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Leonardo
Topsy: William Morris by Boxwood ProductionsReview by: Roy R. BehrensLeonardo, Vol. 34, No. 3 (2001), p. 283Published by: The MIT PressStable URL: http://www.jstor.org/stable/1576961 .
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U.S.A., in association with the Norman Rockwell Museum, Stockbridge, MA, U.S.A., 2000. ISBN: 0-520-22712-3.
Reviewed by Roy R. Behrens, 2022 XAv- enue, Dysart, IA 52224-9767, U.S.A. E-mail: <[email protected]>.
This is the catalog for an exhibition of 80 paintings, prints and drawings by Rockwell Kent (1882-1971), the Ameri- can artist and writer whose stark, dra- matic drawings for the 1930 edition of
Moby Dick brought him fame as a book illustrator. Kent was a student of Will- iam Merrit Chase, Robert Henri and Abbott H. Thayer (who was a naturalist as well as a painter), and a friend and classmate of George Bellows and Ed- ward Hopper. This catalog is not a
study of Kent's illustrations, but of un-
sung, less important views of natural
settings that came from his extended visits to remote wilderness areas in Maine, Alaska, Newfoundland, Greenland and Tierra del Fuego. De-
spite his popularity, Kent's reputation plummeted in 1953 when he was or- dered by SenatorJoseph McCarthy to
testify before the House Committee on Un-American Activities, where he was accused of leftist leanings. While he de- nied being a communist, in response to the subsequent seizure of his passport, he gave a large collection of his paint- ings, illustrations and manuscripts to "the people of the Soviet Union." It is
surprising, yet partly appropriate, that this traveling exhibition should origi- nate at the Norman Rockwell Museum in Stockbridge, MA, because, however
separate their styles and the politics of their followers, these two artists named Rockwell admired each other's work and were often mistaken for one an- other by the public.
(Reprinted by permission from Bal- last Quarterly Review, Vol. 16, No. 1, Au- tumn 2000.)
VIDEOS
RUSKIN'S JOURNEY: TEACHING PEOPLE TO SEE
produced for Lancaster University Tele-
U.S.A., in association with the Norman Rockwell Museum, Stockbridge, MA, U.S.A., 2000. ISBN: 0-520-22712-3.
Reviewed by Roy R. Behrens, 2022 XAv- enue, Dysart, IA 52224-9767, U.S.A. E-mail: <[email protected]>.
This is the catalog for an exhibition of 80 paintings, prints and drawings by Rockwell Kent (1882-1971), the Ameri- can artist and writer whose stark, dra- matic drawings for the 1930 edition of
Moby Dick brought him fame as a book illustrator. Kent was a student of Will- iam Merrit Chase, Robert Henri and Abbott H. Thayer (who was a naturalist as well as a painter), and a friend and classmate of George Bellows and Ed- ward Hopper. This catalog is not a
study of Kent's illustrations, but of un-
sung, less important views of natural
settings that came from his extended visits to remote wilderness areas in Maine, Alaska, Newfoundland, Greenland and Tierra del Fuego. De-
spite his popularity, Kent's reputation plummeted in 1953 when he was or- dered by SenatorJoseph McCarthy to
testify before the House Committee on Un-American Activities, where he was accused of leftist leanings. While he de- nied being a communist, in response to the subsequent seizure of his passport, he gave a large collection of his paint- ings, illustrations and manuscripts to "the people of the Soviet Union." It is
surprising, yet partly appropriate, that this traveling exhibition should origi- nate at the Norman Rockwell Museum in Stockbridge, MA, because, however
separate their styles and the politics of their followers, these two artists named Rockwell admired each other's work and were often mistaken for one an- other by the public.
(Reprinted by permission from Bal- last Quarterly Review, Vol. 16, No. 1, Au- tumn 2000.)
VIDEOS
RUSKIN'S JOURNEY: TEACHING PEOPLE TO SEE
produced for Lancaster University Tele-
U.S.A., in association with the Norman Rockwell Museum, Stockbridge, MA, U.S.A., 2000. ISBN: 0-520-22712-3.
