russell w. porter: arctic explorer, artist, telescope makerby berton c. willard
TRANSCRIPT
Leonardo
Russell W. Porter: Arctic Explorer, Artist, Telescope Maker by Berton C. WillardReview by: Anthony MichaelisLeonardo, Vol. 11, No. 4 (Autumn, 1978), pp. 340-341Published by: The MIT PressStable URL: http://www.jstor.org/stable/1573980 .
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response to the aggressive modes of some innovators. More and more, Villon's softly expressed visual and cerebral delights are becoming rarer and rarer. As he knew, an important function of art is to be lovingly looked at, as well as written about.
Bram van Velde. Charles Juliet and Jacques Putman. In French. Maeght Editeur, Paris, 1975. 200 pp., illus. Reviewed by Peter Cannon-Brookes*
This elegantly produced, valuable study of the life and work of Bram van Velde, with essays by Jacques Putman and Charles Juliet, supplements Jacques Putman's catalogue raisonne of his paintings (1907-1960) published in 1961. Those unfamiliar with Bram van Velde's career should turn first to the excellent biography in the form of short notes and photographs in chronological order towards the end of the book, and this immediately provides an explanation for the emphasis on his more recent work.
Born near Leyden in 1895, he was unable to devote himself entirely to painting until 1922. He spent five years in Paris (1925-1930), but in 1930 his loss of funds from Holland forced him to move to Majorca and then to the mainland of Spain in order to live more cheaply. Upon the outbreak of the Spanish Civil War he returned to France with only 6 or 7 canvases that he was able to save. Shortly before 1940 he first met the playwright Samuel Beckett, who was to become an intimate friend.
During the next five years, years of deepest misery, he painted nothing. His return to the world of art in 1945 proved very frustrating, despite the five-year contract he obtained from the Galerie Maeght, Paris, in 1947. His first exhibitions met with total incomprehension. The breakthrough had to- wait until 1957-1958 and his exhibitions in the Galerie Michel Warren and the Kunsthalle in Berne.
An intensely introverted and meditative painter, the impact of Bram van Velde's work is essentially cerebral. Samuel Beckett, in particular, never wavered in his appreciation of it. The essays of Putman and Juliet, together with the quotations from Bram van Velde himself, evoke the spirit of his work, and they are supported by a full bibliography, illustrated list of his book illustrations, list of exhibitions, 48 colour plates, 125 black and white illustrations and two original lithographs.
Josef Albers: Despite Straight Lines. An Analysis of His Graphic Constructions. Francois Bucher. The M.I.T. Press, Cambridge, Mass., and London, 1977. 111 pp., illus. $6.95; ?4.90. Reviewed by John H. Holloway**
My lasting memories of Josef Albers are of his vitality, the great warmth he exuded and, above all, his childlike and infectious zeal. I remember his emphasis and enthusiasm when he said: 'I enjoy making line constructions and color instrumentations which seem to work, that is, by inviting the spectator to attain an aesthetic experience and/or a new visual insight.'
This book is about his graphic constructions. It is a slightly extended version of the well-known edition of the book published in 1961 by Yale University Press. About 88?/ of the new book is identical to the earlier edition, containing Albers' same illustrations, statements and poems together with analyses of the constructions by Francois Bucher. Even the typography is the same. The new book differs in that two additional chapters entitled 'Curved Space' and 'Epilogue' are included, and the Biographical Notes, Principal Exhibitions and Catalogues, and Selected Bibliography sections have been brought up to date.
The book is essential reading for anyone who seeks deeper understanding of Albers' ability to delve into the perceptual
*Dept. of Art, City Museums and Art Gallery, Birmingham B3
response to the aggressive modes of some innovators. More and more, Villon's softly expressed visual and cerebral delights are becoming rarer and rarer. As he knew, an important function of art is to be lovingly looked at, as well as written about.
Bram van Velde. Charles Juliet and Jacques Putman. In French. Maeght Editeur, Paris, 1975. 200 pp., illus. Reviewed by Peter Cannon-Brookes*
This elegantly produced, valuable study of the life and work of Bram van Velde, with essays by Jacques Putman and Charles Juliet, supplements Jacques Putman's catalogue raisonne of his paintings (1907-1960) published in 1961. Those unfamiliar with Bram van Velde's career should turn first to the excellent biography in the form of short notes and photographs in chronological order towards the end of the book, and this immediately provides an explanation for the emphasis on his more recent work.
