Author Archives: Julie Mellby

The Secret Out At Last



Here are a series of 19th-century metamorphosis trade cards from the Graphic Arts Collection. No more needs to be said.

 

 

 


 

 

The Battle of the Aristotytpe Companies

 

Although the use of collodion as a binder for photographic paper prints goes back to the 1860s, the commercialization of ready-to-use papers took longer to develop and to be accepted by American photographers. In 1884, the Germany manufacturer Paul Eduard Liesegang began selling a collodion emulsion printing out paper (POP) he called Aristotype. The name comes from the Greek aristos and rupos, that is, best type (read more: “Differences In Image Tonality Produced By Different Toning Protocols For Matte Collodion Photographs” by Sylvie Penichon –https://cool.culturalheritage.org/jaic/articles/jaic38-02-002_3.html).

 

By the end of the 1880s, most photographers abandoned albumen papers for Aristotype papers, with Americans preferring collodion-chloride POP and Europeans using gelatin-chloride POP. This led to the formation of dozens of companies battling for dominance in the Aristotype paper market. Largest was the American Aristotype Company, formed in 1889 with E. & H. T. Anthony as their New York agent, along with the New York (later the New Jersey) Aristotype Company, the Nepera Chemical Company, the PhotoMaterials Company of Rochester, and of course the Eastman Kodak Company, among many others.

Eventually they were all bought out or merged or went bankrupt leaving Kodak as the single American producer. A lawsuit was filed claiming the company used criminal tactics to corner the market but by then, Kodak was too big to fail (see: United States v. Eastman Kodak Co., 226 F. 62, 71 (W.D.N.Y. 1915). Decided August 24 1915).

Wilson’s Photographic Magazine printed dozens of articles and recipes for differing paper chemistry, giving the American public a chance to see for themselves which brand or producer was preferred. In 1893, in particular, Wilson had multiple negatives printed on different papers and inserted them into each copy of the magazine, which had an edition close to 6,000 at that time. Princeton is fortunate to have issues with the photographs still intact, as many were removed by collectors.

In addition to the prints, during the 1890s Wilson’s magazine included advertising by the various companies battling for the photographers’ attention. As seen above, American Aristotype Company used dry detailed listings of their prices, while the New York Aristotype Company hired the firm of Terwilliger & Peck to design humorous advertisements that changed frequently. One in particular shows the company man physically crushing his competitors, the uncomplicated drawing of the ad reflecting the uncomplicated use of their papers.

In 1925, the American Aristotype Company, by then a wholly owned subsidiary of Eastman Kodak, closed its plant for good and the heyday of Aristotypes ended.

Nicanor Parra, Don Quixote de Chile


Manifiesto is considered the fifth collection of poems by Chilean writer Nicanor Parra, originally published in 1963 by Editorial Nascimento as a single sheet folded in two parts inside a cardboard folder.

When an individual is presented not with one, but two of the highest awards in literature for his work, as was the case with Nicanor Parra then the poet must be doing something right in order to achieve such a place of distinction. In 2011 the jury that awarded the Juan Rulfo Award to Nicanor Parra bestowed the award in recognition for his body of outstanding work which included the books Poemas y anti poemas, Versos de salon, Canciones rusas, and Otros poemas, as well as Prédicas del Cristo de Elqui, Nuevos sermones, and Artefactos and Ecopoemas.

In December of 2012 Parra received the Cervantes Prize, the Spanish-speaking world’s highest literary honor that a writer can receive. On this occasion, the Royal Highness Prince of Asturias said the following words of praise for the antipoet, “We salute and recognize in the anti-poet Nicanor Parra the alter ego and all that has been built up over the years, Don Quixote de Chile, Nicanor Parra.”–Nicanor Parra: The Physicist Who Made a Significant Contribution to the Literary World by Ruben E. Gonzalez; Delilah Dotremon. Alabama State University, Montgomery. Hipertexto 19 Invierno 2014 pp. 63-82


MANIFESTO

Ladies and gentlemen
This is our last word
– Our first and last word –
The poets have come down from Olympus.

