PRINTMAKING In New Orleans - The Historic New Orleans ... ?· related media associated with New Orleans and Louisiana. The book’s fourteen essays—each originally presented at a session of the ... Printmaking in New Orleans

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<ul><li><p>Volume XXIII, Number 3 Summer 2005</p><p>PRINTMAKING In</p><p>New Orleans</p></li><li><p>P rintmaking in New Orleans, a jointpublication of The Historic NewOrleans Collection and theUniversity Press of Mississippi, is the firstbook to survey the history of prints andrelated media associated with New Orleansand Louisiana.</p><p>The books fourteen essayseachoriginally presented at a session of theNorth American Print Conference co-sponsored by The Historic New OrleansCollection, the New Orleans Museum ofArt, and the Louisiana State Museumaddress different aspects of the art and craft</p><p>of printmaking. In the process, they illu-minate the history of the city and region:European exploration; urban development;architecture; commerce; transportation;religion; politics; music; Mardi Gras; food-ways; changing technologies; and changingartistic tastes. Prints are documents ofeveryday lifedocuments uniquely suitedto capture the particularity and rich com-plexity of life in New Orleans.</p><p>By and large, local and regional print-makers did not produce elaborate pictorialimages in the manner of Currier and Ives orLouis Prangimages designed to enhancethe parlors and offices of middle-classAmerica. Instead, many local artists spe-cialized in genres often overlooked in broadsurveys of the history of prints. Few locales,for instance, can match New Orleans in theproduction of sheet music. The fantasyworld of Mardi Gras imagery is almostpurely a local phenomenon. And while othercities may have produced product labels ofsimilar vintage and quality, those created inNew Orleans reflect its specialized indus-tries and tastes. Illustrations of buildingswhether large chromolithographs orsmall-scale illustrations on letterheads andinvoice formspresent unique neighbor-hood vistas. Over the centuries, NewOrleans printmakers have captured theincomparable character, history, and pop-ular culture of the region. Printmaking inNew Orleans introduces their art to abroader audience.</p><p>The book is dedicated to the memoryof John A. Mah II (19481991), formersenior curator at The Historic New OrleansCollection and organizer of the 1987 printconference. The images reproduced herecan only hint at the rich treasury of materi-als displayed and discussed in this longawaited volume. (For ordering informa-tion, see page 15.)</p><p>drawn from editor Jessie Poeschsintroduction to the book</p><p>2</p><p>A Season for ArtPrintmaking in New Orleans Scheduled for Fall Delivery</p><p>REFLECTING NEW ORLEANSS THRIVING 19TH-CENTURYSHEET MUSIC INDUSTRY </p><p>The Picayune Frog Polka by Alphonse Barra, 1894. M. F. Dunn and Bro., lithographer and engraver.Chromolithograph (86-1542-RL). As both Jessie Poesch and Alfred Lemmon observe in their essays, sheetmusic covers reflect the developing profile of the city and the expanding commercial potential of printmaking.The New Orleans Daily Picayunes weather frog was introduced on January 13, 1894, to accompany thedaily forecast. After an absence of approximately 19 years, the weather frog was reintroduced on July 6,1955, and appears to this day in the Times-Picayune.