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Frank Schoonover

Frank Schoonover


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Frank Schoonover nació en Nueva Jersey, EE. UU., En 1877. Estudió en el Instituto Drexel con Maxfield Parrish con Howard Pyle (1896-1900). Pyle quedó impresionado con Schoonover y le consiguió que trabajara ilustrando los libros A Jersey Boy of the Revolution (1899) y En manos de los abrigos rojos (1899).

Schoonover se ganó la reputación de ilustrar historias de aventuras. Esto incluyó In The Open, The Edge of the Wilderness, The Deliverance y Breaking Trail para Revista de Scribner. También fue colaborador habitual de Semanal de Harper y Revista de McClure.

Otros libros ilustrados por Schoonover incluyen Una princesa de marte (1917), Cortés el Conquistador (1917) Polizones árticos (1917), Cuentos de Shakespeare (1918), Juana de arco (1918), Secuestrado (1921), Robin Hood (1921), Robinson Crusoe (1921), Isla del tesoro (1922), Rey Arturo y sus caballeros (1923), Ivanhoe (1925), Aventureros del desierto (1925) y Niños cautivos de Old Deerfield (1929).

En 1931 Schoonover estableció la Escuela de Ilustración en Indianápolis, pero después de 1937 se concentró en la pintura de caballete. También fundó otra escuela de arte en Wilmington en 1942 que dirigió hasta que sufrió un derrame cerebral en 1968.

Frank Schoonover murió en 1972.


Escenas de canoa de Frank Schoonover

Escribí sobre Schoonover aquí y aquí. Su entrada de Wikipedia es aquí.

Schoonover es mejor conocido por sus escenas al aire libre. El presente artículo presenta algunas de sus ilustraciones que incorporan canoas - embarcaciones ligeras, bastante frágiles, algo inestables desarrolladas por indios americanos, entre otros.

Jean Lafitte - 1912
El pirata / corsario francés que trabajó en el Caribe a principios del siglo XIX. No es una canoa, pero es una buena ilustración.

El agua Lilly - 1916

Una niebla del norte - 1916

El último de los mohicanos - 1922
Similar a la imagen anterior. Los ilustradores suelen aprovechar los atajos de producción.


"Lente y pincel: obras del ilustrador estadounidense Frank E. Schoonover"

Arriba: Foto de Frank E. Schoonover
Abajo: Frank E. Schoonover, Brigada de pieles, 1912. Óleo sobre lienzo.

Frank E. Schoonover (1877 & ndash1972) es conocido por sus obras encontradas en Harper & rsquos semanal, Scribner y rsquos, Publicación del sábado por la noche, Diario de casa de las señoras, Chico americanoy otras publicaciones. Schoonover & mdashalong con N.C. Wyeth, Jesse Willcox Smith y otros & mdash fue un estudiante apreciado de Howard Pyle, el fundador de la Escuela Brandywine de Ilustración Americana. A través del estímulo de Pyle & rsquos, Schoonover viajó con raquetas de nieve y trineos tirados por perros a través de partes de Canadá y América del Norte, tomando fotografías de sus entornos que luego se utilizaron como referencias de imágenes. Esta exposición, que incluye más de 40 obras, ofrece un vistazo a los recursos, la habilidad técnica y la creatividad de Schoonover & rsquos utilizados para sus aclamadas ilustraciones.

Comisariada por John Schoonover, presidente y curador de Schoonover Studios. Organizado por Lucinda Dukes Edinberg.

Agradecemos a las siguientes personas por su continuo financiamiento y apoyo: el condado de Anne Arundel, Chesapeake Medical Imaging, la ciudad de Annapolis, la Fundación Helena, el Consejo de Artes del Estado de Maryland, el Patrimonio de Elizabeth Myers Mitchell, la Junta de Asesores de la Galería Mitchell, miembros de la Galería Mitchell, la Sra. Ruth Mitchell, el Fondo John e Hilda Moore, la Fundación de la Galería Lillian Vanous Nutt Mitchell, Rex y Katharine Pingle, y el Fondo de Bellas Artes Clare Eddy y Eugene V. Thaw.

Programas y eventos

1 de abril:Inauguración de la exposición online

11 de abril: Entrevista en vivo con John Schoonover, presidente y curador de Schoonover Studios, 3 p.m. ET
Esta entrevista, seguida de un período de preguntas y respuestas, proporcionará conocimientos biográficos y antecedentes sobre los viajes, la formación y las inspiraciones de Frank E. Schoonover & rsquos, que le dieron una reputación como ilustrador destacado. Gratis. No es necesario registrarse.

John Schoonover

John Schoonover se graduó de la Universidad de Virginia y estableció Schoonover Studios Ltd. en 1969. Schoonover Studios se especializa en las obras de Frank E. Schoonover, pero las obras de otros ilustradores estadounidenses, así como la conservación del arte, también son una parte vital de la operaciones studio & rsquos. Junto con Louise Schoonover Smith y Lee Ann Dean, John es el coautor del libro de dos volúmenes. Catálogo de Frank E. Schoonover Raisonn & eacute. Actualmente es miembro de la Junta de Fideicomisarios del Biggs Museum of American Art, y ha sido miembro de la Junta de Directores del Delaware Humanities Forum, fue miembro fundador del Brandywine Arts Festival y sigue siendo un miembro activo del Wilmington Rowing Club. . John está trabajando actualmente en un libro que celebra las fotografías documentales de Frank E. Schoonover, que se espera que se publique en 2022.

