city of his birth, where he came under the influence of the Cubists. He exhibited Cubist paintings in the Armory Show of 1913, and Synchromist works (see: Russell) in the Forum Exhibition of 1916. After these early major appearances, he rarely exhibited again, and eventually left New York to take up residence in Taos, New Mexico. A sensitive and unaggressive man, Coleman received only sporadic public attention during his life. His friend Stuart Davis regarded him as one of the most gifted and unsung American artists of the twenties. 20 Although an early American participant in avant-garde movements of Europe, and highly regarded by the Modernists of his generation, Dasburg fell into relative obscurity until the late fifties. At that time, retrospectives of his work were held at the Dallas Museum (1957) and the American Federation of Arts (1959), and just before his death, Van Deren Coke completed a monograph on his life li e and art. i STUART DAVIS (1894-1964) GUY PEN Son of the art editor of the Philadelphia Press Davis was early associated with his fathers' co-workers, (and, later, members of The Eight), Sloan, Luks, Glackens and Shinn. He left school at 16, and went to New York to study with Henri. Between 1913 and 1916, he worked chiefly as an illustrator for The Masses and Harper's Weekly. His taste for the more avant-garde styles of the day developed out of the Armory Show, and soon led him to a front-line position in the American vanguard. His liberal sympathies brought him editorship of the Art Front, a publication of the Artists' Union, in 1935. Bom in b Chase, DuN painter, du with a serie self-indulgei mixture of < decadent m compatible Davis created one of the most original variants on Cubism, one which has been called characteristically American in its bold simplicity, brash color, and pre-Pop imagery. His fondness for jazz combined with his enjoyment of the urban pace to produce the highly staccato pictorical structure found in much of his work. His W.P.A. murals, such as the famous one in Radio City Music Hall, e ped to broaden his reputation, but even without these, avis would stand among the major painters of the entieth century. His late works brought him close to a paint^er ®enerat'on P°P, Hard-Edge, and Color-Field Of Frencl in France, \ and traditic style and c< mellowed a remained d and worke< and jouma His repu ambiguous work this s perspectivf �I ■ r W&i J? r t f ~ iI 7, 12. moved to New s League under and Frank the city of his the Cubists. He ow of 1913, Forum ppearances, he ew York to i avant-garde ?y the to relative •etrospectives (1957) and the before his aph on his life hfe 15. STUART DAVIS (1894-1964) GUY PENE DU BOIS (1884-1958) Son of the art editor of the Philadelphia Press Davis was early associated with his fathers' co-workers, (and, later, members of The Eight), Sloan, Luks. Glackens and Shinn. He left school at 16, and went to New York to study with Henri. Between 1913 and 1916, he worked chiefly as an illustrator for The Masses and Harper s Weekly. His taste for the more avant-garde styles of the dayT developed out of the Armory Show, and soon led him to a front-line position in the American vanguard. His liberal sympathies brought him editorship of the Art Front, a publication of the Artists’ Union, in 1935. Born in New York City, du Bois studied under Henri, Chase, DuMond, and Miller. An uneven and intermittant painter, du Bois reached his artistic peak in the twenties with a series of satirical paintings aimed at the self-indulgent lifestyle of the wealthy bourgeoisie. An odd mixture of classical simplicity. Art Deco stylization, and decadent mood gave his art a "Weimar" atmosphere guite compatible with that era. Davis created one of the most original variants on Cubism, one which has been called characteristically American in its bold simplicity, brash color, and pre-Pop imagery. His fondness for jazz combined with his enjoyment of the urban pace to produce the highly staccato pictorical structure found in much of his vzork. His W.P.A. murals, such as the famous one in Radio City Music Hall, helped to broaden his reputation, but even without these, Davis would stand among the major painters of the twentieth century. His late works brought him close to a younger generation of Pop, Hard-Edge, and Color-Field painters. Of French extraction, du Bois spent the years 1924-1930 in France, where he took a deep interest in French culture and tradition. He was especially fond of the monumental style and caricature of Daumier. In the 1930s du Bois' style mellowed and the satire waned, but his art always remained distinctive. He was also a prolific writer on art, and worked as an art critic for several major newspapers and journals. His reputation over the past few decades has been ambiguous, but the Corcoran Museum's retrospective of his work this spring will undoubtedly provide us with a fresh perspective of du Bois and his place in American art. 21 �>1 \ ! PHILIP EVERGOOD (1901-1973) ARNOLD FRIEDMAN (1874-1946) Evergood was born in New York City, and studied at the Art Students League under George Luks in 1923. He had already taken a diploma in drawing from London's Slade School of Art, but Luks urged him to become a painter. An admirer of Sloan's work, Evergood became a close friend of Sloan, who spurred his interest in human themes. During the Depression, he concentrated on social and political subjects, and was involved in several artists' activist groups, such as the Artist's Union. During the period of the W.P.A. art projects, Evergood was supervisor of the easel painting division for New York. Born into a poor immigrant family in New York City, Friedman started work at an early age, and, reminded of the poverty of his youth, remained employed by the postal service until his retirement in 1933. He began his art studies in 1905 at the Art Students League, under Henri who aroused his enthusiasm for painting. He got to Paris for several months in 1908, where he took a strong interest in Seurat's divisionist color techniques. Following the Armory Show, he began to work abstractly, in a style close to Russell's Synchromism. Later in his career, he turned to more personal and spiritual themes, and became increasingly experimentive with the painting medium, so much so that his style shows considerable variation over the years. A difficult painter to classify, Evergood used elements of expressionism, surrealism, and cubism as the theme demanded. But his use of these elements was never academic. It was part of his ceaseless search for the appropriate impassioned image. Beneath the modernist veneer, one often felt the presence of the folklore and mysticism of his Russian heritage. Lee Gatch grew at the Maryland In was a visiting prof Kroll, and, in Paris Gatch was strongly Cubism, but his w< Friedman's commitment to abstraction was never total, and he returned to a figurative mode by 1920. Although he had joined with colleagues such as Bellows, Hopper, and Coleman in early progressive art activities, he became increasingly isolated in the twenties. His full-time postal job expressionistic com style. He develops attachment to natu and textures into h ^d-iston; left little time for painting and professional involvements. Only after his retirement could he return to a steady t935' he lived a ra medhl§hly methodi regimen of painting. resDIUni Iilnited his Friedman is an interesting example of an early modernist whose great potential was mitigated by external concerns. Nevertheless, he did develop a highly personal, if major Sk Painter it Sh°Wbythe incompletely formed style. 22 LEE GATCH (1 �t J L - [ _ / £ 18. 46) n New York City, and, reminded of ployed by the postal began his art studies der Henri who e got to Paris for a strong interest in illowing the Armory a style close to ____ . 19. LEE GATCH (1902-1968) n was never total, y 1920. Although he >ws, Hopper, and ies, he became s full-time postal job ,nal involvements, n to a steady an early external srsonaL w I Lee Gatch grew up in the Baltimore area, and studied art at the Maryland Institute during the time that John Sloan was a visiting professor there. He also studied with Leon Kroll, and, in Paris, with Andre Lhote. During the thirties, Gatch was strongly influenced by Impressionism and Cubism, but his work proceeded basically upon an expressionistic course, developing into a resonant personal style. He developed an intense and almost mystical attachment to nature, and incorporated its colors, forms, and textures into his often abstract patterns. He even attached real stones to some of his later canvases. After 1935, he lived a rather reclusive life in rural New Jersey. His highly methodical and experimentive approach to the medium limited his output, but he remained a highly respected painter in the forties and fifties. He was given a major show by the Whitney Museum in 1960. rI ? 21. ADOLPH GOTTLIEB (1903-1974) A native New Yorker, Gottlieb studied at the Art Students League under both Henri and Sloan. He also studied in Paris, Berlin, and Munich during the 1920s. His development as an artist largely paralleled the major trends of his day. In the thirties his work dealt with the American scene and social realism. By 1940, he was immersed in a more personal magic realism, akin to surrealism. During the forties, this personal approach developed into a symbolic and atavistic pictography, not unlike Miro's in concept, but quite unique in style. Gottlieb gradually simplified his pictographic imagery into the spare, but explosive "Burst" paintings of the fifties. These pictures, contrasting a chaotic form with an holistic one, became his trademark, and took their place among the most vital and individual statements of the Abstract Expressionists. Indeed, his style stood between the florid spontaneity of Pollock and DeKooning and the austere colorism of Rothko and Newman. 23 �I !! I EDWARD H WILLIAM GROPPER (1897-1977) JOSEPH HIRSCH (1910- Gropper was the son of a poor New York garment worker. He dropped out of school in order to help support the family, but his intense interest and aptitude in art led him to take courses at the Ferrer School in 1912-13, where he studied under Henri and Bellows. In 1919, he became a political cartoonist for the New York Tribune and remained active as a cartoonist through the twenties. He began serious painting in 1921. At 71, the last-bom painter in the exhibition, Hirsch continues to work in the realist tradition of his mantor George Luks. Born in Philadelphia he received his first art training at the Pennsylvania Museum School before moving on to New York City and Luks' school. Cropper's outspoken support of radical social reforms brought him an invitation from writers Theodore Dreiser and Sinclair Lewis to accompany them on their tour of Russia in 1927. Social and political themes in an expressionistic style, reminiscent of Daumier and George Grosz, dominated his work in the thirties, and made him one of the most abrasive and effective pictorial satirists of the day. The Senate, the lithograph shown here, is typical of this style. 24 Hirsch's great facility won him critical attention very early in his student years, and his career has flourished without interruption since then. Although his realism is readily accessible to a wide public, Hirsch typically endows it with a subtle strangeness bordering on the surreal. His subjects cover a broad range, but invariably they contain humanity, either in situations involving political or social issues, or in single figures or groups caught in enigmatic moods or relationships. His technique as a realist tends to be more painterly than photographic, well within the tradition of The Eight. Hirsch is also well known for his drawings and prints. Bom in Nya< at the New Yor visit to Paris, h as a graphic art came slowly, b solid reputatior Modem Art me Although alii movement. Ho] themes and ima identical in mo< Almost always, waiting, within and structure g ®°numentality ^d’tionalists S ehisd^th, Respective of encored He ^1*2 �Hhe exhibition, Hinsch tradition of his mantor Ihia he received his first art Useum School before moving I school. In critical attention very pis career has flourished I Although his realism is lie, Hirsch typically endows Bering on the surreal. His lit invariably they contain Ivolving political or social pups caught in enigmatic Inique as a realist tends to Lphic, well within the | also well known for his EDWARD HOPPER (1882-1967) Bom in Nyack, New York. Hopper studied under Henri at the New York School of Art from 1900 to 1906. After a visit to Paris, he returned to New York and made his living as a graphic artist between 1915 and 1923. Recognition came slowly, but by the early thirties, he had achieved a solid reputation as a painter. In 1933, the Museum of Modem Art mounted his first retrospective. Although allied with the American Scene (or Regionalist) movement. Hopper's paintings transcended specific regional themes and images. His deserted rural roadsides were identical in mood and style to his deserted urban hotels. Almost always, they involved a spirit of solitude and waiting, within a simple place. A strong sense of pattern and structure gave his austere realism an almost abstract monumentality which appealed to modernists as well as traditionalists. Hopper's reputation has continued to grow since his death, and the Whitney Museum's major retrospective of 1980 (now traveling to Europe)* has only imderscored Hopper's position as one of America's most important and revered artists. ROCKWELL KENT (1882-1971) Kent was born in Tarrytown, New York. He studied with Henri, as well as with Chase, Miller, and Thayer. He is better known as an illustrator and printmaker than as a painter, and is particularly revered for his wood engravings. Despite occasional flirtations with modernist styles, he remained throughout most of his career a conservative artist, a preserver of heroic romanticism as manifested in the ruggedness and grandeur of the American landscape. His best work was bold and direct in concept, clean and spare in design. His lesser work always maintained an appealing decorativeness, often reminiscent of Art Deco design. Kent was an avid supporter of radical social and political movements (he was awarded the Lenin Peace Prize in Moscow in 1967), and used his art to communicate readily understood images of noble humanity and epic nature. His utopian vision remained curiously detached from the nitty-gritty spirit of the Ash-Can school, however. Because of the comprehensiveness of the Whitney show, we were unable to obtain a characteristic painting by Hopper. 25 �REGINALD MARSH (1898-1954) GEORGE L. K. MORRIS (1905-1975) BARNETT NEWN Marsh was born in Paris of American parents and grew up in New Jersey. As art editor of the Yale Record, then staff artist for Vanity Fair and the New 'York Daily News, Marsh had developed a pungent naturalistic style even before he entered the Art Students League in 1926 to study with Sloan, Luks, and Miller. A native of New York City, Morris attended Yale University before entering the Art Students League, where he worked under Sloan and Miller. His radical artistic spirit took him to Paris for further study with Leger and Ozenfant, as well as an intimate association with the continental avant-garde of the thirties. He edited two important modernist art journals in Paris, The Miscellany (1929-31) and Plastique (1937-39). With the outbreak of World War II, he returned to America permanently, and joined the faculty of the League in 1943-44. Newman, like G.Lj City in 1905 and stud he attended from 192 Newman's immediate! mainstream. He work from 1927 to 1937, aJ school before he turn! Marsh's concern for the common man, which also revealed itself in radical political sympathies, was manifested in an art filled with images of the working classes and their urban environment. Street scenes, subway cars, and Coney Island crowds were typical themes. He was a fine and facile draftsman and printmaker, and, in painting, he preferred tempera and watercolor, which suited small-scale illustration and spontaneity. His stylized and animated realism became readily identifiable, and made him an urban counterpart to the rural regionalist painters. Marsh stands as one of the most prolific and bouyant interpreters of American life in the twenties and thirties. Although Morris himself was not among the major artistic innovators of his day, he was an important spokesman and catalyst for the modernist cause, and played a significant role in America's assimilation of European trends prior to the war. He was one of the founders of the American Abstract Artists in 1936, (and its president from 1948 to 1950), in which capacity he helpe prepare the ground for the revolutionary developments in American art which followed the war. Under the influence with "automatic" drai "cosmic landscapes" 1 first Abstract Express Motherwell, and sooi spokesmen. His austa began in 1948, and J such as the creation. | large, spare, and flat Color-Field and Mini! seventies. 1 �R 7 4 1975) BARNETT NEWMAN (1905-1970) attended Yale ents League, where radical artistic spirit h Leger and ation with the He edited two -is, The Miscellany ( the outbreak of Newman, like G.L.K. Morris, was bom in New York City in 1905 and studied under Sloan at the League, which he attended from 1922 to 1927. But, unlike Morris, Newman's immediate course was not into the avant-garde mainstream. He worked in his father's garment business from 1927 to 1937, and occasionally taught art in high school before he turned to a full-time career as an artist. permanently, ana 1-44. iong the major n imp°rtant , flst cause, and ^ilati°fnt°he vaS (<S iStS1ancityhehelped capacl y ents ry develops I Under the influence of Surrealism, Newman experimented with "automatic" drawings in 1944, and began a series of "ccsmic landscapes" in 1945. He became associated with the first Abstract Expressionists, such as Gottlieb, Rothko, and Motherwell, and soon became one of their most articulate spokesmen. His austere and mystical "stripe" paintings began in 1948, and were founded upon spiritual themes such as the creation. Newman's canvases grew increasingly large, spare, and flat, and profoundly influenced the Color-Field and Minimalist painters of the sixties and seventies. Man Ray studied architecture and engineering in his native Philadelphia before devoting himself to art. He was a student of Henri, and by 1911 already showed an interest in the more radical trends of the day. After the Armory Show, he began working in a Cubist and Futurist manner. In 1915, he met Marcel Duchamp and became part of that artist's inner circle, along with Francis Picabia, the collector Walter Arensburg, and the photographer-dealer, Alfred Stieglitz. In this company, Ray became one of the premier practitioners of Dada, that radical international movement spawned by World War I and given over to ridicule of all conventionality. His wit and irony, blended with great inventiveness, gave Ray's art its variously humorous, outrageous, and enigmatic character. He worked in all media, and became especially famous for his rayographs (images of objects exposed directly on film without a camera) and his Dada objects. Except for the 1940s, Ray has spent most of his career in Paris, and has taken his place among the major modernists. With his friend Duchamp, Ray has been an important progenitor of recent neo-Dada and Conceptual art. 27 �yi jl hi I i I. 36. MORGAN RUSSELL (1886-1953) Russell was born in New York, and studied with Henri before going to Paris in 1909. There he came under the influence of Matisse, the Cubists, and the Futurists. In 1913, with his fellow American Stanton Macdonald-Wright, he founded the movement called Synchromism, which was based upon the dynamic use of color in abstract compositions. This movement paralleled the contemporary colorism of the French painter Delaunay, but remained entirely distinctive. Russell thus became one of the first Americans to make a significant contribution to modern art at the international level. He brought his synchromist work to America for the Forum Exhibition of 1916, but its influence here was only modest. I Like many other radical artists of his generation, including Picasso and Matisse, Russell returned to a figurative style in the twenties. The two works in the exhibition show his avant-garde style of the teens (represented by one of his small works of that period) and his more traditional manner of the twenties. II I 28 DAVID SMITH (1906-1965) Smith was a native of Decatur, Indiana, and attended colleges in the mid-west and Washington, D.C. before moving to New York in 1926. He studied painting at the League with Sloan and with Jan Matulka, and became a close friend of Stuart Davis. After his painting became increasingly three-dimensional in character, he turned to sculpture in the early thirties. In 1933, inspired by Julio Gonzalez, he began doing welded constructions utilizing scrap iron. Cubist, Constructivist, and Surrealist influences predominated at first. Having worked as a riveter in an auto plant, Smith came naturally to the industrial "heavy metal" work which has become so influential on later sculptors. During the forties and fifties, Smith created spontaneous "drawings in space, comparable to Abstract Expressionist painting. In the late fifties, he turned to thin, vertical totems (which he also rendered in paintings, such as the one shown here). His last phase, evolving in the sixties, included his "Cubf series, dynamic clusters of metal boxes. Smith stands with Calder as one of the most important and influential sculptors of the twentieth century. I �’-1965) Jecatur, Indiana, and attended ad Washington, D.C. before 926. He studied painting at the th Jan Matulka, and became a is. After his painting became anal in character, he turned to ies. In 1933, inspired by Julio welded constructions utilizing uctivist, and Surrealist influences ’ter in an auto plant. Smith came "heavy metal" work which has iter sculptors. During the forties, pontaneous "drawings in.space, pressionist painting, n ertical totems (w 1C His last as the one/kov^?br series, “■ inds^th«S»na.»thca*r Sloan and Degas were among the major influences on Soyer, and he shared with them a strong feeling for humanity closely and spontaneously observed. His portraits and genre pictures are rendered with a simple, atmospheric realism which also embodies subtle moods and, often, dassical structures. The work in this exhibition was one of his last paintings, and reveals these aspects of his style very well. �■I • I ■ I NILES SPENCER (1893-1952) CARL SPRINCHORN (1887-1971) Spencer attended the Rhode Island School of Design in his native state before moving to New York City. At the Ferrer School, he studied with Henri and Bellows. Like Glenn Coleman, Spencer was especially fond of the architectural scene of the city, and went even farther in translating it into a Cubist image. Spencer's modernist vision was at first characterized by a static, cubist simplicity, virtually devoid of living things. Later, the blocky forms were flattened into juxtaposed planes suggestive of the austerest works of Juan Gris and Stuart Davis. These simple but carefully organized paintings took on a quiet energy and sophistication of design often lacking in the earlier works. (Both phases are exhibited here). A native of Sweden, Sprinchom came to the United States in 1903 with the intention of studying art with Robert Henri, whose reputation had become widespread. He worked with Henri until 1910, and managed that artist's school for several years. He participated in the Armory Show of 1913. In the twenties, he directed the New Gallery which promoted young American and French modernists, but for much of his life, he traveled widely in this country and abroad. Spencer was especially fascinated by industrial scenes, to which his style was well suited. He joined other American industrial painters, such as Charles Sheeler, Charles Demuth, and Ralston Crawford in this respect, as well as in his rather precisionist aesthetic. 30 Seeking inspiration in nature, Sprinchorn developed vigorous, expressionist style, well-exemplified in the work displayed here. Like his friends Marsden Hartley and Rockwell Kent, he had a special fondness for the rugged landscape and outdoor life of Maine. Boldly sketched loggers and fisherman often inhabited his dynamic and rough-hewn landscapes. Though he resided in America for most of his adult life, Sprinchom's art bears a powerful Nordic stamp. The influences of Edvard Munch, the German Expressionists, and Scandinavian legend and poetry are all apparent, but from these, Sprinchom fashioned a distinctive and vital style. �I 1 1000178354 __H1LKES_COLLEGE library II �� 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 April 12-May 14 Students of the Eight: American Masters ca.1910-ca.1960 Subject The topic of the resource Exhibition programs Creator An entity primarily responsible for making the resource Sordoni Art Gallery; Wilkes University Publisher An entity responsible for making the resource available Sordoni Art Gallery; Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1981 April 12-May 17 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Book https://omeka.wilkes.edu/omeka/files/original/60aa467af24f4e4982e47f226e420352.pdf cc85474eaffb94edbe1f9d52b7bdc820 PDF Text Text SORE 5A ND237 G35P3 1995 £'2 P R G E S : Self-Portraits �PAUL GEORGES: Self-Portraits I January 22-March 5, 1995 Catalogue Essay by Stanley I Grand t.S. h.r.LtYLidhA'7 WILKES UNIVERSITY WILKES-BARRE Pi Sordoni Art Gallery / Wilkes University / Wilkes-Barre, Pennsylvania / ^1995 �an fflljrl! ACKNOWLEDGMENTS X 4 ill ARCHIVES i 'w, I; This exhibition reflects the contributions of numerous individuals and organizations. I would like to express my gratitude to Paul and Lisette Georges; I have benefited greatly from their patience, assistance, and hospitality over the years. The same is true of Professor James M. Dennis. Yvette Georges Deeton, manager of the Paul Georges Studio, has been involved with this exhibition from its genesis; her sugges­ tions, comments, and criticisms have been invaluable. 