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Frank Schoonover

Frank Schoonover


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Frank Schoonover sa narodil v New Jersey v USA v roku 1877. Študoval na Drexelovom inštitúte u Maxfielda Parrisha u Howarda Pylea (1896-1900). Pyle na Schoonovera zapôsobil a dal mu prácu ilustrujúcou knihy A Jersey Boy of the Revolution (1899) a In the Hands of the Red Coats (1899).

Schoonover si vybudoval povesť vďaka ilustrácii dobrodružných príbehov. Patria sem In The Open, The Edge of the Wilderness, The Deliverance and Breaking Trail pre Scribnerov časopis. Bol tiež pravidelným prispievateľom do Harperov týždenník a Časopis McClure.

Medzi ďalšie knihy ilustrované spoločnosťou Schoonover patria Princezná z Marsu (1917), Cortes dobyvateľ (1917) Arktické Stowaways (1917), Príbehy Shakespeara (1918), Johanka z Arku (1918), Unesený (1921), Robin Hood (1921), Robinson Crusoe (1921), Ostrov pokladov (1922), Kráľ Artuš a jeho rytieri (1923), Ivanhoe (1925), Otáznici púšte (1925) a Chlapec v zajatí starého Deerfielda (1929).

V roku 1931 Schoonover založil školu ilustrácií v Indianapolis, ale po roku 1937 sa zameral na maľovanie stojanov. V roku 1942 začal vo Wilmingtone ďalšiu umeleckú školu, ktorú viedol, až kým v roku 1968 nedostal mozgovú príhodu.

Frank Schoonover zomrel v roku 1972.


Frank Schoonover Kanoe

Citujem o Schoonoverovi tu a tu. Jeho záznam na Wikipédii je tu.

Schoonover je známy predovšetkým svojimi scénami v exteriéri. Tento príspevok predstavuje niektoré z jeho ilustrácií, ktoré obsahujú kanoe - ľahké, dosť krehké a trochu nestabilné člny vyvinuté okrem iného americkými indiánmi.

Jean Lafitte - 1912
Francúzsky pirát/súkromník, ktorý pracoval na Karibiku na začiatku 19. storočia. Nie je to celkom kanoe, ale napriek tomu pekná ilustrácia.

Water Lilly - 1916

Severná hmla - 1916

Poslední Mohykán - 1922
Podobne ako na predchádzajúcom obrázku. Ilustrátori často využívajú výhody výrobných skratiek.


„Objektív a štetec: Práce amerického ilustrátora Franka E. Schoonovera“

Hore: Foto Frank E. Schoonover
Dole: Frank E. Schoonover, Kožušinová brigáda, 1912. Olej na plátne.

Frank E. Schoonover (1877 a ndash1972) je známy svojimi prácami, ktoré sa nachádzajú v Harper & rsquos týždenne, Scribner a rsquos, Sobotný večerný príspevok, Dámsky domáci denník, Americký chlapeca ďalšie publikácie. Schoonover & mdashalong s N.C. Wyethom, Jessem Willcoxom Smithom a ďalšími & mdash bol ceneným študentom Howarda Pylea, zakladateľa školy Brandywine School of American Illustration. Vďaka podpore Pyle & rsquos cestoval Schoonover na snežniciach a psích záprahoch po častiach Kanady a Severnej Ameriky a fotografoval svoje prostredie, ktoré neskôr použili ako odkazy na obrázky. Táto výstava, ktorá zahŕňa viac ako 40 diel, ponúka pohľad na zdroje Schoonover & rsquos, technické zručnosti a kreativitu použitú pre jeho veľmi uznávané ilustrácie.

Kurátor: John Schoonover, prezident a kurátor, Schoonover Studios. Organizuje Lucinda Dukes Edinberg.