29 de abril: Tour virtual, 2:30 p.m. ET | Club del libro, 3 p.m. ET
Visita en línea de la exposición seguida de un debate sobre Howard Pyle por Henry Pitz, dirigido por el ilustrador Rob Wood. Comuníquese con la galería para comprar un libro. Gratis. Se requiere registro para participar en el Club del Libro.

Rob Wood

Ilustrador Rob Wood recibió su BFA de East Tennessee State University con especialización en pintura y diseño gráfico. Después de graduarse, se unió a la Fuerza Aérea de los Estados Unidos y sirvió un año en Vietnam. Después de recibir una baja honorable, Wood asistió a la Universidad de Georgia, donde obtuvo su MFA y comenzó su carrera de ilustración en una firma de diseño en el área de Washington, DC.

El arte de Wood & rsquos se encuentra en libros y revistas, y ha creado ilustraciones para portadas de libros para Stephen King, Nevada Barr, Jack Higgins, Kristin Hannah y una nueva edición de Cormac McCarthy & rsquos. Meridiano de sangre, lanzado en 2021. También ha creado un adorno para el árbol de Navidad de la Casa Blanca, así como murales para el Museo del Aire y el Espacio Smithsonian & rsquos, el Museo de la Segunda Guerra Mundial en Nueva Orleans y el Museo de la Revolución Americana en Filadelfia.

Es miembro de la Society of Illustrators y ha recibido múltiples premios y reconocimientos, incluido el de mejor espectáculo y medallas de oro de Revista de Artes de la Comunicación, el Art Directors Club de Nueva York, el Ilustración americana anual, el Club de Directores de Arte de Washington, DC, National Geographicy otras publicaciones y organizaciones.

Además de su trabajo de ilustración, Wood se ha desempeñado como conferenciante invitado y juez en la Conferencia Mundial de Infografía en Pamplona, ​​España. Wood ha enseñado en Towson University como asesor de posgrado y para el antiguo Programa de Educación Continua en St. John & rsquos College.

Wood es socio de Wood Ronsaville Harlin, Inc., una firma reconocida internacionalmente con clientes en todo el mundo.

5 de Mayo: Art Express, 12: 15 & ndash12: 45 p.m. ET
Tour a la hora del almuerzo con la educadora de arte Lucinda Edinberg. Gratis. No es necesario registrarse.

16 de mayo: Clausura de la exposición de Frank E. Schoonover


Entrevista de historia oral con Frank Schoonover, 6 de abril de 1966

Formato: Grabado originalmente en 1 rollo de cinta de sonido. Reformateado en 2010 como 4 archivos wav digitales. La duración es de 1 hora, 34 minutos.

Resumen: Una entrevista de Frank Schoonover realizada el 6 de abril de 1966 por Richard Doud para Archives of American Art. Schoonover habla de su primer encuentro con Howard Pyle estudiando con Pyle en el Instituto Drexel y en la propia escuela de Pyle.

Nota biográfica / histórica

Frank Earle Schoonover (1877-1972) fue un ilustrador de Wilmington, Delaware.

Procedencia

Esta entrevista es parte del Programa de Historia Oral de Archives of American Art, iniciado en 1958 para documentar la historia de las artes visuales en los Estados Unidos, principalmente a través de entrevistas con artistas, historiadores, marchantes, críticos y otros.

Nota de idioma

Cómo utilizar esta colección

Transcripción: Rollo de microfilm de 35 mm 3418 disponible en las oficinas de Archives of American Art y mediante préstamo interbibliotecario.

Transcripción: los usuarios deben usar una copia en microfilm.

Las citas y extractos deben citarse de la siguiente manera: Entrevista de historia oral con Frank Schoonover, 6 de abril de 1966. Archives of American Art, Smithsonian Institution.


Es posible que el misterio del herrero de Daredevil no haya terminado

¿Podemos estar todos de acuerdo en que estaban sucediendo muchas cosas en Temerario ¿Temporada 2? Entre Matt Murdock tratando de evitar que Frank Castle matara personas, luego tratando de evitar que Elektra matara personas, y lidiando con el regreso de Stick, quien trajo una antigua guerra con él a Hell's Kitchen, la serie se movió en muchas direcciones diferentes. Una pieza del rompecabezas es el misterio del herrero y cómo se relaciona con la historia de fondo de Frank. También lo es el coronel Schoonover el herrero en Temerario, ¿envolver este misterio en particular en una reverencia demasiado agradable para aquellos de nosotros que amamos una buena conspiración? Advertencia justa, spoilers para Temerario ¡Temporada 2 por delante!

Comencemos con lo que sabemos con certeza sobre el herrero: es un traficante de drogas que opera en la ciudad de Nueva York. Debido a que el herrero estaba trayendo cantidades masivas de drogas a la ciudad, se convirtió en un objetivo del fiscal de distrito, quien montó una operación para traerlo. Pero la operación se fue al sur y la familia de Frank quedó atrapada en la mira, dejándolo. el único superviviente. Cuando comienza la temporada 2, Frank está en su camino de venganza, llevándolo a una madriguera de violencia en un esfuerzo por localizar al Herrero y vengarse.