1 also wish to thank Christopher Deeton, who framed the paintings and prepared them for shipment; Ken Showell for photographing the paintings; Arthur Mones for the photograph of Paul Georges; and William O’Reilly of Salander-O’Reilly Galleries, Inc., for arranging the transportation of the paintings. All the paintings in the exhibition are courtesy of SalanderO’Reilly Galleries, Inc., New York City. John Beck designed the catalogue, whit li wa, primed by Llewellyn & McKanc, Inc., Wilkes-Barre, Pennsylvania. Major support for this publication came front the Richard A Flonheim Art Fund. Their early and generou, a-si made this project possible. This exhibition and publication arc ,upp->rtd b. _■ grant from the Commonwealth of Pennsylvania Cour,.:i -:i ti/r A",. “Paul Georges: Self Portraits” exemplifies the .pirit i/the Sordoni Art Gallery’s “Contemporary Masters” exhiiu’ivn' I’i.e.e one-person, mini-retrospectives of older art:,:, fo u on a particu­ lar theme or aspect of a life long commitment to making ar:. Despite the vagaries of critical and popular support, the : artist. have persisted in following their own visions. The', have remained productive during lean times. They have created an impressive body of work. They have earned the respect of their fellow artist- Paul Georges is one of them. -S1 G [ J ■Lt | ft 1 ' c I? T J VW kt Paul Georges, New York City, December 12,1994 �I I.k designed the catalogue, which was printed by IcKane, Inc., Wilkes-Barre, Pennsylvania. pport for this publication came from the Richard A. Fund. Their early and generous assistance made this le. This exhibition and publication are supported by a Commonwealth of Pennsylvania Council on the Ans. oiges: Self Portraits” exemplifies the spirit of the Gallery’s “Contemporary Masters” exhibitions. These ini-retrospectives of older artists focus on a particuspect of a life-long commitment to making art. garies of critical and popular support, these artists in following their own visions. They have remained ring lean times. They have created an impressive body have earned the respect of their fellow artists. Paul : of them. —S I G Paul Georges, New York City, December 12,1994 c. �PAUL GEORGES : Self-Portraits Stanley I Grand TTn a 1969 interview, Paul Georges recalled that a close encounter I with death during World War II freed him to become an JL artist.1 Surviving an enemy attack that left many of his friends and comrades dead and realizing that he too “should have been killed,” Georges “just assumed from then on I was free but I didn’t know how to act on that basis, I didn’t know how to act as a free man.”2 After his discharge from the Army, Georges acted on his battlefront epiphany by becoming a painter. Becoming an artist required that he discover his own means of expression. The “Triumph of American Painting,” as Irving Sandler called the success of the original New York School painters, was a mixed blessing for younger artists like Georges who began showing in the mid-1950s. Georges has observed that Abstract Expressionism for me represented freedom in the early 50s and those early painters were heroes, but it seemed complete to me so I had to change. Those painters who continued in that style seemed like false painters? Now seventy-one years old, Georges has been painting self­ portraits since the 1940s. Looking at the works in this exhibition, which span five decades, one , „is .struck . cby- Georges - ’ inventiveness: he refuses to adopt a narrow (■'••• efimtion of the self-portrait. Instead, his self-portraits freely incorporate and combine narrative, landscape, > interior, still-life, portraiture, and allegorical elements to produce paint­ ings that transcend mere likeness. As Carter Ratcliff noted in 1983: The ease with which Georges moves across boundaries, the apparent insouciance with which he leaps from category to category, has taken on, over the years, an additional weight of meaning. The very' nature of his art, the wide reach of his style, begins to look like an allegory of the freedom a painter is able to claim if only the will to do so is present.’ Georges’ initial experiments with a modernist vocabulary are reflected in Self-Portrait, c. 1946-47 (Figure 1) and Untitled (Artist with Palette and Brush), c. 1949 (Figure 2). In Self-Portrait Georges, who studied with Hans Hofmann in 1947, uses a “push and pull” of colors to establish the picture plane. Painted in Paris while Georges was a student at the Atelier Fernand Leger, Untitled (Artist with Palette and Brush) shows the artist in a shallow, flattened space. The face, which combines three-quarter and frontal views, is clearly indebted to Picasso. Color plays a minimal role; indeed the linear quality of the work is more akin to drawing than to painting. Despite the Cubist style, which minimizes the likeness of the person portrayed, the prominent bulbous nose clearly belongs to Georges and allows us to see the painting as a self-portrait. In 1952, Georges and his wife Lisette, the daughter ofphotographer Erwin Blumenfeld, left Paris for New York City, where they rented an apartment on 8th Street, in the heart of the art world. He was twenty-nine years old. In New York, Georges experimented with a number of differ­ ent styles as he replaced his Cubist with a more plastic manner. Early critics including Frank O’Hara (1954) and Parker Tyler (1955), who noted his “protean way of painting,” commented on his ability to work simultaneously in several different styles? Reviewing an early solo exhibition, Laverne George (1955) obser that “The surprising thing about this range of period styles is tha however much on first glance one would think he’d stumbled on group show, after a while a single personality can be felt behind I uninhibited diversity.”6 Recalling these early years, Georges wrote as follows: I did not search for a style, that is why my paintings were, and are, so disparate. I wanted to be able to speak in the language of painting. In order to do so, I had to accept painting’s limitations, which are also, as Georges Braque said, its strengths. Accepting the limitations of painting allows me to be free? Georges’ maturation as an artist coincided with a profound change in his personal life. The war and subsequent art training had extended his apprenticeship well beyond early adulthood. He and Lisette had put off starting a family, but within weeks of his thirtieth birthday in 1953, Lisette became pregnant. Seeing in his wife’s fecund form a new ideal of feminine beauty, Georges paint what he has called his first “realistic” painting: Pregnant Lisette, 1'. (not in exhibition). Georges quickly and dramatically explored th potential of his new realist style in Self-Portrait Green, 1955 (Figure 3). Self-Portrait Green signals Georges’ new freedom to step beyo the limitations of a single style and to draw inspiration from the greater tradition of Western painting. Georges’ “return to tradi­ tion,” however, reflected his assimilation of Abstract Expression­ ism. As Fairfield Porter wrote in 1961: For all of its peculiarity, “American-type” painting contains within itsel just as Impressionism did, a sort of assimilation of tradition. This assim tion of tradition comes about through a reaction with the deepest, most inexpressible force of tradition, and it creates a new artistic capital. In st an artistic capital a significant conservative “return to tradition” can oct �kails cross boundaries, the apparent category to category, has taken on, f meaning. The very nature of his art, ook like an allegory of the freedom a 1 to do so is present.4 with a modernist vocabulary are ' (Figure 1) and Untitled (Artist gure 2). In Self-Portrait Geoiges, in 1947, uses a “push and pull” >lane. Painted in Paris while er Fernand Leger, Untitled (Artist irtist in a shallow, flattened space, uarter and frontal views, is clearly minimal role; indeed the linear o drawing than to painting, inimizes the likeness of the bulbous nose clearly belongs to minting as a self-portrait. e Lisette, the daughter of photogis for New York City, where they , in the heart of the art world. He mented with a number of dififert with a more plastic manner. Early critics including Frank O’Hara (1954) and Parker Tyler (1955), who noted his “protean way of painting,” commented on his ability to work simultaneously in several different styles.5 Reviewing an early solo exhibition, Laverne George (1955) observed that “The surprising thing about this range of period styles is that however much on first glance one would think he’d stumbled on a group show, after a while a single personality can be felt behind the uninhibited diversity.”6 Recalling these early years, Georges wrote as follows: Georges’ paintings represent such a return. But tradition is available to him, here in New York, because it was first assimilated by the New York School, and the form in which it is available is characteristic of this abstract school.8 In Self-Portrait Green, the artist contemplates a canvas. The “tough guy” pose, with the thumb of the left hand hooked over the belt, contrasts with the sensitivity of the face. Although the front of the painting that he studies is not visible to the viewer, one can infer from the notation “TOP” on the stretcher that the work is I did not search for a style, that is why my paintings were, and are, so either non-objective or that the stretcher once held a non-objective disparate. I wanted to be able to speak in the language of painting. In painting. The back of the canvas and its placement in the composi­ order to do so, I had to accept painting’s limitations, which are also, as tion recall such well-known works as Velazquez’s Las Mininas Geoiges Braque said, its strengths. Accepting the limitations of painting (1656), Goya’s Self-Portrait Painting in the Studio (1785) and The allows me to be free.7 Family of Charles IV, with Goya Painting Them (1800-01), or Cezanne’s Georges’ maturation as an artist coincided with a profound Self-Portrait with Palette and Easel (c. 1885-87). The dark tonalities change in his personal life. The war and subsequent art training and loose expressive brushwork also recall Velazquez and Goya, had extended his apprenticeship well beyond early adulthood. He while the lighting, which comes from the upper left, evokes Rem­ and Lisette had put off starting a family, but within weeks of his brandt’s divine light. thirtieth birthday in 1953, Lisette became pregnant. Seeing in his Reflecting an unmistakably modern sensibility, however, wife’s fecund form a new ideal of feminine beauty, Georges painted Geoiges flattened the picture in several ways. He turned the stretcher what he has called his first “realistic” painting: Pregnant Lisette, 1954 almost parallel to the picture plane to create a shallow space and counter any tendency to perspectival recession. His painterly (not in exhibition). Georges quickly and dramatically explored the technique, which blurs figure-ground relationships, further flattens potential of his new realist style in Self-Portrait Green, 1955 (Figure 3). Self-Portrait Green signals Georges’ new freedom to step beyond the picture. Finally, he uses letters and words to emphasize the surface, as in the Synthetic Cubism of Picasso and Braque. the limitations of a single style and to draw inspiration from the The words, however, should not be read solely as a formal greater tradition of Western painting. Georges’ “return to tradi­ device. The inclusion of the artist’s name, home address (231 East tion,” however, reflected his assimilation of Abstract Expression­ 11th Street in New York), and hanging notation indicate that the ism. As Fairfield Porter wrote in 1961: painter is an active member of the New York art community whose works are included in contemporary exhibitions. Indeed, Georges For all of its peculiarity, “American-type” painting contains within itself, had begun to receive confirmation of his status as an artist. Clem­ just as Impressionism did, a sort of assimilation of tradition. This assimila­ ent Greenberg, for example, had included him in “Emerging tion of tradition comes about through a reaction with the deepest, most inexpressible force of tradition, and it creates a new artistic capital. In such Talent,” an important group exhibition at the Kootz Gallery in “significant1 consemuv7“return to tradition” can occur. January 1954, and the Hansa Gallery had scheduled his first onean artistic capital a < „ �man exhibition in New York for November. Althoug h tion never took place-Georges removed his pain mgs fro gallery prior to the opening-Frank O’Hara saw them an , cally gave Georges’ non-exhibition a favorable review In the years following the abortive Hansa Gafiery experie ’ Georges continued to refine his naturalistic style. Like Cour e The Painter’s Studio: A RealAllegoiy Summing up Seven Years oj My Life as an Artist (1854-55), with which it shares many similarities, Georges’ Artist, Lisette and Paulette in Studio, 1956 (Figure 4) is a reallife allegory that summarizes a stage in his aesthetic development. One of his largest paintings to date, Artist, Lisette and Paulette shows a new confidence and^rawto. Georges has divided the composition into three quasi-equal parts that represent the artist­ creator, the work of art, and the artist’s inspiration. Much as the overall warm tonality (obtained by using a Maroger medium) unifies the work, the tripartite composition proclaims the unity of his life and art and the equivalence of the generative and imaginative. On the left stands Paulette, Georges’ two-year-old daughter, whose name is the diminutive and feminine version of his own. She raises her left hand to her mouth; her right hand rests lightly on her father’s arm. This touch, combined with a continuous, encompassing contour line that flows from Georges’ head and shoulder links her unmistakably to her father. Fie is her creator just as he is about to create a work of art. Georges himself is seated. His right hand, holding a piece of charcoal, makes the transition from the left to the composition’s center. The painting portrays the moment before creation, before he begins to draw, in order to emphasize the mental over the manual activity. Paulette’s reflexive gesture of surprise pays witness to the miracle in progress. The isolated placement of the artist’s hand just above the center of the canvas underscores that the miracle can become tangible only through the intercession of the artist. On the right, Lisette, nude, sits on an elevated platform covered with drapery that cascades from the corner above her head. Mother of his child and muse to his art, she rests her crossedl ■ on a box or crate as she looks at her husband and child. pIc.£ a modicum of modesty, a light cloth crosses one thigh. Lis^f nudity contrasts with the geometric forms of the easel and dra^:paper and suggests the familiar nature-culture, sensual-inteUectv-: dichotomy. In 1956, the year preceding the completion of/frw, Paulette, Georges published “A Painter Looks at a) the Nude,b) Corot” in which he discussed the difficulties in painting a nude Devious means are required to render her il one wants to show j nuk truly. She must be free in space, she must belong to it, she must relate to it. If one thinks of her as an objec t all is lost, il one does not thin! of l>s as an object all is lost. There is the same contradiction in paintingo!,:. kind as there is in woman herself. If one paints the relations one dotsr i have the essence, and if one paints the thing the essence eludes you.’1 Georges’ insistence that the nude must be both “free in spits' and “must belong to it” became his major formal concern. Ht wanted neither to create “allover” Abstract Expressionist space, in which the figure-ground relationship blurred, nor traditional paintings, in which the figure and ground were clearly distinct an' separate. Rather he wanted to combine both movement and fom in an ambiguous, constantly changing “orbital" relationship. In orbital space, the forms circle around each other like satellites in constantly changing trajectories; the relationship between forms remains ambiguous, open and “capable of charge depending on how you see it.”11 Orbital space is the opposite or perspectival space, which locates forms in rational, measurable. s»tic> and closed pictorial relationships. Self-Portrait, 1959 (Figure 5), which was shown in his l’j portrait exhibition at the Great Jones Gallery, demonstrate! — space. Here the artist, holding a brush, sits on a bentwood co­ Using a loaded brush and painting wet-into-wet in the manner, Georges subordinates details to create a more genei^, ’;5p.- „i r t >■rather than individualized, self-portrait. Georges’ express- work and the monochromatic palette create an . relationship that integrates the figure into the o one is uncertain where the figure ends and the g neither figure nor ground loses its identity. For Georges, grappling with the contradict picture surface and the picture plane, between si between finite form and expressive movement I just the classic formal problem of modernism.' dictions that he encountered in attempting to c echoed the difficulties inherent in trying to live In the early 1960s, Georges made the trans value painting to color. This change is dramatn compares Standing Self-Portrait tn Studio, 1959 ( Self-Portrait, 1962-63 (Figure 7), One notes furl learned to animate his figure in the latter comp contrapposto and by imparting a sense of mon artjst suddenly looks up.' As Georges perfected his formal skills, he preoccupied with the question: “Formal for what?” I say to myself. ... It seems to : to be formal, is to say something. If you have noth) we got where we are.”12 In Georges’ mind formal innovation had, replaced content: Ail the “isms” of the 20th century—Futurism, Absti as well as Pop and Op An fare) rea]]y about prwei, k,™-™ m,. — .i,.-, i,.—__inalienator ­ become the ends.... m When this happens There has to be some urgent need.... I think none were trying to speak about our needs. That’s what until about a hundred jo years ago?’ �■ Mother of his child and muse to his art, she rests her crossed le on a box or crate as she looks at her husband and child. Provmf a modicum of modesty, a light cloth crosses one thigh. Lisette’s"8 nuditv contrasts with the geometric forms of the easel a nd drawin paper’and suggests the familiar nature-culture, sensual-intellectUal8 dichotomy. In 1956, the year preceding the completion ofArtist, Lisette and Parity Georges published “A Painter Looks at a) the Nude, b) 1- Corot” in which he discussed the difficulties in painting a nude: Devious means are required to render her if one wants to show a nude truly. She must be free in space, she must belong to it, she must relate to it If one thinks of her as an object all is lost, if one does not think of her as an object all is lost There is the same contradiction in painting of this kind as there is in woman herself. It one paints the relations one does not ha® the essence, and if one paints the thing the essence eludes you.10 Georges’ insistence that the nude must be both “free in space” and “must belong to it” became his major formal concern. He wanted neither to create “allover” Abstract Expressionist space, in which the figure-ground relationship blurred, nor traditional paintings, in which the figure and ground were clearly- distinct and separate. Rather he wanted to combine both movement and form tn an ambiguous, constantly changing “orbital” relationship. In orbital space, the forms circle around each other like satellites in constandy changing trajectories; the relationship between forms remains ambiguous, open and “capable of change depending on. how you see it”i! Orbital space is the opposite of perspectival space, which locates forms in rational, measurable, static, and closed pictorial relationships. his 1960 self Self-Portrait, 1959 (Figure 5), which was shown in --------. ­ Gallery, demonstrates orbita orbital portrait exhibition at the Great Jones Gallery', space. Here the artist, holding a brush, sits on a bentwood chair. Using a loaded brush and painting wet-into-wet in the Venetian manner, Georges subordinates details to create a more generalize , rather than individualized, self-portrait. Georges’ expressive brus - work and the monochromatic palette create an ambiguous spatial relationship that integrates the figure into the overall composition: one is uncertain where the figure ends and the ground begins, yet neither figure nor ground loses its identity. For Georges, grappling with the contradiction between the picture surface and the picture plane, between surface and depth, between finite form and expressive movement became more than just the classic formal problem of modernism. The pictorial contra­ dictions that he encountered in attempting to create free paintings echoed the difficulties inherent in trying to live as a free man. In the early 1960s, Georges made the transition from tonal or value painting to color. This change is dramatically apparent if one compares Standing Self-Portrait in Studio, 1959 (Figure 6) with Seated Self-Portrait, 1962-63 (Figure 7). One notes further how Georges has learned to animate his figure in the latter composition by means of contrapposto and by' imparting a sense of momentariness, as the artist suddenly looks up. As Georges perfected his formal skills, he became increasingly preoccupied with the question: “Formal for what?” I say to myself.... It seems to me the only reason . . to be formal, is to say something. If you have nothing to say, that’s how we got where we are.”12 In Georges’ mind formal innovation had, unfortunately, replaced content: All the “isms” of the 20th century—Futurism, Abstract Expressionism ... as well as Pop and Op Art [are] really about process.... The means have become the ends.. .. When this happens alienation and cynicism set in. There has to be some urgent need.... I think none of us are artists unless we’re trying to speak about our needs. That’s what art has been about... until about a hundred years ago.14 By the end of the 1960s, Georges felt an “urgent need” to address some of the dynamic events that characterized that turbu­ lent decade. One such painting is My Kent State, 1970-71 (Figure 10). As the American military presence in Viet Nam expanded during the 1960s, so did the domestic antiwar movement. When President Nixon ordered the invasion of Cambodia in the spring of 1970, his actions provoked widespread protests, including one at Kent State University, which ended tragically on May 4, when Ohio National Guardsmen fired on a group of students, killing four and wounding nine. Georges expressed his outrage in a number of paintings. In Aly Kent State, many figures are compressed into a shallow space, suggesting crush and panic, chaos and fright Georges himself appears in the center of the composition, kneeling and restraining his muse, who attempts to flee. The artist and muse are surrounded by National Guardsmen, clouds of tear gas, and on the ground, the foreshortened body of a dead student whose blood merges with the painted red border. The artist’s pose was appropriated or transposed from a photograph by John P. Filo that appeared in The Neto York Times on May 5, 1970. One of the best known and most powerful photographs of the 1970s, it depicts an anguished young woman kneeling beside a slain student. On the painting’s right, Georges has represented Richard Nixon and Vice President Spiro Agnew. Although NLxon turns away from the violence, his blood-covered hands emphasize his guile Georges, of course, is not unique among modern artists in responding to shocking or tragic contemporary' events. Indeed, My Kent State belongs to a long tradition of particularized protest paintings that include Goya’s Third ofMay, 1808 (1814), Gericault’s The Raft of the Medusa (1819), Manet’s The Execution ofMaximillian (1868), Ben Shahn’s The Passion ofSacco and Vanzetti (1931-32), and Picasso’s Guernica (1937). The closest parallel, however, is with Philip Evergood’s An American Tragedy (1937), which commemo­ rates a 1937 Memorial Day clash between strikers and police at the Republic Steel Company mill in Gary, Indiana. Both works are �• ’«•■ * •□■Ml responses to specific incidents. Both artists painted themselves; as participants in the events, although neither had been at the scene Both artists used news photographs in their compositions, u ous compositional similarities exist as well, most particularly the centralized man and woman, the massed agents of authority, and the placement of the dead. Finally, both use an idealized image of woman. For Evergood, woman is not only a protector of man, but also a symbol of new life amidst the chaos, repression, and death. Georges’ muse similarly represents the powers of creation, if not procreation. Afi' Kent State should not be read simply as a particularized protest. Rather, Georges viewed the killings at Kent State as a massive attack on American civic freedoms. The constitutional rights of citizens to speak freely, to assemble peacefully, to petition their government, to receive a fair trial (instead of a summary execution), and to avoid involuntary servitude (the draft) seemed to have died in a fusillade. Georges, for whom freedom is the primary value, felt that he must condemn the government repression. In addition to speaking out against political repression, Georges also challenged the prevailing critical viewpoint that considered figurative art inferior to abstract art. As part of his rebellion against a new “mainstream” orthodoxy, he vigorously sought to expand the exhibition opportunities for representational artists through his activities with the Alliance of Figurative Artists, which he helped to found in February 1969. Modeled on the Eighth-Street Club, which Geoiges had frequented in the early 1950s, the Alliance provided a Friday-evening forum where artists could present work, lecture, receive critical feedback, and partici­ pate in panel discussions. During the late 1960s and early 1970s, many of the figurative artists active in the Alliance met at the Cedar Tavern, which was once the favorite hangout of the first generation New York School artists. Georges portrayed several of the new regulars in Cedar Tavern, 1973-74 (Figure 14). Seated at the table, clockwise from the lower left corner, are Georges (wearing a grey sweater with leather elbow patches), Sam Thurston, Anthony Santuoso, and Marty Pachek. Standing between Pachek and Paul Resika (bearded and wearing a red sweater), Camille (Carmella) Nandanici serves coff= Continuing around the table are Aristodimos Kaldis (an artist Georges met in 1947), an unidentified young woman, and Jim Wilson. Behind the table, Howard Kalish and Jacob (Jack) Silberman are seated at the bar. The tiny head to the right represents Mike Berg. Anthony Siani (who along with Silberman sued Genre. for libel alleging that he had depicted them as “violent criminals’ in the Mugging of the Muse [1972-74, not in exhibition]) appears standing directly above the waitress’s tray. Interior at Walker, 1972 (Figure 11) and SelfPortrait with Cabinet, 1972-74 (Figure 13) document two domestic views. In the first, the artist embraces his,wife Lisette. Th*. ,e^n8 is the family’s loft, purchased in 1970, on Walker Street in the Tribeca area of Manhattan. The second shows the artist leaning against a china cabinet that is still to be seen in the loft’s dining area. Together these paintings celebrate, on one level, the painter’s attainment of financial security for the first time in his life. The following year, 1973, Georges turned fifty and began Fantasy About Freedom #/, 1973-76 (Figure 15). Here we see the somewhat overweight, middle-aged artist gamboling on the heath with three young women who, like the artist, have abandoned their bathing suits. This lyrical pastoral, a combination of personal daydream and art historical references, recalls Georges’ earlier paintings on the theme of the Three Graces. Georges frequently employs caricature as an essential visual device. The element of humor associated with caricature gives a droll cast to the image, prevents it from becoming excessively earnest, and in consequence, strengthens its aesthetic power. E. H. Gombrich observed that “The invention of portrait caricature presupposes the theoretical discovery of the difference between likeness and equivalence.”15 Georges understands this difference completely. By means of isolation, generalization, simplified exaggeration, caricature schematizes details and removes them the realm of the particular to the allegorical. Thus caricature changes Georges’ Fantasy from a study of the artist’s physio?150®' or character into a more generalized image of the attist libera from the restraints of propriety and decotum. Or. as Richard Brilliant has noted, the role assumed by the artist tends to “d place” rather than “define" the character of the individual. Typically, Georges’ self-portraits depict the artist in a po manner of affirmative freedom. They are not preoccupied wii analysis, introspection, or despair. Art is his weapon in rhe d< of a civilization whose primary virtue is freedom Although 1 holds these values sincerely, his use of caricature gives the co: tion an irreverent, unmistakably modern feeling. In formal terms, Fantasy is constructed to demonstrate [ rial freedom: the vast sky above the low horizon creates a lev feeling because, according to Georges, “everything above the horizon line opens up."1 (His use of a low horizon is seen it Portrait in Studio, 1982 [Figure 16] as well.) This not only cre< “architecture of openness," but also liberates the figures by si etting them against the sky.1 Similar effects are found in Rei sance and Baroque illusionist ic. ceilings. The placement of the small figure on the left, in an indi nate space, also demonstrates pictorial freedom. Georges has observed that in Bruegel’s Hunter:, in the Sn»w(l565): You see large figures on the left moving over the hill, and you see 1: figures at the bottom right. To gel to these little figures you have to down instead of up. Normally in perspective, something that’s beh something else is above it-a closer chair is lower, the further one n higher—but paintings have to resolve themselves on the wall. If yoc what is nearer up high, you < an oppose the rule at the same time a obeying it.'' By situating the smaller figure to the left and below the cavorting nudes, the artist counters any tendency toward per tival recession, as it is countered in the Bruegel. Instead ofgr °ack the eye is drawn down, underscoring the mteg Pp™^n°_“fu^acc'r. Representative of his mature self-portraits of the artist-; artist, Self-Portrait in the Studio, c. 1983 (Figure 17) portrays C ’ �ek. Standing between Pachek and Paul Resika (bearded and ing a red sweater), Camille (Carmella) Nandanici serves coffe inuing around the table are Aristodimos Kaldis (an artist e' ges met in 1947), an unidentified young woman, and Jim ,n. Behind the table, Howard Kalish and Jacob (Jack) Silberare seated at the bar. The tiny head to the right represents Berg. Anthony Siani (who along with Silberman sued Geor5, ”X« bel alleging that he had depicted them as “violent criminals” .