For the oldest
Poetry was a kind of luxury
For us, however
First need is:
We can’t live without poetry.

Unlike the older ones
– And I say this with all due respect –
We support
That the poet is not an alchemist
The poet is a man, too
A builder who builds his wall:
A door and window manufacturer.

We talk
In the language of everyday
We don’t believe in cabbalistic signs

And something else:
The poet is here
So the tree doesn’t grow crookedly.

This is our message.
We denounce the poet creator
The cheap poet
The rat in the library poet.
All these gentlemen
– And I say this with all due respect –
Should be accused and judged
For building castles in the air
For waste space and time
Composing sonnets for the moon
For grouping words together at random
According to the latest Paris fashion.
For us not:
Thought is not born in the mouth
It is born in the heart of the heart.

continue reading:
https://www.kalliergeia.com/en/manifesto-nicanor-parra/

The largest job undertaken by the GPO pre1900

United States. War Department, The War of the Rebellion : a compilation of the official records of the Union and Confederate armies prepared under the direction of the Secretary of War by Robert N. Scott ([Pasadena, Calif.] : Historical Times ; [s.l.] : distributed by Broadfoot Pub. Co., 1985, c1971). Reprint of the ed. published in 1971 by the National Historical Society, Harrisburg, Pa. Originally published in 1880 by the Government Printing Office, Washington, D.C. Also called Official records of the Union and Confederate armies. Firestone Library E464 .U6 1985. Digital copy: http://collections.library.cornell.edu/moa_new/waro.html

“One of the largest jobs ever undertaken by the [Government Printing] office since it came into the possession of the Government was commenced a few months ago in the Document Room. I refer to the printing of the official records of the war, or perhaps better known by the title “Rebellion Records.” Colonel Scott, the officer in charge of this work at the War Department, estimates that these records will make 96 large octavo volumes, of about 800 pages each, or 76,800 pages.

As 10,000 copies of each of these volumes are to be printed for Congress, some idea may be formed of the formidable character of the task. It will require nearly 50,000 reams of paper to print these copies, which, at $4 per ream, will amount to $200,000. The composition will probably exceed 250,000,000 ems, and the number of books will be 960,000.”–R. W. (Robert Washington) Kerr (born 1841), History of the Government Printing Office, (at Washington, D.C.) with a brief record of the public printing for a century, 1789-1881. By R.W. Kerr, of the Government Printing Office (Lancaster, Pa., Inquirer Print. and Pub. Co., 1881). Graphic Arts Collection 2006-3271N

Note all the women working as sheet feeders.

“An order was sent from the [GPO] to a New York type-founder in July 1877 for 60,000 pounds of type. This amount was subsequently increased about 15,000 pounds, making perhaps the largest single order ever given by a printing office, or filled by a type-founder, since the art of printing was discovered.”–History of the GPO, p. 46

“In January 1878, three accomplished sneak thieves, who had previously been shadowing the [GPO]–as was proved by a subsequent examination into the matter–succeeded in abstracting from the safe, by means of false keys, during the temporary absence from the room of the paymaster, some $9,000; and although the parties were afterwards arrested in New York, and indicted, they were never brought to justice, nor was the money ever recovered.”–History, p.46. No record of this theft was published in Washington or New York City newspapers.

The Record of the Metropolitan Fair

“View in the Wigwam” by J. Gurney and Son, Photographers

 

A Record of the Metropolitan Fair: in aid of the United States Sanitary Commission, held at New York, in April, 1864, with photographs. New York: Hurd & Houghton, 1867. John Shaw Pierson Civil War Collection, W25.67.6

Following on the success of the Chicago Sanitary Fair in 1863, the Metropolitan City of New York’s Sanitary Commission organized their own fair to raise money for Union Army soldiers and their families. Privately funded and managed primarily by female volunteers, the fair would help with the soldiers’ back pay, distribute supplies to camp hospitals, and support other organizations hurt by the American Civil War.