Ďakujeme za nepretržité financovanie a podporu: Anne Arundel County, Chesapeake Medical Imaging, Mesto Annapolis, Helena Foundation, Maryland State Arts Council, Estate Elizabeth Myers Mitchell, Mitchell Gallery Board of Advisors, Members of galéria Mitchell, pani Ruth Mitchell, fond Johna a Hildy Moorových, nadácia Galérie Lillian Vanous Nutt Mitchell, Rex a Katharine Pingle a fond výtvarných umení Clare Eddy a Eugene V. Thawa.

Programy a akcie

1. apríl:Otvorenie online výstavy

11. apríla: Živý rozhovor s Johnom Schoonoverom, prezidentom a kurátorom, Schoonover Studios, 3 hodiny popoludní. ET
Tento rozhovor, po ktorom bude nasledovať obdobie otázok a odpovedí, poskytne životopisné poznatky a pozadie o cestách, výcviku a inšpiráciách Franka E. Schoonovera a rsquos, ktoré viedli k jeho reputácii prominentného ilustrátora. Zadarmo. Nevyžaduje sa žiadna registrácia.

John Schoonover

John Schoonover absolvoval Virgínsku univerzitu a založil spoločnosť Schoonover Studios Ltd. v roku 1969. Štúdiá Schoonover Studios sa špecializujú na diela Franka E. Schoonovera, ale práce iných amerických ilustrátorov a konzervátorstvo umenia sú tiež dôležitou súčasťou štúdio a rsquos operácie. Spolu s Louise Schoonover Smith a Lee Ann Dean je John spoluautorom 2-zväzku Frank E. Schoonover Catalog Raisonn & eacute. V súčasnosti je v správnej rade Biggsovho múzea amerického umenia a pôsobil v predstavenstve Delaware Humanities Forum, bol zakladajúcim členom festivalu Brandywine Arts Festival a zostáva aktívnym členom veslárskeho klubu Wilmington. . John v súčasnosti pracuje na knihe oslavujúcej dokumentárne fotografie Franka E. Schoonovera, ktorá by mala vyjsť v roku 2022.

29. apríl: Virtuálna prehliadka, 14:30 hod. ET | Knižný klub, 3 hodiny popoludní. ET
Online prehliadka výstavy, po ktorej nasleduje diskusia o Howard Pyle od Henryho Pitza, pod vedením ilustrátora Roba Wooda. Ak chcete kúpiť knihu, kontaktujte galériu. Zadarmo. Na účasť v Knižnom klube je potrebná registrácia.

Rob Wood

Ilustrátor Rob Wood získal BFA na Štátnej univerzite v Tennessee, odbor maliarstvo a grafický dizajn. Po promócii vstúpil do amerického letectva a rok slúžil vo Vietname. Po získaní čestného absolutória Wood navštívil University of Georgia, kde získal titul MFA a začal svoju ilustračnú kariéru v dizajnérskej firme v oblasti Washingtonu, DC.

Umelecké diela Wood & rsquos sa nachádzajú v knihách a časopisoch a vytvoril ilustrácie na obálky kníh pre Stephena Kinga, Nevadu Barra, Jacka Higginsa, Kristin Hannah a nové vydanie Cormac McCarthy & rsquos Krvavý poludník, vydaný v roku 2021. Vytvoril tiež ozdobu na vianočný stromček v Bielom dome, ako aj nástenné maľby pre Letecké a vesmírne múzeum Smithsonian & rsquos, Múzeum 2. svetovej vojny v New Orleans a Múzeum americkej revolúcie vo Philadelphii.

Je členom Spoločnosti ilustrátorov a získal viacero ocenení a uznaní, vrátane najlepších výstavných a zlatých medailí od Časopis pre komunikačné umenie, Klub umeleckých riaditeľov v New Yorku, Výročie americkej ilustrácie, Klub umeleckých riaditeľov vo Washingtone, DC, National Geographica ďalšie publikácie a organizácie.