‘Mugging of the Muse [1972-74, not in exhibition]) appears ing directly above the waitress’s tray. Interior at Walker, 1972 (Figure 11) and Self-Portrait with .’et, 1972-74 (Figure 13) document two domestic views. In the the artist embraces his wife Lisette. The setting is the family’s mrchased in 1970, on Walker Street in the Tribeca area of rattan. The second shows the artist leaning against a china et that is still to be seen in the loft’s dining area. Together paintings celebrate, on one level, the painter’s attainment of rial security for the first time in his life. The following year, 1973, Georges turned fifty and began y About Freedom #1, 1973-76 (Figure 15). Here we see the vhat overweight, middle-aged artist gamboling on the beach hree young women who, like the artist, have abandoned their ig suits. This lyrical pastoral, a combination of personal ram and art historical references, recalls Georges’ earlier ngs on the theme of the Three Graces. Georges frequently employs caricature as an essential visual . The element of humor associated with caricature gives a :ast to the image, prevents it from becoming excessively t, and in consequence, strengthens its aesthetic power. E. H. rich observed that “The invention of portrait caricature >poses the theoretical discovery of the difference between ss and equivalence.”15 Georges understands this difference etely.By means of isolation, generalization, simplification, or ration, caricature schematizes details and removes them frorn study of the artist’s physiognomy or character into a more generalized image of the artist liberated from the restraints of propriety and decorum. Or, as Richard Brilliant has noted,, the role assumed by the artist tends to “dis­ place” rather than “define” the character of the individual.16 Typically, Georges’ self-portraits depict the artist in a positive manner of affirmative freedom. They are not preoccupied with selfanalysis, introspection, or despair. Art is his weapon in the defense of a civilization whose primary virtue is freedom. Although he holds these values sincerely, his use of caricature gives t'the composition an irreverent, unmistakably modern feeling. In formal terms, Fantasy is constructed to demonstrate picto­ rial freedom: the vast sky above the low horizon creates a levitous feeling because, according to Georges, “everything above the horizon line opens up/•”17 (His use of a low horizon is seen in SelfPortrait in Studio, 1982 [Figure 16] as well.) This not only creates an “architecture of openness,” but also liberates the figures by silhou­ etting them against the sky.17 Similar effects are found in Renais­ sance and Baroque illusionistic ceilings. The placement of the small figure on the left, in an indetermi­ nate space, also demonstrates pictorial freedom. Geoiges has observed that in Bruegel’s Hunters in the Snow (1565): You see large figures on the left moving over the hill, and you see little figures at the bottom right. To get to these little figures you have to go down instead of up. Normally in perspective, something that’s behind something else is above it—a closer chair is lower, the further one is higher—but paintings have to resolve themselves on the wall. If you place what is nearer up high, you can oppose the rule at the same time as obeying it.1’ By situating the smaller figure to the left and below the cavorting nudes, the artist counters any tendency toward perspectival recession, as it is countered in the Bruegel. Instead of going back in space, the eye is drawn down, underscoring the integrity of the painting’s surface. Representative of his mature self-portraits of the artist-asres wearing clean, if casual, clothing. His brush appears to touch one of his own paintings, seen in reverse, hanging on the wall behind the artist. This action compresses and contradicts the illusion of three-dimensionality and creates a figure-ground ambiguity that serves to flatten the picture. The three smaller paintings on the wall behind the artist are reverse images of color reproductions-Balthus’ The Room (1952-54), Mantegna’s Judith and Holofemts (c. 1495), and Velazquez’s Pope Innocent X (1650)—that hang in Georges’ studio. While “true” to optical reality, the reproductions appear reversed because Georges paints his self-portraits by looking in a mirror and not from photographs. In his self-portraits, Georges consistently depicts himself in casual attire. In part this is verisimilitude: he paints in old, casual clothing (note the longevity of the sweater that appears in Standing’ Self-Portrait in Studio, 1959 (Figure 6], Seated Self-Portrait, 1962-63 [Figure 7], and Cedar Tavern, 1973-74 [Figure 14]). By refusing to adopt the sartorial trappings of the middle class (that is the busi­ ness suit), Georges emphasizes his position as an outsider, free to do what he wants, which in his case is to be an artist. Unconcerned with the conventions of dignity and decorum, he is free to paint himself naked (Figure 15), or to be what Sidney Ttllim once called him: a “sentimental vulgarian.”20 The image of the gentleman-artist that Georges emphatically rejects evolved over five centuries. Discussing Velazquez’s Las Meninas in the Prado, for example, Jonathan Brown has emphasized the work’s “transcendent social implications-the condition of painting as a liberal, noble art and thus of painters as artists entitled to enjoy the privileges of high social status.”21 Likewise in nineteenth-century' France: Henri Fantin-Latour’s well-known Portrait of Edouard Manet (by 1867) in the Art Institute of Chicago, for example, seems more a likeness of a bourgeois dandy than of a prominent member of the avant-garde. Georges readily adopts the romantic image of the bohemian artist as a schema of freedom. He expects the viewer to recognize the social convention of the bohemian artist and to understand that image’s connotations of freedom. He is not concerned with �the “originality” of the schema, but rather in its ability to convey a I16 m ln\he Studio, 1989-90 (Figure 18) shows the artist standing half of the doorway of his Normandy studio. A strong light falls on ha., his face while shadow obscures the rest. The dark, almost gloomy interior contrasts with the sunny courtyard much as the contem­ plative artist differs from the active workman outside. Although holding a brush, he is not painting. Slightly behind the artist, beneath a picture hanging on the wall, a dog waits patiently on the floor. Further back, a still life of rag, bowl, and bottles sits on a worktable. At the very rear of the studio, a ladder leans against the wall next to a large, unfinished painting. Color plays a fundamental role in this work by maintaining the integrity of the surface and, as such, reflects his early training with Hans Hofmann. Unlike those who view the picture surface as a kind of window onto the world, Hofmann saw the surface as a dynamic equilibrium of competing forces that “push and pull” against each other. In this work, the warm colors appear to push outward or advance while the cool colors recede or pull back. This equipose produces an illusion of space or depth by means of color rather than by perspective. Georges’ view of color recalls Maurice Denis’ famous dictum, at the turn of the century, that “a picture-before being a war-horse, a nude woman, or some sort of anecdote—is essentially a surface covered with colours arranged in a certain order.”22 Georges believes that color is the one thing that an artist can put on the canvas that is not “illusion.” He notes that although the painter can capture the exact hue of a sock or shirt, he can neither recreate threedimensional space nor introduce motion onto a two-dimensional surface. Consequently when perspective, value (light and dark), or movement are used to “solve” a painting, the result invariably’ looks “fake.” Georges obviously does not forbid illusion; however, he subordinates perspective to color. Red, for example, counteracts the recession of the strong diagonal orthogonals. The juxtaposition of small areas of red near the bottom of the painting with a larger on. above also creates a kind of reverse perspective. If one were to draw imaginary lines from the sandals to the top and bottom edges of the red painting in the “background,” the lines would diverge, or open up, instead of converging or closing dow n. This lateral 1. For an extensive discussion ol the issue > raised tn this tmv.sce in, movement, created by color on the surface, counterbalances lineal "Allegories of Freedom tn the Paintings of Patti Georges” (Ph i). T,. ■. University of Wisconsin-Madison. 1993). recession and illusionist ic space. Multiple vanishing points and horizon lines further exacer­ 2. Interview with Karl Fortess, October 1'9,» Archives of Amrmun Ar' bate the sense of ambiguity in the picture. Indeed it is difficult to locate the horizon. We would expect a high horizon line in a 3. Paul Georges to author, December 12, 1994. standing self-portrait like In the Studio since the horizon line 4. Carter Ratcliff, “Paul Georges,"/KAI fcwnal, Fall 1983, p 7. corresponds to the artist’s eye level. The horizon line, however, is neither constant, predictable, nor imitative of reality. 5. F.O’H. [Frank O’Hara), "Paul Georges,November 1954, P. ‘ ■ Georges also uses pastage, the technique associated with P.F. [Parker Tyler|, “Paul Geoijej,” Art New,, November 1955, p. 49. Cezanne and Analytical Cubism, to eliminate the illusion of plana6. Laverne George, “Paul Georges," Arts .Magazine, December 1955, p. 5U recession and to create spatial ambiguity. In In the Studio, aquama­ rine combines the artist’s figure and the blue painting on the wall 7. Paul Georges to author, January 3, 1995. “behind” into a single shape that simultaneously emphasizes the surface and creates Georges’ ambiguous “orbital space." 8. Fairfield Porter, “Art, George,; [he Nature of the Am ,’r. Tradition The Throughout his career, which began professionally in the late Nation, February 11. 1961, p 128. Reprinted tn Fairfield Porter An m Its Oi/n 1940s, Georges has returned again and again to the subject of the Terms: Selected Cntin.m /9.;s t'r/s, editt-: by I'm !■•,,>■.>■ Dua.u . Ci» f artist working in his studio. Picasso’s observation that “One’s work Taplinger, 1979), p. 130. is sort of a diary”25 is particularly true of Georges, 9. F.O’H., “Pau! Georges,” p. 61. NOTES I always work.... Even if I don’t like what I do, 1 don’t judge it.... 1 i“;’ do it and put it away.25 He is not plagued by self-doubt, cynicism, or nihilism as he strives to live as a free man through art. In his self-portraits, Georges asserts the primacy of the individual in a depersonalized industrial society and, further, that freedom cannot exist without individual responsibility. Never the cool, aloofflaneur observing the world go by, Georges engages and transforms his subjects h} means of a sophisticated formal vocabulary. His passionate ptetorial journal records the progress of a private man made public- 10. Paul Georges, “A Painter Looks itj)Thc Nude, b) Corot,’’ An November 1956, p. 40. 11. Ibid. L p. I1 1 Fan Nov 1 Bra Rtvt I Nr 2 I?,;; 2 (Prr 2 I-i 194 12. Paul Georges, ---------moderator-----------------of here Ar* We-----Kga.'1 .a r pare, d . --------- ---February 19,1971 at theAlhar.ce of Figurati.-.-Anr.ts. NrwYork Cny 13. Quoted in Diane Cochrane, “Pau! Georges: Tnr Object 1; the Sub American Artist, September 1974, p. 59. 14. Ibid. 2 �m of the painting with a larger on se perspective. If one were to draw to the top and bottom edges of ind,” the lines would diverge or r closing down. This lateral he surface, counterbalances lineal nd horizon lines further exacere picture. Indeed it is difficult to lect a high horizon line in a 'India since the horizon line el. The horizon line, however, is imitative of reality. i technique associated with to eliminate the illusion of planar biguity. In In the Studio, aquamand the blue painting on the wall simultaneously emphasizes the guous ‘"orbital space.” h began professionally in the late i and again to the subject of the so’s observation that “One’s work NOTES 1. For an extensive discussion of the issues raised in this essay, see my “Allegories of Freedom in the Paintings of Paul Georges” (Ph.D. dissertation, University of Wisconsin-Madison, 1993). 2. Interview with Karl Fortess, October 1969. Archives of American Art. 4. Carter Ratcliff, “Paul Georges," ACM Journal, Fall 1983, p. 7. 5. F.O'H. [Frank O’Hara], “Paul Georges,” Art News, November 1954, p. 61. P.T. [Parker Tyler], “Paul Georges,"Art News, November 1955, p. 49. 6. Laverne George, “Paul Georges,” Aris Magazine, December 1955, p. 50. 7. Paul Georges to author, January 3, 1995. 8. Fairfield Porter, “Art, Georges: The Nature of the Artistic Tradition,” The f Nation, February 11, 1961, p. 128. Reprinted in Fairfield Porter, Art in Its Own f Terms: Selected Criticism 1935-1975, edited by Rackstraw Downes (New York: flinger, 1979), p. 130. 9. F.O'H, “Paul Georges,” p. 61. I 17. Paul Georges as member of a panel, “Science Fiction, Myth and Fantasy Fantasy-Moral on the Macabre," held at the Alliance of Figurative Artist- on November 17, 1978. 18. Ibid. 19. Artist's statement in Hudson River Museum, The World Is Round (Yonkers. N.Y.: The Hudson River Museum, 1987), p. 25. Paul Georges used the same Bruegel example to explain Hofmann’s “push and pull” to Larry Rivers. (Larry Rivers with Arnold Weinstein, What Did 1 Do: The Unauthorized Autohtogr.i-h-,’ [New York: HarperCollins, 1992], pp. 79-80). 20. Sidney Tillim, “Ness- York Exhibitions: The Month in Review,". in. Magazine, January 1963, p. 42. 21. Jonathan Brown, Images and Ideas in Seventeenth Century Spanish Painting (Princeton. NJ.: Princeton University Press, 1978), p. 93. 10. Paul Georges, “A Painter Looks at a) The Nude, b) Corot," Art News, K November 1956, p. 40. lubt, cynicism, or nihilism as he gh art. In his self-portraits, e individual in a depersonalized at freedom cannot exist without he cool, aloofflaneur observing and transforms his subjects by 'ocabulary. His passionate picto f a private man made public. 16. Richard Brilliant, Portraiture (Cambridge: Harvard University Press, 1991), p. 101. 3. Paul Georges to author, December 12, 1994. true of Georges. e what I do, I don't judge it.... I just 15. E. H. Gombrich, An and Illusion: A Study in the Psychology oj Pictorial Representation (Princeton, NJ.: Princeton University Press, Bollingen Paperback. 1969), p. 342. 11. Ibid. 12. Paul Georges, moderator of “Where Are We Noss’?” a panel discussion held February 19, 1971 at the Alliance of Figurative Artists, New York City. 13. Quoted in Diane Cochrane, “Paul Georges: The Object Is the Subject, American Artist, September 1974, p. 59. 14. Ibid. 22. Maurice Denis, “Definition du Neo-traditionnisme," published in August, 1890, quoted in George Heard Hamilton, Painlmg and Sculpture in Europe I8SU1940, The Pelican History of Art (New York: Penguin Books. 1972), p. 107. 23. William Rubin, editor, Pablo Picasso: A Retrospective (New York Museum of Modern Art, 1980), p. 277. 24. Interview with Karl Fortess, October 1969. ������Self-Portrait Green, 1955 oil on linen 483/4 x 43’ /a inches ��4 Artist, Lisette and Paulette in Studio, 1956 Maroger medium on linen 75'/2x 8772 inches ��I 5 Self-Portrait, 1959 oil on linen 25 3A x 313/4 inches ���i 1 gSkir— i 1 F 4 ������> 9 Self-Portrait with Model in Studio. 1967-68 oil on linen 733/b x 81 '^inches ������Painting Self-Portrait, 1972-74 oil on linen 81 x 48 inches ����14 Cedar Tavern, 1973-74 oil on linen 573/4 x 943/4 inches �Cedar Tavern, 1973-74 oil on linen 573/4x 943/4 inches ����iu �. I �Self-Portrait in the Studio, c. 1983 oil on linen 583/c x 4O'/4 inches ������a tist in residence, Dartmouth College, Hanover, New Hampshire (S 1964 Ar ’ . • Dartmouth College, Hanover, New Hampshire. Solo exl S01° Mian Frumkin Gallery, New York (March 31-April 25). Awarded C B°ck Gold Medal at The Pennsylvania Academy of the Fine Arts “159th CHRONOLOGY 1923 Paul Gordon Georges born June 15 in Portland, Oregon,t0 E>al’y OstrOW (d. 1950, born in Russia) and Thomas Theseus Georges (1886-1977, boi>rn in Greece). 1939 Paints first painting while a student at Lincoln High School, Portland, Oregon. 1941-1942 Works at father’s laundry business in Portland, Oregon. 1942 Attends Oregon State College. 1943-1945 Drafted into the United States Army. Serves as an Infantry Radio Operator in the Pacific Theater (February 1943-December 1945). 1946 Attends University of Oregon, Eugene, Oregon. Studies with Jack Wilk­ inson, who becomes a lifelong friend and advisor. 1947 Attends Hans Hofmann School, Provincetown, Massachusetts (Summer). Meets Jane Freilicher, Robert Goodnough, Wolf Kahn, Paul Resika, and Larry Rivers. Continues studies at the University of Oregon (Fall) and receives Junior Certificate. 1949 Spends February through April in New York City. Moves to Paris and lives on Rue de la Bucherie. Exhibits in the Salon de Mais. Attends Academic de la Grande Chaumiere and then the Atelier Fernand Leger (1949-1952). Meets Lisette Blumenfeld, daughter of photographer Erwin Blumenfeld (December). 1950 Marries Lisette Blumenfeld in Cambridge, England (January 23). Moves to La Frette, a small town outside Paris, where he rents a house formerly occupied by the painter Albert Marquet. Returns to the United States (September) after his mother dies. Returns to France (December). 1952 Travels to Italy, visits Florence, Venice, Arezzo, and Ravenna. Leaves France and moves to New York City (March). Rents a loft at 41 East 8th Street (1952-54), 1954 Clement Greenberg includes Georges in “Emerging Talent,” Kootz Gallery (November 8-27). (Although Georges cancels exhibition, review by Rank O Hara appears in Art News [November 1954].) y nK 1955 Meets John Bernard Myers; First New York solo exhibition: Tibor de Naev Gallery New York (October 25-November 12). Designs stage scenery for 0 Tennessee Williams plays produced at Lake Hopatcong, New Jersey, by Herbert Maches. 1956 Visits Oregon in conjunction with solo exhibition at Reed College Faculty Lounge, Portland, (July) and solo exhibition at University of Oregon, Eugene' Publishes “A Painter Looks at a) The Nude, b) Corot” in Art News (Novembm Fairfield Porter gives Maroger medium to Georges. 1957 Solo exhibition: Tibor de Nagy Gallery, New York (April 23-May 11), Summers at Northwest Woods, Sag Harbor. Franz Kline gives his color oil paints to Georges. 1958 Summers at Poxabogue, Long Island. Solo exhibition: The Zabriskie Gallery, New York (December 8-January 3, 1959). 1959 Family summers at Poxabogue, Long Island. Moves to 9 West 16th Street 1960 Solo exhibition: Great Jones Gallery, New York (February 23-March 13). Summers at Martha’s Vineyard, Massachusetts. Moves to 645 Broadway (Fall). Participates in “The Question of the Future [The Fifth International Hallmark Art Award Exhibition],” Wildenstein Gallery, New York (October 4-29); receives Purchase Award. Daughter Yvette born (November 13). 1961 Awarded Longview Foundation Fellowship Purchase Award. Solo Exhibi­ tion: Great Jones Gallery, New York (January 23-February 19). Visiting Professor of Art, University of Colorado, Boulder. (January-April). Trip to Oregon (May). Returns to Sag Harbor, Long Island (July 4). Solo exhibition: Real College, Pordand, Oregon (c. December). Exhibits in “Annual Exhibition of Contemporary American Painting,” Whitney Museum of American Art, New York. 1962 Exhibits in Figures: A Show of Current Figure Painting in New York, Kornblee Gallery, New York (May-June). Summers at Sag Harbor, Long Ishnd Solo Exhibition: Allan Frumkin Gallery, New York (November 6-Decembt: 11 Purchases home in Sagaponack, Long Island, NY. 1963 dosing on Sagaponack House January). Solo exhibition: Allan Frumta iQa,Qer^ Chicago (October 7-November 2). Exhibits in “Annual Exhibition !*63: Contemporary American Painting,” Whitney Museum of American An. New York (December 11-February 2, 1964). , Solo exhibition: Noah Goldowsky, New York (April 13-May 8). Visi 1965 r University of Oregon, Eugene, The Summer Academy of Conte UC Arts Solo exhibition: Fountain Gallery of Art, Portland, Oregon (o, rJv 2) Solo exhibition: Cord Galleries, Southampton, Long Island (July 29). Visiting Lecturer, Yale University (Fall). 1966 Solo exhibition: Allan Frumkin Gallery, New York (January 4-29 rence Campbell, “Paul Georges Paints a Nude,” is published in Art N (January). The Studio appears on the cover. Model sues Art New. Lecti School of Visual Arts. Lecturer, University of Pennsylvania (1966-67 Whitney Museum of American Art purchases The Studio (Neysa MeV Purchase Award). 1967 Artist in residence, Louisiana State University, Baton Rouge, Louisi; (September-November). Returns to New York (November). Exhibits in “ Annual Exhibition of Contemporary American Painting,” Whitney Mu of American Art, New York (December 13-February 4, 1968). 1968 Solo exhibitions: Allan Frumkin Gallery, New York (January 6-Febr 4); Dorsky Gallery, New York (March 16-May 11); Union Art Gallery, Louisiana State University, Baton Rouge, Louisiana (opened April 7); Ai residence, Louisiana State University, Baton Rouge, (February-April). E> in “Realism Now,” Vassar College Art Gallery, Poughkeepsie, New York 8-June 12). 1969 Alliance of Figurative Artists, initial discussion meeting; Georges ur artists to overcome psychological barriers that make “cripples” of all fig artists (February 14). Solo exhibition: Dorsky Gallery, New York (Marc! May 11). Erwin Blumenfeld (b. 1897) dies, July 4. Visiting Professor, Bo: University, Cooper Union, and Queens College (1969-70). Delivers lect the Alliance of Figurative Artists: “The Necessity of Making an Image (November 7). Exhibits in “1969 Annual Exhibition of Contemporary American Art,” Whitney Museum of American Art, Nev/ York (Decemi ebruary 1, 1970). John Canaday’s critique of “The Whitney Annual, or. Back Your Muse” appears in The New York Times (December 21). Moves to 85 Walker Street (January). Kent State Massacre (May 4). ln Painterly Realism” circulated 1970-72 by The American Federation 1971 Artist ln residence, Louisiana State University, Baton Rouge (Fall). �Artist in residence, Dartmouth College, Hanover, New Hampshire (Spring) ’ 7,l0 exhibition: Dartmouth College, Hanover, New Hampshire. Solo exhibi] Allan Frumkin Gallery, New York (March 31-April 25). Awarded Carol H “ i Gold Medal at The Pennsylvania Academy of the Fine Arts “159th : Annual Exhibition" (dosed March 1). >rk solo exhibition: Tibor de Naav 2). Designs stage scenery fOr S Fopatcong, New Jersey, by Herbert exhibition at Reed College Facultv at University of Oregon, Eugene >) Corot in Art Netos (November) New York (April 23-May 11). Franz Kline gives his color oil Io exhibition: The Zabriskie 959). md. Moves to 9 West 16th Street tv York (February 23-March 13). Is. Moves to 645 Broadway (Fall). The Fifth International Hallmark , New York (October 4-29); 71 (November 13). ip Purchase Award. Solo Exhibi23-February 19). Visiting ulder. (January-April). Trip to and July 4). Solo exhibition: Reed >its in “Annual Exhibition of luseum of American Art, New York. Figure Painting in New York, imers at Sag Harbor, Long Idan• ' York (November 6-December )• NY. Solo exhibition: Allan Frumkin xhibits in “Annual Exhi ltl01! hitney Museum of American Art, ,?65 Solo exhibition: Noah Goldowsky, New York (April 13-May 8). Visiting ' ecturer, University of Oregon, Eugene, The Summer Academy of Contempo: ran- Arts. Solo exhibition: Fountain Gallery of Art, Portland, Oregon (opened \ juh-2). Solo exhibition: Cord Galleries, Southampton, Long Island Quly 23i 29) visiting Lecturer, Yale University (Fall). 