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Since Audubon visited Galveston in 1837, artists have flocked to the island, some just passing through and others staying their entire lives. But because Galveston remained remote from the nation's cultural centers, its artistic contributions were initially largely ignored. However, the recovery effort from the Great Storm of 1900 spurred a new sense of local pride and civic determination. The Cotton Carnivals attracted people throughout the state, the city's artists united to promote local art through the creation of the Galveston Art League and photographers modernized their practices. In the early 1920s, a new generation, freed from nineteenth-century traditions, started to gain attention both on and off the island. Explore Galveston's artistic heritage with local historian Pat Jakobi, from the portraits of Thomas Flintoff to the Balinese Room murals of Marie Marchi Ragone.
The Civil War history of Galveston is one of the last untold stories from America's bloodiest war, despite the fact that Galveston was a focal point of hostilities throughout the conflict. As other Southern ports fell to the Union, Galveston emerged as one of the Confederacy's only lifelines to the outside world. When the war ended in 1865, Galveston was the only major port still in Confederate hands. In this beautifully written narrative history, Ed Cotham draws upon years of archival and on-site research, as well as rare historical photographs, drawings, and maps, to chronicle the Civil War years in Galveston. His story encompasses all the military engagements that took place in the city and on Galveston Bay, including the dramatic Battle of Galveston, in which Confederate forces retook the city on New Year's Day, 1863. Cotham sets the events in Galveston within the overall conduct of the war, revealing how the city's loss was a great strategic impediment to the North. Through his pages pass major figures of the era, as well as ordinary soldiers, sailors, and citizens of Galveston, whose courage in the face of privation and danger adds an inspiring dimension to the story.
On September 8, 1900, a devastating hurricane destroyed most of the island city of Galveston, along with the lives of more than 6,000 men, women, and children. Today that hurricane remains the deadliest natural disaster in U.S. history. Despite this tragedy, many Galvestonians were determined to rebuild their city. An ambitious plan was developed to construct a wall against the sea, link the island to the mainland with a reliable concrete bridge, and raise the level of the city. While the grade was raised beneath them, houses were perched on stilts and residents made their way through town on elevated boardwalks. Galveston became a "city on stilts." While Galvestonians worked to rebuild the infrastructure of their city, they also continued conducting business and participating in recreational activities. Zeva B. Edworthy's photographs document the rebuilding of the port city and life around Galveston in the early 1900s.
In a 1963 novel, Edna Ferber compared the city of Galveston to Miss Havisham, the gray, mournful abandoned bride of Dickens' Great Expectations. A thriving port city in the nineteenth century, Galveston suffered catastrophe in the twentieth as a deadly hurricane and shifting economics dropped a pall over its waterfront and Victorian mansions. Originally conceived as a requiem for the faded city, The Galveston That Was (developed by the Museum of Fine Arts, Houston, and funded by Jean and Dominique de Menil) instead helped resurrect the city. Architect-author Howard Barnstone, renowned portrait photographer Henri Cartier-Bresson, and architect-photographer Ezra Stoller captured the soul of the city in The Galveston That Was and as a result, inspired a major and successful effort to restore Galveston's historic architectural treasures. Many of the buildings pictured in the book have since been restored, and the pace of demolition slowed dramatically after the book's initial publication. In 1994, Rice University Press, in collaboration with the Museum of Fine Arts, Houston, and George and Cynthia Mitchell, published an updated edition of the book. This new printing of the book, now under the Texas A&M University Press imprint, contains the text annotations and updates, plus Peter H. Brink's afterword, that were added to the 1994 edition.
In 1947, a time in which few New Orleans-based architects were designing modern architecture, Arthur Q. Davis (b. 1920) and his partner Nathaniel C. Curtis established their practice in the city. The Curtis and Davis firm is best known for designing the city's iconic Louisiana Superdome and such modernist landmarks as New Orleans's Rivergate Exhibition Center, the Hyatt Regency and Marriott hotels, and the Milton K. Latter Library. Davis has designed public and private works commissioned throughout the United States as well as in Saudi Arabia, Germany, Egypt, the Netherlands, and the United Kingdom. Davis's firm has received more than fifty awards for design excellence and, at age thirty-eight, Davis was made the youngest Fellow of the American Institute of Architects. It Happened by Design provides an affecting and thorough narrative of Davis's life and achievements. After serving in the Navy during World War II, Davis graduated from Harvard University's School of Design on the G.I. Bill, studying with Bauhaus school founder Walter Gropius. In this book, Davis explains how he fused Creole and Beaux-Arts ideas together, filtering those concepts through modernist aesthetics to create new forms while preserving the old. The book shows Davis challenging the architectural status quo during the Cold War and beyond. Whether discussing the politics of building in postwar Berlin, Vodou masters in the Caribbean, or struggles to modernize the skyline of his beloved New Orleans, Davis crafts a narrative with wit and insight. An introductory essay by J. Richard Gruber places Davis's work in the context of American architecture and provides a thorough summation of the architect's oeuvre.
People of African descent were some of Galveston's earliest residents, and although they came to the island enslaved, they retained mastery of their culinary traditions. As Galveston's port prospered and became the "Wall Street of the South," better job opportunities were available for African Americans who lived in Galveston and for those who migrated to the island city after emancipation, with owner-operated restaurants being one of the most popular enterprises. Staples like Fease's Jambalaya Café, Rose's Confectionery and the Squeeze Inn anchored the island community and elevated its cuisine. From Gus Allen's business savvy to Eliza Gipson's oxtail artistry, the Galveston Historical Foundation's African American Heritage Committee has gathered together the stories and recipes that preserve this culinary history for the enjoyment and enrichment of generations, and kitchens, to come.
A full-color photojournal of the Galveston County, Texas, paired with the stories of local companies. The book is a "coffee table" book and will contain dozens of original color photographs depicting life, leisure and work in the county.
Now in its Third Edition, Scenic Art for the Theatre: History, Tools and Techniques continues to be the most trusted source for both student and professional scenic artists. With new information on scenic design using Photoshop, Paint Shop Pro and other digital imaging softwares this test expands to offer the developing artist more step-by-step instuction and more practical techniques for work in the field. It goes beyond detailing job functions and discussing techniques to serve as a trouble-shooting guide for the scenic artist, providing practical advice for everyday solutions.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.