</p></li><li><p>3</p><p>TRANSFORMING PRODUCT LABELS INTO WORKS OF ARTIntroduction: Printmaking in New OrleansJessie J. Poesch</p><p>Publicizing a Vast New Land: VisualPropaganda for Attracting Coloniststo Eighteenth-Century LouisianaGay M. Gomez</p><p>Walking the Streets of New Orleans:Printed Maps and Street ScenesJohn A. Mah II</p><p>The Art Preservative of All Arts: Early Printing in New OrleansFlorence M. Jumonville</p><p>A Pelicans-Eye View: The UrbanGrowth of New Orleans Through Birds-Eye ViewsJohn Magill</p><p>A New Plane: Pre-Civil WarLithography in New OrleansPriscilla Lawrence</p><p>Playing New Orleans: The Citys Neighborhoods and Sheet MusicAlfred E. Lemmon</p><p>A Louisiana Architects Prints andDrawings: The Works of Marie AdrienPersac, 1832-1873Barbara SoRelle Bacot</p><p>Jules Lion, F.M.C.: LithographerExtraordinairePatricia Brady</p><p>Local Color: Chromolithography in New OrleansKellye M. Rosenheim</p><p>Illustrated Periodicals in Post-Civil War New OrleansJudith H. Bonner</p><p>Morris Henry Hobbs: In Old New OrleansClaudia Kheel</p><p>Purist Aesthetic and Tradition inClarence John LaughlinsPhotographs: Solid Foundations forthe Third World of PhotographyJohn H. Lawrence</p><p>Twentieth-CenturyArtists/Printmakers in New OrleansEarl Retif</p><p>Caroline Durieux: Louisianas MasterPrintmaker for the Twentieth CenturyH. Parrott Bacot</p><p>T H E C H A P T E R S</p><p>View of Jackson Square, NewOrleans, Louisiana by Pessou andSimon, 1855. Color lithograph(1948.3). Priscilla Lawrences chapter on pre-Civil War lithographytraces the careers of many of NewOrleanss earliest lithographers, suchas Louis Lucien Pessou and BenedictSimon, P. Langlum, J. B. Pointel duPortail, Jules Manouvrier, PaulCavailler, and Louis Xavier Magny. </p><p>SHOWCASING THE TALENTS OF NOTED LOUISIANA ARTISTS</p><p>ILLUMINATING THE HISTORY OF THE REGION</p><p>Can label for Womans Club Brand Coffee by Walle and Co., Ltd., lithographer; Susus Frederick VonEhren, probable designer, between 1916 and 1920. Chromolithograph (1979.369.25). Commercialproduct labels are rich resources for historians of printmakingand perhaps no product can match coffeeas a stimulus to scholars and to the local economy. Whereas 19th-century consumers bought freshly groundcoffee from local grocers in plain brown paper bags, 20th-century consumers began to select among brandsof packaged coffee distinguished by unique colorful labels. Jessie Poesch surveys product labels in herintroduction, and Kellye Rosenheim discusses their manufacture in her chapter on chromolithography.</p><p>Eliza Field, Eliza Dubourg Field, andOdile Field by Jules Lion, 1838.Lithograph (1970.11.141). Patricia Bradydiscusses the artistic contributions of JulesLion, a prolific antebellum lithographerknown for his portraits of leadingLouisianians.</p><p>The Solidity of Shadows, Number One by ClarenceJohn Laughlin, 1953. Photoprint (1981.247.1.1080).John Lawrences chapter on the photographic work ofClarence John Laughlin explores the purist aspects ofLaughlins photographs rather than the manipulated workfor which he is better known, arguing that Laughlinsability to work within a strong, almost rigid tradition andstill speak with distinction and clarity is what made hima visionary.</p></li><li><p>In the last quarter of the 19th century,planned recreational areas, often situ-ated near bodies of water, rose up acrossthe country. Bucktown, situated on LakePontchartrain, offered New Orleanians theopportunity to swim, fish, boat, dine atseafood restaurants, and attend annual boatraces. At the peak of its popularity as aresort community, in the early 20th cen-tury, Bucktown welcomed an influx ofvacationers who rented camps for week-ends or entire summers. Many arrived bythe West End streetcar, which departedfrom its terminal at South Rampart andCanal Streets, headed out Canal toward thecemeteries, turned left toward the NewBasin Canal, then continued out along thecanal to the lake. Among the areas land-marks are Brunings, the only survivingrestaurant from the period, and the familyhome built by Captain John C. Bruning, aself-appointed lifeguard for the childrenplaying beneath camps, catching minnows,and building sandcastles.</p><p>Jeannette Boutall Woest, a member ofthe Bruning family, grew up in Bucktownduring its heyday as a recreation site. As thecommunity began to change in the mid-20th century, Woest, a self-taught artist,documented the Bucktown of her youth inwatercolor sketches and in journals.Through the generosity of the artistsdaughter, Dianne Audrey Woest, a numberof these paintings and diaries have beendonated to The Historic New OrleansCollection and a fellowship in the arts andhumanities established.