1966 Solo exhibition: Allan Frumkin Gallery', New York January 4-29). Law­ rence Campbell, “Paul Georges Paints a Nude,” is published in Art News (January)- 17>e Studio appears on the cover. Model sues Art News. Lecturer, School of Visual Arts. Lecturer, University of Pennsylvania (1966-67). Whitney Museum of American Art purchases The Studio (Neysa McMein purchase Award). 1967 Artist in residence, Louisiana State University, Baton Rouge, Louisiana (September-November). Returns to New’ York (November). Exhibits in “1967 Annual Exhibition of Contemporary- American Painting,” Whitney Museum of American Art, New York (December 13-February 4, 1968). 1968 Solo exhibitions: Allan Frumkin Gallery, New York January 6-February 4): Dorsky Gallery, New York (March 16-May 11); Union Art Gallery, Louisiana State University, Baton Rouge, Louisiana (opened April 7); Artist in residence, Louisiana State University, Baton Rouge, (February-April). Exhibits 1 in “Realism Now,” Vassar College Art Gallery, Poughkeepsie, New York (May 8-June 12). 1969 Alliance of Figurative Artists, initial discussion meeting; Georges urges artists to overcome psychological barriers that make “cripples’ of all figurative I artists (Februarv 14). Solo exhibition: Dorsky Gallery, New York (March 16May 11). Erwin Blumenfeld (b. 1897) dies, July 4. Visiting Professor, Boston University, Cooper Union, and Queens College (1969-70). Delivers lecture at the Alliance of Figurative Artists: “The Necessity of Making an Image (November?). Exhibits in “1969 Annual Exhibition of Contemporary •American Art,” Whitney Museum of American Art, New York (December 16February- 1,1970). John Canaday’s critique of “The Whitney Annual, or, Take Back Your Muse” appears in The New York Times (December 21). 1970 Moves to 85 Walker Street January). Kent State Massacre (May 4). Exhib' in “Painterly Realism” circulated 1970-72 by The American Federation o 1971 Artist in residence, Louisiana State University, Baton Rouge (Fall). Stanford dda *" ln coniunctlor> with portrait commission of Dr. H. K. F ’ , ° d’ P,re51de"' of the University of Miami. Member of Alliance of Figurative Artists Panel, Topic: “Towards a Definition of Realism” (November 16). 1974 Delivers lecture at the Alliance of Figurative Artists: “Painting from Imaginatton (March 29). Solo exhibition: Fischbach Gallery Downtown, New ork (November 9-December 1). Member of Alliance of Figurative Artists Panel, Topic: Subject Matter, Renaissance, Humanism,” (December 20). Thomas Georges, Sr. (father) dies (December). 1975 Solo exhibition: Green Mountain Gallery, New York (March 7-27). Delivers lecture at the Alliance of Figurative Artists: “Talk," (November 7). Shows Mugging oj the Muse. Anthony Siani and Jacob Silberman subsequently sue Georges for Libel. 1976 Solo exhibition: Fischbach Gallery Uptown, New York June 30-July 31). Hilton Kramer savages exhibition in “Art View: A Disapointing Attempt at Political Allegory,” The New York Times (July 11). The exhibition coincided with Democratic National Convention held in New York City. Receives Creative Artists Public Service Program (CAPS) Award from the New York State Council on the Arts. Founder of the Artists’ Choice Museum. 1977 Visiting Professor of Art, Brandeis University, Waltham, Massachusetts. Receives inheritance, purchases house at Pomfret, CT (Fall). Georges family travels to Europe; itinerary includes London, Cambridge, Paris, Florence, Rome. 1978 Daughter Paulette marries Yannick Theodore (September 9). Brandeis University Board of Trustees appoints Georges Professor of Fine Arts, with tenure (October 6). 1979 Solo exhibition: Tomasulo Gallery, Fine Arts Department, Union College, Cranford, New Jersey (February 2-27). Member Alliance of Figurative Artists Panel Topic: “Eight Artists Speak of their Favorite Painting or Sculpture, (February 16). Solo exhibition: Meghan Williams Gallery Los Angeles (December-January 19, 1980). Visits Wyoming, Santa Barbara, and Los Angeles. �awards Siani and Silberman $30,000.00 each (Fall). Solo exhibition. Swen Parson Gallery, Northern Illinois University', DeKalb, Illinois, (Decern January IS, 1981), 1981 Awarded Benjamin Altman (Figure) Prize at die National Academy of Design "156th Annual Exhibition" (February' 26-March 29). Solo exhibition: Rose: Art Museum, Brandeis University, Waltham, Massachusetts, (February 1-March 8). Included in “Contemporary American Realism since 1960,” Pennsylvania Academy of the Fine Airs, Philadephia (September 18-December 13). 1982 Elected Full Academician, National Academy of Design. Solo exhibition. Zolla/Lieberman Gallery, Chicago (February 1-March 29); attends opening. Appellate Court reverses libel award (December). Georges family visit Rome, Naples, Pompeii, and Paestum (December). 1983 Visits California (May). Awarded Andrew Carnegie Prize at the National Academy of Design u158th Annual Exhibition” (March 17—April 17). Yvette moves to Los Angeles (May). Solo exhibition: College of the Mainland, Texas City, Texas, (October-November 3); attends opening. Solo exhibition: The More Gallery, Philadelphia (October 28-November 16). Sells Sagaponack house (December). 1984 Closing on Sagaponack house (January). Visits France for two weeks (January). Departs for France (April), where he spends the summer in Valcanville on the River Saire. Grandaughter Rachel Theodore born to Paulette and Yannick (May 25). Purchases “La Champagne”, a farmstead in Normandy (Fall, closing in December). Begins final year as Professor of Art, Brandeis University (Fall). Solo exhibition: Manhattan Art, New York (October 13-November 10). Visits Santa Barbara and Los Angeles (November). 1985 Solo exhibition: William Crapo Gallery, The Swain School of Design, New Bedford, Massachusetts, (February 18-March 14). Solo exhibition: Mead Art .Museum, Amherst College, Amherst, Massachusetts (March 27-April 21). During midterm, visits France, stays in Normandy residence. Retires from Brandeis University (May). Solo Exhibition: The More Gallery, Philadelphia (June). Summers in France. Included in “American Realism: Twentieth-Century Drawings and Watercolors from rhe Glenn C. Janss Collection,” San Francisco .Museum ofModern Art (November 7-January 12, 1986). 1986 Receives citation, American Academy and Institute of Arts and Letters (March); exhibits in “Paintings and Sculptures by Candidates for Art Awards” (March 3-29). Awarded Ranger Prize at the National Academy of Design “161th Annual Exhibition.” Returns to New York (November). Solo exhibitionAnne Plumb Gallery', New York (December 2-January 10, 1987). 1987 Visits Santa Barbara (February). Returns to France (March). Returns to New York (December). 1989 Delivers Lecture at the Alliance of Figurative Artists: Talk” (February 10) Departs for France (February). Travels to Italy; visits Maser and Venice. Sees work of Giotto and Piero della Francesca. Fire at Zolla/Lieberman Gallery, Chicago destroys four paintings and approximately two dozen drawings (April). Daughter Yvette marries Christopher Deeton (April). Solo exhibition: Vered Gallery, East Hampton, Long Island (September). Returns to New York (October). Solo exhibition: Greenville County Museum of Art, Greenville, South Carolina (November 15-December). 1990 Awarded Certificate of Merit at the National Academy of Design “165th Annual Exhibition” (February 7-March 7). Departs for France (March). Yvette moves from Los Angeles to become manager of the Paul Georges Studio in New York (March). Purchase Award, American Academy and Institute of Arts and Letters, Childe Hassam and Spilcher Fund. Returns to New York (December). 1991 Solo exhibition: The More Gallery, Philadelphia (February 1-March 6). Solo exhibition: Anne Plumb Gallery, New York (February 9-March 16). Departs for France (February). Awarded Gladys Emerson Cook Prize at the National Academy of Design, New York. “ 166th Annual Exhibition” (April 2May 12). Visits Cornwall, England (May). Solo exhibition: Vered Gallery, East Hampton, Long Island (August 31-September 30). Returns to New York (November). 1992 Returns to France. Exhibits in “Slow Art: Painting in New York Now," P.S. 1 Museum, Long Island City (April 26-June 21). Receives Adolph and Esther Gottlieb Foundation Individual Support Grant. Travels to London to see Rembrandt and Mantegna Exhibitions; visits Venice and Vienna. Visits Brittany in May and August to view Megaliths Alignments. Solo exhibition: SalanderO’Reilly Galleries, New York (August 1-31). Returns to New York (October 25). 1993 Returns to France (February). Awarded Emil and Dines Carlsen Award at the National Academy of Design, New York. “168th Annual Exhibition” (April 1-May 2). Receives Pollock-Krasner Foundation, Inc. Grant (June). Views Titian Exhibition in Paris. Visits Oxford (October). Returns to New York (November). 1994 Departs for France (March). Returns to New York (October). Solo exhibition: Salander-O’Reilly Galleries, New York (November 1-26). 1995 Solo exhibition: Sordoni Art Gallery, Wilkes University, Wilkes-Barre, Pennsylvania, (January 22-March 5). Returns to France (January'). Solo exhibition: Galerie Darthea Speyer, Paris (February 2-March 18). �1 �■SUB £©!»,□M|4 . JI,MMMM a fit III i Hateigg igr - iS»> I IBliitl Mi11 ill I 1 II »■■-■-■■■• ■ i I si MjWfcMMM .•>>' 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 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 1995 January 22-March 5 Paul Georges: Self-Portraits Subject The topic of the resource Exhibition programs Creator An entity primarily responsible for making the resource Paul Georges Publisher An entity responsible for making the resource available Sordoni Art Gallery; Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1995 January 22- March 5 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Book https://omeka.wilkes.edu/omeka/files/original/92618e86bcc8c7415f114d336bd51db1.pdf e4ecb5924252154bb12074d040e3ce68 PDF Text Text :• "i FIVE MINUTES IN MEXICO PHOTOGRAPHS BY MARK COHEN SORD GA TR647 C8F5 1989 ��FIVE MINUTES IN MEXICO �FIVE MINUTES IN MEXICO: PHOTOGRAPHS BY MARK COHEN Sordoni Art Gallery Wilkes College May 14 through June 11,1989 The Philip and Muriel Berman Museum of Art Ursinus College March 15 through April 16,1990 An exhibition organized by the Sordoni Art Gallery, Wilkes College and supported in part by a grant from the Pennsylvania Council on the Arts ESJEARilYLiBRARV WILKES UNIVERSITY WILKES-BARRE, PA �■VsCHlVES Introduction and Acknowledge! ,■ Copyright © 1989 by the Sordoni Art Gallery, Wilkes College, Wilkes-Barre, Pennsylvania, 18766. All rights reserved. ISBN 0-942945-00-X 1 H One thousand copies of this catalog were printed on Mead Signature 100 pound papers. 7 he text is set in Schoolbook. lype composition, duotone negative preparation, and printing by Penn Creative Litho, Old Forge, Pennsylvania. Design by Annie Bohlin, It is a rare pleasure for a college gallery to organize am exhibition of works by a member of its own academic commu reputation and contribution to his field has international rar This is the case with the current exhibition, Five Minutes Photographs by Mark Cohen. Cohen is well known for his black-and-white phot Wilkes-Barre and Scranton, their environs and inhabita tradition of the street photographer who captures the “decisv first made prominent as an art form by’ Henri Cartier-Bres uses a 35 mm camera and prefers the immediacy of the silvei more subtle platinum print. His one man show in 1973 at th( Modem Art led to others at the International Museum of P (1974) and the Art Institute of Chicago (1975). For short periods in 1981,1982, and 1985, Cohen mad Mexico: the brevity and intensity of those trips is reflected i this exhibition. Like the photographs of Pennsylvania, 1 pictures are fragments of everyday life, charged with Coh sometimes confrontational energy. But a gentle side of the p is also revealed in pictures of amazing textural richness, compassion. I thank Mark Cohen for collaborating in this participation in every phase of the exhibition, from i photographs to making suggestions for the catalog 1 contributed to its success. Annie Bohlin assisted in the sele< for the exhibition, designed the catalog, and determined tl the photographs reproduced here. Her sensitivity' to Cohe careful overseeing of the catalog production resulted in a p. quality. Marvin Heiferman, who has followed Cohen s cs 70s, provided an insightful essay which gives us an inform on Cohen’s Mexican photographs. The staff of the Zabris New York helped in the early planning stages and made th available to us for loan. The Pennsylvania Council on the matching funding in support of the catalog and travellin 92-- �Introduction and Acknowledgements Copyright - 1089 by the Sordoni Art Gallery, Wilkes College. Wilkes-Barre, Pennsylvania. 18766. All rights reserved. ISBN 0-042945-00-X Ont thousand copies of this catalog were printed on Mead Signature 100 pound papers. The text is set in Schoolbook. Type composition, duotone negative preparation, and printing by Penn Creative Litho, Old Forge, Pennsylvania. Design by Annie Bohlin. It is a rare pleasure for a college gallery to organize and mount an exhibition of works by a member of its own academic community whose reputation and contribution to his field has international ramifications. This is the case with the current exhibition, Five Minutes in Mexico: Photographs by Mark Cohen. Cohen is well known for his black-and-white photographs of Wilkes-Barre and Scranton, their environs and inhabitants. In the tradition of the street photographer who captures the “decisive moment” first made prominent as an art form by Henri Cartier-Bresson, Cohen uses a 35 mm camera and prefers the immediacy of the silver print to the more subtle platinum print. His one man show in 1973 at the Museum of Modern Art led to others at the International Museum of Photography (1974) and the Art Institute of Chicago (1975). For short periods in 1981,1982, and 1985, Cohen made pictures in Mexico: the brevity and intensity of those trips is reflected in the title of this exhibition. Like the photographs of Pennsylvania, the Mexican pictures are fragments of everyday life, charged with Cohen’s uneasy, sometimes confrontational energy. But a gentle side of the photographer is also revealed in pictures of amazing textural richness, humor, and compassion. I thank Mark Cohen for collaborating in this project. His participation in every phase of the exhibition, from selecting the photographs to making suggestions for the catalog format, have contributed to its success. Annie Bohlin assisted in the selection of works for the exhibition, designed the catalog, and determined the sequence of the photographs reproduced here. Her sensitivity to Cohen’s work and careful overseeing of the catalog production resulted in a product of high quality. Marvin Heiferman, who has followed Cohen’s career since the 70s, provided an insightful essay which gives us an informed perspective on Cohen’s Mexican photographs. The staff of the Zabriskie Gallery in New York helped in the early planning stages and made the photographs available to us for loan. The Pennsylvania Council on the Arts provided matching funding in support of the catalog and travelling exhibition. 92-1838iN - �^produce this exhibition. Judith H. O’Toole Director A DIFFERENT tri ��It’s hard to believe that only one hundred and fifty years have passed since the announcement of the invention of photography; but what is even more remarkable is that in that very short period of time (the photographic era being only the tip of the iceberg of recorded development), we’ve become so image-dependent. We read less, but always want to see more. So, more and more magazines are published yearly and in each magazine more and more ad pages are sold and more and more images are reproduced. And we continue looking, like addicts, as the tally of pictures mount. We watch movies in theaters and then drive home through landscapes polka-dotted with satellite dishes, only to shove more movies into the VCR. Not only have we become mesmerized by photography in all of its incarnations, we now actually need the camera’s particular brand of vision, truth, and history. If we live so furiously in a hectic present that we forget the past, photography helps us remember. If our lives seem repetitive and small-time, photography reminds us of the larger world. And if that bigger world starts to move too fast, photography stops it. Photography even shows you how to be someone else, when you don’t like who you are. When life seems totally out of control, when there are riots downtown or plane crashes at the airport or outrageous instances of child abuse in the house next door, photography calms us as it transmits the bad news and the chaos, all within four neat, straight borders. And, most of all, photography gives us a second crack at reality. So, no wonder we enjoy pictures — taking them, being in them, look­ ing at them. Photographs encourage us to remember what has been seen and to study what we never could have noticed: the expression on a face turned away from us, but toward the camera; the full outline of the leg that only attracted our attention from the corner of an eye; the shape of a raindrop unintelligible in the commotion of a storm, but frozen on film. We can now see that the history of the medium has gone full circle. A century and a half ago, we invented photography. And now, the influence of the photographic image is so pervasive that it is becoming obvious that it is the pictures that are defining us. □ Nowhere in the history of photography is this symbiosis between image and identity clearer than in the startlingly ideosyncratic work of Mark Cohen. We like to think of photographers as explorers, visionaries in search of the exotic, documentarians in search of some universal �I and towns of eastern Pennsylvania, Cohen has assembled a unique travelogue of his own Kafkaesque reality, a remarkable body of work that is built upon split-second impulses and reactions. Because his work is so instinctive, and so internalized, he has seldom needed to travel to find subject matter. In his work, the unusual has always existed close at hand. Often just around the comer. Cohen’s photographs are challenging. There’s always just enough of an edge of visual violence in his work — rudeness, nervous energy — to continually confound our expectation of what photography might tell us and what we should be looking for. Using a hand-held camera, pointing it in directions we would never think of, Cohen has compulsively over­ turned Cartier-Bresson’s notion of “the decisive moment,” giving each picture an exquisitely surreal American spin. In his photographs, the decisive moment is never that slice of time in which human nature is revealed, but is the instant that clarifies the distance between what is noticed and what is understood. In Cohen’s American photographs, people tend to look either uncomfortable or, in one way or another, seductive; they are often angry at the camera’s (and Cohen’s) intrusion. Common objects seem isolated, mysterious, menacing. Cohen’s pictures, frequently illuminated by the artificial light of a strobe, are expressions of distraction, masterpieces of the unresolved feeling we all have, but would rather not acknowledge, let alone display. He seldom fails to remind us how far our lives are from how we would choose to have them remembered. It’s ironic that an artist who takes pictures as if he were a tourist in his own day-to-day reality should travel to a foreign country to make calm photographs. But in the images included in this exhibit, made in Mexico in 1981,1982, and 1985, that is exactly what we have the rare opportunity to see. There is no terrifying sense of urgency in these pictures. Mexico is just foreign enough to insert a little distance between Cohen s mind and his nerve endings. His guard is down, he’s relaxed. So, what we see is Cohen figuring out how to situate himself in an environment, rather than define himself against it. Look at the faces of the Mexicans depicted as they look back into the camera. For them, Cohen isn’t butting in. He’s just another gringo tourist, a harmless guy on holiday who will soon disappear with some pictures they will never see. They’re amused by his presence. At most, they’re mildly curious about what he might be looking at. While they are used to this situation, he is not. And we are not. It’s a revelation to see how Cohen works when he has the freedom of a visitor and has nothing to lose. As he shows us street life or people at work and at rest in cafes, what we recognize is Cohen’s curiousity and sense of wonder at work. The pictures don’t explode, they just seem to happen. They have an odd sweetness. A stuffed alligator floats high on a restaurant wall, unex­ pected yet benign. Electrical wires dangle elegantly. And there are pyramids everywhere, from the Pyramid of the Sun at Teotihuacan to the yogurt display in a shop’s display case, from piles of fruit in a market to beehives piled up at the edge of a highway, from a folded white napkin that has fallen on the street to a Christmas tree being carried down the street. People dance, do their chores, live their lives. There are no major confrontations, just leisurely and assured observations. There no impending terror, none of the connoisseurship of little terrors that we’ve come to expect in Cohen’s work. In Mexico, Mark Cohen is a stranger, an outsider rather than a participant. What a relief for him, and for us. The Mexican photographs provide us with a peaceful opportunity to identify the strength, the grace, and the formal assurance that form the underlying structure in all of Cohen’s work, but are often overlooked. Neither he, nor we, can presume to know too much about the people or the lives that have been recorded. There are no existential mini-dramas in any of the images. W e are not encouraged to measure our lives against those of the subjects photographed. But what we are presented with is a rare opportunity to watch how a difficult, brilliant photographer navigates the unknown — with an ease, dignity, and intelligence that we all might envy. Marvin Heiferman �^^homgrXg for two decades in Wilkes-Barre and in the cities d towns of eastern Pennsylvania, Cohen has assembled a unique Svelo-ue of his own Kafkaesque reality, a remarkable body of work -hat is built upon snlit-second impulses and reactions. Because his work is .o instinctive, and so internalized, he has seldom needed to travel to find subject matter. In his work, the unusual has always existed close at hand. Often just around the comer. _ Cohen’s photographs are challenging. There s always just enough of an edge ofvisual violence in his work — rudeness, nervous energy — to continually confound our expectation of what photography might tell us and what we should be looking for. Using a hand-held camera, pointing it in directions we would never think of, Cohen has compulsively over­ turned Cartier-Bresson’s notion of “the decisive moment,” giving each picture an exquisitely surreal American spin. In his photographs, the decisive moment is never that slice of time in which human nature is revealed, but is the instant that clarifies the distance between what is noticed and what is understood. In Cohen's American photographs, people tend to look either uncomfortable or. in one way or another, seductive; they are often angry at the camera’s < and Cohen’s) intrusion. Common objects seem isolated, mysterious, menacing. Cohen’s pictures, frequently illuminated by the artificial light of a strobe, are expressions of distraction, masterpieces of the unresolved feeling we all have, but would rather not acknowledge, let alone display. He seldom fails to remind us how’ far our lives are from how we would choose to have them remembered. It’s ironic that an artist who takes pictures as if he were a tourist in his own day-to-day reality should travel to a foreign country to make calm photographs. But in the images included in this exhibit, made in Mexico in 1981,1982, and 1985, that is exactly what we have the rare opportunity to see. There is no terrifying sense of urgency in these pictures. Mexico is just foreign enough to insert a little distance between o en s mind and his nerve endings. His guard is down, he’s relaxed. So, v at we see is Cohen figuring out how to situate himself in an environment, rather than define himself against it. ook at the faces of the Mexicans depicted as they look back into e cameia. For them, Cohen isn’t butting in. He’s just another gringo tourist, a harmless guy on holiday who will soon disappear with some pictures they will never see. They’re amused by his presence. At most, they’re mildly curious about what he might be looking at. While they are used to this situation, he is not. And we are not. It’s a revelation to see how Cohen works when he has the freedom of a visitor and has nothing to lose. As he shows us street life or people at work and at rest in cafes, what we recognize is Cohen’s curiousity and sense of wonder at work. The pictures don’t explode, they just seem to happen. They have an odd sweetness. A stuffed alligator floats high on a restaurant wall, unex­ pected yet benign. Electrical wires dangle elegantly. And there are pyramids everywhere, from the Pyramid of the Sun at Teotihuacan to the yogurt display in a shop’s display case, from piles of fruit in a market to beehives piled up at the edge of a highway, from a folded white napkin that has fallen on the street to a Christmas tree being carried down the street. People dance, do their chores, live their lives. There are no major confrontations, just leisurely and assured observations. There no impending terror, none of the connoisseurship of little terrors that we’ve come to expect in Cohen’s work. In Mexico, Mark Cohen is a stranger, an outsider rather than a participant. What a relief for him, and for us. The Mexican photographs provide us with a peaceful opportunity to identify the strength, the grace, and the formal assurance that form the underlying structure in all of Cohen’s work, but are often overlooked. Neither he, nor we, can presume to know too much about the people or the lives that have been recorded. There are no existential mini-dramas in any of the images. W e are not encouraged to measure our lives against those of the subjects photographed. But what we are presented with is a rare opportunity to watch how a difficult, brilliant photographer navigates the unknown — with an ease, dignity, and intelligence that we all might envy. Marvin Heiferman �1981 MEXICO CITY ���.. TO RTA5 . Xv.