After several delays, the Metropolitan Fair was held from April 4 to 23, 1864, and raised $1,34 million dollars. Several years later, A Record of the Metropolitan Fair was published, printed at the distinguish Riverside Press of H.O. Houghton, with 8 original albumen photographs pasted in every volume, after negatives by the celebrated photographer Jeremiah Gurney (1812-1895) and the practically unknown Maurice Stadtfeld (ca.1831-1881). Princeton owns a copy collected at the time of publication by John Shaw Pierson, class of 1840, whose thousands of gifts to the library began arriving in 1869.

“View in the Art Gallery” by J. Gurney and Son, photographers.

“Hartford Booth” by M. Stadtfeld, photographer.

 

A season ticket to the Metropolitan Fair was $5, which allowed visitors to attend all the events and see all the displays at the 22nd Regiment Armory, 125 West 14th Street, as well as the other buildings and venues constructed solely for the three weeks of the fair. Performances were held by an international array of musicians including indigenous Americans who brought their own buffalo-skin teepee in which to perform. Cooking demonstrations took place in the Knickerbocker Kitchen, rare books and manuscripts were sold at the Metropolitan Book Department on the second floor while a working photography studio operated on the third floor. Barrels of free clothing and other items were offered to anyone who might be in need.

In the main hall of the Armory, an exhibition of paintings was hung including Albert Bierstadt’s Rocky Mountains opposite Frederic Edwin Church’s Heart of the Andes; and in the center Emanuel Leutze’s mammoth Washington Crossing the Delaware. Leutze’s original painting of this scene had been destroyed and so, in 1850 he painted a second version purchased by Marshall O. Roberts that was lent to the Fair. Later the painting was given to the Metropolitan Museum of Art by John Stewart Kennedy.

A newspaper called The Spirit of the Fair was published daily with a serial essay by James Fenimore Cooper to make sure people read each issue. The main contract for images from the fair went to Jeremiah Gurney whose elegant gallery was nearby at 707 Broadway. J. Gurney & Sons produced the majority of the official photographs sold or distributed during the fair from the Armory and afterwards at their own studio. Two of the prints included in The Record of the Metropolitan Fair are credited to Maurice Stadtfeld, whose studio was just up the block from Gurney at 711 Broadway. Only recently established in New York, Stadtfeld may have been engaged by Gurney and his son Benjamin to help with the enormous demand for prints.

“View in Arms and Trophies Room” by J. Gurney and Son, photographers

 

“View in Curiosity Shop” by J. Gurney and Son, photographers

 

“Irving Cockloft” by J. Gurney and Son photographers

 

“View in Main Hall, 14th Street Building” by J. Gurney and Son, photographers

 

“Costumes of Ladies in Knickerbocker Kitchen” by M. Stadtfeld, photographer

How Many Female Type Designers Do You Know?

The following is a selected list of notable female type designers who might have been considered for the typographic exhibition at the Grolier Club, New York City. It has been compiled from many sources including:

https://www.printmag.com/post/10-wildly-talented-female-type-designers10 Brilliant Female Creatives …Women of Words by Rebecca Bedrossian

https://www.cphc.org.uk/the-typographic-hub-affiliate The Typographic Hub

https://femme-type.com Femmetype

https://www.printmag.com/post/10-wildly-talented-female-type-designers10 Women Type Designers by Shelley Gruendler

https://typequality.com/ A platform for discovering and sharing typefaces designed by women

https://fontsinuse.com/sets/5247/type-designs-by-women Type Designs by Women, created by “Fonts In Use” staff

https://eyeondesign.aiga.org/that-type-of-women/Eye on Design

https://www.ideo.org/perspective/9-typefaces-designed-by-womxn Nine typefaces designed by women

https://bookshop.org/books/how-many-female-type-designers-do-you-know-i-know-many-and-talked-to-some/9789493148321
How Many Female Type Designers Do You Know?: I Know Many and Talked to Some! by Yulia Popova (Author, Editor), Gayaneh Bagdasaryan (Author), Veronika Burian (Author), Maria Doreuli (Author), Louise Fili (Author), Martina Flor (Author), Loraine Furter (Author), Jenna Gesse (Author), Golnar Kat Rahmani (Author), Indra Kupferschmid (Author), Briar Levit (Author), Zuzana Licko (Author), Ana Regidor (Author), Fiona Ross (Author), Carol Wahler (Author). Onomatopee Projects, 2021