Frank aparentemente se venga en el penúltimo episodio, "La oscuridad al final del túnel", cuando se revela que el coronel Ray Schoonover, un viejo amigo marino de Frank, probablemente sea el Herrero. Se delata por completo cuando Karen Page va a su casa para interrogar al Coronel sobre su historia con Frank, pero reconoce a un hombre de las fotografías del Coronel como miembro de la tripulación del Herrero. Como estoy seguro de que Matt y Foggy les dirían, no creo que eso se sostenga necesariamente en la corte, pero luego el Coronel toma a Karen como rehén y se opone a Frank, prácticamente demostrando que es el Herrero.

Aunque el Coronel nunca tiene un momento específico en el que admite ser el Herrero, parece un caso abierto y cerrado. Tenía una historia con Frank y manipuló específicamente las circunstancias para que Frank y su familia estuvieran en la mira el día de la picadura. Además, en Marvel Comics, Ray Schoonover era el oficial al mando de Frank Castle que contrabandeaba drogas mientras estaba en la Infantería de Marina. ¡Esa es toda la prueba que necesitamos, de verdad!

Pero, ¿y si el negocio del contrabando de drogas del Coronel se extiende incluso más allá de lo que hemos visto? Después de todo, Frank mató al coronel antes de que pudiera decir demasiado. Claro, tal vez mi amor por las conspiraciones se está volviendo loco, pero ¿qué pasa si el título de Blacksmith es como otros mantos dentro de la tradición de los superhéroes de cómics y puede ser tomado por otra persona? Como ha demostrado Hydra, puedes cortar una cabeza y dos más ocuparán su lugar.

Además, ¿qué pasa con ese misterioso CD que Frank recuperó de la casa de su familia antes de quemarlo hasta los cimientos? Algo me dice que hay mucho más en esta historia y Temerario aún no ha terminado de desentrañarlo.


Nueva colección: Fotografías de Frank Schoonover

La Biblioteca Hagley se complace en anunciar la adquisición de la Colección Frank Schoonover Negatives del Museo de Arte de Delaware. La colección Schoonover documenta la vida y obra del famoso artista comercial que estuvo activo durante la "edad de oro" de la ilustración de revistas en el primer cuarto del siglo XX.


Modelo para "The Wreck of LaBonne Adventure" de Laurie York Erskine en el estudio de Schoonover.

Los requisitos de almacenamiento específicos para los negativos de esta época hicieron que al Museo de Arte de Delaware le resultara difícil retener la colección. La colección encaja perfectamente con Hagley al documentar la vida y el proceso de un ilustrador comercial. Como parte del acuerdo de Hagley con el Museo de Arte de Delaware y la familia Schoonover, la colección se digitalizará y se pondrá en línea. El trabajo está actualmente en progreso y se puede ver en lo siguiente: digital.hagley.org/schoonover. Una colección de impresiones fotográficas de la colección Schoonover está disponible y abierta para investigación en el lugar en el Museo de Arte de Delaware.


Dos trabajadores agrícolas observando a un joven, probablemente uno de los estudiantes de Schoonover, dibujando en el campo.

Nacido en Nueva Jersey en 1877, Schoonover aprendió su oficio con Howard Pyle, cuya "Escuela Brandywine" fue un campo de pruebas para muchos artistas a partir de la década de 1890. Junto con Schoonover, N.C. Wyeth, Stanley Arthurs y Violet Oakley estaban entre los entrenados por Pyle.

El trabajo de Frank Schoonover apareció en muchas publicaciones destacadas, incluyendo Ladies Home Journal, Saturday Evening Post, Collier's, Harper's y muchos otros. Su estudio, construido en North Rodney Street en Wilmington, Delaware en 1906, sirvió a la comunidad artística como un lugar para trabajar y enseñar a lo largo de su carrera. Allí impartió clases para niños y adultos desde la década de 1940 hasta su muerte en 1972. El estudio sigue siendo un espacio activo para los artistas de hoy y está incluido en el Registro Nacional de Lugares Históricos.

Durante su tiempo como ilustrador comercial, Schoonover utilizó la fotografía como material de partida para su obra de arte. Después de haber adoptado la filosofía de Pyle de que la observación directa es fundamental para un ilustrador, Schoonover viajó mucho a lo largo de su carrera, y las fotografías que tomó en estos viajes ocupan un lugar destacado en la colección de Hagley.


Niños recolectando hielo, probablemente cerca de Bushkill, Pensilvania.

Entre estas se encuentran imágenes sorprendentes que tomó como investigación para artículos de desorden que destacaban a los inmigrantes italianos que viajaban en tercera clase y las malas condiciones laborales de los niños en las minas de carbón de Pensilvania. Otros lugares representados en las fotografías van desde Canadá hasta el Caribe, desde el país de la antracita de Pensilvania hasta el oeste americano.

Además de utilizar los viajes como inspiración, Schoonover fotografió modelos disfrazados en su estudio que podemos conectar con sus ilustraciones publicadas (ver ejemplo a continuación). La colección también incluye muchas fotografías personales de amigos y familiares, en particular de sus dos hijos, Cortlandt y Elizabeth, a quienes solía usar como modelos. La afinidad de Schoonover por la naturaleza es evidente tanto en la colección como en las copiosas escenas de paisajes, muchas de las cuales fueron tomadas en Bushkill, Pensilvania, donde Schoonover había pasado los veranos cuando era niño y donde luego compró la propiedad.