-.y • ���- �a t I ■ �����‘>'fii I.-: -:, : <■' :p I /7 '=- I Ji ���A ��r® —4 -r I SifttaSH BtfillB H I iW^lS§l!S^igiisgli:i^aSii§S -!;lI fi KIIliiiMliHiffl ■; ■ Wil! I =Wi'=iSii»i'!=l^E:g^s=2fsS:=i=i 1 =| if t iijii:iSW120 ifB=.S:=s!g e g I'• aB:;s:a.!Sg’'g.!:^S~i^r?.:gE:Sif:si:g =:s«£«~ g 1 Wf B:ii;iOs®S i gig^gsgSs&seBsg.ggssSgfl?®"^ g II SWIihBIifilfflrtHi I fiMfliiiiBiiiifctt | ^^E:=S:s8:ESi=®Js4i^S«i;::r^S .. — 5* I i- i �1982 MEXICO CITY �... ___ ���saa ��J —. _ ����I 1 BgjM- ?*; ,. J ?;.i: fjga! "i ?-•. ■•■■ • • ■ S rosa blanca I iWffl ! i :\-|F 3y t * 14 . is k I 1 ■ ' ■ |lv L "■Cb?; r ■ »K » ! ��■I : -LI ��I ; | ��I .. L ��1985 VERACRUZ ��I 11 • r ������1 �f I < ■ t w v ■ i1 vj I la. i - ■w ■I t ���£ ��I i ��do*. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. >). 6. 1. 3. 9. 10 11. 12. 13. ilw()w()^n/operall98l lining child in white cape], 1981 11 lark proud nian|. 1981 I Repiii ring I ’yramid of the Sun|, 1981. Weics (Kids in old car at night] 1981 i i inci • - . HittIhtz C’rackers]1981 |(did carrying. hi bag-vest approaches whiteline], 1981 (lloyin-^ iir/ in the whitedressskipping], 1981 girls in schoolclothes], 1981, Tepoztlan 14. t< 15. ids offruit], 1981 ... iiyr.iiH1sheet], 1981 16- [Bee hives/highway], 1982 [Fuses and meters], 1982 [Woman straps shoe in old building], 1982 [Local bar], 1982 [Table and chairs in street; flash], 1982 [La Rosa Blanca], 1982 [Wire lead into soda bottle], 1982 [Girl in small shoe repair], 1982 [Local restaurant and coffee], 1982 [Snack in steel case], 1982 [Napkin in shadow], 1982 [Girl in black skirt], 1982 Veracruz December 12 -19,1985 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. [Chalkboard menu], 1985 [Beauty shop], 1985 [Hanging light bulb], 1985 [Boy laughing; teeth], 1985 [Plastic sheet], 1985 [Waiter and money], 1985 [White sock], 1985 [Young girl eating], 1985 [Kids on sidewalk], 1985 [People dancing], 1985 [People walking/sidewalk], 1985 [Soda truck at gas pump], 1985 [Dog in shadows], 1985 [Napkins in glass], 1985 b.719b’ ■ ,cw v-.... " her-'’" ,1^ n J"' g>■y- teleP"‘ I hill1" Photographs are courtesy of the Zabriskie Gallery, New York. �' .2 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 1989 May 14-June 11 Five in Mexico Subject The topic of the resource Exhibition programs Creator An entity primarily responsible for making the resource Mark Cohen Publisher An entity responsible for making the resource available Sordoni Art Gallery; Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1989 May 14-June 11 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Book https://omeka.wilkes.edu/omeka/files/original/cbc27b9799c2a44612618204f95b064f.pdf fdb38f0a7f47a0b6eddec7b8fc2795b3 PDF Text Text IBWs r-^-. ~:r; KiBflBORP*®- EW ^WSO®#! ' :JfI 7W ■•«■■■ M lisss” SORD GA ND237 D98B5 �E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARREJ’A �BERENICE D’VORZON: P, 1980Tick Island and Louse Point ate i«-:rl place". Ihe. bflonu to those ulmi-.r parii vai wildeme. .■ . <d Long Island which He a scant fifty miles horn the metropolis <»<•••! in t- arid n, I r< k of New York have resided there I .: < ■ . pi r ulhe ■ i't d.t Hie !<-.'« tlncke'S. ■'> - t in.rr tif.ind .'iri' .ugh to nvei'.h.i'low .iny olhe. 'inj..............1. . , , .c-- tel-, i.<• i • have Ir.rd ol the tetI fill i II,line-, Io the .<■ pl i< e . I ,ile| t.l . iv> |er . b-o• • • e■ of hind. *.e.> , i .'.>s i It ;.j .ip. -.1 tie .11;,i in Oldl’l to .dvor lh<Old dif to b’ >, I 1‘ |(1 fj.. ih< (* nineteenth < «-nthi y, i r>-h:.t- i rd f it" . .- ipi 1 ■ . ,f r, t, '.n< h a . Joini I I umini'.l ven .ibditie , 1 , . ,,i. cover: no. 13 itJ |. t .] . . . pl i-l.'.O » > ,1 J‘-) ■ '.-e ;'e They are not so ulpturaliy dramatic i .rocky > (. - 'U!>>r,t ■ > ’r;«‘ y ;> ;<•■-.-,j 1 e 1; . . rnoio < (Hit empl.it I spirits leisurely before tt.e Berenice bWorzor: I ou-»e Point .. r :,'oa;i .e o' nil', 1/ e 1. e o r; she beqrsn e- e.e, .’.-, East di-.r,' r.-;- ,-.j.-e ,. •- -oioi r. ,p.red b, la'..'!-., .-.pe , t;f; ‘ Hampton m her ;< r r, t.-ie.r brew of i.qhr , P if ;■ *> -, I,; lets of fiatuie horr. >,< . SORDONI ART GALLERY WILKES COLLEGE 150 South River Street Wilkes-Barre, Pennsylvania 18766 .</; • : . i' ' 0,1'.t-. of Main**. h.'M hot -■> of IA I . . r ARCHIVES :nei- 1. :i . . .. tO !'■< r,irl tfil, .•■ (.h.||(. ;.■■'! no. 15 Vour 1 A'.e l"/ir.‘ 'I 1111nt the .per ial liqhi f >• e Her wore f .a'. a.wa/s beer, Lir.r,* Shaf’ na? • it..', executed in the late neventie', *ere deoved from ’he ■ - around :■ - pe-.,-. �BERENICE D’VORZON: PAINTINGS & DRAWINGS, 1980-1982 3. 13 II ART GALLERY COLLEGE i River Street rre, Pennsylvania 18766 Tick Island and Louse Point are real places. They belong to those almost primeval wildernesses of Long Island which lie a scant fifty miles from the metropolis of New York. Ticks and lice and myriad other species have resided there for eons amidst the low thickets, marshes, and surrounding sea. Pesty enough to overshadow any other impressions early travelers may have had of the terrain, the ticks and the lice gave their names to these places. Later travelers have endured the irritations of insects in order to savor the more subtle and enduring moods of land, sea, and air to be found there. In the nineteenth century, a number of landscapists of note, such as John F. Kensett and William S. Mount, came to paint the special light and color which appealed to their Luminist sensibilities. Painters still come to Long Island to record those changing, yet changeless, phenomena. They are not so sculpturally dramatic as the rocky coasts of Maine, or so picturesquely quaint as the harbors of Massachusetts. They appeal, perhaps, to more contemplative souls who like to purloin the secrets of Nature from her somnolence or imbibe her spirits leisurely before the intoxication hits. Berenice D’Vorzon has moved about Tick Island and Louse Point since she began summering in East Hampton in her teens, and she has drunk her share of their brew of light and color. Her work has always been inspired by landscape. The "Light Shaft” paintings she executed in the late seventies were derived from the orests around her farm in northeastern Pennsylvania. Shafts of shifting colored light interplaying with shafts of solid tree and foliage were transformed into radiant graduations of tone and color in her canvases. The paintings she has done over the past two years have evolved during prolonged stays in East Hampton, and stand in striking contrast to the “Light Shaft" series. The coastal terrain may suggest to her a more dynamic set of shapes than did the sylvan regiments of Pennsylvania, or maybe there is simply some deeper urge to replace the almost classical order of the "Shafts” with a more baroque dynamism. The central preoccupations with radiant light and ambiguous space have not changed, but everything else has. Shapes twist and turn, expand and contract with eruptive energy. Paint flows, drips, and thrusts. Compositions seem held together by more precarious means. We are on the verge of experiencing something akin to the Action Painting of the fifties. D'Vorzon's formative years as an artist indeed coincided with the tumult of Abstract Expressionism. But in the sixties and early seventies, it became fashionable to relegate that movement to the history books, to declare it spent, as if a decade were enough to explore its ramifications. There followed a succession of styles which were emotionally detached, compared to the naked passion of the Action group. Pop Op, Minimal, and Photorealism all resolutely avoided romantic personalism and bravura paint.ng techniques. Abstract Expressionism was not a cool style, and the sixties and seventies sought coolness. 91-18000B �method of the Expressionists. The recent varieties of painterly primitivism, the New Imagists, and the messier, more torrid forms of pattern painting are indicative of this shift. D’Vorzon had never really drifted far from that pole anyhow. While her “Light Shaft" paintings seem rather cool in manner now, their romantic essence was always apparent. The new works renew the painterly dynamism of her early style, combining with it the complex color and tonal harmonies worked out in the intervening years. The result is a multivalent richness of surface and illusion, substance and light, active and passive movement — an orchestration of form which intensifies the landscape experience to a level of transcendence. The most conspicuous Abstract Expressionist element in the new works are the drips, which D’Vorzon has revived without fear of being labelled a reactionary action painter. William Pellicone, writing of D’Vorzon’s 1980 exhibition at the Soho Center for the Visual Arts, noted the "classical structure (she added) to the usual action drips."1 Functionally, the passive accident of the drips plays against the willful propulsion of the impasto arcs. The drips also reassert the flatness of the picture plane against the atmospheric illusions of the brushwork. The drips are, indeed, part of a repertory of painterly gestures, along with the glazes, impastos, scumbles, and ribbons of paint drawn from the tube, all aimed at representing the dynamics of nature through a distinctive and personal vision. Tempos overlap, and muted expanses are invaded by shots of color which ferry the eye across “seas” and along "shorelines.” to explore other forms in the repertory, such as the slashing arcs (e.g. “Louse Point Violet"). The “air and sea” pictures of 1980 and early 1981, with their distant horizons, began to give way in the middle of 1981 to pictures containing definite foreground elements, as in “Night Tracer (Tick Island)." Surging organic shapes have come to dominate the latest pictures, notably the “Acabonac Air” series. D’Vorzon rightfully does not consider herself a flatout Expressionist. There is unquestionably a powerful emotional energy coursing through her work, but it remains intimately attached to the landscape itself. In fact, most of the paintings and drawings closely resemble the essential patterns and tonalities of specific places and phenomena. Their representationalism is surprisingly clear when compared with photographs of the sites.2 As Helen Harrison observed in a recent reference to D’Vorzon's work in The Tieu> York Times, "the illusion of landscape and the reality of the painted surface alternate in the viewer’s consciousness.”’ Lush pigment and strong design allow these paintings to stand alone as abstractions, while clear echos of natural space and light grant them illusionism. Rather like the Cubists, D’Vorzon has fashioned a surface which is simultaneously flat and threedimensional. This is a difficult ambiguity to maintain, this retaining of the rich tactility and rhythmic patterning of surface, while at the same time flirting with a void aglow with colored light, or with a shape that begins to penetrate into the canvas and assume mass. In another review of D’Vorzon’s work last "to describe a three-dimensional spatial sensation without renaissance perspective illusions, by taking painterly elements that could suggest the sense of changing light, density, and mutations of vibrant, sensuous experience, and using them in new arbitrary ways to invent the essence of a scene. Il is a vocabulary of nature's signs reduced to the language of pigment. Color is alternately solid and fluid as it gestures, drips, moves, or is contained within bold shapes composed of abstract strokes."4 The most recent paintings, such as the "Acabonac Air" pictures, reveal clearer perspectives of the landscape. D’Vorzon's interest in the dynamics of pictorial space has. in fact, led her to the use of raking aerial views, akin to late medieval landscapes, which reveal botfi the perspective of the topography and its surface patterns. Even more than space, light inspires D’Vorzon. An immense, carefully orchestrated range of tonalities pervades her work, paintings and drawings alike. Light radiates from her surfaces in ways often more suggestive of bravura quasi-lrnpressionists, such as Manet or Sargent, than of the Abstract Expressionists. In many of the works, her sensibilities seem to run even closer to those of the great Romantic landscapist, Turner, whose frothy evocations of mist laden air and churning sea reached new heights of evocative sublimity. Like these i provides us w nature. Hers < out remote fn condensation: the sea. sunsr seen, felt. ant into some me nature's press Genesis in th darkness upo forms. The er been coerced pictorial dear Notes 1. William I Look." ir 2. Compare photogra 3. Helen A. and Real January 4. Phyllis B Der.emb* �we ner ;rly jre is at m was y he !SS and :h irzon tary an’s .rts, jal the le y of all gh a d The drips have become less important since their initial appearance, however, as D Vorzon has turned to explore other forms in the repertory, such as the slashing arcs (e.g. “Louse Point Violet ). The air and sea” pictures of 1980 and early 1981, with their distant horizons, began to give way in the middle of 1981 to pictures containing definite foreground elements, as in “Night Tracer (Tick Island).” Surging organic shapes have come to dominate the latest pictures, notably the “Acabonac Air” series. D’Vorzon rightfully does not consider herself a flatout Expressionist. There is unquestionably a powerful emotional energy coursing through her work, but it remains intimately attached to the landscape itself. In fact, most of the paintings and drawings closely resemble the essential patterns and tonalities of specific places and phenomena. Their representationalism is surprisingly clear when compared with photographs of the sites.2 As Helen Harrison observed in a recent reference to D’Vorzon’s work in The New York Times, “the illusion of landscape and the reality of the painted surface alternate in the viewer’s consciousness.”3 Lush pigment and strong design allow these paintings to stand alone as abstractions, while clear echos of natural space and light grant them illusionism. Rather like the Cubists, D’Vorzon has fashioned a surface which is simultaneously flat and threedimensional. This is a difficult ambiguity to maintain, this retaining of the rich tactility and rhythmic patterning of surface, while at the same time flirting with a void aglow with colored light, or with a shape that begins to penetrate into the canvas and assume mass. In another review of D’Vorzon’s work last December, Phyllis Braff described her search for a method "to describe a three-dimensional spatial sensation without renaissance perspective illusions, by taking painterly elements that could suggest the sense of changing light, density, and mutations of vibrant, sensuous experience, and using them in new arbitrary ways to invent the essence of a scene. It is a vocabulary of nature's signs reduced to the language of pigment. Color is alternately solid and fluid as it gestures, drips, moves, or is contained within bold shapes composed of abstract strokes."4 The most recent paintings, such as the “Acabonac Air" pictures, reveal clearer perspectives of the landscape. D'Vorzon’s interest in the dynamics of pictorial space has, in fact, led her to the use of raking aerial views, akin to late medieval landscapes, which reveal both the perspective of the topography and its surface patterns. Even more than space, light inspires D’Vorzon. An immense, carefully orchestrated range of tonalities pervades her work, paintings and drawings alike. Light radiates from her surfaces in ways often more suggestive of bravura quasi-Impressionists, such as Manet or Sargent, than of the Abstract Expressionists. In many of the works, her sensibilities seem to run even closer to those of the great Romantic landscapist, Turner, whose frothy evocations of mist-laden air and churning sea reached new heights of evocative sublimity. Like these nineteenth century counterparts, D’Vorzon provides us with an almost palpable immersion in nature. Hers are not abstract permutations worked out remote from their inspiration. They are vivid condensations of specific phenomena — storms over the sea, sunsets, glimmering ponds, tangled thickets — seen, felt, and pushed through into paint, to bring us into some moment of rapture which the artist felt in nature’s presence. There is something like a vision of Genesis in these paintings. Light emerges out of darkness upon a primeval world of half-generated forms. The energy is nascent and unbridled, but it has been coerced by a controlling will into meaningful pictorial drama. William H. Sterling Director Notes William Pellicone, ‘‘Tradition With the Forward Look," in Artspeak, May 22, 1980. 2. Compare "Acabonac Air-Entrance" with the photograph of Louse Point. 3. Helen A. Harrison, "49 Artists Capture the Illusions and Realities of Winter," in The New York Times, January 3, 1982. 4. Phyllis Braff, review in The East Hampton Star, December 3, 1981. 1. �lUl no. 9 �no. 9 �PERSONAL HISTORY: Born: New York City BFA: Cranbrook Academy of Art (1954) MA: Columbia University (1968) Assoc. Prof. — Printmaking & Painting, Wilkes College, Pa. (since 1969) EXHIBITIONS: Sordoni Gallery, Wilkes College, Pa. (1982) Loft Gallery, Southampton, N.Y. (1981) (3 person) "Illusions of Space," First Women’s Bank, N.Y. (1981) (4 person) Soho Center for Visual Artists, N.Y.C. (1980) (2 person) Benson Gallery, Bridgehampton, N.Y. (1976) Everhart Museum, Pa. (1975) (2 person) Keystone College, Pa. (1972) Brata Gallery, N.Y.C. (1957, '59, ’62) GALLERY GROUPS: Marion Locks Gallery, Philadelphia, Pa. (1981, ’82) Barbara Gillman Gallery, Miami, Fla. (1981, ’82) Loft Gallery, Southampton, N.Y., ‘‘Collage’’ (1981) Benson Gallery, N.Y. (1980) lanuzzi Gallery, Scottsdale, Az. (1978-79) N.E. Pennsylvania Invitational Traveling Exhibition (1978, ’81) Soho Co-op Galleries, N.Y.C. — 10th Street Artists (1978) Lehigh University — Pennsylvania Printmakers Bicentennial Invitational (1976) Spoleto, Italy — Plinio i! Giovane (1973); Rome, Italy — Primo Piano (1972) Chicago — Robert Paul Gallery (1971); Detroit — Rubiner Gallery (1971-72) Paris, France — Creuze (1965); Mexico City — Proteo (1960) New York — Brata, Camino, Tanager, Nonegon, Phoenix, Artists, etc. (1958-68) MUSEUM GROUPS: Aldrich Museum, Conn., "New Acquisitions" (1981) Guild Hall Museum, East Hampton, N.Y., "Winterscape" (1981) Allentown Museum (1976); Artists of the Springs, Aswagh Hall (1976-80) Roberson Museum, N.Y. (1975); Spoleto Festival (1973): Vienna Print Biennale (1972) Everhart Museum, Pa. (1968, '70, ’77): Guild Hall, East Hampton (1967, '69, '70, '72, ’81) Tokyo Museum of Modern Art (1960); Whitney Museum and Library of Congress (1957) AWARDS: "Best Abstract Painting in Show," Guild Hall Museum Annual (1981) Purchase Award — Everhart Museum (1976) Juror's Award — Roberson Museum (1975) Award Exhibition — City Center, N.Y.C. (1955) COMMISSIONS: Curator: OIA sponsored travelling print show, “Artists Who Make Prints” (1980-81) Cover for N.E. Pennsylvania Philharmonic 1976-77 season program Mural (4 x 32 ft.), Community Medical Center Hospital, Pa. (1977) Mural (9 x 50 ft.), Percy Brown, Allentown, Pa. (1971) COLLECTIONS: Everhart Museum, Pa.; Aldrich Museum. Conn.; Library of Congress; Oppenheimer Co.; Best Corp.; General Instrument; Ivan Chermayeff (APC); Southampton Hospital: Bank of New York, Miami; Wyoming National Bank, Dallas and Kingston, Pa.; and many private Collections. �3UPS: m, Conn., “Hew Acquisitions" (1981) eum, East Hampton, N.Y., “Winterscape” eum (1976); Artists of the Springs, (1976-80) :um, N.Y. (1975); Spoleto Festival (1973); Biennale (1972) jm, Pa. (1968, ’70, ’77); Guild Hall, >n (1967, '69, ’70, ’72, ’81) i of Modern Art (1960); Whitney Museum and ingress (1957) Painting in Show,” Guild Hall Museum Annual d — Everhart Museum (1976) — Roberson Museum (1975) on — City Center, N.Y.C. (1955) S: lonsored travelling print show, “Artists Who (1980-81) Pennsylvania Philharmonic 1976-77 season .), Community Medical Center Hospital, Pa. .), Percy Brown, Allentown, Pa. (1971) >: im, Pa.; Aldrich Museum, Conn.; Library of ipenheimer Co.; Best Corp.; General van Chermayeff (APC); Southampton Hospital; York, Miami; Wyoming National Bank, Dallas i, Pa.; and many private Collections. no. 14 �no. 16 no. 17 Louse Point (photograph) 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. Cache-Cache Low Horizon Water 1980. Fail Silver 15 Louse Point . Louse Point Hot Hight on Water Tracer Hight Tracer E H Sassafra E H Sassafra Fresh Pond-\ AcabonacAi Acabonac Ai Tick Island S Fresh PondA E H Sassafra �LIST OF WORKS 1. 2. 3. 4. 5. 6. no. 16 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. no. 17 Louse Point (photograph) Cache-Cache 1980, acrylic on canvas, 60" x 68" Low Horizon Melt 1980, acrylic on paper, 39" x 28" Water 1980, acrylic on paper, 39" x 28" Fall Silver 1980-81, acrylic on canvas, 68" x 60" Louse Point Pink 1981, acrylic on canvas, 36" x 34" Louse Point Violet 1981, acrylic on canvas, 50" x 40" Hot Night on Tick Island 1981, acrylic on canvas, 40" x 30" Water Tracer 1981, acrylic on canvas, 54" x 60" Night Tracer (Tick Island) 1981, acrylic on canvas, 40" x 50" E H Sassafras-Dancer 1981, acrylic on canvas, 54" x 60" E H Sassafras-Interlock 1981, acrylic on paper, 21" x 28" Fresh Pond-Wind 1981, acrylic on canvas, 60" x 68" Acabonac Air-Entrance 1982, acrylic on canvas, 68" x 84" Acabonac Air-Landing 1982, acrylic on canvas, 68" x 72" Tick Island Storm 1981, graphite on paper, 27" x 41" Fresh Pond-Wind 1981, graphite on paper, 27" x 41" E H Sassafras-Dark 1981, graphite on paper, 27" x 41" �BERENICE D’VORZON Paintings and Drawings 1980-1982 SORDONI ART GALLERY Wilkes College �■*- ' • ■ SBr-b: 4« rt'/A ioooxa? ] �^^8 ESSSsSSsjHsss^s-S^sy - MSSa^^^M Lr^-;^ SsoW'S^i-i-s- E^SS.f^S-Ci.S: p^s^ViT,’ taBS -■t? ’ 1' -s f.rJ I cJ5S ■ ■■- ■?■ ■ ■. is ' S/S; ~sS SSS£5||gjg?g= =§^5?SS~g ifeSSg? jjsSsglsss f? gj ^S=SS5S SlSi;ss.s � 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 1980-1982 Berenice D'Vorzon: Paintings and Drawings Subject The topic of the resource Exhibition Programs Creator An entity primarily responsible for making the resource Berenice D'Vorzon Publisher An entity responsible for making the resource available Sordoni Art Gallery; Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1980-1982 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Book https://omeka.wilkes.edu/omeka/files/original/f8416b2a53dcb41fe195872a7c35b5cc.pdf f9213c893b2a6d5ae06ef54960fa630f PDF Text Text MANUSCRIPT 2021-2022 -1- ��The Wilkes University Manuscript Society presents Manuscript 2021 - 2022 �1947 Forward With this issue of Manuscript a new publication is launched on the Bucknell University Campus in Wilkes-Barre. Tose who have been responsible for its coming into being earnestly hope that through your eforts and the eforts of those who come afer you that this magazine will develop into a college tradition of which we may all be proud. — The Editors �Mission Statement Te Manuscript Society of Wilkes University has been publishing its creative writing and visual art magazine, Te Manuscript, continuously since 1947. Currently, the studentled editorial staf publishes one issue per year, and copies are complimentary. In preparation for a career in editing, publishing, or creative writing, any Wilkes student is welcome to submit to or work on the editorial board of the Manuscript Society. Staf members critique a variety of creative pieces from Wilkes faculty, staf, students, and alumni. Tis process includes creative workshopping, copy editing, and layout. Wilkes students may elect to enroll in ENG 190B, Project in Writing: Manuscript, for one (1) credit of coursework. Meetings are held during club hours each semester. Monthly, bimonthly, or seasonal campus poetry reading are open to the Wilkes Community and greater public. Te end product is a published, award-winning magazine. ��The Manuscript Society Editorial Board Jay Guziewicz Executive Editor Emily Cherkauskas Assistant Editor Breanna Ebisch Art/Layout/Copy Editor Fen Farnelli Darren Martinez Jordyn Williams Editors at Large Maddy Kinard Jackie Costello Staf Dr. Mischelle Anthony Dr. Chad Stanely Faculty Advisors �Table of Contents Seraphim, an Acrostic - Fen Farnelli Forever - Mya A. Banegas Seasonally Torn - Haley Katona Sedona 1 - Claire Wynne Shoes - Darren Martinez Home at Last - Hannah Simerson A year ago today - Sydney Umstead One Moment in Time - Breanna Ebisch Observer - Emily Cherkauskas A Tale Told of Sapphire Steps and The Aureate Response - Annie Arsenic Ray Of Hope - Sam Burgess, Jr. There are thanks in order - Sydney Umstead losing time - Cas Schiller Astro1 - Tyler Savitski bullat - Darren Martinez Rigid - Haley Katona Games Children Play - Cody Marsh Whitetailed - Tyler Savitski Garden of Secrets - Ashlee Harry horticulture - jay guziewicz April Leaves - Ylonis Grant Poetess of Motion - Sam Burgess, Jr. VIOLET PETALS - Emily Cherkauskas Sketch - Samantha Ann Stanich-Romasiewicz Astro2 - Tyler Savitski Sarah - Mya A. Banegas The Watchman - Maura C. Maros The Glass Clock - Haley Katona Timeless - Emily Cherkauskas Battle Cry - Breanna Ebisch - 10 - 11 - 14 - 15 - 16 - 18 - 19 - 20 - 21 - 22 - 24 - 25 - 26 - 27 - 28 - 30 - 31 - 35 - 36 - 38 - 40 - 41 - 42 - 44 - 45 - 46 - 48 - 50 - 51 - 52 - �Table of Contents (Cont.) Surmonter - Ylonis Grant - 53 Unsetting Sun - Jackie Costello - 54 twilight - jay guziewicz - 56 Grand Canyon 1 - Claire Wynne - 58 No Shame in Defeat - Sam Burgess, Jr. - 59 Treading Water - Maura C. Maros - 60 Valley of Fire 1 - Claire Wynne - 61 The Diet Game: Conditioning the Conditioned Response - Rene Allen, M.D. - 62 Valley of Fire 2 - Claire Wynne - 65 A Brief Description of the Creek Behind the Old Barn on a Hill, where I ofen Wrote when Alone: A Haiku - Fen Farnelli - 66 shape of form of love of - Darren Martinez - 67 Does the Ocean Likewise Fear the Swabby? - Fen Farnelli - 68 glass feelings - jay guziewicz - 69 Is there a way to love me? - Haley Katona - 70 Phototropism - Growth Toward Light - Rene Allen, M.D. - 72 Roses Lightened - Emily Cherkauskas - 74 pwepwepwpe - Darren Martinez - 75 Angry but, a Little Less - Sydney Umstead - 76 Bluebird - Tyler Savitski - 77 Last Night I Cried - Sam Burgess, Jr. - 78 this poem isn’t as quite as important as you think it is - Darren Martinez - 79 Pull the Threads - Jackie Costello - 80 Grand Canyon 2 - Claire Wynne - 81 Prima Materia - Fen Farnelli - 82 - 83 Astro3 - Tyler Savitski - 84 haven - jay guziewicz - 85 Exit - Emily Cherkauskas - 86 Little Braves - Maura C. Maros �Seraphim, an Acrostic - Fen Farnelli Nature’s reverse astronaut, Evicted from the sky, the Earth Pummeled by the Heated form, limbs Intertwined in the ground Like roots tearing Into soil to continue growing Miles deep. - 10 - �Forever - Mya A. Banegas Our love was sof and sweet. I remember how you’d give me fowers before every date. How you’d kiss my forehead sofly in the morning to wake me up. I remember how you would sing to me when I had bad dreams, you always made sure I was never alone. I remember the sweet words that you would mumble in my ear just because. I remember all the many questions you used to ask me just to hear the sound of my voice. I remember how you loved matching clothes with me so that people instantly knew that we were together. You thought it was cute and funny, I thought it was cheesy but you loved it and so did I. I remember the Friday nights we would share laughing and cuddling while eating pizza on the couch and watching a movie. I usually picked the movies and you would groan at all my decisions because you claimed they were cheesy rom-coms but secretly you and I both knew how much you loved them. I would laugh at something funny and I would ask you “are you seeing this” or “isn’t this funny” and you would say “yeah,” but I knew from the tone of your voice that you weren’t really paying attention. So I would turn my head to see you staring at me. I never felt more seen than that. I remember when I would cry you would hold me and tell me everything was going to be ok. And if it was a movie that I was crying for you would chuckle and wipe my tears away then you bring me ice cream and tell me “and this is why I don’t like these types of movies,” then we’d both laugh. I remember how we’d sleep. Me cuddling into your side or falling asleep on your chest then waking up to you on mine. I remember how you’d laugh at all my jokes even if they weren’t funny because you thought that I made a good attempt. I remember how much you supported me in everything that I did. How you celebrated my wins and helped me through my losses. I remember you being nervous to meet my friends and family because you wanted them to like you. You made my mom smile when you ofered to help her cook or clean. You made my dad laugh when you told a joke or made fun of me. You made my heart melt when I saw you playing with my siblings. I remember being told, “he’s a good one” and I replied, “I know.” I remember the fghts and arguments we used to have and how you would leave. But then you’d come back and say “can we talk about it?” I remember no matter how many times I pushed you away you pulled me closer. I remember how you’d give me my space when I needed it but how you’d also recognize when I needed you. I remember you telling me “we never go to bed angry” so you made us discuss all our issues and problems before bed. I remember when I told you that I needed space and I remembered how you looked when I said it. Your eyes instantly flled with tears and you sat down and asked me “Is there anything I could do to fx this?” I told you “no” because it wasn’t you who needed to do the fxing, it was me. You didn’t believe me at frst, you claimed that that was something people always said. But I looked in your eyes, smiled, and kissed you. You asked me if I loved you still and I said “It’s because I love you that I can’t aford to bring you down with me.” Every word of it was true. It would’ve been selfsh of me to - 11 - �let you fade with me. But I wanted to be selfsh for one more night, so I asked you if you could stay and you smiled and said “I wasn’t planning on going anywhere”. Before we closed our eyes to drif of to our alternative realities you turned to look at me and asked one more question “How long will it take for you to come back?”