Get to know them:
Alice Savoie
Notable typefaces: Capucine, Fred Fredburger
Thanks to a teacher who passed on his love of letters, Lyon, France–based Alice Savoie found design at an early age. “There were very few institutions where you could learn typeface design back in the early 2000s,” recalls Savoie. Lucky for her, she picked up the basics of calligraphy and type design in a two-year course at École Estienne in Paris. “This experience comforted me,” Savoie says, “in the idea that typeface design might be the right path.” And like many designers, she then moved to the United Kingdom to study in the master’s type design program at the University of Reading. After graduating in 2006, Savoie joined Monotype, setting her career off to a solid start.

Jessica Hische
Notable typefaces: Tilda, Minot, Brioche, Snowflake, Buttermilk
Art meets type in the work of Jessica Hische. She wears many hats—letterer, typographer, illustrator—and her output reflects this. From stamps, movie titles and books to branding and packaging, Hische blends fresh elements of fun and grace in her illustrative work. While Hische is best-known for her elegant lettering, she has also adapted it into a number of beautiful typefaces.

Ksenya Samarskaya
Samarskaya learned type design while working at Hoefler & Frere-Jones. While she hadn’t expected to pursue type design, it fit well into her ideas regarding communication, culture, translation, and form. (Her typeface Wyeth is below.) Since starting her own studio, she has consulted with the world’s top foundries on multi-script typography.

Laura Meseguer
Notable typefaces: Multi, Lalola, Cortada Dos
Meseguer calls Barcelona, Spain, home, so it should come as no wonder that shapes and forms move her. She is surrounded by them—in nature, architecture, design, painting, lettering and calligraphy. The city touts not only Basque and Catalan influences, sitting between the Mediterranean and Europe, but the surreal architecture of Antoni Gaudí.

Laura Worthington
Notable typefaces: Adorn, Charcuterie, Mandevilla
Worthington lives in the Pacific Northwest, which makes one wonder if Seattle’s short, dark winter days account for her prolific output. She’s been on a roll since she released her first typeface in 2010. Worthington’s interest in calligraphy started early, while learning penmanship at age 9 in school. Like many of her peers, she found typography through design. “My father encouraged me to pursue graphic design, a career I engaged in from 1997 till late 2010. During that time, I kept looking for more opportunities.”

Liron Lavi Turkenich
Notable typefaces: Makeda, Aravrit, Lefty
“I get angry, I smile to myself, I get sad, I get energized,” says designer Liron Lavi Turkenich, referring to the multilingual signage in her native Israel. Every sign features three scripts—Hebrew, Arabic and English—some with typefaces chosen without care or respect; some with slightly different translations; others with too small or cramped scripts; while some are painted with a single brush for all scripts. Those signs are a huge source of inspiration and, she says, “such an important visual of our urban space. They say a lot about it.”

Luisa Baeta
Notable typefaces: Bligh, Arlecchino
Baeta has always been about evolution. After graduating with a degree in graphic design, she fell down the typographic rabbit hole. “I got this idea that if I learned to design type, I would gain a structural understanding of typography and would become a better graphic designer as a consequence,” she says. And so this Brazilian-born designer entered the University of Reading, which resulted in a master’s degree in type design. Upon completion, the perpetual student felt that there was still more to learn.

Lynne Yun
Notable typefaces: Constant, Ampersandist
Spend a little time with Lynne Yun, and you cannot help but be taken by her thoughtful, curious nature. “I often ponder the role of calligraphy in design, both in terms of its historical significance and its practical applications in modern-day design,” says Yun. “It used to be that calligraphy, lettering, type design and typography were practiced by a similar group of people. Somehow they split apart over the years, but the time is ripe for them to converge again. They are all branches of letterform design.”

