27 June 2014
Tour de France: Stoller's Depart
Cover of Douglas Cowie, Stoller's Départ (London, 2014).
The Grand Départ of the 2014 Tour de France has not escaped the notice of Team Americas. Next week, you will be able to see the Tour de Lead Graffiti at St Pancras, a colourful set of typographical posters produced to celebrate the 2012 and 2013 editions of the Tour by the American printers, Lead Graffiti (we will post more about this; the exhibition is also listed on our What's On pages). Plus, we've contributed to a display of cycling material, which includes a draft of Tim Moore's French Revolutions: Cycling the Tour de France, at our Boston Spa site. I have booked the following Monday as annual leave to watch the arrival of the peloton in London.
We are also putting our cleats where our mouths are, and participating in what we realise is a bicycle-based recreation of Dick Turpin's ride to Yorkshire, roughly following the route of the 2014 Tour in reverse and riding from our St Pancras site to Boston Spa in two days. We will be carrying something with us: copies of a specially-commissioned short story by the American author, Douglas Cowie, and which can be seen above. At the end of the ride we will deposit it at Boston Spa to be catalogued after its journey of a little over 200 miles (320 km in proper Tour units). Doug has written a bit about it on his website, here.
The story is based on a real ride from the former British Museum Library to the British Library at St Pancras, taking in John Bunyon and some other possibly familiar places and characters en route. You can pick up a copy for a few pounds along with other cycling-related materials at the BL Shop or online.
And the title? Well, if you are familiar with the US film, Breaking Away, then the surname of the main character may ring some bells.
Matthew Shaw
23 June 2014
World War One: Inter-Allied Games
Tentative Programme for the Inter-Allied Games Dedication Day.
These works are free of known copyright restrictions. - See more at: http://britishlibrary.typepad.co.uk/americas/2014/06/new-exhibition-enduring-war.html#sthash.qtQ45UqO.dpuf
We opened our free Folio Gallery exhibition, Enduring War: grief, grit and humour (19 June-12 October) last week. The exhibition is international in scope, although naturally enough, its focus is British. That said, we have included a number of Canadian items, as well as West Indian material: Phil has already blogged on Squidge. We had a number of US items lined up (the United States entered the war in 1917, as you know), but the demands of the space and exhibition storyline meant that they were returned to the stacks. However, we can take advantage of this, and begin an ongoing series of items that didn't make it into the gallery.
The first of which is shown above, a programme for the Inter-Allied sports day that took place in France, 22 June–6 July 1919. It is a recent acquisition, and we also hold a volume summarizing the organisation and the results from the games at RG.2014.b.13 (a digitised copy from Cornell is available via the Internet Archive).
The games were an inclusive event, and included tug-of-war to soccer, tennis, basketball, fencing, water polo, boxing and equestrian events, as well as track and field, many of which took place at Pershing Stadium at Vincennes, France. Constructed by the US military in cooperation with the YMCA, the stadium was gifted by the Americasn people to France after the games. According to the editors of the companion volume, 'the games were played before crowds so immense that the number of spectators could not have been increased except by the use of aeroplanes or observation balloons.'
Indeed, the games were not limited to terra firma, but included an 'Aeroplane Parade' as a grand finale. The planes flew in formation, west to east over the stadium, dropping parachutes with the flag of each nation participating in the fly past (France, Italy, Belgium and the US). The five American planes included a captured Fokker, which was due to 'climb to a good altitude and engage in combat with two [US] spads].'
It didn't quite work out like that. The captured Fokker instead fell from the sky and crash landed at the nearby racetrack (with the unhurt captain displaying 'splendid airmanship in his enforced landing'). The crowd tore the plane to pieces for souvenirs. A handwritten note on the tentative programme reads, 'I saw this plane drop. This is a piece of it. don't lose it or cut it.'
The note was ignored, and the piece is not present (fear not, it wasn't there when we acquired it either).
To make up for this, if you can come to the Folio Gallery before 12 October, you can instead see a fragment of a Zeppelin, picked up in Essex, as well as progammes for other sporting events that took place during the war.
[MJS]
18 March 2014
Comics Unmasked vs Capt. America
Comics Unmasked exhibition artwork by Jamie Hewlett (photo by Tony Antoniou CC BY NC)
Comics Unmasked: art and anarchy in the UK opens at the British Library on 2 May: the Entrance Hall is already dominated by a giant poster by Jamie 'Gorillaz' Hewlett, featuring an as-yet-unnamed comic book character (above). She is introduced thusly: 'a sultry, caped female, equipped with hipflask and knuckle duster, in an alley way after vanquishing a generic super hero, shown dazed on the floor'. Should we fear for Capt. America? Probably not. Despite the subtitle we expect a few US publications to appear in the exhibition: we'll report back and see if we can beat the Robert Crumb item that we snuck into our Americas Treasures gallery exhibition a few years ago.
As well as the physical collection of comics, students of the format (and its various genres) can make use of some online resources, which can be accessed in the reading room. The first, shown above, are various collections of comics and graphic novels included in the Biblioboard collection.
We have also recently added to the Underground and Independent Comics collection, 'alongside interviews, criticism, and journal articles that document the continual growth and evolution of this artform'. It includes a run of The Comics Journal.
Biblioboard Comics & Graphic Novels collection
Elsewhere in the collection (and this is sparked by a discussion of the Hawkeye Initiative) we hold Marleen S. Barr, Future females, the next generation: new voices and velocities in feminist science fiction criticism (2000), which includes the chapter, Elyce Rae Helford, 'Postfeminism and the Female Action-Adventure Hero: Positioning Tank Girl'.