Born near Leyden in 1895, he was unable to devote himself entirely to painting until 1922. He spent five years in Paris (1925-1930), but in 1930 his loss of funds from Holland forced him to move to Majorca and then to the mainland of Spain in order to live more cheaply. Upon the outbreak of the Spanish Civil War he returned to France with only 6 or 7 canvases that he was able to save. Shortly before 1940 he first met the playwright Samuel Beckett, who was to become an intimate friend.
During the next five years, years of deepest misery, he painted nothing. His return to the world of art in 1945 proved very frustrating, despite the five-year contract he obtained from the Galerie Maeght, Paris, in 1947. His first exhibitions met with total incomprehension. The breakthrough had to- wait until 1957-1958 and his exhibitions in the Galerie Michel Warren and the Kunsthalle in Berne.
An intensely introverted and meditative painter, the impact of Bram van Velde's work is essentially cerebral. Samuel Beckett, in particular, never wavered in his appreciation of it. The essays of Putman and Juliet, together with the quotations from Bram van Velde himself, evoke the spirit of his work, and they are supported by a full bibliography, illustrated list of his book illustrations, list of exhibitions, 48 colour plates, 125 black and white illustrations and two original lithographs.
Josef Albers: Despite Straight Lines. An Analysis of His Graphic Constructions. Francois Bucher. The M.I.T. Press, Cambridge, Mass., and London, 1977. 111 pp., illus. $6.95; ?4.90. Reviewed by John H. Holloway**
My lasting memories of Josef Albers are of his vitality, the great warmth he exuded and, above all, his childlike and infectious zeal. I remember his emphasis and enthusiasm when he said: 'I enjoy making line constructions and color instrumentations which seem to work, that is, by inviting the spectator to attain an aesthetic experience and/or a new visual insight.'
This book is about his graphic constructions. It is a slightly extended version of the well-known edition of the book published in 1961 by Yale University Press. About 88?/ of the new book is identical to the earlier edition, containing Albers' same illustrations, statements and poems together with analyses of the constructions by Francois Bucher. Even the typography is the same. The new book differs in that two additional chapters entitled 'Curved Space' and 'Epilogue' are included, and the Biographical Notes, Principal Exhibitions and Catalogues, and Selected Bibliography sections have been brought up to date.
The book is essential reading for anyone who seeks deeper understanding of Albers' ability to delve into the perceptual
*Dept. of Art, City Museums and Art Gallery, Birmingham B3
response to the aggressive modes of some innovators. More and more, Villon's softly expressed visual and cerebral delights are becoming rarer and rarer. As he knew, an important function of art is to be lovingly looked at, as well as written about.
Bram van Velde. Charles Juliet and Jacques Putman. In French. Maeght Editeur, Paris, 1975. 200 pp., illus. Reviewed by Peter Cannon-Brookes*
This elegantly produced, valuable study of the life and work of Bram van Velde, with essays by Jacques Putman and Charles Juliet, supplements Jacques Putman's catalogue raisonne of his paintings (1907-1960) published in 1961. Those unfamiliar with Bram van Velde's career should turn first to the excellent biography in the form of short notes and photographs in chronological order towards the end of the book, and this immediately provides an explanation for the emphasis on his more recent work.
Born near Leyden in 1895, he was unable to devote himself entirely to painting until 1922. He spent five years in Paris (1925-1930), but in 1930 his loss of funds from Holland forced him to move to Majorca and then to the mainland of Spain in order to live more cheaply. Upon the outbreak of the Spanish Civil War he returned to France with only 6 or 7 canvases that he was able to save. Shortly before 1940 he first met the playwright Samuel Beckett, who was to become an intimate friend.
During the next five years, years of deepest misery, he painted nothing. His return to the world of art in 1945 proved very frustrating, despite the five-year contract he obtained from the Galerie Maeght, Paris, in 1947. His first exhibitions met with total incomprehension. The breakthrough had to- wait until 1957-1958 and his exhibitions in the Galerie Michel Warren and the Kunsthalle in Berne.