Inmigrantes sentados en la cubierta del barco del Königin Luise.


El hijo pequeño de Schoonover, Cortlandt, subió a una locomotora con el ingeniero.

Hagley agradece al Delaware Art Museum y a John Schoonover por darle a Hagley la oportunidad de preservar y compartir una colección de fotografías que documentan la vida laboral de un importante ilustrador comercial con vínculos íntimos con Brandywine Valley.

Angela Schad es Especialista en Archivos Digitales en el Departamento de Colecciones Audiovisuales e Iniciativas Digitales de Hagley Museum and Library. Kevin Martin es el curador de Andrew W. Mellon de colecciones audiovisuales e iniciativas digitales de Hagley Museum and Library.


Frank Schoonover - Historia

Bibliografía: Obras ilustradas

Nota: Todos los números en cursiva indican una ilustración creada para el trabajo, pero no publicada en él.

Video casero de A & amp E, nuevo grupo de videos y canal histórico. El pirata y la ciudad perdida. En busca de la historia. Nueva York: A & ampE Home Video, 1997. [1121, 1246]

Ackroyd, David, Chris Meindl, Jim Milio, Melissa Jo Peltier y Mark Hufnail. Piratas de la costa de Berbería. En busca de la historia. Nueva York: The History Channel, 1998. [1607]

Abad, Willis J. Estados Unidos en la Gran Guerra . Nueva York: Leslie-Judge Co., 1919. [844]

Adams, Samuel Hopkins. El secreto de Lonesome Cove . Indianápolis: The Bobbs-Merrill Company, 1912. [503-508]

Esopo & # 8217s Fábulas , ilustrado con Louis Rhead. Nueva York: Harper & amp Brothers, 1927. [1556, 1557]

______ . Nueva York: Blue Ribbon Books, c. 1927. [1556, 1557]

______ . Nueva York: Books, Inc., c. 1927. [1556]

Allen, Hervey. Hacia la llama: una memoria de la Primera Guerra Mundial . Lincoln: University of Nebraska Press, 2003. [911]

Andersen, Hans. Hans Andersen & # 8217s Cuentos de hadas , ilustrado con Louis Rhead. Nueva York: Harper & amp Brothers Publishers, 1921. [1029, 1134]

______. Nueva York: Blue Ribbon Books, c. 1921. [1029, 1134]

______. Nueva York: Books, Inc., c. 1921. [1029]

Andrews, Mary Raymond Shipman. Bob y los guías . Nueva York: Charles Scribner & # 8217s Sons, 1906. [167]

Entretenimiento de las noches árabes , ilustrado con Louis Rhead. Nueva York: Harper & amp Brothers, 1921. [1026, 1133]

______ . Nueva York: Blue Ribbon Books, c. 1921. [1026, 1133]

______. Nueva York: Books, Inc., c. 1921. [1026]

Aymar, Brandt y Edward Sagarin, eds. La personalidad del caballo . Nueva York: Bonanza Books, 1983. [634]

Barron, Elwyn A. Hazañas de heroísmo y valentía . Nueva York: Harper & amp Brothers Publishers, 1920. [841, 842, 843]

Bates, David Homer. Lincoln en la oficina de telégrafos . Lincoln: University of Nebraska Press, 1995. [325]

Playa, Rex E. Pardners . Nueva York: Doubleday, Page & amp Company, 1905. [220]

______. Nueva York: A. L. Burt Company, 1905. [220]

Beamish, Richard J. y Francis A. March, Ph.D. América & # 8217s Parte en la Guerra Mundial . Filadelfia: The John C. Winston Company, 1919. [915]

Bethea, Jack. Algodón . Boston: Houghton Mifflin Company, 1928. [1555, 1572]

Blum, Raymond K. Ejército de los EE. UU .: una historia completa . Arlington, VA: The Army Historical Foundation, 2004. [904, 911]

Bower, B. M. Fiebre de cabina . Boston: Little, Brown y Company, 1918. [821]

Boyd, Thomas. A través del trigo: una novela de los marines de la Primera Guerra Mundial . Lincoln: University of Nebraska Press, 2000. [915]

Brady, Cyrus Townsend. Luchas y luchadores coloniales . Nueva York: McClure, Phillips & amp Co., 1901. [26, 29, 30, 32]

______. Nueva York: Doubleday, Page & amp Company, 1909. [26, 32]

Braithwaite, William Stanley. La historia de la Gran Guerra . Nueva York: Frederick A. Stokes Company, 1919. [902]

Brill, E.C. Al sur de la bahía de Hudson . Filadelfia: Macrae-Smith-Company, 1929. [1696]

Browne, Francis Fisher. La vida cotidiana de Abraham Lincoln . Lincoln: University of Nebraska Press, 1995. [1631]

Buchan, John. La Casa de los Cuatro Vientos . Boston: Houghton Mifflin Company, 1935. [2096]

Burroughs, Edgar Rice. Los dioses de marte . Chicago: A. C. McClurg & amp Co., 1918. [865]

______. Nueva York: Grosset & amp Dunlap, 1919, 1920, 1934. [865]

______. Londres: Methuen & amp Co. Ltd., 1920, 1921, 1930, 1935, 1942. [865]

______. California: Edgar Rice Burroughs, Inc., 1948. [865]

______. Utah: Quiet Vision Publishing, 2001, 2002, 2003. [865]

______. Connecticut: The Easton Press, 2004. [865]

Burroughs, Edgar Rice. Una princesa de marte . Chicago: A. C. McClurg & amp Co., 1917. [805, 814 - 817]