Marina Chaccur
Chaccur earned a graphic design degree in Brazil, then moved to England for a master’s degree in the field. After working as a designer, design instructor, hand letterer, and letterpress printer, she realized that she wanted more and travelled to the Netherlands for the Type and Media MA at the Koninklijke Academie van Beeldende Kunsten (KABK).

Nadine Chahine
Notable typefaces: Frutiger Arabic, Neue Helvetica Arabic, Univers Next Arabic
Lebanese designer Dr. Nadine Chahine cites her studies with Samir Sayegh, a calligrapher teaching Arabic Typography at the American University of Beirut, as the catalyst for her interest in type design. “The beauty of the shapes, coupled with the desperate need for well-designed Arabic typefaces, got me hooked very quickly,” says Chahine.

Nicole Dotin
Dotin was a graphic designer before she transitioned into typography. Once she completed the Type Design Master’s program at the University of Reading, she became a type designer at Process Type Foundry. She says that the intrinsic nature of the method of type designing drew her to the profession; the independence afforded by type design is an added bonus.

Nina Stössinger
Notable typefaces: FF Ernestine, Nordvest, Sélavy
Swiss-born Nina Stössinger found type while studying graphic design in Germany. One thing led to another, and she enrolled in the postgraduate TypeMedia Program at the Royal Academy of Art in The Hague, Netherlands.

Sara Soskolne
Soskolne has one of the most coveted type design jobs in the world: Senior Type Designer at Hoefler & Co. She has collaborated on some of the most popular typefaces of the past decade, including Gotham, Tungsten, and Sentinel.

Pooja Saxena
Saxena created her early type designs while earning a Communication Design degree in Delhi, India. (She describes the work as naïve, but I find it energetic.) Because she knew she wanted more for her letterforms, she earned a Master’s Degree in Type Design at the University of Reading and followed it with a typographic internship at Apple, where she learned about large-scale projects as well as collaborative type design teams.

Veronika Burian
Notable typefaces: Abril, Adelle, Bree
Who would have thought that a Prague-born product designer living in Milan would fall hard for type? Well, that’s exactly what happened to Veronika Burian. And all it took was a fellow designer teaching her how to draw in FontLab. “It was like falling in love,” recalls Burian. “I was already disillusioned with product design, and I wanted to change careers. So I started looking into the possibility of doing a [master’s] in graphic design.” After a bit of research, she found the type design program at University of Reading, visited the campus, spoke to professor Gerry Leonidas, and had discovered her path.

Victoria Rushton
Rushton was an Illustration major in college until she took a graphic design class. There, she discovered that type design was the best direction for her. While in school, she began working on the typeface that would become Marcia. When she encounters Marcia now, she sees the bad ideas, redraws, and subsequent fixes along with the resulting learning, practice, and success.


Also:
Alessia Mazzarella
Alexandra Korolkova
Alice Tebaldi
Alisa Nowak
Amélie Bonet
Andrea Tinnes
Carol Twombly
Carolina Marando
Elena Albertoni
Elena Schneider
Erin McLaughlin
Francesca Bolognini,
Glenda de Guzman
Gudrun Zapf von Hesse
Jane Patterson
Joana Correia
Jungmyung Lee
Justyna Sokolowska
Karolina Lach
Kris Holmes
Liya Ophir
Martina Flor
Medeina Musteikyte
Milena Brandao
Nadia Knechtle
Nicole Dotin
Nicole Fally
Nicolien van der Keur
Pria Ravichandran
Sibylle Hagmann
Sofie Beier
Stefanie Preis
Susan Kare
Trine Rask
Vanessa Farano
Vera Evstafieva
Zuzana Licko

Simon Beattie adds the following: Margaret Calvert. She designed all the UK road signs, as well as the lettering for British Rail (which is also used on the UK Government website, gov.uk). Hers is surely among the most-seen lettering/design work in the country, and yet most people probably haven’t heard of her. https://en.wikipedia.org/wiki/Margaret_Calvert
https://designmuseum.org/exhibitions/margaret-calvert-woman-at-work​https://my.matterport.com/show/?ref=em&m=Lz47nCpTeLS
https://designmuseum.org/exhibitions/margaret-calvert-woman-at-work-the-virtual-experience

Corona Ek Mahamari = Corona An Epidemic

 

 

 

Vijay Sadashiv Mashe, Corona Ek Mahamari [Corona an Epidemic], 2020. Cow dung background, poster color on traditionally treated cloth. 104 x 78 cm. Graphic Arts Collection 2021.