Okrem svojej ilustračnej práce pôsobil Wood ako hosťujúci lektor a porotca na Svetovej konferencii infografiky v španielskej Pamplone. Wood vyučoval na Towson University ako absolventský poradca a pre bývalý program kontinuálneho vzdelávania na St. John & rsquos College.

Wood je partnerom medzinárodne uznávanej firmy Wood Ronsaville Harlin, Inc. s klientmi po celom svete.

5. máj: Art Express, 12:15 a 12:45 hod. ET
Obedňajšia prehliadka s pedagógom umenia Lucindou Edinbergovou. Zadarmo. Nevyžaduje sa žiadna registrácia.

16. máj: Ukončenie výstavy Franka E. Schoonovera


Rozhovor o ústnej histórii s Frankom Schoonoverom, 1966, 6. apríla

Formát: Pôvodne nahraté na 1 cievke so zvukovou páskou. Preformátované v roku 2010 na 4 digitálne súbory wav. Trvanie je 1 hod., 34 min.

Zhrnutie: Rozhovor s Frankom Schoonoverom uskutočnený 6. apríla 1966 Richardom Doudom pre Archív amerického umenia. Schoonover hovorí o svojom prvom stretnutí s Howardom Pyleom, ktorý študoval u Pyla na Drexelovom inštitúte a v Pyleovej vlastnej škole. Pyleho práca pre „Harperovu“ prácu pre „Harperovu“ samotnú ako ilustrátora Pyleovho príspevku k ilustrácii a stretnutiu s Maxfieldom Parrishom.

Životopisná/historická poznámka

Frank Earle Schoonover (1877-1972) bol ilustrátor z Wilmingtonu v Delaware.

Proveniencia

Tento rozhovor je súčasťou programu ústnej histórie archívov amerického umenia, ktorý sa začal v roku 1958 a dokumentuje dejiny výtvarného umenia v USA, predovšetkým prostredníctvom rozhovorov s umelcami, historikmi, dílermi, kritikmi a ďalšími.

Poznámka k jazyku

Ako používať túto zbierku

Prepis: 35 mm cievka z mikrofilmu 3418 je k dispozícii v kanceláriách archívu amerického umenia a prostredníctvom medziknižničnej výpožičky.

Prepis: Patroni musia používať kópiu mikrofilmu.

Citáty a úryvky musia byť citované nasledovne: Rozhovor o ústnej histórii s Frankom Schoonoverom, 1966, 6. apríla. Archívy amerického umenia, Smithsonian Institution.


„Daredevilovo kováčske tajomstvo sa nemusí skončiť

Všetci sa zhodneme na tom, že sa toho dialo veľa Odvážlivec Sezóna 2? Séria bola medzi Mattom Murdockom, ktorý sa pokúšal zabrániť Frankovi Hradovi v zabíjaní ľudí, potom, keď sa snažila zabrániť Elektre, aby zabíjala ľudí, a zaoberal sa návratom Sticka, ktorý so sebou do Pekelnej kuchyne priniesol dávnu vojnu, a ťahal sa mnohými rôznymi smermi. Jeden kúsok hádanky je tajomstvom kováča a toho, ako sa viaže na Frankov príbeh. Rovnako je na tom aj plukovník Schoonover kováč Odvážlivec, zabaliť túto konkrétnu záhadu príliš pekným oblúkom pre tých z nás, ktorí milujú dobré sprisahanie? Spravodlivé varovanie, spojlery pre Odvážlivec Sezóna 2 dopredu!

Začnime tým, čo s istotou vieme o Kováči: Je to drogový díler pôsobiaci v New Yorku. Pretože kováč prinášal do mesta obrovské množstvo drog, stal sa terčom okresného prokurátora, ktorý preňho priviedol žihadlo. Žihadlo však zamierilo na juh a Frankova rodina bola chytená do kríža. jediný preživší. Keď začína sezóna 2, Frank je na svojej vojnovej ceste pomsty, vedie ho po králičej diere násilia v snahe vystopovať kováča a vykonať pomstu.

