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A fascinating collection of postcards from the early twentieth century.
This unusual gift idea for postcard collectors and senders features the third selection of postcards taken from paintings in the collection of the National Gallery. Each postcard is perforated, and ready to be stamped and sent.
From the Great Depression through the early postwar years, any postcard sent in America was more than likely a “linen” card. Colorized in vivid, often exaggerated hues and printed on card stock embossed with a linen-like texture, linen postcards celebrated the American scene with views of majestic landscapes, modern cityscapes, roadside attractions, and other notable features. These colorful images portrayed the United States as shimmering with promise, quite unlike the black-and-white worlds of documentary photography or Life magazine. Linen postcards were enormously popular, with close to a billion printed and sold. Postcard America offers the first comprehensive study of these cards and their cultural significance. Drawing on the production files of Curt Teich & Co. of Chicago, the originator of linen postcards, Jeffrey L. Meikle reveals how photographic views were transformed into colorized postcard images, often by means of manipulation—adding and deleting details or collaging bits and pieces from several photos. He presents two extensive portfolios of postcards—landscapes and cityscapes—that comprise a representative iconography of linen postcard views. For each image, Meikle explains the postcard’s subject, describes aspects of its production, and places it in social and cultural contexts. In the concluding chapter, he shifts from historical interpretation to a contemporary viewpoint, considering nostalgia as a motive for collectors and others who are fascinated today by these striking images.
Ord looks at the gallery's historical and intellectual context - from 1910 when Eric Brown became the gallery's founding director, through Jean Sutherland Boggs, to Shirley Thomson - shedding light on its acquisitions, government policy towards the arts, and the public's deep-rooted suspicion of avant-garde art. In showing how Canadian art came to be housed in a building whose architectural and ideological sources include Gothic cathedrals, Islamic mosques, Egyptian temples, St Peter's Basilica, and the squared-stone facades of the Holy City of Jerusalem, The National Gallery of Canada insightfully explores the relationship of Canada's art and its National Gallery to the project of the Canadian nation state.
The Art of the Collection is a celebration of the State Library of Victoria's Picture Collection-the oldest visual documentary collection in Australia. Acting on its mandate to collect and preserve Victoria's documentary heritage, the Library acquires paintings, maps, diaries and documents that showcase all facets of Victorian life, past and present. The Library has an extensive collection of art works and a permanent display of 150 works in the Cowen Gallery. The works illustrate Victoria's landscape, early Melbourne scenes, and significant events and figures in the European exploration and settlement of Australia. The works range from early eighteenth and nineteenth century portraits, busts to contemporary portraits and scenes of Melbourne and Victoria from the 1800s until now. Works of some of our most celebrated and talented Australian artists are in the collection and showcased in this book: Eug ne von Gu rard, John Glover, Frederick McCubbin, Albert Tucker, Ian Fairweather, Lina Bryans, Jan Senbergs, Juan Davila and Howard Arkley to name but a few.
This volume offers a comprehensive perspective on the relationship between the art scene and agencies of the state in countries of the region, throughout four consecutive yet highly diverse historical periods: from the period of state integration after World War I, through the communist era post 1945 and the time of political transformation after 1989, to the present-day globalisation (including counter-reactions to westernisation and cultural homogenisation). With twenty-three theoretically and/or empirically oriented articles by authors from sixteen countries (East Central Europe and beyond, including the United States and Australia), the book discusses interconnections between state policies and artistic institutions, trends and the art market from diverse research perspectives. The contributors explore subjects such as the impact of war on the formation of national identities, the role of artists in image-building for the new national states emerging after 1918, the impact of political systems on artists’ attitudes, the discourses of art history, museum studies, monument conservation and exhibition practices. The book will be of interest to scholars working in art history, cultural politics, cultural history, and East Central European studies and history.
Featuring many exquisite historical photographs, a celebration of the sometimes extravagant, sometimes bizarre pastime: playing dress-up. Pierrot, Little Bo Peep, cowboy: these characters and many more form part of this colorful story of dressing up, from the accession of Queen Victoria to the coronation of Queen Elizabeth II. During this time, fancy dress became a regular part of people’s social lives, and the craze for it spread across Britain and the Empire, reaching every level of society. Spectacular and witty costumes appeared at suburban street carnivals, victory celebrations, fire festivals, missionary bazaars, and the extravagant balls of the wealthy. From the Victorian middle classes performing “living statues” to squads of Shetland men donning traditional fancy dress and setting fire to a Viking ship at the annual Up Helly Aa celebration, this lavishly illustrated book provides a unique view into the quirky, wonderful world of fancy dress.