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Contains biographical sketches of authors who wrote or began writing their major works during the period 1820 to 1860. Represented are writers of short stories, juvenile literature, sermons, and popular literature, as well as novelists, poets, essayists, editors, humorists, translators, compilers, journalists, reformers, historians, abolitionists, and scientists.
Karl Marx (1818-1883) is arguably the most famous political philosopher of all time, but he was also one of the great foreign correspondents of the nineteenth century. During his eleven years writing for the New York Tribune (their collaboration began in 1852), Marx tackled an abundance of topics, from issues of class and the state to world affairs. Particularly moving pieces highlight social inequality and starvation in Britain, while others explore his groundbreaking views on the slave and opium trades - Marx believed Western powers relied on these and would stop at nothing to protect their interests. Above all, Marx’s fresh perspective on nineteenth-century events encouraged his readers to think, and his writing is surprisingly relevant today. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
Despite recent corporate scandals, the United States is among the world’s least corrupt nations. But in the nineteenth century, the degree of fraud and corruption in America approached that of today’s most corrupt developing nations, as municipal governments and robber barons alike found new ways to steal from taxpayers and swindle investors. In Corruption and Reform, contributors explore this shadowy period of United States history in search of better methods to fight corruption worldwide today. Contributors to this volume address the measurement and consequences of fraud and corruption and the forces that ultimately led to their decline within the United States. They show that various approaches to reducing corruption have met with success, such as deregulation, particularly “free banking,” in the 1830s. In the 1930s, corruption was kept in check when new federal bureaucracies replaced local administrations in doling out relief. Another deterrent to corruption was the independent press, which kept a watchful eye over government and business. These and other facets of American history analyzed in this volume make it indispensable as background for anyone interested in corruption today.
Includes the complete Communist Manifesto and substantial extracts from On the Jewish Question, the German Ideology, Grundrisse, and Capital, a broad representation of his letters, and lesser-known works, especially his long-unavailable, early works.
The first comprehensive treatment in seventy years of the American Art-Union’s remarkable rise and fall For over a decade, the New York–based American Art-Union shaped art creation, display, and patronage nationwide. Boasting as many as 19,000 members from almost every state, its meteoric rise and its sudden and spectacular collapse still raise a crucial question: Why did such a successful and influential institution fail? The American Art-Union reveals a sprawling and fascinating account of the country’s first nationwide artistic phenomenon, creating a shared experience of visual culture, art news and criticism, and a direct experience with original works. For an annual fee of five dollars, members of the American Art-Union received an engraving after a painting by a notable US artist and the annual publication Transactions (1839–49) and later the monthly Bulletin (1848–53). Most importantly, members’ names were entered in a drawing for hundreds of original paintings and sculptures by most of the era’s best-known artists. Those artworks were displayed in its immensely popular Free Gallery. Unfortunately, the experiment was short-lived. Opposition grew, and a cascade of events led to an 1852 court case that proved to be the Art-Union’s downfall. Illuminating the workings of the American art market, this study fills a gaping lacuna in the history of nineteenth-century US art. Kimberly A. Orcutt draws from the American Art-Union’s records as well as in-depth contextual research to track the organization’s decisive impact that set the direction of the country’s paintings, sculpture, and engravings for well over a decade. Forged in cultural crosscurrents of utopianism and skepticism, the American Art-Union’s demise can be traced to its nature as an attempt to create and control the complex system that the early nineteenth-century art world represented. This study breaks the organization’s activities into their major components to offer a structural rather than chronological narrative that follows mounting tensions to their inevitable end. The institution was undone not by dramatic outward events or the character of its leadership but by the character of its utopianist plan.
Sanford Gifford (American, 1823-1880), a leading Hudson River School landscape painter and a founder of The Metropolitan Museum of Art, was so esteemed by the New York art world that, at his untimely death, the Museum mounted a show of his work-the first monographic exhibition accorded any artist-and published a Memorial Catalogue that, for nearly a century, remained the principal source on his oeuvre. Gifford's art, which was inspired by the work of Thomas Cole, the founder of the Hudson River School, and by that of British artist J.M.W. Turner, and enriched by his travels in Europe (from 1855 to 1857, and from 1868 to 1869), came to be called "air painting," for he made the ambient light of each scene-color saturated and atmospherically potent-the key to its expression. His approach to painting and his unique style gave rise to a highly distinctive body of work with enchanting and mesmerizing effect. This publication examines seventy paintings by the artist and includes comparative illustrations of related works by Gifford, his Hudson River School mentors and colleagues, and those painters, in addition to Cole and Turner, who exerted influence on his art, including Frederic Edwin Church and John F. Kensett. The essays discuss Gifford's place in the Hudson River School, his numerous Catskill Mountain subjects, his experiences and perceptions as a traveler both at home and abroad, and the variety of his patrons. -- Metropolitan Museum of Art website.