The Graphic Arts Collection recently acquired a dense composite painting by the contemporary Warli artist Vijay Sadashiv Mashe. The son of Sadashiv Mashe and grandson of Jivjy Soma Mashe, Vijay continues the traditions of the Warli painters, but with an international consciousness. The simplicity of the forms lends itself to the representation of our global pandemic and its consequences in India and beyond.


Read more about the Indian Warli Community projects at the V&A Museum of Childhood: https://www.vam.ac.uk/blog/museum-of-childhood/warli-at-moc

Migrant Labor Goes Home, 2020

Pushpa Kumari, Migrant Labor Goes Home, 2020. Natural color on cow dung, washed handmade paper. 67 x 54 cm. Graphic Arts Collection GAX 2021.

This recent acquisition painted by Pushpa Kumari is part of our ongoing effort to document the work of contemporary Indian indigenous artists during the 2020-2021 pandemic.

The following description was written by Anubhav Nath of Ojas Art:

“Shiv-Parvati play an important role in Madhubani art. They are depicted as Ardhnareswar, which portrays a perfectly fused balance of divine masculine and feminine energies.

In April 2020, caught unaware, thousands of migrant labor walked thousands of miles to their homes in the region of Bihar, from where this art form originates. This work refers to a lot of images from local media in connection to the migrant labor headed back and the duress they faced.

People walking with families in never ending queues with children being dragged on suitcases; a woman collapsing and eventually dying on the railway track as her infant child continued to breast-feed and laborers being washed down with disinfectant before being allowed to enter a village.

These images are symbolic of the lockdown, and have been translated into a traditional Madhubani style very effectively and poignantly.”

LVxNBA: Printed or Woven?


In 2001, Spike Lee (born 1957) received an honorary degree from Princeton University alongside Bill (William Felton) Russell, the former professional basketball player who played for the Boston Celtics from 1956 to 1969. Last Saturday, serving as the president of the Cannes Film Festival jury, Lee appeared on the red carpet wearing a suit from the LVxNBA collection. Press photographs made it difficult to tell if the vibrant graphic design on the suit was printed or woven.

(Sebastien Nogier/EPA, via Shutterstock)

Last year, to commemorate the Los Angeles Lakers win of the NBA championship, Louis Vuitton formed a three-year partnership with the National Basketball Association and under designer Virgil Abloh, unveiled a line of limited edition clothing and accessories intersecting French craftsmanship and American sports. It became known as LVxNBA or Louis Vuitton x National Basketball Association.

Vitton’s site describes it: “The collection adapts the designer’s codes with the iconography of the basketball universe and honors the values of relatability and inclusion key to Virgil Abloh’s vision at Louis Vuitton.”  https://us.louisvuitton.com/eng-us/men/highlights/lvxnba-i/_/N-2djx1c?gclid=Cj0KCQjw0K-HBhDDARIsAFJ6UGhirqwC4ybWB3JUrbutKWiYwPZZVbrHAtqpG4WkET-RFp7xsvJh7D0aAuVlEALw_wcB&gclsrc=aw.ds

The clothing features the iconic NBA logo, which is a silhouette of the former Los Angeles Lakers basketball player Jerry West (born 1938), sometimes called “Mr. Clutch” and sometime “The Logo,” because of his ubiquitous image. Created in 1969 by brand consultant Alan Siegel, the NBA logo has been a staple of the association for over 50 years. West was never asked or compensated for his profile.