</p><p>The Dianne Woest bequest includes 67views of Bucktown, West End, and otherneighborhoods painted by Jeannette Woestfrom the 1960s through the 1980s. Theartists sensitivity to change is evident inher paintings of lakefront landmarks:Brunings, Fitzgeralds, Swansons, andMaggie and Smittys restaurants; the GapBridge, Breakwater Drive, and Shell Road;the 17th Street and New Basin Canals; theSouthern Yacht Club, the fountain at West</p><p>End, and Shultzs Fresh Hardware. In 1966,Woests paintings were displayed at theInternational Trade Mart and featured inDixie-Roto magazine.</p><p>In addition to Bucktown and the lake-front, Woest captured the CentralBusiness District in paintings of theODECO Building, the Plaza Tower, theInternational Trade Mart, the AmericanBank, Hibernia Bank, Porters, Sears,Barnetts, and Factors Row. Other worksrecorded current events, such as hurricanesBesty and Camille; aware of the documen-tary function of her art, Woest often affixednewspaper articles to the backs of her paint-ings to provide historical context. Herdaughters gift to The Collection helpsensure that memories of Bucktown andother New Orleans neighborhoods willnot fade. </p><p>Judith H. Bonner</p><p>4</p><p>West End by Jeannette Boutall Woest, September 11, 1966(2005.0210.2.8)</p><p>Houses at Bucktown by Jeannette Boutall Woest, September 10, 1966(2005.0210.2.25)</p><p>The Sunday after Camille by Jeannette Boutall Woest, August 24, 1969(2005.0210.2.21)</p><p>Big House: All Cleaned Up after Betsy by Jeannette Boutall Woest, May 22, 1966 (2005.0210.2.3)</p><p>BUCKTOWN REMEMBEREDThe Art of Jeannette Boutall Woest</p></li><li><p>5</p><p>FROM THE DIRECTOR</p><p>Any museum professional will tell of the joyassociated with an exhibition that drawsthrongs of visitors from both near and far.Curators, preparators, registrars, and docents alikeexperience a sense of accomplishmentmonths of hard work are real-ized when the story being told piques the interest of the public. Such isthe state of the staff of The Collection this summer with the over-whelming success of The Terrible and the Brave: The Battles for NewOrleans, 1814-1815.</p><p>The excitement carries over and continues to build as we planCommon Routes: St. Domingue Louisianaa year-long celebration ofthe connections between Louisiana and St. Domingue (Haiti), theCaribbean nation whose complex history is inextricably intertwinedwith our own. Featuring a symposium (February 4, 2006) and agroundbreaking exhibition (January 31May 28, 2006) with an accom-panying catalogue, the years programming promises to enthrall bothresidents and tourists. Drawing on the knowledge and support of adiverse advisory committee and forming partnerships with communityorganizations and schools throughout the region, The Collection plansto bring about a city-wide celebration of the compelling story of St.Domingue and Louisiana.</p><p>Called Hayti by the Taino and Arawak people who lived there priorto European contact, the island became known as Hispaola afterColumbuss discovery. In time, Hispaola was colonized by both theSpanish and the French under the name Santo Domingo/St. Domingue.With the successful revolution on the island (17911804), the Frenchcolonial period ended and a new republic was formed. Named Haiti,the country was not only the first established by slave revolt, but also thesecond independent nation founded in the New World.