______. Nueva York: Grosset & amp Dunlap, 1917. [805, 814, 815, 817]

______. Londres: Methuen & amp Co. Ltd., 1919, 1920, 1930, 1936, 1942, 1952. [805]

______. California: Edgar Rice Burroughs, Inc., 1948. [805]

______. Londres: Goulden-Allen, 1949. [805]

______. Utah: Quiet Vision Publishing, 2001, 2002, 2003. [805, 814 - 817]

______. Nueva York: The Modern Library, 2003. [805, 814 - 817]

______. Connecticut: The Easton Press, 2004. [805]

Burroughs, Edgar Rice. Una princesa de Marte y un guerrero de Marte . Nueva York: Dover Publications, Inc., 1964. [805, 814, 815, 817]

Burt, Katharine Newlin. Hombres de la montaña de la luna . Filadelfia: Macrae-Smith-Company, 1938.

Mayordomo, Ellis Parker. Swatty: una historia de chicos reales . Boston: Houghton Mifflin Company, 1920. [653]

Caldwell, Otis W. y W. H. D. Meier. Puertas abiertas a la ciencia . Boston: Ginn and Company, 1926. [1306]

Carter, Russell Gordon. El machete carmesí . Filadelfia: The Penn Publishing Company, 1933. [1966a, 1967-1972, 1979a-1982a]

Una historia católica de los Estados Unidos . Inglaterra: The MacMillan Company, 1926. [906]

Cauffman, Stanley Hart. A la señal del barco plateado . Filadelfia: The Penn Publishing Company, 1924. [1283]

______. Nueva York: Grosset & amp Dunlap, 1925. [1283]

Cauffman, Stanley Hart. Los cazadores de brujas . Filadelfia: The Penn Publishing Company, 1934. [2034]

Cauffman, Stanley Hart. El lobo, el gato y el ruiseñor . Filadelfia: The Penn Publishing Company, 1926. [1467]

The Century Dictionary y Cyclopedia , vol. XI. Nueva York: The Century Company, 1911. [561]

Cámaras, Robert W. Cárdigan . Nueva York: Harper & amp Brothers Publishers, 1901. [31a, 33a, 47, 55, 58]

______. Cuentos de la serie Frontier. Nueva York: Harper & amp Brothers Publishers, 1901. [31a, 33a, 55]

______. Nueva York: A. L. Burt Company, 1901. [31a, 33a, 58]

Cámaras, Robert W. Los niños ocultos . Ciudad de Nueva York: Grosset & amp Dunlap, 1930. [1289]

Cámaras, Robert W. El pequeño pie rojo . Nueva York: Grosset & amp Dunlap, c. 1921. [1315]

Cheney, Warren. Su esposa . Nueva York: A. L. Burt Company, 1907. [316]

______. Indianápolis: The Bobbs-Merrill Company, 1907. [316]

Collier, Virginia M. y Jeanette Eaton. Roland el guerrero . Nueva York: Harcourt, Brace and Company, 1934. [1987-1999, 2002-2004, 2008 , 2009 – 2016, 2017, 2018 – 2025, 2026 , 2027 – 2029, 2032, 2033]

Connolly, James B. Vientos en cabeza . Nueva York: Charles Scribner & # 8217s Sons, 1916. [635, 637]

Cooper, Courtney Ryley. Oklahoma . Boston: Little, Brown y Company, 1926. [1430]

______. Nueva York: Grosset & amp Dunlap, 1926. [1430]

Cooper, James Fenimore. El asesino de ciervos, ilustrado con Louis Rhead. Nueva York: Harper & amp Brothers, 1926. [1383, 1383a]

______. Nueva York: Blue Ribbon Books, c. 1926. [1383, 1383a]

______. Nueva York: Books, Inc., c. 1926. [1383]

Cooper, James Fenimore. El último de los mohicanos . Nueva York: Grosset & amp Dunlap, n.d. [1269]

Cooper, James Fenimore. El Pathfinder . Nueva York: Grosset & amp Dunlap, n.d. [1534]

En consecuencia, David, ed. Piratas: terror en alta mar desde el Caribe hasta los mares del sur de China . Atlanta: Turner Publishing Inc., 1996. [441, 1084, 1094, 1121, 1198, 1818, 2000]

Cummings, Edward. Marmaduke de Tennessee . Chicago: A.C. McClurg & amp Company, 1914. [623 - 625, 629, 630.]

