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Inside this book are short biographical sketches about the many artists represented in the Library of Congress' Swann Collection compiled by Erwin Swann (1906-1973). In the early 1960s, Swann, a New York advertising executive started collecting original cartoon drawings of artistic and humorous interest. Included in the collection are political prints and drawings, satires, caricatures, cartoon strips and panels, and periodical illustrations by more than 500 artists, most of whom are American. The 2,085 items range from 1780-1977, with the bulk falling between 1890-1970. The Collection includes 1,922 drawings, 124 prints, 14 paintings, 13 animation cels, 9 collages, 1 album, 1 photographic print, and 1 scrapbook.
A comprehensive reference covering over 140 years and 650 artists from the Civil War through the entire 20th century, The Illustrator in America includes a biographical sketch on each artist along with a time-line chart that provides the various influences of styles and schools needed to understand the artists and their work. First published in 1964 and revised in 1984, this third edition is now offered in paperback for the first time. Included in this incredible compendium are the works of Winslow Homer, Norman Rockwell, Jessie Wilcox Smith, J.C. Leyendecker, Milton Glase, Chris Van Allsberg and many more.
Chronologically examines the schools and styles of American illustration since 1860 and profiles hundreds of artists, including Theodore Geisel, Louise Patterson, and John Collier.
This book explores the popularity of American illustration from the late 1800s through the 1920s. Illustrated books, periodicals, the public consumption of illustrations, and various themes of illustration are discussed. Themes include: (1) "The Smart Set"; (2) "The Masses"; (3) "The Domestic Scene"; (4) "Town and Country"; (5) "Let Me Call You Sweetheart"; (6) "Deeds of Derring Do"; (7) "Mystery and Suspense"; (8) "The Great Outdoors"; (9) "Dream Days"; (10) "War!"; (11) "The Sporting Life"; and (12) "Faraway Places." Illustrations provided are from the Collection of the Glenbow-Alberta Institute, better known as the Glenbow Museum. A "Tribute" remembers art collector Helen Card. Brief, alphabetically listed biographies are given for 114 American illustrators. The book concludes with a bibliography, and an itinerary and exhibition catalogue for the related museum exhibition of the same name. (NP)
From the Gibson Girl to the flapper, from the vamp to the New Woman, Carolyn Kitch traces mass media images of women to their historical roots on magazine covers, unveiling the origins of gender stereotypes in early-twentieth-century American culture. Kitch examines the years from 1895 to 1930 as a time when the first wave of feminism intersected with the rise of new technologies and media for the reproduction and dissemination of visual images. Access to suffrage, higher education, the professions, and contraception broadened women's opportunities, but the images found on magazine covers emphasized the role of women as consumers: suffrage was reduced to spending, sexuality to sexiness, and a collective women's movement to individual choices of personal style. In the 1920s, Kitch argues, the political prominence of the New Woman dissipated, but her visual image pervaded print media. With seventy-five photographs of cover art by the era's most popular illustrators, The Girl on the Magazine Cover shows how these images created a visual vocabulary for understanding femininity and masculinity, as well as class status. Through this iconic process, magazines helped set cultural norms for women, for men, and for what it meant to be an American, Kitch contends.
For a full list of entries and contributors, a generous selection of sample entries, and more, visit the The "Advertising Age" Encyclopedia of Advertising website. Featuring nearly 600 extensively illustrated entries, The Advertising Age Encyclopedia of Advertising provides detailed historic surveys of the world's leading agencies and major advertisers, as well as brand and market histories; it also profiles the influential men and women in advertising, overviews advertising in the major countries of the world, covers important issues affecting the field, and discusses the key aspects of methodology, practice, strategy, and theory. Also includes a color insert.
Between the 1870s and 1950s collectors vigorously pursued the artifacts of Native American groups. Setting out to preserve what they thought was a vanishing culture, they amassed ethnographic and archaeological collections amounting to well over one million objects and founded museums throughout North America that were meant to educate the public about American Indian skills, practices, and beliefs. In Collecting Native America contributors examine the motivations, intentions, and actions of eleven collectors who devoted substantial parts of their lives and fortunes to acquiring American Indian objects and founding museums. They describe obsessive hobbyists such as George Heye, who, beginning with the purchase of a lice-ridden shirt, built a collection that—still unsurpassed in richness, diversity, and size—today forms the core of the Smithsonian's National Museum of the American Indian. Sheldon Jackson, a Presbyterian missionary in Alaska, collected and displayed artifacts as a means of converting Native peoples to Christianity. Clara Endicott Sears used sometimes invented displays and ceremonies at her Indian Museum near Boston to emphasize Native American spirituality. The contributors chart the collectors' diverse attitudes towards Native peoples, showing how their limited contact with American Indian groups resulted in museums that revealed more about assumptions of the wider society than about the cultures being described.
By the time the phrase "graphic design" first appeared in print in 1922, design professionals in America had already created a discipline combining visual art with mass communication. In this book, Ellen Mazur Thomson examines for the first time the early development of the graphic design profession. It has been thought that graphic design emerged as a profession only when European modernism arrived in America in the 1930s, yet Thomson shows that the practice of graphic design began much earlier. Shortly after the Civil War, when the mechanization of printing and reproduction technology transformed mass communication, new design practices emerged. Thomson investigates the development of these practices from 1870 to 1920, a time when designers came to recognize common interests and create for themselves a professional identity. What did the earliest designers do, and how did they learn to do it? What did they call themselves? How did they organize them-selves and their work? Drawing on an array of original period documents, the author explores design activities in the printing, type founding, advertising, and publishing industries, setting the early history of graphic design in the context of American social history.