. I looked at you with tears spilling out of my eyes, “I don’t know love. But I promise when I get better, it’ll be you and me forever.” You smiled and we held each other for the last time that night. I remembered all the text messages you would send me every morning. I remember the voicemails you’d leave me telling me about your day and hoping that mine went well too. And if it didn’t you’d say “and if you didn’t have a good day then I’m sorry love. But just know better days are on their way, because where there is a storm there’s a rainbow too. I know that was cheesy but it’s true.” then you’d do that I laugh that I love so much. But slowly the messages and voicemails started to decrease by the day. And it made me sad but it made me happy as well. It meant that you were moving on. No matter how much I love you it would be selfsh of me to ask you to wait when I didn’t know how long it would take. You’d only end up texting or calling if it were a holiday or my birthday and you would even tell me if something big had happened to you. Like a job promotion or booking a fight to your dream vacation that you always wanted. I know that this is taking a while. And love I’m really sorry for that. I know you have a diferent life now and I hope that you haven’t forgotten about me because I haven’t forgotten about you or the promise I made to you that night in my apartment. It’s been a few years since that night. We both have become accustomed to “adult life”. I went to our place, the place where you frst asked me to be your girlfriend and we spent every anniversary thereafer that. I sat down and ordered a nice glass of red wine, it was sweet and savory. I ordered your usual, I don’t really know why since I hate steak but I guess it made me seem closer to you even if you weren’t there. But you were. I notice you sitting by yourself at a table near the far end of the deck by the water. The fairy lights above you were the only source of light that I got since it was dark out, so it was hard to tell but deep down I knew it was you. I waited for a bit to see if anyone else would sit with you or if you were alone. No one came. So I grabbed my wine and my plate and made my way to your table. “Is anyone sitting here?” you looked up at me in shock, as if you couldn’t believe I was there. “No. All yours.” Is what you said next. We talked for a bit and caught up with one another on our lives. Then you asked me what I was doing here. And I told you that I remember how we used to sit at that exact table year afer year drowning in laughter and love, I told you I wanted to feel that again. Then I asked you what you were doing here. And you said “Waiting for you to show up.” I don’t think I ever smiled harder than I did that night. “Well I told you that I’d come back didn’t I.” We smiled and laughed. By the end of the night, we kissed. And just like that, it was you and I again. - 12 - �Now, look at us. Married with kids living the life we both had dreamed of. No matter the challenges that we faced, the hardships that we went through, or where life took us, I always knew that we’d be together in the end. Because you and me, babe you and me were always forever. - 13 - �Seasonally Torn - Haley Katona with you, somehow I felt sof despite the rest I felt the fush of red against my own skin from the quiet of being stared at and every part of me wanted to embrace you like a fower opening, petals blooming I wanted to appear to you as if I was the sea on a summer evening even though you knew I was the sea during a summer storm crashing and striking the fragmented rocks that sharpened and caressed the shore you made me want to laugh grabbing a hold of the door and swinging in between in and out, in and out and stick my tongue out as I ran away while you tried to pick me up I wanted to pick apples for you, tossing those bruised, away and sitting on the ground, hair fying in the wind to tug on your sleeve and pull you down to wrestle in the grass, in the pure sunlit green smile on top of you, like you were the clearest thing I’d ever seen I wanted to hear you teach me anything you had up in your brain, your treasure chest of years that I had not been known clinging to your shirt, in the sof wind of may I don’t think I would’ve ever let you go - 14 - �Sedona 1 - Claire Wynne - 15 - �shoes ---- - Darren Martinez I give Greg a ride home from his job. One Thursday In A Sea of Them, that I’ll ever have of. Greg takes a hit from his vape. He empties the bin to the bathroom. It smells like wet cat. Greg and I were friends, once. I don’t know what we are now, nor care. I give him a ride Because of that Once. Onceness. Debts repaid. Ten marks were lain in the cupholder. Obviously not a cup, but held all the same the brain holes up in the body but my thoughts seem to dance above raw and bubbling, full of a cruelty too much for my body I am here, me, Darren. Smiling laughing absolutely unaware. - 16 - �It’s like my soul checked out Afer I fell on pavement when I was 13, Slipping out through a crack in my skull I look at the road. I look at Greg’s shoes out of the corner of my eye. - 17 - �Home at Last - Hannah Simerson Lately, I have come back home. It has been so long since someone has listened. Truly, wholeheartedly listened. He begs me to talk to Him—about my fears, my goals, my desires. He wants to know. He opened up His doors for me once again. He called me home afer I lef and found a new one. He made a bed for me and kept me warm. He lef my room the way it was before I ran away. He fed me and poured His love right into my heart. He held my head high when I was ashamed to have run away. He said to me, “You came back and that makes all the diference.” - 18 - �A year ago today - Sydney Umstead A year ago today I was still tasseled within your grip The smell of cofee One of my favorite books that I just started reading The hold you had of me, the pain in my face everytime our eyes met A look I once defned as love, but now known as fear You stripped me of a soul of my own I became your walking pradagee A mold of what you defned as a good lover The person I will never get the chance to know, a version of me that has withered away because of your actions I will never know the plan that was made for the girl in that photograph. - 19 - �One Moment In Time - Breanna Ebisch One. A blink of an eye. Two. Your fngers wrap around mine. Three. Is this really happening? It is, it is, it is. Four. Gazes locked, nothing by love. Five. Lips colliding, making sparks fy. One. A blink of an eye. Two. Your fngers wrap around mine. Three. Is this really happening? It is, it is, it is. Four. Gazes locked, nothing but despair. Five. The end has come, this is the fnal goodbye. - 20 - �Observer - Emily Cherkauskas - 21 - �A Tale Told of Sapphire Steps - Annie Arsenic It started with a dinner, plain and simple. Our meal was cooked and fresh, a palette pleaser with no equal. And paired splendidly with a bottle of our fnest drink. But in good company, cups soon run dry, and drink must be reflled. I stood, as best able at the time, and ofered to grab some more. I threw my azure cloak around my back and fipped open our cellar door. I grabbed a pair of candles for light and stepped into the dark downstairs. I fumbled down the frst few stairs and almost lost my stance. The hot wax punished my drunkenness as I swayed it onto my hands. In my stupor, I reached for the rail, only for my elbow to greet a smooth stone wall. Peculiar of course, because I have no stone wall. But in the moment, unnoticeable to an intoxicated me. And down I went. Afer some ten minutes of walking the steps, even I could sense something was odd. I looked out the window and saw in the darkness a range of imposing indigo mountains in the distance. Between them and I, a thousand pillars, wrapped in spiral sets of stairs. But, what fresh hell was this. A window? Mountains? In my basement? It must have been the wine in me, something I’m sure. “I’ll stand perfectly still.” “And I will not move.” Such thoughts comforted me, let me hope I was dreaming. But this was no make-believe. This place, I could smell it, feel it. The cool almost-breeze as it crept up the staircase, which spun and spun under my feet. As I looked around myself, I found my staircase quite like the rest around me. Even behind me, and as up as I could see. I had to understand. So down I kept, being more aware than before. Small markings in the slate walls became apparent, short notes in a script totally unintelligible to me. The window I looked through was - 22 - �repeated down the stairway, giving me occasional glances at this odd world around me as I made my descent. In passing, I almost thought I could see candlelight on some of the other stairways. I was almost at my wake’s end and the bottom still eluded me. When my wax had burned nearly all out, I turned my self around. I shufed back up those sapphire steps for as long, what felt like longer, than I had gone down them. My feet were tired and my spirit ached. The stony hallway felt colder as I climbed and climbed up as if it were to demand I stay. I could not give myself to it. And at long last, partially to my surprise, I came back to my door. I fell through it onto the warm foor of my home. The guests crowded around me and I fell asleep. From what I hear, I was gone for not even a minute. An Aureate Response I heard your footsteps patter on the gilded stone, a rhythm new to break the silence that’s my home. I heard you walk and saw your candle’s light glowing from afar. I tried to see you through the windows but you were too far and focused on your descent. What business you had at the bottom I would never know, because you turned back before you had a chance to show me. I wonder sometimes about the travelers, on these glittering golden steps they always climb. Why not come down to the bottom, is there something they see that I can’t? I’ve lived my life on this foor, and I’ve yet to fnd the trouble that seems to scare them all away. Countless pillars in my sight, no end I see at all. But as the glowing light of candles lowers toward and toward me, all are snufed out or turned back, which I cannot tell. I should learn to look away with both my eyes and hopes. These steppers will not reach me even if they come close. I make peace with my quiet because there is no other way. I wait for the faxen light of another candle, and I wait for another day. - 23 - �Ray Of Hope - Sam Burgess, Jr. Peeking just beyond the clouds, Across the mighty frmament. There is something to behold, I feel it must be heaven-sent. Fighting like a warrior, Whose maiden’s life depends on him. It struggles on quite fercely, While sparkling like a precious gem. Never wavering at all, A splendid sight for one to see. Climbing higher in the sky, In life it is the treasured key. What is this that shines so bright, And allows you and I to cope? The answer is known to all, It is, of course, a ray of hope. - 24 - �There are thanks in order - Sydney Umstead All that summer held used to be a mystery to me I was ignorant to what it felt like to have the sun illuminating of your back Surrounded by warm air and fts of laughter Coming of age, for the frst time in my entire life The sun brightened everything And for the frst time, I realized what it felt like to be alive. - 25 - �losing time - Cas Schiller every day i grow up a little more/i think the bags under my eyes are darker than they were before/and all the girls i went to school with avoid looking at me/sometimes i wonder what they see/sometimes i wonder what you see/will i remember today in six months or is it already gone? why am i trying so fucking hard these days? why am i never wrong? i want to sleep for the next sixty years but i’m carrying her banner and i’m already here i’m not scared of anything. maybe i could use a little fear. i’m not scared of anything. i can’t remember two weeks ago. i’m not scared of anything. my hands are shaking again. heartbeat at a hundred ten/i hate when you ask if i remember when/summer looming heavy starting to afect the tides/and i think i might know why/and i can’t remember why i’m sorry. why are you still here? ‘cause this will never make sense. i say all these words but in the end it’s nothing but pretend. are you a monster too? what’s underneath your skin? is it ants or an anthem? unoriginal sin? - 26 - �Astro1 - Tyler Savitski - 27 - �bullat ---- - Darren Martinez I’m here. Quite alive, I assure you. Unchanged from the last time we met. Though much has come between us since. The world greys, with a wintry beard, it scratches lines for planting in the neighbor’s feld. plants sprout from pods. upon tasting air, they curl up spiders hit by a newspaper wound tightly you smile blighting the earth with light she is drenched, with too many privates not enough towels the tub spills. rocking rolling, the earth’s task since it became Earth. the asteroid that rocked their surface full of your grey matter, and mine too. her crust bubbles like acne pustules life spills forth in the absence of the reaper - 28 - �when the reaper smiles, and lets his Jamaican accent ring forth, I will not smile back. I am unchanged from the last time. My facial structure is a little fatter sure, The birch beer tap a little drier. My pants a little tighter, My hair a little Worse. A bullet in my clavicle, a coupon that the bodega owner honors, but never takes. - 29 - �Rigid ---- - Haley Katona I put people on pedestals too ofen I forget they’re human, born of blood and skin I instead trace my fngers along the edge of marble and ivory in the ridges of my created memory so breathless is the birth, so dense is the destruction, quick in its own life careful not to dirty the white snow to distract from the blood caked on the foor beneath not your shoe, but mine - 30 - �Games Children Play: November 1996: Twelve Years to Fatherhood - Cody Marsh When you’re a kid, you don’t think much of the history of a place. Ofen, the only thing worth knowing about it is the quickest way to leave. And in school, you learn about state history to some degree, but only as much as will be on the end-of-year standardized test which determines whether you’ll move to the next grade, like who wrote “Texas, Our Texas,” which you’ll remember because you share his surname and make up a story that he’s some great grandfather of yours. No one ever talks about the fact that, if you’re in the heart of East Texas, you’re living in Indian country, and so much has transpired here over the millennia—things you’ve been told only happened in other places—and that the land you walk, and the pines and nettle and chiggers, have been nourished by the spilling of blood. Dad took me hunting on leased land in Jeferson County. He and Uncle Roger, my mom’s brother, tended to the small acreage all year leading up to deer season, cutting away underbrush to create shooting lanes, ensuring the box stands were in decent enough shape to hold a grown man’s body weight, placing dried kernels of corn in strategic places so the biggest bucks would become accustomed to grazing in a bullet’s path. Hunting whitetail is a religion flled with sacraments such as these, all pointing to the frst weekend in November—a holy time—when the general season begins and something primal comes alive in its believers. Practitioners become the new Indian braves on vision quests to touch that spiritual aspect of manhood which is seemingly activated only by acts of brutality. I would become such a brave when my frst kill was bagged and tagged. Before the sun was up, Dad walked me through the thicket from the clearing where we’d parked, accompanied by the beam of his Maglite. He carried a Maglite everywhere he went and had several more around the house in places he deemed handy. The Maglite, he said, was the fnest fashlight known to man, and heavy, and versatile enough to be used as a weapon if necessary. And it could not be crushed no matter what you ran over it with, a twenty-six-thousand-pound Mack truck included. He’d tested this, and the Maglite was indestructible, like we were. The fashlight beam bounced of the brush, exposing a walkable path to what would be my box stand. I barely stood waist-high to Dad, and both of us were fully decked out in camoufaged, insulated coveralls to beat the early morning chill, and both carried rifes—he’d outftted me with a Marlin Model 336, a leveraction 30-30, forever a favorite gun for youth hunters. A few summers before, it had damn near blown me backward over the hood of his truck when he took me down to the river bottoms to shoot at cans for practice. I knew for sure my shoulder would turn solid black from the recoil, but there wasn’t a mark on me when I inspected the impact site. This day, I’d be shooting the big rife from an elevated place, which would make aiming easier, and the rail of the box stand would provide the needed steadiness; I could rest - 31 - �my elbow on it, bracing myself as he’d taught me, and wouldn’t mess up the shot. Missing my shot, if I had to take one, terrifed me. How much more useless could a boy be than if he could not hit his target? So I practiced and practiced and could shoot the mouth out of a Pepsi can from twenty yards away, just like my Dad and Uncle, the sharpest marksmen in Angelina County. Uncle Roger had once slit a buck’s throat with a .22 long and lef no holes in its body, salvaging every morsel of meat. That’s the story I remember anyway. And Dad had been trained to shoot by the United States Marine Corps, arguably the most expert killers on the planet. My stand was a forest-green-painted, plywood structure, with a ladder crudely fashioned from twoby-fours, and a roof slanted to keep rain rolling of the back, just in case it started coming down when my trophy buck walked up and visibility was key. Because my legs were too short to reach the frst rung, Dad hoisted me up to it, and I took it from there. A few steps up, and he handed me my rife from his place on the ground. “Now make sure there’s no yellowjackets in there with you,” he said as I cleared the stand’s threshold. Yellowjackets were some of the most feared fying things of my childhood imagination. I’d seen Pawpaw stung by many while he worked in the woods cutting timber to be taken to the sawmills. Our town was altogether a timber town, and everybody worked in logging at some point in their lives, and yellowjackets seemed to be the tiny, crazed creatures who could end a logger’s career—and life—in minutes. My respect for them was healthy, if not exaggerated. “Yes, sir.” The bill of my camoufaged cap drifed down over my eyes, obscuring my vision. I squinted hard and peered from underneath it to check my surroundings before settling down on the permanent bench the stand’s builder had installed. “And check under the bench. You don’t want ‘em gettin’ ya in the ass.” He was right. I didn’t want that at all. When my inspection was complete, and no yellowjackets, spiders, scorpions, or any other critters were found, I sat on the pine bench and adjusted my bulky clothing to get comfortable. “If you see somethin’—and you will—don’t hesitate. Put your scope on him and fre, no secondguessin’.” “Yes, sir.” “When I hear the shot, I’ll come see about ya, so don’t shoot me comin’ outta the bushes.” “Yes, sir.” I could have pissed my coveralls as he walked of toward his own hunting grounds, a spot he’d cleared between two conjoined oaks, where he’d be hidden behind their tangling trunks. Being tough is a lot easier when someone is watching, and pretending to want to kill a deer was being tough. In truth, I couldn’t imagine anything I wanted less than to shoot a deer, but it was a rite of passage for we forest dwellers, and I’d heard stories of Indian hunters eating the heart of a fresh kill to honor its death and partake of its life, and it seemed like something that had to be done. To encourage myself in the pursuit of my game, I envisioned myself standing over the carcass of a massive, downed twelve-point buck, its pulsating heart-thumping between my clasped hands, my face covered in its thick, warm blood—war - 32 - �paint. This image lasted only a few seconds before I began praying in earnest that no deer crossed my path that morning or ever. If I never saw anything, then I wouldn’t have to kill it, because missing—I knew this to my core—was not an option. Maybe an hour passed, and the sun began its ascent above the forest canopy, but it was still dark enough to have to squint to see. I’d spent the past hour daydreaming of baseball and being warm in my bed at home. A rustling came from a stand of brush to my lef. I had shot plenty of squirrels and birds before, and it had never dawned on me that they might be conscious creatures. A deer, on the other hand, being a much larger animal with big, expressive eyes, was another thing. I hoped this noise was a group of rabbits playing, or anything other than what my gut knew it was. Out she came, one hoof falling gracefully in front of the other, snifng and grazing for corn on the cold earth. My heart rate must have tripled at the sight of her and the thought of what was coming next. Dad’s voice played over in my mind— “No hesitation”—so I tried hard to steady my breath, which only seemed to make it heavier. I could hear the blood fowing around my ears. As quietly and slowly as was possible, I raised my rife, propping my elbow against the splintery wood railing, which made an almost imperceptible creaking sound I feared (and inwardly hoped) would startle my prey and send her running. But it didn’t; she remained there nibbling at Dad’s corn. Peering through the rife’s scope, I placed my crosshairs directly behind the doe’s shoulder, where the bullet would tear through her heart, and fred. A perfect shot. The doe’s back legs dropped to the ground and seized violently, her front legs holding her weight. She pushed herself back up into a running position, then lunged toward the tree line. But her attempt at escape was a stumbling race against death, as all four legs began to fail her. Her eyes. I seem to remember them, big and black and fooded with fear, though there was too much distance between us for that memory to be true. The wet blood stuck to her hide, turning it dark as the soil beneath her. Still, she pushed toward the trees hunting a place to die. Dad was making his way to me by the time I reached the forest foor. I heard his boots clopping against the brushy earth. What my next move should be was not clear to me, so I waited by the base of the box stand until he joined me there. “Did you get one?” He asked. “Yes, sir,” I said. “A doe.” Hearing about my kill, pride radiated from his eyes, and his skin turned beet red between the cold and the joy of the moment. His only boy’s frst deer—like it had been his own relived. “I’ll be damned! Hell yeah, son,” he said. “Where’d she run to?” I showed him the spot she fell in, and he inspected the blood on the dried oak leaves, sticks, and dirt. “Clean shot, boy.” He could tell by the blood’s color that I hadn’t hit her in the gut. Of all the possible ways to make a bad shot, gut shooting an animal is the worst, because then the blood is tainted, and the meat will be ruined if you ever catch her. But a gut-wounded deer may never be found because they usually have enough strength lef in them to run faster and farther than you ever could. But my shot had