Curwood, James Oliver. El coraje del capitán Plum . Nueva York: Grosset & amp Dunlap, 1912. [355, 357, 359, 360]

______. Nueva York: Hurst and Company, 1908. [356, 358, 359, 360]

______. Amsterdam: Fredonia Book, 2001. [355, 357, 359, 360]

Defoe, Daniel. Robinson Crusoe , ilustrado con Louis Rhead. Nueva York: Harper & amp Brothers, 1921. [991, 1140]

______. Nueva York: Blue Ribbon Books, c. 1921. [991, 1140]

______. Nueva York: Books, Inc., c. 1921. [991]

Divine, Robert A., et al. América pasado y presente , 8ª ed. Nueva York: Longman, 2007. [902]

______, 7a ed., Breve ed. Nueva York: Longman, 2006. [902]

Dodge, Mary Mapes. Hans Brinker o los patines plateados , ilustrado con Louis Rhead. Nueva York: Harper and Brothers, 1924. [1282, 1284]

______. Nueva York: Blue Ribbon Books, c. 1924. [1282, 1284]

______. Nueva York: Books, Inc., c. 1924. [1282]

Donna Lawrence Productions y New Salem Lincoln League. Turning Point Lincoln y # 8217s New Salem. Louisville, KY: Donna Lawrence Productions Inc., 1992. [1543, 1626, 1627, 1632]

Dorrance, Ethel Smith y James French Dorrance. Quinto pino . Nueva York: Chelsea House Publishers, 1925. [1270]

Doyle, A. Conan. La Compañía Blanca . Nueva York: Grosset & amp Dunlap, c. 1927. [1467]

Drago, Sinclair. Agua del desierto . Nueva York: The Macauley Company, 1933. [1419]

Duffus, R. L. El Camino de Santa Fe . Albuquerque: University of New Mexico Press, 1972. [2129]

Egan, Ferol. El sendero El Dorado: la historia de las rutas de la fiebre del oro en México . Lincoln: University of Nebraska Press, 1984. [2129]

E.I. du Pont de Nemours and Company. DuPont: la autobiografía de una empresa estadounidense . Nueva York: Charles Scribner & # 8217s Sons, 1952. [2461]

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______. Nueva York: Grosset & amp Dunlap: c.1928, 1929. [1652, 1669]

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______. New York: Grosset & Dunlap, 1916. [726 – 728, 733]

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Making History 11:45

It normally takes at least 2 days to move around the exhibit walls. However, because we had so many helpers, we were able to start painting after only 1 day of exhibit de-installation.

The walls went from a bright orange (so appropriate for an exhibit about firefighting) to a dark chocolate brown. (It looks maroon here but it really is brown.) It’s actually a very pretty color color and will make the paintings in our next exhibit look wonderful. (Plus we’re having a champagne and dessert reception so I think chocolate brown is fitting…as long as we have some chocolate at least!)

Our next exhibit is for the Lincoln Bicentennial and is called “Frank Schoonover’s Lincoln: Paintings From the Collection of WSFS Bank.” Schoonover created these paintings for illustrations in a book about the life of Lincoln.

In case you’re wondering (because you were perhaps aghast at my musical selections yesterday) my playlist during painting consisted of Prince of Egypt, Moulin Rouge, Gaelic Storm and (deviating from music) the This American Life, StoryCorps, and The Moth podcasts.


History of Chadds Ford

The land around Chadds Ford was inhabited by the Lenni Lenape Indians centuries before the Europeans arrived. In 1638, the first European explorers, the Swedes, discovered the Brandywine and by 1700, English Quakers made up most of the population in the area.

In 1707 "Ye Great Road to Nottingham," now U.S. Route 1, was laid out from Baltimore to Chester. It was one of the five main routes from Philadelphia in the early 18th century.

During the late 1730's and 1740's when John Chads operated a ferry service across the Brandywine, the crossing place became known as "Chadds Ford." About 1827, a bridge to span the river was built.

On September 11, 1777, Continental troops formed a line of defense along the eastern bank of the Brandywine. George Washington had chosen this spot to halt the British advance toward Philadelphia. General William Howe split his forces to outflank the Continental army in the Battle of the Brandywine.

After a day of fierce fighting, the Americans retreated to Chester and the British camped on the battlefield for five days, ransacking nearby homes.

During the 1800, the harnessing of waterpower for use in mill operations was a major factor in the growth of the area. The mills not only manufactured goods such as gunpowder and paper, they also processed grain and timber grown in the area.

In the late 1850, the railroad came to town. Two lines came to Chadds Ford: the East-West running Philadelphia and Baltimore Central RR in 1858 and the North-South running Wilmington and Reading RR a few years later. The two lines met at Chadds Ford Junction, while only a few hundred yards away on the East side of the Brandywine was the Chadds Ford Station.

The railroads played a significant role in the economic growth of the area. Spurs were laid out to accommodate the Kaolin companies where fine white potter's clay was mined at the turn of the century. The railroad also brought city people from Wilmington and Philadelphia who discovered the lush rolling hills of the Brandywine Valley. To have a summerhouse in Chadds Ford became very fashionable.

During this time, Howard Pyle held summer classes in Chadds Ford that attracted students from all over the country including Frank Schoonover, and Violet Oakley. One of his students was the young N.C. Wyeth from Massachusetts, who came to study under Pyle and decided to settle in Chadds Ford. Pyle's studio and its students gave rise to the celebrated Brandywine School of Art, fostered by three generations of the Wyeth family.

In the early 20th century, the village of Chadds Ford was still a quiet crossroads surrounded by acres of farmland. After WWII, better roads and the population explosion of the 1950's brought people from the cities to countryside transforming the rural landscape into a burgeoning suburban community.