An intensely introverted and meditative painter, the impact of Bram van Velde's work is essentially cerebral. Samuel Beckett, in particular, never wavered in his appreciation of it. The essays of Putman and Juliet, together with the quotations from Bram van Velde himself, evoke the spirit of his work, and they are supported by a full bibliography, illustrated list of his book illustrations, list of exhibitions, 48 colour plates, 125 black and white illustrations and two original lithographs.
Josef Albers: Despite Straight Lines. An Analysis of His Graphic Constructions. Francois Bucher. The M.I.T. Press, Cambridge, Mass., and London, 1977. 111 pp., illus. $6.95; ?4.90. Reviewed by John H. Holloway**
My lasting memories of Josef Albers are of his vitality, the great warmth he exuded and, above all, his childlike and infectious zeal. I remember his emphasis and enthusiasm when he said: 'I enjoy making line constructions and color instrumentations which seem to work, that is, by inviting the spectator to attain an aesthetic experience and/or a new visual insight.'
This book is about his graphic constructions. It is a slightly extended version of the well-known edition of the book published in 1961 by Yale University Press. About 88?/ of the new book is identical to the earlier edition, containing Albers' same illustrations, statements and poems together with analyses of the constructions by Francois Bucher. Even the typography is the same. The new book differs in that two additional chapters entitled 'Curved Space' and 'Epilogue' are included, and the Biographical Notes, Principal Exhibitions and Catalogues, and Selected Bibliography sections have been brought up to date.
The book is essential reading for anyone who seeks deeper understanding of Albers' ability to delve into the perceptual
*Dept. of Art, City Museums and Art Gallery, Birmingham B3
response to the aggressive modes of some innovators. More and more, Villon's softly expressed visual and cerebral delights are becoming rarer and rarer. As he knew, an important function of art is to be lovingly looked at, as well as written about.
Bram van Velde. Charles Juliet and Jacques Putman. In French. Maeght Editeur, Paris, 1975. 200 pp., illus. Reviewed by Peter Cannon-Brookes*
This elegantly produced, valuable study of the life and work of Bram van Velde, with essays by Jacques Putman and Charles Juliet, supplements Jacques Putman's catalogue raisonne of his paintings (1907-1960) published in 1961. Those unfamiliar with Bram van Velde's career should turn first to the excellent biography in the form of short notes and photographs in chronological order towards the end of the book, and this immediately provides an explanation for the emphasis on his more recent work.
Born near Leyden in 1895, he was unable to devote himself entirely to painting until 1922. He spent five years in Paris (1925-1930), but in 1930 his loss of funds from Holland forced him to move to Majorca and then to the mainland of Spain in order to live more cheaply. Upon the outbreak of the Spanish Civil War he returned to France with only 6 or 7 canvases that he was able to save. Shortly before 1940 he first met the playwright Samuel Beckett, who was to become an intimate friend.
During the next five years, years of deepest misery, he painted nothing. His return to the world of art in 1945 proved very frustrating, despite the five-year contract he obtained from the Galerie Maeght, Paris, in 1947. His first exhibitions met with total incomprehension. The breakthrough had to- wait until 1957-1958 and his exhibitions in the Galerie Michel Warren and the Kunsthalle in Berne.
An intensely introverted and meditative painter, the impact of Bram van Velde's work is essentially cerebral. Samuel Beckett, in particular, never wavered in his appreciation of it. The essays of Putman and Juliet, together with the quotations from Bram van Velde himself, evoke the spirit of his work, and they are supported by a full bibliography, illustrated list of his book illustrations, list of exhibitions, 48 colour plates, 125 black and white illustrations and two original lithographs.
Josef Albers: Despite Straight Lines. An Analysis of His Graphic Constructions. Francois Bucher. The M.I.T. Press, Cambridge, Mass., and London, 1977. 111 pp., illus. $6.95; ?4.90. Reviewed by John H. Holloway**
My lasting memories of Josef Albers are of his vitality, the great warmth he exuded and, above all, his childlike and infectious zeal. I remember his emphasis and enthusiasm when he said: 'I enjoy making line constructions and color instrumentations which seem to work, that is, by inviting the spectator to attain an aesthetic experience and/or a new visual insight.'
This book is about his graphic constructions. It is a slightly extended version of the well-known edition of the book published in 1961 by Yale University Press. About 88?/ of the new book is identical to the earlier edition, containing Albers' same illustrations, statements and poems together with analyses of the constructions by Francois Bucher. Even the typography is the same. The new book differs in that two additional chapters entitled 'Curved Space' and 'Epilogue' are included, and the Biographical Notes, Principal Exhibitions and Catalogues, and Selected Bibliography sections have been brought up to date.
