In June 1965, the National Cowboy Hall of Fame and Western Heritage Center, as it was then named, owned a mere handful of artifacts. In fact, the Oklahoma City institution was forced to borrow materials in order to mount exhibitions to support its inaugural events. From that modest beginning, the center, now known as the National Cowboy and Western Heritage Museum, has grown into perhaps the world’s most respected repository for the study and understanding of the diverse cultures of the American West. But, as Bobby D. Weaver demonstrates in this no-holds-barred history, the path from those humble origins to the esteemed position the museum occupies today led through some rough-and-tumble times, including a period of receivership. The autocratic style of the founding director, coupled with certain early less-than-ethical practices, forced the museum into what Weaver delicately terms “a legal tangle” that required a complete organizational and financial overhaul. With renewed professional leadership and the steadfast support of dedicated patrons and sponsors, the National Cowboy and Western Heritage Museum has developed and changed along with evolving understandings of the culture it was founded to celebrate. What was once a shrine to a particular manifestation of American frontier life has transformed into a world-class art and historical museum that represents the broad sweep of the American West—both lived and imagined—with its full range of social, ethnic, and economic diversity. As Weaver relates, today’s institution is well poised for the future as it furthers its mission of preserving and interpreting the heritage of a vital American region and its lifeways.
Blue Book of Art Values: Artists & Their Works from Around the World
Peter Jennings and Todd Brewster, The Century (New York: Doubleday, 1998), 154. 8. Time-Life Editors, This Fabulous Century, Vol. IV, 23. 9.
Offers a selection of eighty-seven full-color reproductions of Timberlake's paintings, with an introduction by the painter
THE FERRELL BROTHERS, WILBUR AND WARREN , in their own words "were not known as singular artists but a duo." Wilbur began his career as a motion picture ...
Adelson, Warren, “John Singer Sargent and the 'New Painting,'” in Stanley Olson, Warren Adelson, and Richard Ormond, Sargent at Broadway: The Impressionist ...
This is a rich undiscovered history—a history replete with competing art departments, dynastic scenic families, and origins stretching back to the films of Méliès, Edison, Sennett, Chaplin, and Fairbanks.
Through careful research, Carol Gibson-Wood exposes the mythology surrounding the Morellian method, especially the mythology of the coherence and primacy of his method of attribution. She argues that it “could also be said that Berenson ...
Gibson translates from the Phoenician: “Beware! Behold, there is disaster for you ... !” (SSI 3, no. 5=KAI nr. 2). Examples from Cyprus include SSI 3, no. 12=KAI nr. 30. Gibson's translation of the Phoenician reads (SSI 3, ...
Examines the emergence of abstract organic forms and their assimilation into the popular arts and culture of American life from 1940-1960, covering advertising, decorative arts, commercial design, and the fine arts.
... S. Newman ACCOUNTING Christopher Nobes ADAM SMITH Christopher J. Berry ADOLESCENCE Peter K. Smith ADVERTISING ... ALGEBRA Peter M. Higgins AMERICAN CULTURAL HISTORY Eric Avila AMERICAN HISTORY Paul S. Boyer AMERICAN IMMIGRATION ...