Following is a note about Chadds Ford written by James Duff, Executive Director Emeritus, Brandwyine Conservancy and Brandywine River Museum. This was originally written at the request of and published by The Kennett Paper, 1999. Revised 2015

Historically, Chadds Ford is the village and surrounding land on both sides of the Brandywine River where Route 1 (aka Baltimore Pike, aka the Great Road to Nottingham) crosses the stream. No doubt, at different times the request for a definition of the community would have received very different answers because of changing political boundaries and postal districts. Until the late 18th century, all of Chadds Ford was in Chester County, but the division of the county to create Delaware County made a definition more difficult. Moreover, roads built and roads abandoned have greatly changed the appearance of the place, as a have buildings constructed and demolished. Nonetheless, one hundread years ago and even fifty years ago, everyone in the region knew what was Chadds Ford and what was not. Now, with a large area served by Chadds Ford post office and the former Birmingham Township name changed to Chadds Ford Township in Delaware County, the issue has grown more confused. People miles from what is commonly referred to as the "village of Chadds Ford" say that they live in the community and, because of tradition, have a just claim. On the other hand, people no more than a mile and a half from the village have claimed other addresses. Perhaps because of the confusion, which is often sensed by visitors, for decades it has been common among authors around the world to describe Chadds Ford, not geographically or politically, but in terms of its landscape and its rich history of agriculture, a famous battle, milling industry, road and rail transportation, and extraordinary art. Because of all these circumstances, it seems sure that this celebrated place exists very much as a state of mind and that requests for a brief difinition of the community cannot be met. A good portion of Chadds Ford's unique romance derives from the difficulty of saying precisely what and where it is.


Frank E. Schoonover negatives

Based in Wilmington, Delaware, Frank Earle Schoonover (1877-1972) was a prolific commercial illustrator and artist. Born in Oxford, New Jersey, as a child Schoonover spent summers exploring the outdoors near his grandparents' residence in Bushkill, Pennsylvania. In 1896, he enrolled in art school at the Drexel Institute of Art, Science and Industry in Philadelphia with the goal of studying under Howard Pyle (1853-1911), a prominent illustrator whom Schoonover admired and who at the time was offering classes at Drexel. After three semesters, Schoonover advanced to Pyle's class and in 1898 won a scholarship to Drexel's Summer School of Illustration, an eight week course offered by Pyle near Pyle's summer home in Chadds Ford, Pennsylvania.

Under Pyle's mentorship, Schoonover was commissioned in 1899 to illustrate A Jersey Boy in the Revolution by Everett T. Tomlinson (1859-1931). These became the first published images of Schoonover's career as an illustrator. The images are also the first Schoonover recorded in a series of diaries, which he called daybooks, the artist maintained throughout his career and in which he assigned numbers to and wrote details on virtually every illustration he completed.

In 1900, Schoonover followed Pyle to new studio spaces at 1305 North Franklin Street in Wilmington after Pyle had decided to resign from Drexel and open an art school himself. After Pyle closed the space in 1905, Schoonover, along with other young artists Pyle had mentored, established permanent studios at 1616 North Rodney Street. Although the school was closed, Pyle continued to offer critiques and guidance to selected former students, Schoonover included. It was also under Pyle's encouragement that Schoonover began traveling to places he intended to illustrate to research and sketch.

Schoonover's trips to the Hudson Bay area of Canada in the winter of 1903-1904 and the summer of 1911 proved particularly influential. While there, Schoonover spent time at the Indian settlements of fur trappers and supply posts of the Hudson Bay Company, where he sketched and photographed the surroundings and indigenous groups. He returned to the sketches and photographs he took on these trips as source material for illustrations many times over the course of his career. In addition to utilizing travel observations, Schoonover relied on the use of human models for his illustrations throughout his career. Schoonover also purchased a seasonal home at Bushkill in 1914 where he had spent summers as a child and at which he maintained a summer studio, and the property features prominently in Schoonover's photography and art.

Schoonover's career accelerated during the first decade of the twentieth century. During this period, he completed illustrations for twenty-five books, three covers, and nearly one hundred articles in major magazines. In addition to illustrating fiction stories, Schoonover illustrated several muckraking articles, for which he traveled and photographed source subjects. Subjects included, among others, children's working conditions in anthracite coal mines in Pennsylvania, poor youth in New York City, Italian immigrants traveling in steerage, and the working conditions of female workers in Pennsylvania silk mills. The decade from 1911 to 1920 proved even more prolific, during which time the artist illustrated nineteen books and completed more than 600 illustrations for top American magazines.

Schoonover married Martha Culbertson (1880-1965), a watercolorist and porcelain painter, of Philadelphia in 1911. Their two children, Cortlandt Schoonover (1914-1976) and Elizabeth "Biz" Schoonover Cobb (1918-1993), feature prominently in Schoonover's photography.

Commissions for magazine illustrations dwindled during the difficult economic period of the 1930s, although Schoonover maintained work largely with Country Gentleman and American Boy magazines and continued to receive book illustration commissions. During this time, he also increased commissions from private patrons and expanded into media beyond illustration to include portraits, book plates, sculpture, murals, and stain-glass windows. Significant private commissions included two large paintings for Irénée du Pont's (1876-1963) residence, Xanadu , in Cuba a mural for the H. Fletcher Brown Vocational Technical School in Wilmington and stained-glass windows for Immanuel Church Highlands in Wilmington, Delaware. American Boy-Youth's Companion closed in 1941, effectively ending Schoonover's career in magazine illustration.

In addition to his own art, Schoonover began teaching in the early 1920s, first through the Phoenix Art Institute and in 1928 for the newly established Wilmington Academy of Art. He opened his own school of art in Wilmington in 1941, where he offered classes for adults during the week and classes for children on Saturday mornings. He was also extremely active in the Wilmington arts community. Schoonover passed away in 1972 at the age of ninety-five.