The book is essential reading for anyone who seeks deeper understanding of Albers' ability to delve into the perceptual
*Dept. of Art, City Museums and Art Gallery, Birmingham B3 3DH, England. **26 Sherborne Ave., Wigston Magna, Leicester LE 8 2GP, England.
3DH, England. **26 Sherborne Ave., Wigston Magna, Leicester LE 8 2GP, England.
3DH, England. **26 Sherborne Ave., Wigston Magna, Leicester LE 8 2GP, England.
3DH, England. **26 Sherborne Ave., Wigston Magna, Leicester LE 8 2GP, England.
limitations of human beings to generate visual events by delineations of pictorial space. Albers himself seemed to approve of the earlier version of the book. Understandably so, because it is essentially all a product of Albers-his art, his poems and his statements. Buchers' interpretations and descriptions of the graphics are clear and reliable analyses, which are of use to serious artist-readers. The introduction to the various chapters and the rationalizations are neat and to the point in the spirit of Albers' own work. The temptation to embellish the text with literary wizardry has been resisted. I regard the book as a great success. It not only records but reflects the ethos of Albers' work and ideas.
Russell W. Porter: Arctic Explorer, Artist, Telescope Maker. Berton C. Willard. Bond Wheelwright, Freeport, Maine, 1976. 274 pp., illus. $12.50. Reviewed by Anthony Michaelisl
Russell Porter (1871-1949) was an outstanding member of that rare group of humans living a full life and finding happiness in a threefold pursuit of adventure, art and science. Through his unique gifts in these three fields, Porter made thousands of kindred spirits share his happiness and for these attributes he deserves the splendid biography that Willard has prepared. Because Porter combined science and art in an unusually fertile manner, the present book fully deserves a review in Leonardo, dedicated to the same ideals that filled Porter's life.
Born in Springfield, Vermont, Porter studied architecture at M.I.T. and spent his summer vacations seeking his dream, the 'Ice Goddess' in the Arctic. Extraordinarily gifted with a pencil, and one must assume also with watercolours, which never left Porter throughout his life, the book most unfortunately reproduces only one colour picture of Porter's, namely, his 'Ice Goddess' on the cover. There are many other reproductions of his black-and-white sketches and drawings as well as numerous photographs to make this one of the best illustrated works of a single man's career published for a long time. His 'Ice Goddess' is shown as a young Eskimo girl, beautifully executed in a highly satisfying conventional style.
Porter invites comparison with that other polar explorer who left such outstanding sketches and watercolours, Edward Wilson of the Antarctic, who died with Robert F. Scott on their return journey from the South Pole in 1912. Wilson's drawings and sketches have repeatedly been published, both in colour as well as in black-and-white, notably in that now so rare work, the South Polar Times (London, 1907). Many of Wilson's originals are preserved at the Scott Polar Research Institute in Cambridge, England; unfortunately, Willard does not say where Porter's sketches can be seen by admirers and scholars, unless they will be published with Porter's Arctic Fever, now apparently being got ready for the press.
There is another strange link between these two men. The three-masted steamer 'Terra Nova', which rescued Porter and his companions of the ill-fated Fiala-Ziegler North Polar Expedition in 1905, five years later brought the British expedition with Scott and Wilson to the Antarctic.
Porter took part in one further subarctic expedition, Cook's attempt to climb Mount McKinley in Alaska in 1906. In Willard's book one finds an excellent map of the Alaska Range, paying high tribute to Porter's skill as a surveyor of previously unmapped areas. Unfortunately Porter's watercolour of McKinley itself is only shown in black and white. One must hope that the day will not be far off when a one-man exhibition of Porter's work will be shown, perhaps at the Headquarters of the National Geographic Society in Washington, D.C., where thousands, who now have a chance of reading about Porter, can admire his work properly.
After 9 arctic and sub-polar explorations, at the age of 34, Porter settled down, first in Maine, later returning to the place of
limitations of human beings to generate visual events by delineations of pictorial space. Albers himself seemed to approve of the earlier version of the book. Understandably so, because it is essentially all a product of Albers-his art, his poems and his statements. Buchers' interpretations and descriptions of the graphics are clear and reliable analyses, which are of use to serious artist-readers. The introduction to the various chapters and the rationalizations are neat and to the point in the spirit of Albers' own work. The temptation to embellish the text with literary wizardry has been resisted. I regard the book as a great success. It not only records but reflects the ethos of Albers' work and ideas.