Reviewed by Roy R. Behrens, 2022 XAv- enue, Dysart, IA 52224-9767, U.S.A. E-mail: <[email protected]>.
This is the catalog for an exhibition of 80 paintings, prints and drawings by Rockwell Kent (1882-1971), the Ameri- can artist and writer whose stark, dra- matic drawings for the 1930 edition of
Moby Dick brought him fame as a book illustrator. Kent was a student of Will- iam Merrit Chase, Robert Henri and Abbott H. Thayer (who was a naturalist as well as a painter), and a friend and classmate of George Bellows and Ed- ward Hopper. This catalog is not a
study of Kent's illustrations, but of un-
sung, less important views of natural
settings that came from his extended visits to remote wilderness areas in Maine, Alaska, Newfoundland, Greenland and Tierra del Fuego. De-
spite his popularity, Kent's reputation plummeted in 1953 when he was or- dered by SenatorJoseph McCarthy to
testify before the House Committee on Un-American Activities, where he was accused of leftist leanings. While he de- nied being a communist, in response to the subsequent seizure of his passport, he gave a large collection of his paint- ings, illustrations and manuscripts to "the people of the Soviet Union." It is
surprising, yet partly appropriate, that this traveling exhibition should origi- nate at the Norman Rockwell Museum in Stockbridge, MA, because, however
separate their styles and the politics of their followers, these two artists named Rockwell admired each other's work and were often mistaken for one an- other by the public.
(Reprinted by permission from Bal- last Quarterly Review, Vol. 16, No. 1, Au- tumn 2000.)
VIDEOS
RUSKIN'S JOURNEY: TEACHING PEOPLE TO SEE
produced for Lancaster University Tele-
U.S.A., in association with the Norman Rockwell Museum, Stockbridge, MA, U.S.A., 2000. ISBN: 0-520-22712-3.
Reviewed by Roy R. Behrens, 2022 XAv- enue, Dysart, IA 52224-9767, U.S.A. E-mail: <[email protected]>.
This is the catalog for an exhibition of 80 paintings, prints and drawings by Rockwell Kent (1882-1971), the Ameri- can artist and writer whose stark, dra- matic drawings for the 1930 edition of
Moby Dick brought him fame as a book illustrator. Kent was a student of Will- iam Merrit Chase, Robert Henri and Abbott H. Thayer (who was a naturalist as well as a painter), and a friend and classmate of George Bellows and Ed- ward Hopper. This catalog is not a
study of Kent's illustrations, but of un-
sung, less important views of natural
settings that came from his extended visits to remote wilderness areas in Maine, Alaska, Newfoundland, Greenland and Tierra del Fuego. De-
spite his popularity, Kent's reputation plummeted in 1953 when he was or- dered by SenatorJoseph McCarthy to
testify before the House Committee on Un-American Activities, where he was accused of leftist leanings. While he de- nied being a communist, in response to the subsequent seizure of his passport, he gave a large collection of his paint- ings, illustrations and manuscripts to "the people of the Soviet Union." It is
surprising, yet partly appropriate, that this traveling exhibition should origi- nate at the Norman Rockwell Museum in Stockbridge, MA, because, however
separate their styles and the politics of their followers, these two artists named Rockwell admired each other's work and were often mistaken for one an- other by the public.
(Reprinted by permission from Bal- last Quarterly Review, Vol. 16, No. 1, Au- tumn 2000.)
VIDEOS
RUSKIN'S JOURNEY: TEACHING PEOPLE TO SEE
produced for Lancaster University Tele- vision, U.K. VHS color video, 48 min. Available from Films for the Humani- ties and Sciences: (tel.) 800-257-5126 (in U.S.A.); or <www.films.com>.
vision, U.K. VHS color video, 48 min. Available from Films for the Humani- ties and Sciences: (tel.) 800-257-5126 (in U.S.A.); or <www.films.com>.
vision, U.K. VHS color video, 48 min. Available from Films for the Humani- ties and Sciences: (tel.) 800-257-5126 (in U.S.A.); or <www.films.com>.
vision, U.K. VHS color video, 48 min. Available from Films for the Humani- ties and Sciences: (tel.) 800-257-5126 (in U.S.A.); or <www.films.com>.
Reviewed by Roy R. Behrens, 2022 XAv- enue, Dysart, IA 52224-9767, U.S.A. E-mail: <[email protected]>.
Few people read art criticism today, not even many artists, but the nineteenth-
century British art criticJohn Ruskin was one of the most famous, widely read authors of his time. His writing is admired not only for its clarity and reso- nance, but also because he was notjust interested in art, but in the larger, more
important issue of "the art of seeing." "Hundreds of people can talk for one who can think," he wrote, "but thou- sands can think for one who can see." In this rich, fascinating film biography, expertly written and narrated by Michael Wheeler, we are offered a
breathtaking virtual tour of the natural and architectural landmarks (the Swiss
Alps, the Gothic cathedral at Rouen, Ve- netian architecture and Brantwood, Ruskin's secluded home) that shaped his core beliefs on art, life and industri- alization. The film argues convincingly that the digital revolution is comparable in scale to the industrial revolution, and that Ruskin anticipated a surprising number of today's social problems when he warned of the long-term collateral harm of mass production.
(Reprinted by permission from Bal- last Quarterly Review, Vol. 16, No. 1, Au- tumn 2000.)
TOPSY: WILLIAM MORRIS
produced by Boxwood Productions. VHS color video, 57 min. Available from Films for the Humanities and Sci- ences: (tel.) 800-257-5126 (in U.S.A.); or <www.films.com>.
Reviewed by Roy R. Behrens, 2022 XAv- enue, Dysart, IA 52224-9767, U.S.A. E-mail: <[email protected]>.
William Morris was one of the most far-
reaching figures in design history, in terms of his work as well as his waist- line. He was, as Max Beerbohm once
quipped, "a wonderful all-round man, but the act of walking round him always tired me." It was his ample girth and
mop of unkempt, curly hair that earned him the moniker "Topsy," which was based on the name of the orphan slave
girl in the novel Uncle Tom's Cabin. Written and narrated (with delightful
Reviewed by Roy R. Behrens, 2022 XAv- enue, Dysart, IA 52224-9767, U.S.A. E-mail: <[email protected]>.
Few people read art criticism today, not even many artists, but the nineteenth-
century British art criticJohn Ruskin was one of the most famous, widely read authors of his time. His writing is admired not only for its clarity and reso- nance, but also because he was notjust interested in art, but in the larger, more
important issue of "the art of seeing." "Hundreds of people can talk for one who can think," he wrote, "but thou- sands can think for one who can see." In this rich, fascinating film biography, expertly written and narrated by Michael Wheeler, we are offered a
breathtaking virtual tour of the natural and architectural landmarks (the Swiss
Alps, the Gothic cathedral at Rouen, Ve- netian architecture and Brantwood, Ruskin's secluded home) that shaped his core beliefs on art, life and industri- alization. The film argues convincingly that the digital revolution is comparable in scale to the industrial revolution, and that Ruskin anticipated a surprising number of today's social problems when he warned of the long-term collateral harm of mass production.
(Reprinted by permission from Bal- last Quarterly Review, Vol. 16, No. 1, Au- tumn 2000.)
TOPSY: WILLIAM MORRIS
produced by Boxwood Productions. VHS color video, 57 min. Available from Films for the Humanities and Sci- ences: (tel.) 800-257-5126 (in U.S.A.); or <www.films.com>.
Reviewed by Roy R. Behrens, 2022 XAv- enue, Dysart, IA 52224-9767, U.S.A. E-mail: <[email protected]>.
William Morris was one of the most far-
reaching figures in design history, in terms of his work as well as his waist- line. He was, as Max Beerbohm once
quipped, "a wonderful all-round man, but the act of walking round him always tired me." It was his ample girth and
mop of unkempt, curly hair that earned him the moniker "Topsy," which was based on the name of the orphan slave
girl in the novel Uncle Tom's Cabin. Written and narrated (with delightful
Reviewed by Roy R. Behrens, 2022 XAv- enue, Dysart, IA 52224-9767, U.S.A. E-mail: <[email protected]>.
Few people read art criticism today, not even many artists, but the nineteenth-
century British art criticJohn Ruskin was one of the most famous, widely read authors of his time. His writing is admired not only for its clarity and reso- nance, but also because he was notjust interested in art, but in the larger, more
important issue of "the art of seeing." "Hundreds of people can talk for one who can think," he wrote, "but thou- sands can think for one who can see." In this rich, fascinating film biography, expertly written and narrated by Michael Wheeler, we are offered a
breathtaking virtual tour of the natural and architectural landmarks (the Swiss
Alps, the Gothic cathedral at Rouen, Ve- netian architecture and Brantwood, Ruskin's secluded home) that shaped his core beliefs on art, life and industri- alization. The film argues convincingly that the digital revolution is comparable in scale to the industrial revolution, and that Ruskin anticipated a surprising number of today's social problems when he warned of the long-term collateral harm of mass production.
(Reprinted by permission from Bal- last Quarterly Review, Vol. 16, No. 1, Au- tumn 2000.)
TOPSY: WILLIAM MORRIS
produced by Boxwood Productions. VHS color video, 57 min. Available from Films for the Humanities and Sci- ences: (tel.) 800-257-5126 (in U.S.A.); or <www.films.com>.
Reviewed by Roy R. Behrens, 2022 XAv- enue, Dysart, IA 52224-9767, U.S.A. E-mail: <[email protected]>.
William Morris was one of the most far-
reaching figures in design history, in terms of his work as well as his waist- line. He was, as Max Beerbohm once
quipped, "a wonderful all-round man, but the act of walking round him always tired me." It was his ample girth and
mop of unkempt, curly hair that earned him the moniker "Topsy," which was based on the name of the orphan slave
girl in the novel Uncle Tom's Cabin. Written and narrated (with delightful
Reviewed by Roy R. Behrens, 2022 XAv- enue, Dysart, IA 52224-9767, U.S.A. E-mail: <[email protected]>.
Few people read art criticism today, not even many artists, but the nineteenth-
century British art criticJohn Ruskin was one of the most famous, widely read authors of his time. His writing is admired not only for its clarity and reso- nance, but also because he was notjust interested in art, but in the larger, more
important issue of "the art of seeing." "Hundreds of people can talk for one who can think," he wrote, "but thou- sands can think for one who can see." In this rich, fascinating film biography, expertly written and narrated by Michael Wheeler, we are offered a
breathtaking virtual tour of the natural and architectural landmarks (the Swiss
Alps, the Gothic cathedral at Rouen, Ve- netian architecture and Brantwood, Ruskin's secluded home) that shaped his core beliefs on art, life and industri- alization. The film argues convincingly that the digital revolution is comparable in scale to the industrial revolution, and that Ruskin anticipated a surprising number of today's social problems when he warned of the long-term collateral harm of mass production.
(Reprinted by permission from Bal- last Quarterly Review, Vol. 16, No. 1, Au- tumn 2000.)
TOPSY: WILLIAM MORRIS
produced by Boxwood Productions. VHS color video, 57 min. Available from Films for the Humanities and Sci- ences: (tel.) 800-257-5126 (in U.S.A.); or <www.films.com>.
Reviewed by Roy R. Behrens, 2022 XAv- enue, Dysart, IA 52224-9767, U.S.A. E-mail: <[email protected]>.
William Morris was one of the most far-
reaching figures in design history, in terms of his work as well as his waist- line. He was, as Max Beerbohm once
quipped, "a wonderful all-round man, but the act of walking round him always tired me." It was his ample girth and
mop of unkempt, curly hair that earned him the moniker "Topsy," which was based on the name of the orphan slave
girl in the novel Uncle Tom's Cabin. Written and narrated (with delightful
hand gestures) by British art historian
Douglas Skeggs, this film biography of the father of the arts and crafts move- ment is simply superb, or, as Morris
hand gestures) by British art historian
Douglas Skeggs, this film biography of the father of the arts and crafts move- ment is simply superb, or, as Morris
hand gestures) by British art historian
Douglas Skeggs, this film biography of the father of the arts and crafts move- ment is simply superb, or, as Morris
hand gestures) by British art historian
Douglas Skeggs, this film biography of the father of the arts and crafts move- ment is simply superb, or, as Morris
might say, it's a "stunner." In a voice that engages as well as informs, the video uses vintage photographs, draw-
ings, literary excerpts, interviews with scholars and, of particular value, filmed
sojourns to the actual sites that were central to Morris' life, among them Ox- ford University, Red House, Kelmscott Manor and the Victoria and Albert Mu- seum. Within those contexts, the aston-
ishing breadth of his work is discussed in such design-related categories as em-
broidery, furniture, stained glass, wall-
papers, murals, wood engravings, illumi- nation, calligraphy, textiles, typography and printed books. There is also discus- sion of his more than 90 books of prose and poetry and his work as a social re- former. Nothing is omitted, not even his uncontrollable amnesiac rages and the affairs of his strange and unfortunate wife who, as he painfully knew, was the lover of his old friend and business part- ner, the Pre-Raphaelite painter Dante Gabriel Rossetti.
(Reprinted by permission from Bal- last Quarterly Review, Vol. 16, No. 1, Au- tumn 2000.)
might say, it's a "stunner." In a voice that engages as well as informs, the video uses vintage photographs, draw-
ings, literary excerpts, interviews with scholars and, of particular value, filmed
sojourns to the actual sites that were central to Morris' life, among them Ox- ford University, Red House, Kelmscott Manor and the Victoria and Albert Mu- seum. Within those contexts, the aston-
ishing breadth of his work is discussed in such design-related categories as em-
broidery, furniture, stained glass, wall-
papers, murals, wood engravings, illumi- nation, calligraphy, textiles, typography and printed books. There is also discus- sion of his more than 90 books of prose and poetry and his work as a social re- former. Nothing is omitted, not even his uncontrollable amnesiac rages and the affairs of his strange and unfortunate wife who, as he painfully knew, was the lover of his old friend and business part- ner, the Pre-Raphaelite painter Dante Gabriel Rossetti.
(Reprinted by permission from Bal- last Quarterly Review, Vol. 16, No. 1, Au- tumn 2000.)
might say, it's a "stunner." In a voice that engages as well as informs, the video uses vintage photographs, draw-
ings, literary excerpts, interviews with scholars and, of particular value, filmed
sojourns to the actual sites that were central to Morris' life, among them Ox- ford University, Red House, Kelmscott Manor and the Victoria and Albert Mu- seum. Within those contexts, the aston-
ishing breadth of his work is discussed in such design-related categories as em-
broidery, furniture, stained glass, wall-
papers, murals, wood engravings, illumi- nation, calligraphy, textiles, typography and printed books. There is also discus- sion of his more than 90 books of prose and poetry and his work as a social re- former. Nothing is omitted, not even his uncontrollable amnesiac rages and the affairs of his strange and unfortunate wife who, as he painfully knew, was the lover of his old friend and business part- ner, the Pre-Raphaelite painter Dante Gabriel Rossetti.
(Reprinted by permission from Bal- last Quarterly Review, Vol. 16, No. 1, Au- tumn 2000.)
might say, it's a "stunner." In a voice that engages as well as informs, the video uses vintage photographs, draw-
ings, literary excerpts, interviews with scholars and, of particular value, filmed
sojourns to the actual sites that were central to Morris' life, among them Ox- ford University, Red House, Kelmscott Manor and the Victoria and Albert Mu- seum. Within those contexts, the aston-
ishing breadth of his work is discussed in such design-related categories as em-
broidery, furniture, stained glass, wall-
papers, murals, wood engravings, illumi- nation, calligraphy, textiles, typography and printed books. There is also discus- sion of his more than 90 books of prose and poetry and his work as a social re- former. Nothing is omitted, not even his uncontrollable amnesiac rages and the affairs of his strange and unfortunate wife who, as he painfully knew, was the lover of his old friend and business part- ner, the Pre-Raphaelite painter Dante Gabriel Rossetti.