Frank sa zdanlivo pomstí v predposlednej epizóde „Temnota na konci tunela“, keď sa ukáže, že plukovník Ray Schoonover, Frankov starý priateľ, je s najväčšou pravdepodobnosťou kováčom. Úplne sa rozdá, keď Karen Page odíde do svojho domu, aby sa plukovníka spýtala na jeho históriu s Frankom, ale ona z fotografií plukovníka pozná muža ako člena kováčskej posádky. Som si istý, že vám to Matt a Foggy povedia, nemyslím si, že by to na súde obstálo, ale potom si plukovník vezme Karen ako rukojemníčku a znepriatelí si Franka - dokazuje, že je kováč.

Aj keď plukovník nikdy nemá konkrétny moment, keď priznáva, že je kováčom, zdá sa, že ide o otvorený a uzavretý prípad. Mal s Frankom históriu a konkrétne zmanipuloval okolnosti tak, aby bol Frank a jeho rodina v deň bodnutia v hľadáčiku. Navyše, v Marvel Comics bol Ray Schoonover veliacim dôstojníkom Franka Castle, ktorý pašoval drogy, zatiaľ čo v námornej pechote. To je jediný dôkaz, ktorý skutočne potrebujeme!

Ale čo keď plukovníkov obchod s pašovaním drog presahuje rámec toho, čo sme videli? Koniec koncov, Frank zabil plukovníka skôr, ako mohol povedať príliš veľa. Iste, možno moja láska k sprisahaniam vyprcháva, ale čo keď je názov Kováč ako ostatné plášte v rámci komiksovej superhrdinskej tradície a môže ho prevziať niekto iný? Ako Hydra dokázal, môžete jednu hlavu odrezať a na jej miesto nastúpia ďalšie dve.

Navyše, čo je s tým tajomným CD, ktoré Frank získal z domu svojej rodiny predtým, ako ho spálil do tla? Niečo mi hovorí, že v tomto príbehu je toho oveľa viac a Odvážlivec ešte to nedokončil.


Nová zbierka: Fotografie Franka Schoonovera

Knižnica Hagley s potešením oznamuje akvizíciu zbierky negatívov Franka Schoonovera z Delaware Art Museum. Kolekcia Schoonover dokumentuje život a dielo známeho komerčného výtvarníka, ktorý pôsobil počas „zlatého veku“ časopisovej ilustrácie v prvej štvrtine dvadsiateho storočia.


Model pre „The Wreck of LaBonne Adventure“ od Laurie York Erskine v štúdiu Schoonover.

Špecifické požiadavky na skladovanie negatívov v tomto veku sťažovali Delaware Art Museum uchovávanie zbierky. Zbierka sa perfektne hodí pre Hagleyho pri dokumentovaní života a postupu komerčného ilustrátora. V rámci dohody Hagleyho s Delaware Art Museum a rodinou Schoonover bude zbierka digitalizovaná a online. Práce momentálne prebiehajú a môžete si ich pozrieť na nasledujúcej adrese: digital.hagley.org/schoonover. K dispozícii je zbierka fotografických výtlačkov zo zbierky Schoonover, ktorá je otvorená na výskum na mieste v Delaware Art Museum.


Dvaja poľnohospodárski robotníci pozorujú mladého muža, pravdepodobne jedného zo Schoonoverových študentov, skicovajúceho v teréne.

Narodený v New Jersey v roku 1877, Schoonover sa naučil svoje remeslo pod vedením Howarda Pylea, ktorého „škola brandywine“ bola od 90 -tych rokov 19. storočia dôkaznou pôdou pre mnohých umelcov. Spolu so Schoonoverom boli medzi tými, ktorých cvičil Pyle, N.C. Wyeth, Stanley Arthurs a Violet Oakley.