Russell W. Porter: Arctic Explorer, Artist, Telescope Maker. Berton C. Willard. Bond Wheelwright, Freeport, Maine, 1976. 274 pp., illus. $12.50. Reviewed by Anthony Michaelisl
Russell Porter (1871-1949) was an outstanding member of that rare group of humans living a full life and finding happiness in a threefold pursuit of adventure, art and science. Through his unique gifts in these three fields, Porter made thousands of kindred spirits share his happiness and for these attributes he deserves the splendid biography that Willard has prepared. Because Porter combined science and art in an unusually fertile manner, the present book fully deserves a review in Leonardo, dedicated to the same ideals that filled Porter's life.
Born in Springfield, Vermont, Porter studied architecture at M.I.T. and spent his summer vacations seeking his dream, the 'Ice Goddess' in the Arctic. Extraordinarily gifted with a pencil, and one must assume also with watercolours, which never left Porter throughout his life, the book most unfortunately reproduces only one colour picture of Porter's, namely, his 'Ice Goddess' on the cover. There are many other reproductions of his black-and-white sketches and drawings as well as numerous photographs to make this one of the best illustrated works of a single man's career published for a long time. His 'Ice Goddess' is shown as a young Eskimo girl, beautifully executed in a highly satisfying conventional style.
Porter invites comparison with that other polar explorer who left such outstanding sketches and watercolours, Edward Wilson of the Antarctic, who died with Robert F. Scott on their return journey from the South Pole in 1912. Wilson's drawings and sketches have repeatedly been published, both in colour as well as in black-and-white, notably in that now so rare work, the South Polar Times (London, 1907). Many of Wilson's originals are preserved at the Scott Polar Research Institute in Cambridge, England; unfortunately, Willard does not say where Porter's sketches can be seen by admirers and scholars, unless they will be published with Porter's Arctic Fever, now apparently being got ready for the press.
There is another strange link between these two men. The three-masted steamer 'Terra Nova', which rescued Porter and his companions of the ill-fated Fiala-Ziegler North Polar Expedition in 1905, five years later brought the British expedition with Scott and Wilson to the Antarctic.
Porter took part in one further subarctic expedition, Cook's attempt to climb Mount McKinley in Alaska in 1906. In Willard's book one finds an excellent map of the Alaska Range, paying high tribute to Porter's skill as a surveyor of previously unmapped areas. Unfortunately Porter's watercolour of McKinley itself is only shown in black and white. One must hope that the day will not be far off when a one-man exhibition of Porter's work will be shown, perhaps at the Headquarters of the National Geographic Society in Washington, D.C., where thousands, who now have a chance of reading about Porter, can admire his work properly.
After 9 arctic and sub-polar explorations, at the age of 34, Porter settled down, first in Maine, later returning to the place of
limitations of human beings to generate visual events by delineations of pictorial space. Albers himself seemed to approve of the earlier version of the book. Understandably so, because it is essentially all a product of Albers-his art, his poems and his statements. Buchers' interpretations and descriptions of the graphics are clear and reliable analyses, which are of use to serious artist-readers. The introduction to the various chapters and the rationalizations are neat and to the point in the spirit of Albers' own work. The temptation to embellish the text with literary wizardry has been resisted. I regard the book as a great success. It not only records but reflects the ethos of Albers' work and ideas.
Russell W. Porter: Arctic Explorer, Artist, Telescope Maker. Berton C. Willard. Bond Wheelwright, Freeport, Maine, 1976. 274 pp., illus. $12.50. Reviewed by Anthony Michaelisl
Russell Porter (1871-1949) was an outstanding member of that rare group of humans living a full life and finding happiness in a threefold pursuit of adventure, art and science. Through his unique gifts in these three fields, Porter made thousands of kindred spirits share his happiness and for these attributes he deserves the splendid biography that Willard has prepared. Because Porter combined science and art in an unusually fertile manner, the present book fully deserves a review in Leonardo, dedicated to the same ideals that filled Porter's life.