[MJS]
25 September 2013
In remembrance of Carolyn Cassady 1923-2013
This time last year Matt and I were frantically trying to get our labels done in advance of the opening of our On the Road exhibition, not to mention eagerly awaiting the arrival of Jim "keeper of the scroll." We were really pleased that the exhibition proved to be so popular over the following three months, although it’s perhaps not too surprising with such a star item on display. But we were also pleased with the "look" of the exhibition, much of which was down to our great designer of course, but also to the fact that we were given permission to use some wonderful photographs by both Allen Ginsberg’s Estate and Carolyn Cassady. In our view, Carolyn took the best photo of Kerouac and Neal Cassady together (though she often doesn’t seem to get credited) and we were delighted to have a big reproduction of it in the exhibition (it now lives in our office). In fact, she was hugely supportive throughout our preparation for the exhibition, as she had been with another Kerouac event we had held a few years earlier to mark the 50th anniversary of the publication of On the Road. She had been on great form that evening (a recording “An evening for Jack Kerouac” was made and is available in the reading rooms) and she had also donated to us a tape made in the Cassady’s home in San José in 1952, of Neal and Jack in conversation (an excerpt of Neal Cassady reading Proust featured on the soundpoint in the exhibition). So we were really looking forward to seeing her again at the opening of On the Road, but unfortunately, Carolyn was unable to make it as she had been having problems with her leg and the journey up to London from Berkshire would have been too taxing. And now we won’t have another chance to see her – we were really saddened to hear the news of her death last Friday. Of course she was 90 years old, but some people you expect to live forever. We’ll all miss her.
For more on her eventful and extraordinary life, here are the obits from The New York Times; The Los Angeles Times, and The Guardian; a lovely, much more personal tribute from Brian Hassett; and an interview with Carolyn by Polina Mackay from July 2011. And we of course have her books in the collections, in particular, Off the Road.
And if you’ve noticed that we’re not blogging as much usual – I’m afraid it’s because we’re a bit thin on the ground at the moment. Beth is on maternity leave, poor Phil had a cycling accident and has broken his arm and hand, and Matt is very preoccupied with Europeana Collections 1914-1918. Oh, and we have a massive office move too. But stick with us – we’ll be back!
P.S. You can still read all our On the Road exhibition and other Beat-related blogposts here.
[C.H.]
20 June 2013
Naomi Wood
Image © Ander McIntyre
A portrait of Naomi Wood at the Moghul exhibition at the British Library in December 2012.
Naomi is one of the Writers in Residence at the Eccles Centre for American Studies, the author of The Godless Boys (Picador) and Mrs Hemingway (forthcoming from Picador).
[Ander McIntyre is a photographer and a Fellow at the Eccles Centre for American Studies at the British Library. He is an occasional contributor to this blog.]
11 June 2013
J. Montgomery Flagg and Uncle Sam
If you’ve been anywhere in the vicinity of the Library in the last month or so, you can’t fail to have seen the accusatory pointing figure of Uncle Sam urging you to come to see our exhibition Propaganda: power and persuasion. And if do make it in to the exhibition (which, of course, we hope you do), you will find an original World War I Uncle Sam poster (kindly lent to us), with the familiar exhortation to enlist: I WANT YOU for U.S. ARMY.
The image is by J. Montgomery Flagg (1877–1960) and first appeared on the cover of the 6 July 1916 issue of Leslie’s Weekly, with the title ‘What are you doing for preparedness?’ The recruiting poster was printed the following year, 1917. Flagg had a precocious talent for drawing. He sold his first piece to the children’s magazine St. Nicholas at the age of 12, and by 16 he was already regularly supplying material to both Life and Judge magazines. He came from a fairly well-to-do New York family and studied briefly in both England and France. After travelling around with his new wife in the early 1900s, he settled in New York and enjoyed great success as a commercial artist. Known mostly as an illustrator, he also published both satirical and more risqué material, and later wrote scripts for films during several periods in Hollywood. He drew cartoons which lampooned advertising slogans (e.g., he depicted a hungry lion with the caption ‘I’d walk a mile for a camel!’), marriage, politics, prohibition and more or less anything. Flagg also worked as a portraitist, – his wit, good looks and talent making him popular with, amongst others, the Hollywood celebrities of the day. In his 1946 autobiography Roses and Buckshots, he presents himself as a bohemian, eschewing convention, and he enjoyed a notorious reputation for his numerous affairs. Almost the complete opposite of Norman Rockwell, Flagg revelled in the urban life. According to Susan E. Meyer, he 'was not only an artist of his time, but a participant in the life he depicted… He captured the spirit and personality of the first half of this century in his illustrations, in his writings, in his films, and in the way he lived.’ But it is for his work in support of the war effort, and one poster in particular, that he is now most remembered.
When the U.S. entered World War I, Flagg was appointed military artist of New York State by Charles S. Whitman, the Governor at the time. The notion of ‘Uncle Sam’ as a personification of the federal government predates Flagg’s image, although there is some debate on the origin of the term. Historical sources reference a Samuel Wilson (1766-1854), a meat packer who supplied meat to the army during the War of 1812. Wilson used to stamp his barrels of beef with US, standing, of course, for United States. But the well-liked Wilson soon came to be known as ‘Uncle Sam,’ and it wasn’t long before the name gained the now familiar wider meaning. