Novelist and essayist Hilary Masters recreates a moment in 1940s Pittsburgh when circumstances, ideology, and a passion for the arts collided to produce a masterpiece in another part of the world. E. J. Kaufmann, the so-called "merchant prince" who commissioned Frank Lloyd Wright's Fallingwater, was a man whose hunger for beauty included women as well as architecture. He had transformed his family's department store into an art deco showcase with murals by Boardman Robinson and now sought to beautify the walls of the YM&WHA of which he was the president. Through his son E.

This book is an illustrative description of the Holy Land, with direct references to Biblical passages. It is designed for general and popular reading rather than for the professional student.

While other artists moved to New York or Paris, painter Samuel Rosenberg (1896-1972) never left the city he called home. From the age of twelve, when he took his first art class at a settlement house in Pittsburgh's Hill District, through a vigorous career that spanned six decades, Rosenberg was challenged by the complex city whose artistic legacy he did much to shape. In Pittsburgh, Rosenberg created more than five hundred paintings, engaged with the dynamic progress of American painting in the twentieth century, and inspired generations of students. This book is the first full study of his work and influence.The constancyof Rosenberg's career was change. He began as a portraitist (1915-1930), influenced by Velazquez, Rembrandt, Matisse, and later, Picasso. In the 1930s, however, Rosenberg turned to portray the city around him. Inspired by the steep hills, densely polluted atmosphere, crooked houses, and layered immigrant populations with intersecting poverties, he created emotional urban landscapes that ensured Pittsburgh's place in the American regionalist art movement.Rosenberg's focus was the Hill District, where he lived as a young man. In poignant, socially conscious paintings, he traced the transitions of this gritty, multiethnic neighborhood through the Great Depression and Pittsburgh's early experiments in urban renewal. "Yes, I know there are artists in town who sneer at Pittsburgh, who want to go to Venice and paint canals," Rosenberg told a reporter. "But the artist who dislikes the town should . . . stay here and put his hate into pictures of the Pittsburgh scene. In doing so, he would have something to say."In the 1940s, responding to the horrors of World War II, Rosenberg's subjects became more universal and allegorical. In paintings such as Israel (1945), his most reproduced work, haunting human figures do not allow viewers to remain indifferent to the world situation. Here he began experiments with abstraction and the quality of light, a search he would continue for the rest of his life.From 1949 until his death in 1972, Rosenberg developed his own form of abstract expressionism, translating emotion with color, but without entirely abandoning representation. Using sequential layers of translucent color and transparent glazes, Rosenberg was able to achieve a penetrating, shimmering effect in his work. His paintings from this period are reminiscent of stained glass windows in that they seem to emit light rather than reflect it.Samuel Rosenberg's paintings were exhibited widely, from the World's Fair (1939) to the nation's preeminent museums, including the Museum of Modern Art, the Whitney Museum of American Art, the Corcoran Gallery in Washington, D.C., and the Pennsylvania Academy of Fine Arts in Philadelphia. He had twenty-six solo exhibitions during his lifetime, and he was accepted into the prestigious Carnegie International in 1920, 1925, and every subsequent exhibition from 1933 to 1967.But it is possible that Rosenberg's most enduring legacy is his teaching. For more than forty years he taught drawing and painting at Carnegie Institute of Technology (now Carnegie Mellon University), where his students included Philip Pearlstein, Mel Bochner, and Andy Warhol-whom Rosenberg saved from expulsion in 1947. He chaired the art department at the Pennsylvania College for Women (now Chatham College). He directed art programs and taught for decades at two community art schools: the Irene Kaufmann Settlement in the Hill District and the Isaac Seder Educational Center for the Young Men's and Women's Hebrew Association, which merged in 1961. A revered and devoted master teacher, he awakened several generations of Pittsburgh artists to the "adventure," as he called it, of art.Samuel Rosenberg: Portrait of a Painter accompanies the first major retrospective of his work since 1960. In a thorough and carefully researched essay, accompanying eighty-two color and fifty black-and-white reproductions, curator Barbara L. Jones tells the story of Rosenberg's life, his evolving artistic vision, and his teaching legacy. She also provides biographical, exhibition, and award chronologies, along with a complete catalog of paintings and preparatory sketches. Lively sidebars by regional historians Barbara Burstin, Eric Davin, and Laurence Glasco, and by artist and former student Bennard Perlman, give social and cultural context, recreating the Pittsburgh in which this remarkable artist lived and worked.

Stephanie Byram was an active, athletic young woman entering the prime of her life. She held dreams of earning her doctorate, pursing a career, falling in love, and starting a family. A doctor's visit, shortly after her thirtieth birthday, changed everything. She had been concerned about a painful, swollen right breast, and tests confirmed the presence of a tumor. Stephanie was diagnosed with highly aggressive, highly malignant breast cancer-Stage IIIb infiltrative ductal carcinoma-and within two months she underwent a double mastectomy. Doctors gave her a 50 percent chance of surviving five years.Despite this prognosis, Stephanie looked to the future, and refused to be deterred by the obstacles thrown suddenly into her path. Though she was rarely cancer-free and suffered recurrences that were progressively more invasive and damaging to her body, over the course of the next eight years she would live a life of her choosing.Stephanie fell in love, married, and bought a home. She earned her Ph.D., and even found the time and energy to revise her dissertation topic to how women make medical decisions after they have been diagnosed with life-threatening illnesses. She traveled to London, Tibet, and Hawaii; went on safari in Zambia and Botswana, rang in the millennium atop the Great Barrier Reef; hiked the grueling, thirty-five-mile Inca trail to Machu Picchu on her honeymoon, just weeks after a devastating recurrence; and visited the Grand Canyon before her death in June 2001.Stephanie came to appreciate the details and experiences found in a typical day. Learning to live in the moment, she found joy while playing with her cats, tending her garden, observing the birds jostling at the feeder, walking in the park by moonlight, laughing with friends. And running.Always an avid runner, Stephanie placed even greater importance on the sport following her diagnosis. She vowed to be the first person to run in each Susan G. Komen Race for the Cure, and would eventually run in thirty out of sixty-one events. To help publicize this uncommon feat, she approached Charlee Brodsky about taking some photographs for inclusion in a press packet. What eventually evolved was much more.As their working relationship grew, so did their bond. Stephanie was Brodsky's subject, but they became collaborators and closer friends. They developed art exhibitions, a video, and often gave lectures, presentations, and inspirational talks to groups across the country. And, now, together they have created this book. Knowing Stephanie combines Brodsky's photographs and Stephanie's dialogue, which along with Jennifer Matesa's biographical essay, "Reconstructing a Life," paints a complete and compelling portrait of an extraordinary woman.For Stephanie, this project was an opportunity to visualize herself-her life and her body-differently. According to Brodsky, "She was able to transform her profound disappointment with the cards she was dealt into a life that was about living." In so doing, Stephanie has provided a treasure for us all.

Indicates the place of painting in the Islamic world, both in relation to those theological circles which condemned the practice of it, and to those persons who, disregarding the prohibitions of religion, consulted their own taste in encouraging it.

This guide provides advice on legal issues such as Copyright and Rights Management when creating and using digital picture resources, technical advice on software and producing good quality images, standards for data documentation, project management, storage and preservation, and innovative creative techniques, including web design and virtual reality.

With Steel Shadows, you don\u2019t have to visit exhibition halls at Carnegie Mellon University or the John Heinz History Center to enjoy Douglas Cooper\u2019s unique, realistic and highly personal images of Pittsburgh. Steel Shadows brings his large charcoal and paper art home to you. Cooper details the inspiration for his artistic vision, as well as the formal properties of his art and how it relates to architecture. The book features double-page spreads of his murals, his essay, and excerpts from Pittsburgh authors telling the stories of the city\u2019s ethnic and eclectic style of neighborhoods, combining details of bridge building and steel making with poetry, historical accounts, and stories of the daily lives of Pittsburghers, all set against the backdrop of the city\u2019s raw industrial landscape.Steel Shadows is a book for students of art, architecture, urban studies, and oral history. Most of all, it is a book to share with friends and family, and a book to rekindle memories of this former steel town.

Initially commissioned to record the progress of Pittsburgh’s Renaissance I, these unforgettable black-and-white photographs of Roy Stryker's Pittsburgh Photographic Library (PPL) capture the city in a state of flux. They reveal a union of opposites—the suited wonderment of the downtown businessman with the easy grace and competence of a shirtless construction worker balanced high over his head; the anonymity and isolation of planned housing with the belief in expansion and renewal; the energy and excitement of a city on the move with the traditions of the established elite; the juxtaposition between the growing optimism about the ability of technology to improve our lives; and the traditional steel and other heavy smokestack industries that still dominated the region. The Renaissance was seen as a way for Pittsburgh to keep abreast of modern urban life and to preserve its economic position, but the rapid development of a white suburban middle class was sapping the very essence of the personalized downtown neighborhoods. These photographers have captured the convergence of destruction and rejuvenation that is the essence of an urban renaissance—all the anxiety and hope of the decade is reflected in these poignant photographs.Constance Schulz's fascinating essay on the story of the PPL, in order to present a full picture of the political and civic goals, achievements, and failings of the project, provides a thorough discussion of the background of the Pittsburgh Photographic Library, putting into perspective the Allegheny Conference's purpose for initiating the PPL, Roy Stryker's own vision and work, as well as those of the photographers who worked for Stryker on the project, and the politics that undermined the full implementation of it. Clark M. Thomas's accompanying narrative offers an eclectic range of facts and fascinating bits of the city's history and neighborhood lore, as well as noting important political and economic episodes. It also provides a glimpse into the often underrepresented lives of minorities and women in the region's development. Anyone moved by the incredible social upheaval and expansion that occurred in cities across the nation in the 1950s following years of depression and war will want to have this collection.

Andrew Carnegie, industrialist and a major American philanthropist, sought to bring world-class art and culture to Pittsburgh. This book looks at how the Carnegie International exhibit came into being in 1895, the early exhibitions, the art, artists, and the public reception to it.

Throughout his life the major Spanish novelist Benito Perez Galdós (1843-1920) took a keen interest in the visual arts. Parts I and II of this book discuss Galdós's art journalism and his artistic contributions to the illustrated edition of the historical novels. But the main focus (part III) is on references to the visual arts and pictorial landscapes, particularly in the serie contemporánea, the contemporary social novels. Such allusions often act as a guide to interpretation; they also relate to the whole philosophical question of how the eye perceives physical reality. Professor Bly offers a fascinating analysis of the various types of interrelationship between visual art and novelistic action; his study contributes greatly to the understanding of aesthetic and moral perception in Galdós's novels, and contains wider implications for nineteenth-century literary and aesthetic theory.