Born in Springfield, Vermont, Porter studied architecture at M.I.T. and spent his summer vacations seeking his dream, the 'Ice Goddess' in the Arctic. Extraordinarily gifted with a pencil, and one must assume also with watercolours, which never left Porter throughout his life, the book most unfortunately reproduces only one colour picture of Porter's, namely, his 'Ice Goddess' on the cover. There are many other reproductions of his black-and-white sketches and drawings as well as numerous photographs to make this one of the best illustrated works of a single man's career published for a long time. His 'Ice Goddess' is shown as a young Eskimo girl, beautifully executed in a highly satisfying conventional style.
Porter invites comparison with that other polar explorer who left such outstanding sketches and watercolours, Edward Wilson of the Antarctic, who died with Robert F. Scott on their return journey from the South Pole in 1912. Wilson's drawings and sketches have repeatedly been published, both in colour as well as in black-and-white, notably in that now so rare work, the South Polar Times (London, 1907). Many of Wilson's originals are preserved at the Scott Polar Research Institute in Cambridge, England; unfortunately, Willard does not say where Porter's sketches can be seen by admirers and scholars, unless they will be published with Porter's Arctic Fever, now apparently being got ready for the press.
There is another strange link between these two men. The three-masted steamer 'Terra Nova', which rescued Porter and his companions of the ill-fated Fiala-Ziegler North Polar Expedition in 1905, five years later brought the British expedition with Scott and Wilson to the Antarctic.
Porter took part in one further subarctic expedition, Cook's attempt to climb Mount McKinley in Alaska in 1906. In Willard's book one finds an excellent map of the Alaska Range, paying high tribute to Porter's skill as a surveyor of previously unmapped areas. Unfortunately Porter's watercolour of McKinley itself is only shown in black and white. One must hope that the day will not be far off when a one-man exhibition of Porter's work will be shown, perhaps at the Headquarters of the National Geographic Society in Washington, D.C., where thousands, who now have a chance of reading about Porter, can admire his work properly.
After 9 arctic and sub-polar explorations, at the age of 34, Porter settled down, first in Maine, later returning to the place of
limitations of human beings to generate visual events by delineations of pictorial space. Albers himself seemed to approve of the earlier version of the book. Understandably so, because it is essentially all a product of Albers-his art, his poems and his statements. Buchers' interpretations and descriptions of the graphics are clear and reliable analyses, which are of use to serious artist-readers. The introduction to the various chapters and the rationalizations are neat and to the point in the spirit of Albers' own work. The temptation to embellish the text with literary wizardry has been resisted. I regard the book as a great success. It not only records but reflects the ethos of Albers' work and ideas.
Russell W. Porter: Arctic Explorer, Artist, Telescope Maker. Berton C. Willard. Bond Wheelwright, Freeport, Maine, 1976. 274 pp., illus. $12.50. Reviewed by Anthony Michaelisl
Russell Porter (1871-1949) was an outstanding member of that rare group of humans living a full life and finding happiness in a threefold pursuit of adventure, art and science. Through his unique gifts in these three fields, Porter made thousands of kindred spirits share his happiness and for these attributes he deserves the splendid biography that Willard has prepared. Because Porter combined science and art in an unusually fertile manner, the present book fully deserves a review in Leonardo, dedicated to the same ideals that filled Porter's life.
Born in Springfield, Vermont, Porter studied architecture at M.I.T. and spent his summer vacations seeking his dream, the 'Ice Goddess' in the Arctic. Extraordinarily gifted with a pencil, and one must assume also with watercolours, which never left Porter throughout his life, the book most unfortunately reproduces only one colour picture of Porter's, namely, his 'Ice Goddess' on the cover. There are many other reproductions of his black-and-white sketches and drawings as well as numerous photographs to make this one of the best illustrated works of a single man's career published for a long time. His 'Ice Goddess' is shown as a young Eskimo girl, beautifully executed in a highly satisfying conventional style.
Porter invites comparison with that other polar explorer who left such outstanding sketches and watercolours, Edward Wilson of the Antarctic, who died with Robert F. Scott on their return journey from the South Pole in 1912. Wilson's drawings and sketches have repeatedly been published, both in colour as well as in black-and-white, notably in that now so rare work, the South Polar Times (London, 1907). Many of Wilson's originals are preserved at the Scott Polar Research Institute in Cambridge, England; unfortunately, Willard does not say where Porter's sketches can be seen by admirers and scholars, unless they will be published with Porter's Arctic Fever, now apparently being got ready for the press.