Práca Franka Schoonovera sa objavila v mnohých prominentných publikáciách vrátane Ladies Home Journal, Saturday Evening Post, Collier's, Harper's a veľa ďalších. Jeho štúdio postavené na ulici North Rodney Street vo Wilmingtone v štáte Delaware v roku 1906 slúžilo umeleckej komunite ako miesto na prácu a vyučovanie počas celej jeho kariéry. Vyučoval tu deti a dospelých od štyridsiatych rokov minulého storočia až do svojej smrti v roku 1972. Štúdio zostáva dnes aktívnym priestorom pre výtvarníkov a je zapísané v Národnom registri historických miest.

Počas svojho komerčného ilustrácie Schoonover používal fotografiu ako zdrojový materiál pre svoje umelecké diela. Schoonover, ktorý si osvojil Pyleovu filozofiu, že pre ilustrátora je zásadné priame pozorovanie, bol počas svojej kariéry veľa cestovaný a fotografie, ktoré na tieto výlety urobil, sú v zbierke v Hagley prominentne zastúpené.


Chlapci zbierajú ľad, pravdepodobne v blízkosti mesta Bushkill v Pensylvánii.

Medzi nimi sú pozoruhodné snímky, ktoré zhotovil ako výskum pre muckrakingové články poukazujúce na talianskych prisťahovalcov, ktorí cestujú vo veži a na zlé pracovné podmienky detí v pennsylvánskych uhoľných baniach. Ďalšie miesta zastúpené na fotografiách sa pohybujú od Kanady po Karibik, od antracitovej krajiny Pensylvánie po americký západ.

Okrem toho, že Schoonover použil cestovanie ako inšpiráciu, fotografoval vo svojom ateliéri kostýmované modely, ktoré môžeme prepojiť s jeho publikovanými ilustráciami (pozri príklad nižšie). Zbierka tiež obsahuje mnoho osobných fotografií priateľov a rodiny, najmä jeho dvoch detí, Cortlandta a Elizabeth, ktoré často používal ako model. Schoonoverova príbuznosť s prírodou je evidentná v zbierke aj v bohatých krajinných scénach, z ktorých mnohé boli urobené v meste Bushkill v Pensylvánii, kde Schoonover ako dieťa trávil leto a kde neskôr nehnuteľnosť kúpil.


Imigranti sediaci na palube lode Königin Luise.


Schoonoverov malý syn Cortlandt sa chystá s inžinierom vyliezť na lokomotívu.

Hagley je vďačný Delaware Art Museum a Johnovi Schoonoverovi za to, že dali Hagleymu príležitosť zachovať a zdieľať zbierku fotografií, ktoré dokumentujú pracovný život významného komerčného ilustrátora s dôvernými väzbami na údolie Brandywine.

Angela Schad je špecialistkou na digitálne archívy v oddelení audiovizuálnych zbierok a digitálnych iniciatív v Hagleyovom múzeu a knižnici. Kevin Martin je kurátor Andrew W. Mellon pre audiovizuálne zbierky a digitálne iniciatívy v Hagleyovom múzeu a knižnici.


Frank Schoonover - História

Bibliografia: Ilustrované práce

Poznámka: Všetky čísla kurzívou označujú ilustráciu vytvorenú k dielu, ktorá však v ňom nie je zverejnená.

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Andersen, Hans. Hans Andersen a rozprávky č. 8217 , ilustrované Louisom Rheadom. New York: Harper & amp Brothers Publishers, 1921. [1029, 1134]

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Andrews, Mary Raymond Shipman. Bob a sprievodcovia . New York: Charles Scribner ’s Sons, 1906. [167]

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

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Boyd, Thomas. Prostredníctvom pšenice: román námornej pechoty prvej svetovej vojny . Lincoln: University of Nebraska Press, 2000. [915]

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

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

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

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

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

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

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

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

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

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

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

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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

Scope and Content

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.


Pozri si video: Frank E. Schoonover A Long Life in Art - Video Part 7: Teaching (Február 2023).

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