</p><p>Native French, St. Domingue citizens (both free black and white),and African slaves fled the island during the revolutionary period andfor nearly a decade following it, settling in Cuba and the United States.Some 20,000 of these migrs came to Louisiana, directly or by way ofCuba, infusing the territory with French language and traditions andcontributing to the rich heritage that we enjoy today. </p><p>Showcasing approximately 150 objects from institutions in Spain,France, Canada, and the United States, the exhibition, Common Routes:St. Domingue Louisiana, traces the colonial and revolutionary eras andexplores in depth both the diversity and the commonality of the migrsand their contributions to Louisiana through literature, music, theater,architecture, industry, law, philanthropy, and more. </p><p>Rare and intriguing items spanning centuries illustrate the fascinat-ing epic, such as the 1493 letter from Queen Isabella of Spain toChristopher Columbus requesting a map of Hayti, and the first piece ofAfrican American literature published in the United States, Les Cenelles(New Orleans, 1845)a book of poetry written by free people of colordescended from St. Domingue migrs. </p><p>We hope you will thoroughly enjoy the exhibition, the catalogue, thesymposium, and related events, both at The Collection and elsewhere inour community. We look forward to your enthusiastic participation!</p><p>Priscilla Lawrence</p><p>In the spring, a group of friends of TheCollection and staff members traveled toLondon to renew the ties between GreatBritain and Louisiana. The tourfeatur-ing day trips to Bath and Greenwichfocused on British art, architecture, andhistory from the years of colonial expan-sion. Highlights of the tour included visits</p><p>to the British Museum, the British Library, and Kew Gardens. Trip participants: Ann Barnes, Cheryl Betz, Bill and Mary</p><p>Lou Christovich, Florence Cordell-Reeh, Carole Daley, PhillipFuselier, Marla and Larry Garvey, Susan Hoskins, Julie and DrewJardine, Betty Lou Jeffrey, Noreen Lapeyre, Priscilla Lawrence,Alfred Lemmon, Justice Harry Lemmon and Judge Mary AnnLemmon, Joan Lennox, Roberta Maestri, Ginette Poitevent, JackPruitt, Joe and Bonnie Rault, John and Linda Sarpy, MichaelSartisky and Kathy Slimp, Fred and Pat Smith, Claire and HarryStahel, Tony Terranova, John and Martha Walker, Diane Zink andRobert Becnel.</p><p>THE COLLECTIONTRAVELS TO LONDON</p><p>Boarding the bus in Bath</p><p>FAMILY DAYBattle of New Orleans reenactors will show off </p><p>their uniforms and demonstrate their tactics.</p><p>533 Royal StreetSunday, August 21, 2005</p><p>1:00 - 4:00 p.m.</p><p>At the Dr. Samuel Johnson Home: David Mendel, Michael Sartisky,Natasha McEnroe (house curator), Robert Becnel, Ginette Poitevent,Diane Zink, Justice Harry Lemmon</p></li><li><p>T he American Civil War took a devastating domestictoll. Families were cut off from economic supportand shattered by the loss of husbands, fathers, sons,and brothers. In New Orleans, as in other southern cities,Reconstruction promised continued hardships. Poor families,both black and white, struggled to rebuild in a changed econ-omy. Wealthier families also suffered great sorrows, but hadmore resources to help them overcome economic degradation.One prominent local family, the Avegnos, would attempt toreestablish normalcyonly to set an international scandalin motion.</p><p>Anatole Avegno, a noted local attorney, and his wifeVirginie, an heir to the immense Parlange Plantation in PointeCoupe Parish, welcomedthe arrival of two daugh-ters just prior to the out-break of warVirginie,called Amlie, born in1859, and Valentine, bornin 1861. Anatole joinedthe Confederate forcesearly in the war, serving asa major in the ThirteenthLouisiana Regiment. Hesuffered severe injuries atthe Battle of Shiloh in1862 and died shortlythereafter from complica-tions related to a legamputation.</p><p>Wars end broughtsmall relief. Valentine diedof fever and Virginie, withher surviving daughter,fled New Orleans, leaving behind the heartbreak of war andthe bracing realities of Reconstruction. Like many French-speaking New Orleanians of means, the Avegnos relocat...</p></li></ul>


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