There is another strange link between these two men. The three-masted steamer 'Terra Nova', which rescued Porter and his companions of the ill-fated Fiala-Ziegler North Polar Expedition in 1905, five years later brought the British expedition with Scott and Wilson to the Antarctic.
Porter took part in one further subarctic expedition, Cook's attempt to climb Mount McKinley in Alaska in 1906. In Willard's book one finds an excellent map of the Alaska Range, paying high tribute to Porter's skill as a surveyor of previously unmapped areas. Unfortunately Porter's watercolour of McKinley itself is only shown in black and white. One must hope that the day will not be far off when a one-man exhibition of Porter's work will be shown, perhaps at the Headquarters of the National Geographic Society in Washington, D.C., where thousands, who now have a chance of reading about Porter, can admire his work properly.
After 9 arctic and sub-polar explorations, at the age of 34, Porter settled down, first in Maine, later returning to the place of his birth in Vermont. Having become fascinated with celestial his birth in Vermont. Having become fascinated with celestial his birth in Vermont. Having become fascinated with celestial his birth in Vermont. Having become fascinated with celestial
18 Park Place Villas, London W2, England. 18 Park Place Villas, London W2, England. 18 Park Place Villas, London W2, England. 18 Park Place Villas, London W2, England.
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This content downloaded from 62.122.76.45 on Thu, 12 Jun 2014 20:20:26 PMAll use subject to JSTOR Terms and Conditions
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-A -A Russell W. Porter. The Jet Propulsion Laboratory, Calif. Inst. oJ Tech., Pasadena, Calif., pencil drawing, 1944. Russell W. Porter. The Jet Propulsion Laboratory, Calif. Inst. oJ Tech., Pasadena, Calif., pencil drawing, 1944.
navigation in the Arctic, it was perhaps not surprising that a chance article on Speculum Making in Popular Astronomy launched Porter on his life's most important vocation. It started with the making and grinding of astronomical lenses and mirrors, led to the design and construction of amateur telescopes and was finally crowned with outstanding contributions, as a professional, to the 200-inch Hale telescope at Mount Palomar, California.
Porter's greatest gift was to communicate his own enthusiasm to others, and, through the amateur telescope-making fraternity, which he initiated in North America, he opened a new world to thousands whose life had been drab and uninspiring before. Porter wrote extensively, made innumerable drawings to illustrate his articles and at 'Stellafane' in Vermont founded a clubhouse that remained for decades the Mecca for amateur astronomers and telescope makers from far and near.
Many distinguished amateur astronomers, like the Earl of Ross before Porter, and Patrick Moore after him, made outstanding contributions to the professional science of astronomy. At the age of 56, Porter received his call, a telegram from George E. Hale of the California Institute of Technology 'to assist in designing two hundred inch telescope'. That was in 1928, twenty years before the telescope was completed and could be dedicated.
Porter settled for good in Pasadena, and there started an extra- ordinary wide range of activities. He built and designed a special telescope for the surveying of the site on Mount Palomar; he made architectural drawings for all the auxiliary buildings outside the 200-inch telescope; he figured the lens for the Schmidt camera that accompanied the 200-inch telescope; he was responsible for many of the mechanical details of its dome; he laid out the positions of the auxiliary services around the base of the 200-inch telescope inside its domed building, and he was one of the small optical team that gave the mirror its final testing when it had arrived at Mount Palomar.
But Porter's greatest contributions to the 200-inch telescope were his magnificent pencil 'cutaway' drawings, showing in
navigation in the Arctic, it was perhaps not surprising that a chance article on Speculum Making in Popular Astronomy launched Porter on his life's most important vocation. It started with the making and grinding of astronomical lenses and mirrors, led to the design and construction of amateur telescopes and was finally crowned with outstanding contributions, as a professional, to the 200-inch Hale telescope at Mount Palomar, California.
Porter's greatest gift was to communicate his own enthusiasm to others, and, through the amateur telescope-making fraternity, which he initiated in North America, he opened a new world to thousands whose life had been drab and uninspiring before. Porter wrote extensively, made innumerable drawings to illustrate his articles and at 'Stellafane' in Vermont founded a clubhouse that remained for decades the Mecca for amateur astronomers and telescope makers from far and near.