On the LVxNBA apparel, the repetition of the NBA logo forms a houndstooth appearance, which is a pattern you get when you combine a 2/2 twill weave (two threads over, two under) with simple alternations of color—four white, then four black, then four white, and so on—on both the warp and weft. In fact, the exclusive Vuitton clothing is made with a Jacquard weave, produced only on a special loom that creates complex woven-in repeated designs, producing the houndstooth-style effect.

 


 

Unfortunately, the line is only for men since women don’t watch basketball.

 

Walking from Cole to Church

Martin Johnson Heade’s hummingbird paintings in “Cross Pollination,” Thomas Cole House, 2021. Below is a video of Juan Fontanive’s Ornithology.

Cedar Grove was the Catskill home and studio of the Hudson River School painter Thomas Cole (1801-1848). Cole married into the property, first renting studio space each summer until 1836, when he married the owner’s niece, Maria Bartow, and moved in permanently.

Several studios were built for Cole and his pupils, one of whom was the 18-year-old Frederic Edwin Church (1826-1900), who spent two years working under Cole. Eventually Church bought a farm for his family on the eastern side of the Hudson river and then, after an extended trip to Europe and northern Africa, purchased land at the topmost point opposite Cole’s estate and began creating Olana, meaning “a place on high.” Unlike the traditional Federalist home Cole inherited, Church and his wife envisioned a house with a Middle Eastern design. Architect Calvert Vaux did the central structure, where the family moved in 1872 but in fact, work continued throughout Church’s lifetime and it wasn’t until 1891 that the house was considered complete. Church personally designed many of the stencils that decorate the interior rooms and happily, they remain untouched except for some cleaning.

In Washington Irving’s 1819 story “Rip Van Winkle,” the title character falls asleep in the mountains of Catskill, only to wake up 20 years later to a world he doesn’t recognize. When a bridge was finally constructed in 1935 connecting Hudson on the east and Catskill on the west, it was called the Rip Van Winkle Bridge. Unfortunately, given the depression of the 1930s, only wealthy drivers could afford to pay the 80 cents charged to drive from one side to the other. The rest of the public remained in the past and ferried across the river.

In 2018, a pedestrian foot path was added on the south side of the bridge allowing the public to not only walk the one mile across the Hudson river but to walk directly from Cole’s home to Church’s house. This summer, to encourage the hike, a new exhibition organized by the Crystal Bridges Museum of American Art is being presented jointly at the Thomas Cole Site in Catskill and Frederic Church’s Olana entitled “Cross Pollination: Heade, Cole, Church & Our Contemporary Moment” (through October).

“Cross Pollination… is a national collaborative exhibition exploring the theme of cross pollination in art and the environment from the 19th century to today. The project stems from the artist Martin Johnson Heade’s 19th-century series of hummingbird and habitat paintings, The Gems Of Brazil, and their unique relationship to the epic landscapes of Hudson River School artists Thomas Cole And Frederic Church, as well as their continued significance to major contemporary artists working today. For the first time in over two decades, 16 paintings from the influential series of hummingbirds and habitats, The Gems of Brazil (1863-64), by Martin Johnson Heade (1819-1904) will be on tour in New York for public audiences. The project uses the metaphor of “cross-pollination” inspired by Heade’s paintings to explore interconnections in art and science, between artists, and across the 19th and 21st centuries. Paintings, sketches, sculpture and natural history specimens will be displayed in provocative juxtapositions within the historic spaces.

The artists featured in the exhibition are Martin Johnson Heade, Thomas Cole, Frederic Church, Emily Cole, Isabel Charlotte Church, Rachel Berwick, Nick Cave, Mark Dion, Richard Estes, Juan Fontanive, Jeffrey Gibson, Paula Hayes, Patrick Jacobs, Maya Lin, Flora C. Mace, Vik Muniz, Portia Munson, Lisa Sanditz, Sayler/Morris, Dana Sherwood, Jean Shin, Rachel Sussman, and Jeff Whetstone. See more: https://www.hudsonriverskywalk.org/crosspollination