A volume on Stuart Davis, an American artist of the 20th century. He forged a personal and varied iconography inspired by the upheaval of the city, the tranquility of the seaside, industry and the automobile, cafe society, sports, jazz music and his year-long stay in Paris.
Bestsellerautor John Rothchild erzählt hier die Geschichte dreier Generationen der legendären Davis Familie, die zu den erfolgreichsten Anlegern in der Geschichte der Wall Street zählt. Geistreich und mit viel Liebe zum Detail präsentiert Rothchild eine Chronik der Finanzeskapaden des exzentrischen und eigensinnigen Davis Clans und enthüllt die Strategien, mit denen sie mit unheimlichem Geschick den Markt ständig übertrafen. Die Saga beginnt mit dem Großvater Shelby Cullom Davis, der hinging und aus 50.000 Dollar gleich 900 Millionen Dollar machte. Sein Sohn und seine beiden Enkel erbten seine Leidenschaft fürs Geldgeschäft ebenso wie seine fanatische und peinlich genaue Arbeitsmoral. Rothchild zeichnet hier ein sehr lebendiges Porträt von 50 Jahren schillernder Wall Street Geschichte. "The Davis Dynasty" - Dieses Buch befriedigt ihren Wissensdurst gleich dreifach, denn es bietet eine Übersicht über die Wall Street in der letzten Hälfte des 20. Jahrhunderts, die Legende einer erfolgreichen Anlagephilosophie und die dramatische Schilderung des Schicksals einer der berühmtesten Familien Amerikas.
Herndon Davis, an artist and journalist, dedicated his life to depicting the major landmarks and personalities of Colorado in watercolor, oil, and pen and pencil. Best known for the Face on the Barroom Floor, the portrait of an alluring woman on the floor of the Teller House Hotel barroom in Central City, Colorado, Davis was a prolific artist whose murals, sketches, and portraits can be found all over the state, from the Sage Room of the Oxford Hotel on Seventeenth Street to the Denver Press Club poker room. Despite his numerous contributions, his work was never showcased or exhibited in the traditional manner. In this biography and first-ever collection featuring most of his life’s work, authors Craig Leavitt and Thomas J. Noel provide a detailed look into Davis’s life and career and include a catalog of almost 200 of his paintings and drawings from Colorado and around the country. They also put his work into the broader context of the time through comparison with such contemporary Colorado artists as Muriel Sibell Wolle, Allen Tupper True, Charles Waldo Love, and Juan Menchaca. Published to coincide with the Denver Public Library’s 2016 exhibition—the only public display of Davis’s work to date—and bringing deserved attention to this overlooked figure, Herndon Davis: Painting Colorado History, 1901-1962 is an important contribution to Colorado’s cultural history. This book and the accompanying exhibit are sponsored by the Western History/Genealogy Department at the Denver Public Library.
Florence Carlyle (1864-1923), born in Galt, Ontario, emerged as one of the most successful Canadian artists of her time. Trained in Paris, she lived and worked in New York City and in Canada, cultivating a career as a popular portrait and genre painter. Known for her masterful use of colour, Carlyle's paintings are nuanced and perceptive portrayals of feminine spaces, the female figure, and women's domestic work.
Repainting the work of another into one?s own canvas is a deliberate and often highly fraught act of reuse. This book examines the creation, display, and reception of such images. Artists working in nineteenth-century London were in a peculiar position: based in an imperial metropole, yet undervalued by their competitors in continental Europe. Many claimed that Britain had yet to produce a viable national school of art. Using pictures-within-pictures, British painters challenged these claims and asserted their role in an ongoing visual tradition. By transforming pre-existing works of art, they also asserted their own painterly abilities. Recognizing these statements provided viewers with pleasure, in the form of a witty visual puzzle solved, and with prestige, in the form of cultural knowledge demonstrated. At stake for both artist and audience in such exchanges was status: the status of the painter relative to other artists, and the status of the viewer relative to other audience members. By considering these issues, this book demonstrates a new approach to images of historic displays. Through examinations of works by J.M.W. Turner, John Everett Millais, John Scarlett Davis, Emma Brownlow King, and William Powell Frith, this book reveals how these small passages of paint conveyed both personal and national meanings.