Many distinguished amateur astronomers, like the Earl of Ross before Porter, and Patrick Moore after him, made outstanding contributions to the professional science of astronomy. At the age of 56, Porter received his call, a telegram from George E. Hale of the California Institute of Technology 'to assist in designing two hundred inch telescope'. That was in 1928, twenty years before the telescope was completed and could be dedicated.
Porter settled for good in Pasadena, and there started an extra- ordinary wide range of activities. He built and designed a special telescope for the surveying of the site on Mount Palomar; he made architectural drawings for all the auxiliary buildings outside the 200-inch telescope; he figured the lens for the Schmidt camera that accompanied the 200-inch telescope; he was responsible for many of the mechanical details of its dome; he laid out the positions of the auxiliary services around the base of the 200-inch telescope inside its domed building, and he was one of the small optical team that gave the mirror its final testing when it had arrived at Mount Palomar.
But Porter's greatest contributions to the 200-inch telescope were his magnificent pencil 'cutaway' drawings, showing in
amazing detail the inner components of the complete telescope and of its complex subsidiary equipment. As he was able to produce these staggeringly realistic drawings from mere blue- prints or just from verbal descriptions, they were soon in great demand by the members of the design team and, finally, became essential components of decision-making. Porter made over 1000 drawings for the 200-inch telescope, its related instruments and its buildings. Unfortunately, Willard fails to say in his book how many have survived and, if so, where they might be seen.
There remains little else to tell. During World War II Porter's unique drawing ability was much in demand (see illustration). Hundreds of drawings of weapon design were sent to Washington, D.C., long before prototypes had come into existence. He earned the accolade of 'The Cutaway Drawing Man', he received honory doctorates of science, he was given a citation for those 'whose lives have been lived for the enrichment of the lives of others', and Clavius B, a 25-mile diameter crater on the Moon has been named after him. At the age of 77, whilst working on a six-inch objective for a telescope, he had a heart attack from which he died a few hours later.
This is the first full-length biography of Porter. It is written by one who fully understands not only Porter's scientific and artistic achievements and can explain obscure optical points with ease but also by a man who fully shares Porter's spirit of adventure. It is therefore a delightful book to read, and I highly recommend it. Only occasionally does the author get lost in too great detail. Somewhat more severe editing would have improved it.
The Technique of Sculpture John W. Mills. Batsford, London, 1976. 168 pp., illus. ?4.95. Reviewed by Peter Lipman-Wulf*
Mills says at the beginning of Technique of Sculpture: 'In this book I am concerned only with stating as many techniques as
*Whitney Rd., Sag Harbor, NY 11961, U.S.A.
amazing detail the inner components of the complete telescope and of its complex subsidiary equipment. As he was able to produce these staggeringly realistic drawings from mere blue- prints or just from verbal descriptions, they were soon in great demand by the members of the design team and, finally, became essential components of decision-making. Porter made over 1000 drawings for the 200-inch telescope, its related instruments and its buildings. Unfortunately, Willard fails to say in his book how many have survived and, if so, where they might be seen.
There remains little else to tell. During World War II Porter's unique drawing ability was much in demand (see illustration). Hundreds of drawings of weapon design were sent to Washington, D.C., long before prototypes had come into existence. He earned the accolade of 'The Cutaway Drawing Man', he received honory doctorates of science, he was given a citation for those 'whose lives have been lived for the enrichment of the lives of others', and Clavius B, a 25-mile diameter crater on the Moon has been named after him. At the age of 77, whilst working on a six-inch objective for a telescope, he had a heart attack from which he died a few hours later.
This is the first full-length biography of Porter. It is written by one who fully understands not only Porter's scientific and artistic achievements and can explain obscure optical points with ease but also by a man who fully shares Porter's spirit of adventure. It is therefore a delightful book to read, and I highly recommend it. Only occasionally does the author get lost in too great detail. Somewhat more severe editing would have improved it.
The Technique of Sculpture John W. Mills. Batsford, London, 1976. 168 pp., illus. ?4.95. Reviewed by Peter Lipman-Wulf*
Mills says at the beginning of Technique of Sculpture: 'In this book I am concerned only with stating as many techniques as
*Whitney Rd., Sag Harbor, NY 11961, U.S.A.
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