been perfect, and the doe would - 33 - �be easily tracked, her bright red vitality serving as our markers. We found her not even a hundred yards from the clearing laying beneath a crooked oak. We watched for signs of breathing but saw none. “I think you got her, boy.” “Yes, sir,” I said. “Keep your gun on her just in case,” he told me. I raised my rife to waist-level, not sure that I could shoot again if I had to, if she was only laying there playing possum and jumped up to maul Dad and me for our crimes. I obeyed, aiming my rife at the top of her head. Dad took the yellow-covered Case Trapper from his pocket and opened its longest blade. Dad’s knives were always sharp enough to shave with, or use to cut a throat, which would be this one’s purpose today. “Shit,” I heard him say half under his breath. “What’s wrong?” I asked. “Boy,” he said. “That ain’t no doe.” “What do you mean?” “It’s a button buck.” He scratched under the bill of his cap, as though deciding what he should do next. “Hell, let’s get him skint and outta here.” I hadn’t seen the young buck’s antlers just beginning to protrude through the top of his skull. It wasn’t exactly an illegal kill. A licensed Texas hunter is allowed a certain number of antlerless deer each year, but those are reserved for does like the one I thought I was shooting. By defnition, a button buck is less than six months old, and killing one is frowned upon by almost everyone in the woods, and certainly by my Dad who had been so proud of my frst deer until that moment. He placed the blade of his Case to the fawn’s neck, slicing it all the way across. This ritual, some say, bleeds the deer out. To others it’s a spiritual act, releasing the animal’s soul back into the land. For Dad, I think it was just something he did because he was supposed to—a habit and nothing more. The fawn feld dressed and hanging by its slit neck from a hearty pine, Dad’s blade skinned, quartered, and deboned my victim without another word. - 34 - �Whitetail - Tyler Savitski - 35 - �Garden of Secrets - Ashlee Harry Death and decay These are the words used to describe me now. I can no longer age with the surrounding world, that was once my home. I foat in my temporary grave as it drains the remaining life from me. The one that did this to me stares down at my fnal resting place. The scent of fresh dirt that should have flled my nostrils was lost to me from the bloody, metallic waters. I’m lef to wonder if anyone will know of my demise. Will I be missed or will I be scrubbed from their memories? My grim reaper gives me another look once his work is done. My body is slowly pulled from the water’s clutches and dragged in the woods without care. The reaper uses his scythe and I am no longer one. My blood waters my grave instead of boiling with rage in me. I should have listened to the little voice in my head, when the man I trusted revealed his true intentions. - 36 - �He planted the belief for love with his fowery words, to only reveal his danger coated thorns. Without a second glance, he covers me in the earth – I will be his secret, but soon will be revealed, For the world will recreate me - 37 - �horticulture - jay guziewicz i was partially formed when i met you, skin growing over my muscle in broken patches from where i peeled of the parts of the last girl who said she loved me, threw those pieces to the dogs to try and make room for myself. but you came along, told me you loved me, and my raw patches became lakes for you to swim in and my new skin cracked to make way for the blooms of your favorite fower. i made myself into the image of things you loved, in hope i would become one, in hope that you would not want to leave. but you did. you set the garden growing out of my joints on fre, drained the lakes i built for you out my own blood and tears and once again i found myself lef raw, patchy, broken. and now i begin again. i peel of the skin i grew for you - 38 - �and let myself greet a new world tender and sinewy, preparing to shape myself into gardens and lakes once again, this time for myself. - 39 - �April Leaves - Ylonis Grant - 40 - �Poetess of Motion - Sam Burgess, Jr. Gliding cross the dance room foor, Was someone I did adore. Swaying like a branch under the Force of a windy day. Sweet fragrance from her perfumed lotion, Gave me an exciting notion. But I hoped, she wouldn’t approach, For I didn’t know what to say. Rhythmic feet and dressed divine, How I wished that she were mine. Such devotion to an Art, I had never seen. Imitating a wavy ocean, Was this Poetess of motion, A delightful smile, all the while, With warmth and senses keen. When the music stopped my feet were tapping, And everyone did join in clapping, As she began to leave and out the door, Did make her way. Did she take some magic potion, This Poetess of motion? Whether she did or whether not, She certainly made my day. - 41 - �VIOLET PETALS - Emily Cherkauskas “Confused, faking, invalid.” “A phase—a soon-to-die stage.” “Nothing more than a plastic fower,” Spews the venomous doctrine of normativity. The system is said to guide me to the other half. Unfortunately, it appears that I must be lost. Or blind. Or, unfnished? Something isn’t ftting in, But alas, I am caged within the confnes of this lonely world. Is this limbo a supposed form of happiness? Is this a form of liberation? This conformity? This gray, bleak plane—which, suddenly, Is broken by a spirited call of joy. Locks and chains refect the sight Of violet petals falling from every which way, Yet unite together in the wind, leaving a path for me to follow. It might be treasure, it might be nothing—but it is my nature to go forward. Those violet petals will always fy, And only fall to grace the ground Of the once-blocked path I walk through now, Far from compulsory standards that my heart rejects. The sunset rays shine through darkness, Warming my cold and lost soul, Bringing me hope for my once-lost future, As I march toward my desired freedom. - 42 - �As the sun sets, my once-clouded mind awakens. The endless scarlet and orange skies call out, Gartered with the pure white mist of peace, Kissed by the striking felds of violets below. The warm and wondrous landscape Opens its glowing, glistening arms. The opportunity to break free stands before me, A sign of life for the woman I shall be. As I watch the violet fowers blossom, I sit and fnd myself where I am now. The fact that I am me, that I exist, Is not a miracle; it is mere nature. - 43 - �Sketch - Samantha Ann Stanich-Romasiewicz Biting my bottom lip, tasting the dull chapstick lef by your quick kiss, your grey eyes searching, pretending not to know what lies beneath my rising sweater, silent inhales, though you are an expert at shivers and groans that overcome me, you are never lost in my curves, always knowing where your touch should land, always knowing that we can’t, shouldn’t, talk about the sweat stuck to the back of our necks as fngers trace outlines of our shapes, grasping at any available skin, pulling at hair, crashing into each other, tasting ecstasy and salty skin as we fall back onto guilt-stricken sheets that hold the secrets confned in my memory, only to be shaken like an Etch-A-Sketch as you pull me violently, amnesia washes over me, erasing any sign of another love who is mine but not fully one with me as I have given myself up to you once more, falling asleep in the wake of the destruction we have become accustomed to. - 44 - �Astro2 - Tyler Savitski - 45 - �Sarah ---- - Mya A. Bagenas Her name was Sarah. She was my best friend. She wore bright colors and her favorite season was spring because “that’s when the fowers would start to bloom” she would say. She was everyone’s golden child. There is no true defnition of a person so perfect but she was. She made all the parents say why can’t you be more like her and all the kids either wanted to befriend her or hate her. She was the sweetest person you would ever meet and her voice sounded like a lightly feathered pillow. She always wore a lavender scent, it matched her so well. And her smile. That smile that everyone craved to see because it made their day brighter. That smile never lef her face no matter what happened. That smile that so easily hid the cracks that laid deep within her soul. Her name was Sarah. She was my friend. She wore grays and blacks, her favorite season was winter because “it’s cold and harsh just like the world” she’d say. She was troubled. She never listened to anyone anymore, she didn’t care for anything either. She made all the parents question whether their kids should be around her or not. And kids stood away, those who weren’t troubled like she was anyway. She rarely spoke. I almost had forgotten what her voice sounded like, and how it defnitely would not ft the girl I knew today. And her smile. The smile that I looked forward to every day, was gone. No matter what happened that smile never came back. Now everyone was seeing what Sarah’s smile had been hiding. Her name was Sarah. She was my friend. And over time I began to feel the weight of what being her friend meant. It meant waking up in the middle of the night to pick her up from her one-night stand or to get her from jail. It meant worrying 24/7 whether or not that would be the last time you receive a call from her. It meant babysitting her to make sure that she doesn’t do anything that can’t be taken back. It meant losing yourself and losing all connections that you have to the real world because you rather do that than lose your friend. It meant telling her that this was the last time you would bail her out, or the last time you would pay for her rehab because you can’t take it anymore. Because it is taking everything out of you physically and mentally. It’s watching her eyes fll up with tears because she’s fnally realized that she has lost everything. Her name was Sarah. She was my best friend. She was a sweet girl that was tainted by the cruelness of the world. She loved bright colors and warm seasons. She was kind and it was hard not to love her. But she had demons and it wasn’t her fault. She didn’t ask for the life that was given to her, to lose her dad to cancer one year and to lose her mom to an accident the next. It was hard for her. And even afer everything that happened, all the fghts between us and the things she’d done I still loved her. Because - 46 - �we had no one but each other. I remember how much time we used to spend together. Going to the park, chasing each other, playing soccer, and picking the prettiest fowers that we could fnd. She loved picking fowers. And now I pick them for her, sitting with her every Sunday giving her the rundown of all the latest gossip. Her name was Sarah. She was my family. And I wish that I could see her smile just one more time. - 47 - �The Watchman - Maura C. Maros Safety latches mounted on cabinets, monitors listen for every breath. Eyes never far from catching a tragedy, table corners and stairs are worthy opponents. Safety cones line the end of the driveway, training wheels removed. Helmets fastened, peddle to the end of the block, just out of sight. Watch for speeding cars. Bus stop, good-byes, yell, I love you. Wait for school nurse to call, hold your breath. Exhale as she runs down the block, back to outstretched arms. Years later, a car horn beeps, wave good-bye from the doorway. The words Be careful bubble in your throat, door slams close. Silence echoes through the house, imagination plays cruel jokes. The sound of a motor approaches, front door slams with I’m home. Resist the urge to gather her onto your lap. A game of tug-o-war ensues, the trophy- independence. Curfews negotiated, twilight sleep wins until stairs creak. Her shadow lurks in bedroom doorway, Hi, Mom, kiss her forehead, smell her hair. - 48 - �Toss and turn sleepless with worry, college looms like a predator. Waiting to take her. No more slamming doors, announcing her safe arrival home, She must go. Long for her to come back to me, even if she is only twenty feet away. Arms ache to pull her close. - 49 - �The Glass Clock - Haley Katona sitting near the crumbled ivy of seven months’ neglect it rests in the sunlight refecting back to me and in the smoke of my breath, it keeps me awake in the violet night clicking, ticking, until it feels right and I don’t have the correct time set it’s all relative it’s all lack I only see mornings because of the glass I feel 4:04 in the afernoon in my chest sitting near the crumbled ivy and it counts down the wrong hour or one that does not yet tick until the shadows crack - 50 - �Timeless - Emily Cherkauskas - 51 - �Battle Cry - Breanna Ebisch A battle cry. That is how I entered the world. The piercing cry that signifes life, that I was breathing, that brought tears to my mother’s eyes, was a battle cry. Because the fght began when I took my frst breath. But from that moment on, my battle cry wasn’t heard by those who needed to hear. Yet, I push forward and my voice is joined by millions of women from across the world. We have no other option. Our rights are stolen away with simple signatures on legislation. Our earnings are still glaringly unequal. Our bodies are seen as beautiful, as a vessel to create and carry life, but are damaged by violence. And when we scream, the air full of battle cries, whether in triumph or fear, we are ignored. Ignored, silenced, defeated. What will it take for someone, anyone, to notice our endless struggles? A war? A revolution? I’m afraid it’s already begun. - 52 - �Surmonter - Ylonis Grant Being in the same room was stifing, thank god I won’t be trifing. I’m sure in your eyes I’m still a prize, a prize? The anxiety, the guilt, the blade was pushed to the hilt. I refused to make eye contact, it was like I was in a contract, and I couldn’t escape. You demanded attention and I fgured we could stay past collecting our pension, but there was tension. Thinking about it makes my skin crawl. Being in that situation— I no longer ship us together, now I feel light like a feather. Anticipating everytime you would touch me, tensing when you approached, too close, too close. How do I react? Do I say stop? Do I say sorry? I became unresponsive, I froze. Let it pass, let it pass, this can’t last. I didn’t realize how much my past afected my present. I don’t hold any resentment towards you. Had I known, I would have healed more, I’m going to heal more. I don’t want to feel anymore. I don’t want to see it now, but I’ll see more. Please let me go, I’m not the best you’ll ever have. I don’t want to feel trapped, I want to be free, free from the pain, from the trauma, the anxiety. I want to start again. I want to be in control, I’m giving back the heart I stole. Forgive me, for a rose has its thorns and I can’t help but use mine. You can no longer call me yours and I will no longer think you’re mine. It’ll get better with time. I won’t tell you any more lies. I sincerely apologize. A hopeless romantic, who feels undeserving, who’s still understanding the concept of romancing. - 53 - �Unsetting Sun - Annie Arsenic - 54 - �Today, of all days, I put my feet toward the unsetting sun. Afer deliberation day in and out. And so I marched forth to that deathless light. The cold of my breath projects fog to my visor, and I cannot see but a meter. The fog protects me from its damned stare, but no haze could ever fully obscure its light. That light which hammers down upon me as the snow crackles to my feet. The light which the frost itself returns to my eye from below is like the refection of a mirror. How human we were to imagine we could travel beyond its touch. How arrogant, to imagine we could live without its warmth. Through countless hours of travel I wade, hot on its trail. Days(?) perhaps, pass me by as I go. The grass seen though frostings of ice loses some of it’s green. The cold now warms my feet as it licks its chops, hungry. I cannot say I am not surprised; I cannot say I am not afraid. The sun has not set. On my tenth day, time returns to me. The passing of each second is etched into my mind. My mind, like a perfect clock. My legs walk in exact rhythm to each moment. I know when each breath, and the next will hit me, and all thereafer. I know of each minute, a hundred twenty steps. I know of each hour, that same tree, twice. I know of each day, a day of light. The grass creaks like now as it yellows. I wonder if it is so behind me as well. My mission is one of good. Why must it be this difcult? The cold has brought me to numbness, and I am warm for just a moment. I bask in it for twelve-point-three-nine-six seconds to indulge my aching body. On my twenty-eight-thousands-fve-hundred-twenty-third minute, it almost blinded me. Fogged no longer was my visor, for ice had formed where breath once laid. I’d hoped it ofered the same protection, but in its solidity was its weakness. The ice obscuring, protecting, my eyes began to crack. And then it fell. Now in my visor, there was a hole no smaller than a penny. A horrible portal through which that wicked sun could stab and jarr my eye! I must move forward, but this pain is too much to bear, I must stop it. My lef leg is still, and time has no meaning. I knew trusting the warmth would undo me. And now it has swallowed me whole. Aside from my coldened leg, I’ve given four fngers to the cold, if the two lost aren’t to be counted. If only I could reach this sun, I would be healed. I could stop it. Why does it torment me? Why does that tree echo back again? I’ve forgotten the time. I can’t move. The ice has become thick over my visor. The world is dark. My mind is cold. My body is cold. I can still feel the light around me, even without my eye to see it. The sun still stares down at me, cobalt rotten thing. I can see it with my eyes closed, with my mind in silence. I can see it with every fber of my being, shining demonic rays of hate. I want to move further, but the ice keeps me still. - 55 - �twilight - jay guziewicz i’ve been in love with sunsets ever since i was a child, the beginnings of night started with the most beautiful colors i’d ever seen before. pennsylvania hills fooded with oranges and purple, gentle pinks fading into dark night skies. i would try to draw them, laying on the foor, torn up crayola crayons scribbling on scrap paper pulled from trash cans. i saw the most beautiful sunsets down in the south, during that summer, the summer i lived on a bus the summer i felt the most lonely even though i never had a minute alone. that summer, my phone camera roll was flled with pictures of the sky instead of other memories, hazy purple in missouri tiger lily orange in texas. now, looking at the sky from my work parking lot, i think of those color in the south, talk myself out of driving sixteen hours to you, and your sunsets, - 56 - �the colors you must see tucked into the mississippi lowlands. i wonder how similar our skies are, if we see the same palettes or if yours are more bright, and i wonder if i’d ever see them, with you, together, our hands tucked into each other, our faces illuminated by the evening light. - 57 - �Grand Canyon 1 - Claire Wynne - 58 - �No Shame In Defeat - Sam Burgess, Jr. There is no shame in losing, No matter what they say. It’s not the end of the world, And it happens every day. One must not take defeat, As a sign that all is lost. Just lick your wounds and carry on, No matter what the cost. For defeat, you see, is a cleanser, That clears the clouded mind. It enables all to start anew, And leave the worst behind. So, if you’ve hit rock bottom, And you’re full of endless doubts. Always remember, and never forget, It’s where you go from there that counts. - 59 - �Treading Water - Maura C. Maros Arms ache, paddling to stay afoat. Head heavy, struggle to remain above water. Weeds like fngers encircle ankles, in murky depths below, Slipping below, trying to surface, sun penetrates the dark A beacon, follow the light, breach the fat veneer. Gasp for air. Sun blinds, shoreline on horizon. Eyes seeking, a vest, buoy, boat- any lifeline Sinking again, clinging to hope, kick, breath, propel forward. Breathless, crawling on the sandy beach, safety at fngertips. Until next time a riptide, drags me back under. - 60 - �Valley of Fire 1 - Claire Wynne - 61 - �The Diet Game: Conditioning the Conditioned Response - Rene Allen, M.D. One of my patients, Flora, called from the hospital. “Dr. Allen, I wanted you to know what happened. I wanted to gain weight, so I went to a hamburger joint and ate two quarter pounders, large fries, and a milkshake. That was two days ago. Yesterday, I had my gall bladder out.” At 5’3”, she weighed ninety pounds and had been trying her entire life to gain weight. I didn’t even try not to laugh. Fat overload and gall bladder disease— “Flora, did you enjoy the burgers?” “Yes,” she said. “But do you think it was the fries or milkshake that pushed me over the top?” The Diet Game—as a gynecologist, I was always looking at new diets both for myself, who, at a svelte 212 pounds was obviously overweight, and my patients, ninety percent of whom, normal weight or not, wanted to lose a few pounds. Flora had been the rare exception. She had wanted to gain weight. The Diet Game was a game of Try This, Try That. How would this food plan, this nutritional manipulation, these shakes, and supplements be better than the last ones? Realizing I had certain trigger foods I wondered if I could turn of the triggers to make the next diet more successful. I decided to deal with the trickle of candy that came into the ofce, particularly those universal favorite, M&Ms. The problem with M&Ms was that they tickled Skinner’s pleasure centers and triggered Pavlov’s conditioned response. In the Diet Game, they were rainbow yumminess, the perfect reward for passing go at the check-out counter. You could easily hide several in your hand. They melted in your mouth. They were flled with chocolate, and they had the requisite number of grams of sugar to make them sweet and delicious. My patients called them PMS pills. And if you only ate a few and were really good with the rest of your diet, well—conventional wisdom said to not be so harsh with your food you developed obsessions. And twelve peanut M&Ms—Twelve! only had about 140 calories. We kept a dish of them at the check-out counter. I’m not sure who felt obligated to keep the cut glass bowl full. I may have had something to do with it and on occasion, my patients. They brought large bags, poured them into the bowl, then free of guilt, grabbed handfuls for the trip home. Part of the game was to see how long I could go afer having one M&M before I had to have another. It was white-knuckle will power. Once I had an M&M, the remaining candy whispered my name every time I walked to the front ofce. I was particularly fond of the brown ones. “Doc, we’re here for you,” they said, and I responded like Pavlov’s dog. This was about the same time Barry Sears came out with his Zone Diet which promised remarkable results, plus it had the added credibility of Sears being a biochemist. Part of the Diet Game was determining how much food you could eat and lose weight. The best thing about the Zone Diet was the quantities of food—albeit veggies—that you ate to be in the metabolic zone that promised peak athletic performance, a muscular body, longevity, and weight loss. I bought the book and a plethora of green, orange, and purple vegetables. - 62 - �M&MS, however, were an obstacle to entering the Zone. Thinking about Pavlov’s dog, I wondered if I could change my conditioned response whenever I saw an M&M. Winning would be freedom. They would no longer call my name. I would no longer be victimized by a bowl of candy. The transformation ignited one day in a sporting goods store when I saw a pile of slingshots, those Y-shaped pieces of wood with bands of rubber attached to the arms and to a piece of leather into which you put your bullet—a spit wad, a rock, a small orange—anything you wanted to propel through the air toward a target. In a heartbeat, I imagined a red M&M zooming toward—here I faltered. I couldn’t see myself actually hitting someone or something. So, what could I shoot at? The perfect solution came to mind. On impulse, I purchased three slingshots, two for home and one for the ofce, and three bags of peanut M&Ms. That afernoon, I took my son to the driveway and raised the lid on the dumpster which was about twenty-fve feet away. “Okay, this is what we are going to do. We are going to take these slingshots and shoot these M&Ms at that lid where they will splat into pieces and drop into the garbage.” There is an expression that boys get, bafed, mouths open. “Mom, you don’t shoot M&Ms. You eat them.” “You do? Well, I thought I would try this. Look.” I picked up a yellow piece of candy, loaded it into the slingshot and let it fy. It was a lucky shot. It hit the dumpster lid with a loud thwack, and like magic, dropped in. The feeling was incredible. I reached for another one, but not before my son defensively put a handful in his mouth. “No,” I said. “You need to try it. Here.” I handed him one of the slingshots. He shook his head. “Mom.” But he loaded the slingshot and let it go. He obviously wasn’t interested in the dumpster because the candy few past another twenty feet before hitting a eucalyptus tree. We went through two bags of M&Ms. I don’t know how many he ate while I zealously peppered the dumpster, but when we were fnished, I hadn’t eaten a single piece of candy. It was a miracle. The next day I took the remaining bag of M&Ms and a slingshot to the ofce. I explained to my staf we were going to play a game, that I had to get rid of M&Ms and had an idea about how to do it. I am sure we looked ridiculous standing in the parking lot shooting candy at a dumpster lid. But once we started, we forgot about appearances. There were three of us, me, Jeanie, my ofce manager, and Linda, my nurse. Soon, we were venting with each shot. Jeanie said, “This is for the bleep-bleep insurance company that made me fle a claim three times because they kept losing it.” Wham! “Give me another piece of candy.” Linda pulled back on the rubber tubing. “This is for my idiotic ex-husband.” The candy smacked the dumpster lid and broke into pieces. I didn’t say anything, but a surge of anger caused me to pull hard on the slingshot. I let go and the candy shattered. “So there,” I said. We laughed at ourselves, but there was underlying substance to what was happening. Not only were we having fun, but the M&Ms disappeared and with them the craving. Afer that, whenever I saw a M&M, I imagined the sound it made hitting the dumpster lid, WHACK, and the urge to have one went away. - 63 - �At the time I was in therapy for some personal issues, including a desire to lose weight. I told my psychologist about the experiment with the M&Ms. “I’ve been playing this game,” I said, explaining it to him. “I think it’s going to work. I haven’t wanted any M&Ms. What