(Reprinted by permission from Bal- last Quarterly Review, Vol. 16, No. 1, Au- tumn 2000.)
MATERIALS RECEIVED MATERIALS RECEIVED MATERIALS RECEIVED MATERIALS RECEIVED
Audio Compact Discs
Hover Cinnamon Sphere. Studio Excelo, Toronto, Ontario, Canada, 1999.
Sarah Peebles Insect Groove. Studio Excelo, Toronto, Ontario, Canada, 2000.
Playtime National Health, Cuneiform Records, Silver
Spring, MD, U.S.A., 2001.
Books
Art, Technology, Consciousness:
mind@large Roy Ascott, ed. Intellect Books, Bristol, U.K, 2000. 204 pp., illus. Trade. ISBN: 1-84150-041-0.
Consciousness, Color and Content Michael Tye. MIT Press, Cambridge, MA, U.S.A., 2000. 198 pp., illus. Trade. ISBN: 0-262-201 29-1.
Culture in Practice Marshall Sahlins. Zone Books, New York, NY, U.S.A., 2001. 640 pp., illus. Trade. ISBN: 0-942299-37-X.
Audio Compact Discs
Hover Cinnamon Sphere. Studio Excelo, Toronto, Ontario, Canada, 1999.
Sarah Peebles Insect Groove. Studio Excelo, Toronto, Ontario, Canada, 2000.
Playtime National Health, Cuneiform Records, Silver
Spring, MD, U.S.A., 2001.
Books
Art, Technology, Consciousness:
mind@large Roy Ascott, ed. Intellect Books, Bristol, U.K, 2000. 204 pp., illus. Trade. ISBN: 1-84150-041-0.
Consciousness, Color and Content Michael Tye. MIT Press, Cambridge, MA, U.S.A., 2000. 198 pp., illus. Trade. ISBN: 0-262-201 29-1.
Culture in Practice Marshall Sahlins. Zone Books, New York, NY, U.S.A., 2001. 640 pp., illus. Trade. ISBN: 0-942299-37-X.
Audio Compact Discs
Hover Cinnamon Sphere. Studio Excelo, Toronto, Ontario, Canada, 1999.
Sarah Peebles Insect Groove. Studio Excelo, Toronto, Ontario, Canada, 2000.
Playtime National Health, Cuneiform Records, Silver
Spring, MD, U.S.A., 2001.
Books
Art, Technology, Consciousness:
mind@large Roy Ascott, ed. Intellect Books, Bristol, U.K, 2000. 204 pp., illus. Trade. ISBN: 1-84150-041-0.
Consciousness, Color and Content Michael Tye. MIT Press, Cambridge, MA, U.S.A., 2000. 198 pp., illus. Trade. ISBN: 0-262-201 29-1.
Culture in Practice Marshall Sahlins. Zone Books, New York, NY, U.S.A., 2001. 640 pp., illus. Trade. ISBN: 0-942299-37-X.
Audio Compact Discs
Hover Cinnamon Sphere. Studio Excelo, Toronto, Ontario, Canada, 1999.
Sarah Peebles Insect Groove. Studio Excelo, Toronto, Ontario, Canada, 2000.
Playtime National Health, Cuneiform Records, Silver
Spring, MD, U.S.A., 2001.
Books
Art, Technology, Consciousness:
mind@large Roy Ascott, ed. Intellect Books, Bristol, U.K, 2000. 204 pp., illus. Trade. ISBN: 1-84150-041-0.
Consciousness, Color and Content Michael Tye. MIT Press, Cambridge, MA, U.S.A., 2000. 198 pp., illus. Trade. ISBN: 0-262-201 29-1.
Culture in Practice Marshall Sahlins. Zone Books, New York, NY, U.S.A., 2001. 640 pp., illus. Trade. ISBN: 0-942299-37-X.
Leonardo Reviews 283 Leonardo Reviews 283 Leonardo Reviews 283 Leonardo Reviews 283
This content downloaded from 185.2.32.110 on Sun, 15 Jun 2014 07:36:08 AMAll use subject to JSTOR Terms and Conditions