Arrangement

Alcance y contenido

The collection is divided into the following nine series: Illustration Artwork, non-published Photo albums as Howard Pyle student Photofile Personal and biographical Models Conservation and restoration Places and Things - slides.

The Illustration series consists of negatives of Schoonover's published illustrations, including both serials and books. Magazines represented in this series include American Girl , Century Magazine , Harper's Magazine , Junior Red Cross Journal , Outing Magazine , Peoples Ideal Fiction Magazine , Popular Magazine , Red Book Magazine , Scribner's Magazine , American Boy , Country Gentleman , Ladies Home Journal , Progressive Farmer , and Youth's Companion . There are also images of the illustrations Schoonover completed for a 1941 DuPont Co. Safety Calendar. Book illustrations in this series are noted by title and include genres such as children's classics, history, westerns, and adventure.

The Artwork, non-published, series consists of negatives of Schoonover's easel paintings, murals, sculpture, and stained glass. Easel painting images make up the bulk of this series and include landscapes, portraits, and subject paintings. Where possible, the paintings are identified with the corresponding number Schoonover assigned in his daybooks.

The series, Photo albums as Howard Pyle student, is a small series and consists of negatives corresponding to images in photograph albums taken during Schoonover's time as a Howard Pyle student and date from 1898 to 1902.

The Photofile series, as maintained by Schoonover, consists of negatives primarily taken on research trips for Schoonover's artwork and illustrations. These images are identified by place or by subject. The series includes images of Bushkill, Pennsylvania, and various natural scenery from other Pennsylvania locations, some taken on camping trips. Delaware locations are also represented such as Old Drawyer Church in Middletown, Old College in Newark, Rehoboth, Schoonover's Franklin St. studio, the Delaware River, and houses in Milford. Also included are negatives taken during research for muckraking articles for which Schoonover contributed illustration. Such images include anthracite coal mills near Scranton, Pennsylvania in 1903 taken for the article, "Children of the Coal Shadows," by Francis H. Nichols a 1903 trip to New York City for the article, "The Waifs of the Street," by Ernest C. Poole a 1906 trip to the western United States for an article on the Juvenile Court system written by Lincoln Steffens and Italian immigrants traveling in steerage on the ship, Konigin Luise , in 1908 or 1909. There are also images taken on Frank and Martha Schoonover's honeymoon in Louisiana and Cuba and Irénée du Pont's residence, Xanadu , in Cuba taken circa 1931. Images identified by subject include schooners, yachts, river boats, ships, shad fishing, various trees, horses, autumn scenes, corn shucks, swamps and marshes, splatter docks, buildings and houses, cattle, costumes, flower gardens, ice on ponds, Indianapolis/Mississippi steamers, horse-drawn vehicles, and fishing at Maskenozha and Mast Hope. Others include "Gypsies" logging camps American Indians a train wreck lineman on pole Ephrata Cloisters Jamaica and Barataria, Louisiana.

The Personal and biographical series depict Schoonover, his family, friends, and students. His two children, Cortlandt and Elizabeth feature prominently. There are many images taken at Schoonover's Bushkill, Pennsylvania property and his Wilmington studio. There are also images of his mentor, Howard Pyle, as well as other Pyle students and images of exhibitions of Schoonover's work.

The Models series consists of images Schoonover photographed of male, female, child, and animal models he used as the basis for many of his illustrations. Many of these are identified by the title of the illustration for which the subject was posing. A few of the individuals are identified by name and include Marie Stewart, Betty L. Hall, Rev. Don Large, Rev. D. Parsons, John Porter, Charles Staats, and Sgt. James P. Conner. Others are identified by subject, which include firefighters, hunters, American Indians, Mounties, and pirates. Animals represented include, among others, cows, dogs, circus elephants, horses. Finally, there are a few images of inanimate objects including furniture, ships, guns and boots.

The Conservation/Restoration series consists of photographs of artwork by artists other than Schoonover that Schoonover repaired or restored as part of his studio business.

The Places series comprises photographs not included in the Photofile of locations around the United States and various international locations. The bulk of the series consists of images taken during Schoonover's 1903 and 1911 trips to Canada. Schoonover's Bushkill, Pennsylvania, property also features prominently. There are also images of Bermuda Cuba New Orleans, Louisiana various locations in Delaware Europe the Henry Davis Farm Jamaica Rockport, Massachusetts various locations in Montana Trenton, New Jersey Bushkill, Pennsylvania and the Northwest United States.

The Subject - slides series consists of negatives largely undated identified by subject of various activities, objects, buildings, and people. Subjects include airplanes, artwork not by Schoonover, a bank vault, the beach and ocean, boating and canoeing, unidentified buildings, camping, cars, a cemetery, circus, unidentified city scenes, an eel weir, ducks, barns, farming, fishing, gardens, gas stations, hay wagons, horse-drawn wagons, Indians, interiors, landscape scenes, pageants, painting techniques, parades, plants and trees, ponds and streams, ships and boats, swimming, tradesmen, trains and train stations, wagons, puppets, statues, a tank, and a zoo.


Ver el vídeo: Frank E. Schoonover A Long Life in Art - Video Part 8: Legacy (Mayo 2022).

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