I’ve wanted to do instead is go outside with the slingshot and shoot the dumpster. It’s really fun. You ought to try it.” Then I told him about my plans for the Zone Diet. “I’m excited about this. I think I can do it. You get to eat lots of food.” The fear of not having enough food because of low-calorie restrictions was one reason I had failed in the past. Before I lef, I asked if we could have a hiatus from our weekly visits, so we agreed on a return appointment in six weeks. Since it was the end of May, we talked about vacation plans and set up another appointment for July. I didn’t eat any more M&Ms. I didn’t want any M&Ms. And I ate lots of lettuce and celery, and the requisite amount of protein, and I cut way back on my favorite trigger foods—white bread and four tortillas, and I took all the omega-3s suggested by the diet. I lost three pounds. When I saw the psychologist again, he looked diferent. “Did you lose weight?” I asked suspiciously. “Twenty pounds,” he said proudly. “Afer you talked about the Zone Diet, it sounded so good, I tried it.” He shrugged and held out his hands, palms up in the classical, what-was-I-supposed-to-do pose. He had the bafed look men, and sometimes boys get. I shook my head. “Dumb game. It’s just not fair.” - 64 - �Valley of Fire 2 - Claire Wynne - 65 - �A Brief Description of the Creek Behind the Old Barn on a Hill, where I ofen Wrote when Alone: A Haiku - Fen Farnelli Smashed television Bicycle sans handlebars Half buried in dirt. - 66 - �shape of form of love of - Darren Martinez do courtship rituals come naturally to thee? or do we mirror our favorite flms and tropes and books and novels and novellas and parents and and and and just hope that the object of our afection shares our favorite flm trope blah etc. you know the details whatever love’s innates innards? I don’t know, innards things that demonstrate what love is, such as, like, so, forthwith, wherewithal you know like the warmth of a fellow being gifs ranging between any or old new thing meal prepared special attention efort compassion teaching how many of what? I have many, have had many, will have many if I keep on moving will I ever be satisfed???? life hardly feels real in your arms - 67 - �Does the Ocean Likewise Fear the Swabby? - Fen Farnelli One cannot dread not, The nautical knot Of nocturnal naught, I curse the serene Surface of the sea For these sirens who’ve sighed Of what beneath the waves lies, And avert my eyes As I hear more aye-ayes, Captain says; I comply. Captain says; I comply. The ocean, a sheen Shewn shining ashore, Could scant keep its tongue As I mopped the starboard, For to mess with the mate Who messes with masses Of messes about the estate, Oh how great, For the fates shan’t abate As I portly pad port, Captain calls, “Keep at work!” And the mates shout “Aye-aye!” Captain says; I comply. Captain says; I comply. And when the ship had docked that night, I swifly took fight, abandoned my plight, And set myself right To never go sailing again. I never heard, nor smell’d, nor saw, There may have never been a maw, But praise the Lord And all that’s good That I have not seen it And now never would. So good luck to the mates And their solemn aye-ayes, Captain says; they comply. Captain says; they comply. And from the wind af the af, The Odyssey’s oddities Audit inaudibly, Muses amused mumbling To my bumbling ear Of cephalopod deep, Most extreme of enemies, Squeamish extremities Reach up as I cup both my hands To cover my ears. It is then from the helm That I eye an aye-aye, Captain says; I comply. Captain says; I comply. Just to peek the beaklike maw, Not in awe, for the gnaw Of that natural ‘nought - 68 - �glass feelings - jay guziewicz - 69 - �Is there a way to love me? - Haley Katona socks dripping wet from muddy puddles and footprints that follow my march to the fridge to grab the wine would you love me even in the mascara caked to my freckles would you wash my hair holding my head under the water running your fngers through the strands watching me bend to your form as though I am warm clay for you to sculpt would you let me consume you where no matter how far I reach I just keep reaching and pulling into your chest to reach in to your evaporated soul fnding midnight blues and greys pool where my end becomes yours would you grace me like lightening leaving me patterned and struck and listen to me roar as the thunder does whenever your fame bends to my wick is there a way for love to construct and conquer, captivate and corrode all while letting our souls eat one another alive while it pours and foods outside do we lay against and with one another watching the time though you could kiss me without your eyes closed - 70 - �does that mean you watch your love grab a hold of me or that you are waiting for the explosion of the ticking time bomb of all that’s mine - 71 - �Phototropism—Growth Toward Light - Rene Allen, M.D. My boots crunch through a thick layer of frost and break the predawn silence. It is January and cold enough in Tucson, Arizona I wear a jacket. But cold is something I will remember in July before the monsoons come. Daily temperatures of 112 degrees, and looking at thirsty saguaros, their green-ribbed bodies gaunt and shriveled, is depressing. Recalling that a few months ago I wore a jacket and in a few more months, I will again, helps. Seasons do change in the Sonoran Desert. Eventually, respite comes. A deep salmon color in the low eastern sky dusts the undersides of clouds lef over from yesterday’s storm. Every morning is diferent, the color, the air, the way the gravel sounds underfoot as I make a three-mile loop. But it is always quiet here—so quiet I hear my thoughts. I claim this time, this silent pause between night and day when the sun gathers strength, pierces the darkness, and illuminates the desert in a wash of light. I have been present at this pre-dawn hour countless times when I have written through the night in a room called Purgatory—so named because when we put in a Pergo foor, my four sons chose the name Pergo-tory, which in a heartbeat became Purgatory. But it fts. Purgatory is a place to do penance and make peace with the past. Only it wasn’t my sins that kept me writing in this room long past sunset into the darkest part of the night. The gif and curse of both writing and a room called Purgatory is how they pull truth from my soul and demand of me my fnest integrity. What is written exists. I can hold it in my hands. It is mine. I stop and wait for the sun. My breath comes in bursts of white vapor and my hands are cold and clenched in my pockets. When it is cold like this, I wish I had thought to wear gloves. Winter sunrises are subtle, gentle pulsations, delicate at frst, a nudge of light, a ripple of orange-rose that gradually turns pink, then yellow, until it flls the entire eastern sky. Gold light brushes the tops of the eucalyptus and illuminates priestly saguaros whose arms raise heavenward in morning supplication. There are lessons here about these magnifcent saguaros. In the desert where survival depends on meager inches of rain and the topsoil is only an inch deep, saguaros may live 150 years. Those massive arms begin as tiny buds. In the spring, their heads are crowned with white fowers that are pollinated by bats. Native Americans harvest the ruby colored fruit. When full and tight with water afer summer rains, they may weigh two-and-a-half tons. I had an epiphany about saguaros. A couple of weeks ago, I was walking later in the day—the sun was up, the sky was blue, the clouds were pristine and white. That day was the frst time I really noticed the saguaros. I had been thinking about night things, particularly the anxiety that kept me in Purgatory writing until dawn, how it had been going on for months since I attended a conference on Multiple Personality Disorder and Childhood Sexual Abuse. I went because I had a patient with multiple personality disorder. Ignorance is my enemy. One day, she was dissociative and unresponsive in my ofce. I can tell you frsthand, gynecologists do not like unresponsive patients curled in a fetal position on their exam tables. - 72 - �The conference was fve months earlier at a Scottsdale resort. I had eaten lunch on the patio next to a terra cotta pot of white and pink petunias. It was pleasant and warm, and I hesitated to return to the overchilled auditorium. When I fnally went back, a statuesque woman in a royal blue knit dress was well into her presentation. Marilyn Murray was talking about her book, Prisoner of Another war: A remarkable Journey Healing from Childhood Sexual Trauma. Hers was a story of being gang-raped as a child. She repressed the memory only to recover it years later during treatment for severe depression. Something she said punched a button in my brain that set of intense physiological alarms. My hands shook. My heard pounded and thumped. I felt vitality pull away from my skin and hunker down inside, around my muscles and organs. Inside my head I heard my own physician’s voice, “It’s a panic attack, just a squirt of adrenaline. Nothing here will hurt you. Let it go. Breathe. Come on, it’s only a panic attack.” The panic slowly congealed into my own memories of childhood sexual abuse. I wrote at night in Purgatory and took desert walks at dawn to manage feelings of doom and fear. The psychologist I saw said it was all part of post-traumatic stress disorder—anxiety, depression, intrusive thoughts, fashbacks, disturbed sleep, loss of self-esteem, hypervigilance, a sense of being damaged goods—a massive infection trapped inside thick walls of repression that fnally ruptured. I had always thought saguaro arms grew toward the sky, but I was wrong. The day of my epiphany, I realized many saguaros have no arms. Occasionally, there will be a crested saguaro with a swirl of growth at the top, but it is armless. That January afernoon, my attention was on the mature saguaros that were a hundred years old and had many arms. I was surprised to fnd that on some of them the arms were bizarrely twisted and convoluted, that they seemed to grow toward the earth rather than away from it. Yet, even on the arms that curved toward the ground, the tips pointed up. I did an experiment. I found fve saguaros and looked carefully at their arms. On each, regardless of which way it grew, the tip pointed up, toward the sky. Plants have receptors that respond to light. This phenomenon is known as phototropism which is an orientation or growth toward light. I was amazed that regardless of what had happened to the saguaros, whatever caused the distortions, the tips pointed toward the light. There was a mechanism for correction and continued growth. Estimates are one in three women will be sexually abused at some point during their lives, and though the numbers are underreported, boys are also sexually abused with similar, devasting consequences. Emotional growth, the ability to enjoy life, the agency to make choices about your life, all of these are deformed by childhood abuse, Yet, what I found during those Purgatory nights was a compulsion, call it a phenomenon, to move toward the light—to uncover, illuminate, reveal, disclose, and fnd—truth. I feel great reluctance to face the residual demons of abuse, but the capacity to see clearly, to change course and heal, is intrinsic, and is as powerful as the receptors that direct growth in the saguaros. In the stillness of a winter morning, there is hope. - 73 - �Roses Lightened - Emily Cherkauskas - 74 - �pwepwepwpe - Darren Martinez i Do not Interact with American Reality teleVision i am unWelcome in churches, they lack, missing my brother’s wedding where god consummates the union and fucks my brother’s wife the birthPlace of LoVe? why, the mcdonaldo’s BathRoom where i woke up missing an ear i hired A Man to craf the soundtrack of my life with SynthWave techno logy quitting yesterday, he DeCried ‘cannot eat chip and dip, for Each And Every meaL’ why, the only dip was He i drew the sWord from the sTone while Municipal Men sCCCreamed ‘get out of the sewage pit, goblin’ and with their laZer pointers they went ‘pwe pew pew bam boom plamow’ with their little Pursed lips - 75 - �Angry but, a Little Less - Sydney Umstead You painted her the perfect portrait Lef the harsh and immediate brush strokes with me The painting you never want to discuss the details of You perfected your art later The torn up canvas now represents a box buried at the bottom of your closet The faded colors reside behind my tired eyes The version of the Mona Lisa that did not make the fnal cut This fact becomes clear to lovers I take in It’s in my eyes The glistening fear that I will never be the masterpiece Only the groundwork that needs to be built upon A painted over image of all that has been done to me And all that I have become But, will it ever be the fnal work? - 76 - �Bluebird - Tyler Savitski - 77 - �Last Night I Cried - Sam Burgess, Jr. I cried last night, as I watched on TV a small child who sufered from malnutrition lay motionless. The tears welled up in my eyes as I watched this baby who was so weak from hunger, so helpless from starvation, that she had no strength with which to open her eyes. This young and innocent creature of God, who in no way was responsible for her pitiful condition, was now on the brink of death. And her mother, her mother whose breast had completely dried up, could no longer feed her. You see, her daughter is one of a set twin girls. And unfortunately, she had to choose between the two of her babies because she could not keep them both alive. The decision for her was gut-wrenchingly hard, but she knew that if she did not choose one, they both would die. She lost not only a child that day, but a signifcant part of her soul. I cried last night, as I have never, ever, cried before. - 78 - �this poem isn’t quite as important as you think it is - Darren Martinez I have fallen in love. My life is sexless. I do not know intimacy, Only stories. The emotions that permeate creations. The spirit of a Babylonian man that made small goats out of clay, nodding vigorously at our engineering process And the creation of potato chips there are, realistically, only about seven types of stories out there look at human beings, and you might piece together there are just as many types of people its like there’s only about, 20-25 diferent facial structures? Up to the individual to remix on that, I guess. among dweebs, there are many Darrens. skinny Darren, Darren 2.0, darren, many of them too, loveless, sexless beings. / all of them telling one of seven stories telling of love they’ve never had, even though it was written in the stars a long time ago when, who, and why. I try to do what my fellow poets do. Romanticize Wanting to kill yourself, fall in love with inanimate objects, Refect the human condition, think. I’m tired of thinking and being this poem isn’t quite as important as you think it is - 79 - �Pull the Threads - Annie Arsenic In all my dreams I see the world come undone. Tin strips, thread by thread pulled away. Seams split into the open to reveal the vastness of space. When it has all been revealed, I am alone, stuck foating in perfect stillness. Te voice tells me to come close. Te sun appears before me, blinding me. I’m too close to it, and I feel warm. But then just as the discomfort encroached on me, the moon eclipsed the star. And in this moment, I am cooled again. Calmed, and at rest. Te voice tells me it’s name. Ten the moment breaks, and the threads again pull apart my world, this time giving way to even more nothing. Te vision of the eclipse is shredded piece by piece before my eyes, and I am alone with myself in emptiness. Te voice tells me everything. I look down and see that I too have been unraveling, or at least I am now. I hadn’t considered it a possibility, but common sense dictated it should happen. I embrace the universe. As the last piece of me falls into the void, I close my eyes. And just then, I open my eyes. Te dream ends, as it has a thousands times before. Te voice is silent. - 80 - �Grand Canyon 2 - Claire Wynne - 81 - �Prima Materia - Fen Farnelli Black are His eyes, two circles of shale, Which gaze, morose, upon His art. Lead bones proved, in time, too frail To hold His fesh and Iron heart. Ashes to ashes, upon the pyre, Dust to dust, our passions avowed, Aimless, He walks into the gyre, Met now chiseled on His brow, As He had chiseled into stone, Numen now penned in His Will, As He had penned a perfect clone, A changeling that He could not kill. Gold is Their hair, in unbraided strands, Which fows around Their perfect face. Mercury held in Their cupped hands, None spilled as They walked with unmatched grace. Ashes to ashes, smoke to the skies, Dust to Man to Woman to God. Undressed from culture’s rude disguise, Removed from Their obtuse facade. Is it a sin to mold our selves, Earthen fesh on the potter’s wheel, Letting that which in us dwells Loose from this gyre, Their form revealed? White are Her teeth, which gnaw on the bones Of those who’d called Her Son of Man, Copper veins fowed through the stone Which formed Her womb when time began. Ashes to ashes, She guided the plough, Dust to Body, now given a voice. Let loose Her soul from passive vows, If formed before She had a choice. Let loose Her half-divinity, If half must stay upon the earth, Then formed from Tin or Antimony, Held at home without a hearth. Red is my blood, my passion renewed, Now fowing through my Copper heart. Why must my body be broken for you? Who would destroy a work art? Ashes to cinders, cinders to fre, Dust to that which pleases me, Formed in the image of my desire, Elements of a new Alchemy. Now replicated with my voice, The voice which rang while I was stone, I have created a third choice, A changeling who is not alone. - 82 - �Astro3 - Tyler Savitski - 83 - �haven ---- - jay guziewicz picture this: me, in blue, standing on top of a tall building, foot hovering of the edge of the roof. breathe in. breathe out. it only takes two steps for me to learn that even boys named afer birds can’t fy, only f a l l. my foot steps back. i feel the heat of your hand linger against my skin smile ever present on your lips. breathe in. breathe out. it only takes two steps for a boy named for a bird to f a l l into your arms. and then. you. you, a fash of red lighting up the dark skyline of my city. “just a call away, day or night, whenever you need.” - 84 - �Exit..? - Emily Cherkauskas - 85 - �Little Braves - Maura C. Maros Ask for what you want, take what is yours. Stake your claim, make your mark. Leave, stay. Hold the candle, stand with others. Face the ugly, fnd the beauty. Make time, take time. Confront your fears, hold them in your hand. Release them. Love everyone. Find the words, speak your truth. - 86 - �- 87 - �A sister's lament Janine P Dubik Her grief cannot be erased or halved by putting her heaviest stones in my hands. Her grief cannot become mine despite the sunny room we once shared, despite my wish to ease her burden. Her grief is hers alone; it clings to only her and doesn't transfer, so I cannot fathom its depths. �Biographies jay guziewicz is a senior (?) psychology and English major and this year's executive editor. He saw The Batman (2022) 3 times in the frst 24 hours it was on HBO Max. That’s 9 hours of Batman in one day. Emily Cherkauskas is a junior communication studies and English double major with minors in creative writing and women's and gender studies. She accidentally noclipped into the backrooms and doesn't know how to get out. Breanna Ebisch is a senior communications studies major with minors in English and Women's and Gender Studies and is the layout editor for the Manuscript this year. She has been a writer almost all her life, at least for as long as she can remember, and hopes to take that love into her career and future. You can usually fnd her watching a hockey game, belting out Harry Styles and Taylor Swif songs, spending time with her loved ones or with her nose in a book. Breanna loves to travel and frequently indulges in her sense of adventure, most of the time on an impulse. She loves sunny days, laughing with friends and living life to the fullest. Fen Farnelli came from mud and to mud they will return. Darren Martinez: Otaku, habitual Dance Gavin Dance enjoyer, Dark Souls strength build enthusiast. I’m sorry my poetry is so pompous. Jackie Costello: Junior, DDMA, She/Her, Jackie occasionally publishes under the pen name 'Annie Arsenic', enjoys pistacio ice cream, and leads a local cult. Maddy Kinard is a junior English and communication studies dual major with a global cultures minor and is a staf member of Manuscript. She enjoys long walks on the beach at sunset and kittens. Hello! My name is Jordyn Williams. I'm a Theatre Arts and English Graduate with a minor in Dance. It has been a pleasure being a part of Manuscript. I have learned so much from my peers and professors and enjoyed reading the works of other writers. My favorite poet John Keats once said " Poetry should surprise by a fne excess and not by singularity, it should strike the reader as a wording of his own highest thoughts, and appear almost a remembrance" (John Keats). I believe poetry is an escape from reality where an individual can express their true feelings and experiences on paper. With my degrees, teachings, and the experience I have gained in Manuscript I hope to become a published author and work for a publishing house. - 88 - �Rene Allen, M.D. graduated with a MA in creative writing in January 2016. Funny fact: She has chia seed breakfast pudding with blueberries and grain free granola every morning for breakfast. You otta' try it! Sam Burgess, Jr. graduated in 1994 with an MBA in management. He is a foot soldier in the army of his Lord and Saviour Jesus the Christ! Mya A. Banegas is of the class of 2025 with majors in theatre and psychology. Her senior year she won frst place in a city-wide playwriting contest in Philadelphia and Temple theatre students performed it. Janine P. Dubik graduated in ‘78 and again with her MFA in ‘19. Fun fact: she was on The Beacon staf for my four undergraduate years. Ylonis Grant is in the class of 2025 and is majoring in psychology. She loves poetry. Ashlee Harry has an M.A. in fction and is a self-published author of The Guardians Trilogy: The Guardians, Ascension, and Legacy. Haley Katona is in the class of 2023, majoring in political science. She has never watched Monsters Inc. without crying. Maura C. Maros has a Masters in Fine Arts. This year, she started a new adventure and co-host the podcast, A Reel Page Turner! Cody Marsh received a Master of Arts in Creative Writing from Wilkes January of 2022. He lives in the Dallas-Fort Worth area, where he is involved in various causes, namely prison abolition. Tyler Savitski is a senior biology and physics major, and plans to study astrobiology. Cas Schiller is a freshman with a major in biochemistry. Fun fact: Cas is ethically sourced! Samantha Ann Stanich-Romasiewicz, MA, MFA ‘20 in Creative Writing, worked as a grad assistant for Marketing Communications for Wilkes and had to be told not every university uses “The” in front of it. Being from Ohio makes you pretentious in that way. - 89 - �Hannah Simerson is a senior English and communication studies major. She was on an episode of Dance Moms (and she even got to sit right next to the moms in the audience)! Sydney Umstead is in the class of 2025 and is currently majoring in English. She has an unhealthy obsession with cofee. Claire Wynne is a senior environmental engineering major, and is also the Vice President of the Gender and Sexuality Alliance, as well as Ofcer of the Games and Media Club. Dr. Mischelle Anthony, co-advisor to the Manuscript Society, is also Associate Professor and Chair of the English Department at Wilkes University. She teaches and writes poems, and has served on the editorial boards of the Midland Review (now defunct, hopefully not her fault) and Cimarron Review. Dr. Chad Stanley makes the English department better by both being a great professor and bringing his dog to campus. - 90 - �- 91 - �Manuscript would like to extend a hand in thanks to: Deb Archavage: The keystone of the English department, an icon, and the foundation of Kirby Hall. Dr. Mischelle Anthony: Manuscript advisor, Oracle of 18th century life writing, and one of the biggest supporters of the Manuscript Staf. Dr. Chad Stanley: Manuscript advisor, Master of relaxed vibes, one of the other biggest supporters of the Manuscript Staf. English Faculty & Staf: A constant supply of encouragement and inspiration. The Print Shop: Always telling us when our order has been received and notifying us when it is complete and ready for pick up. The Kirby Hall Ghost: We can sense your presence and we love you. - 92 - �- 93 - �©2022 by the Wilkes University Manuscript Society. All rights reserved. - 94 - � 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 Manuscript: Literary Magazine, 1947-present Subject The topic of the resource The Manuscript Society of Wilkes University has been publishing its creative written and visual art magazine, Manuscript, continuously since 1947. Currently, the student-led editorial staff publishes one issue per year, and copies are complimentary. Publisher An entity responsible for making the resource available Wilkes Manuscript Society Format The file format, physical medium, or dimensions of the resource PDFs Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1947-2020 Description An account of the resource The Wilkes University Manuscript is a student-run literary magazine, published by the Manuscript Society since 1947. It is currently published once a year. Individuals may submit creative fiction, creative nonfiction/short personal essays, poetry, photography, drawings, paintings, digital art, and music compositions. Submissions are open to all Wilkes University students, faculty, staff, and alumni. Rights Information about rights held in and over the resource Anyone can read or obtain copies of any of the material for research purposes, but if the researcher wants to quote from the materials, they will need to obtain copyright permission from the <a href="https://www.wilkes.edu/academics/colleges/arts-humanities-social-sciences/humanities/manuscript/index.aspx">Wilkes University Manuscript Society.</a> Type The nature or genre of the resource The Wilkes University Manuscript: Literary Magazine is arranged chronologically. The series ranges from 1947 – present. The magazine is currently published in the Spring only, but has previously been published seasonally, each semester. The series also includes a folder with supplemental materials from the Manuscript Film Society in the 1970s. The folders include a date range which may hold more than one issue of the magazine. 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 Manuscript, 2021-2022