The M H de Young Memorial Museum, Golden Gate Park, San Francisco, Californi

The M H de Young Memorial Museum, Golden Gate Park, San Francisco, Californi

Author: M. H. De Young Memorial Museum

Publisher: Hardpress Publishing

Published: 2012-01

Total Pages: 214

ISBN-13: 9781290242639

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Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.


The M. H. de Young Memorial Museum, Golden Gate Park, San Francisco, California (Classic Reprint)

The M. H. de Young Memorial Museum, Golden Gate Park, San Francisco, California (Classic Reprint)

Author: M. H. De Young Memorial Museum

Publisher:

Published: 2015-07-07

Total Pages: 204

ISBN-13: 9781330857588

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Excerpt from The M. H. De Young Memorial Museum, Golden Gate Park, San Francisco, California Mr. de Young was appointed National Commissioner at large to the Chicago Columbian Exposition in 1893, the appointment coming from President Harrison. Shortly afterward he was elected vice-president of the National Commission. Fulfilling his duties in this position, Mr. de Young was brought into close touch with many foreign exhibitors and he found them most favorably disposed toward his plan for a California exposition, to which they might send their collections. With this encouragement, he called a meeting of Californians then in Chicago and at the same time began a campaign in San Francisco to arouse enthusiasm for the plan. Expressions of interest and willingness to aid came from the Governor of California, the Mayor of San Francisco and from the general public, stimulated by the support given by the press. But the year of 1893 was a period of financial depression and many San Francisco business men feared to embark on an enterprise that promised to be such an expensive one. Notified of this attitude, Mr. de Young immediately telegraphed his personal subscription of $5000 and new life was given the campaign in San Francisco. Meantime, on June 11, 1893, the Californians in Chicago held their meeting at the call of Mr. de Young. Foreign exhibitors pledged their support in sending exhibits to San Francisco. Subscription lists were circulated and a total of $41,500 was pledged. Although the San Francisco public was by this time heartily in favor of the plan, there was still considerable doubt in the minds of the cautious business men who made up the Western committee. Unwilling to proceed without convincing proof that they were taking no serious risk, they appointed a special investigating committee of fifty members. The committee considered the de Young plan from all angles, went over in detail the estimates and suggestions submitted by Mr, de Young, and finally recommended to the general committee a plan for permanent organization, the principal feature of which was a proposition to erect on land in Golden Gate Park, four buildings, the aggregate cost not to exceed $500,000. This was the material with which Mr. de Young had to work when, in the summer of 1893, he returned from Chicago and was immediately named president and director-general of the proposed exposition. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.


Annual Reports

Annual Reports

Author: Carnegie Institute

Publisher:

Published: 1922

Total Pages: 252

ISBN-13:

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Includes report of the director of fine arts, of the director of the Museum, and of the director of the Technical schools.


The Indian Craze

The Indian Craze

Author: Elizabeth Hutchinson

Publisher: Duke University Press

Published: 2009-03-23

Total Pages: 304

ISBN-13: 0822392097

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In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, “Indian stores,” dealers, and the U.S. government’s Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called “Indian corners.” Elizabeth Hutchinson identifies this collecting as part of a larger “Indian craze” and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World’s Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of “traditional” Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation. Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as “art.” While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude Käsebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture.