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Since ancient times, wars have inspired artists and their patrons to commemorate victories. When the United States finally entered World War I, American artists and illustrators were commissioned to paint and draw it. These artists’ commissions, however, were as captains for their patron: the U.S. Army. The eight men—William J. Aylward, Walter J. Duncan, Harvey T. Dunn, George M. Harding, Wallace Morgan, Ernest C. Peixotto, J. Andre Smith, and Harry E. Townsent—arrived in France early in 1918 with the American Expeditionary forces (AEF). Alfred Emile Cornebise presents here the first comprehensive account of the U.S. Army art program in World War I. The AEF artists saw their role as one of preserving images of the entire aspect of American involvement in a way that photography could not. Unsure of what to do with these official artists, AEF leadership in France issues passes that allowed them relative freedom to move about, sketching as they went and finding supplies and lodgings where they could. But the bureaucratic confusion over the artists’ mission soon created controversy in Washington. The army brass there was dismayed at the slow trickle of art coming in and at some of the bucolic, behind-the-lines scenes, which held little promise as dramatic magazine illustrations or propaganda. The Armistice came only a matter of months after the American Artists arrived in France, and they marched into the Rhineland with the American occupation forces, sketching along the way. Soon returning to France the artists went into separate studios to finish their works, but the army hurriedly discharged them and they were civilian artists once more. The author conducted research for this book in the World War I army records in the National Archives, as well as the collections of the Smithsonian Institution, and others throughout the country. The sixty-six black-and-white pictures reproduced here are some of the approximately five hundred pieces of official AEF combat art, which shortly after the war were turned over to the Smithsonian Institution, where most of them remain.
A biography of the nineteenth-century pioneer in the struggle for women's rights.
A chronicle of the coming of the Industrial Age to one American city traces the explosive entrepreneurial, technological, and artistic growth that converted Chicago from a trading post to a modern industrial metropolis by the 1890s.
At the outset of the twentieth century the debut of the American picture postcard incited widespread enthusiasm for collecting and sending postcard art that lasted decades. In Picturing Illinois, John A. Jakle and Keith A. Sculle examine a diverse set of 200 vintage Illinois picture postcards revealing what locals considered captivating, compelling, and commemorable. They also interpret how individual messages impart the sender's personal perception of local geography and scenery. Jakle and Sculle follow the dialogue between urban Chicago and rural downstate, elucidating the postcard's significance in popular culture and the unique ways in which Illinoisans pictured their world.
Tracing two centuries of rise, fall, and rebirth in the heart of downtown Detroit. Downtown Detroit is in the midst of an astonishing rebirth. Its sidewalks have become a dreamland for an aspiring creative class, filled with shoppers, office workers, and restaurant-goers. Cranes dot the skyline, replacing the wrecking balls seen there only a few years ago. But venture a few blocks in any direction and this liveliness gives way to urban blight, a nightmare cityscape of crumbling concrete, barbed wire, and debris. In Dream City, urban designer Conrad Kickert examines the paradoxes of Detroit's landscape of extremes, arguing that the current reinvention of downtown is the expression of two centuries of Detroiters' conflicting hopes and dreams. Kickert demonstrates the materialization of these dreams with a series of detailed original morphological maps that trace downtown's rise, fall, and rebirth. Kickert writes that downtown Detroit has always been different from other neighborhoods; it grew faster than other parts of the city, and it declined differently, forced to reinvent itself again and again. Downtown has been in constant battle with its own offspring—the automobile and the suburbs the automobile enabled—and modernized itself though parking attrition and land consolidation. Dream City is populated by a varied cast of downtown power players, from a 1920s parking lot baron to the pizza tycoon family and mortgage billionaire who control downtown's fate today. Even the most renowned planners and designers have consistently yielded to those with power, land, and finances to shape downtown. Kickert thus finds rhyme and rhythm in downtown's contemporary cacophony. Kickert argues that Detroit's case is extreme but not unique; many other American cities have seen a similar decline—and many others may see a similar revitalization.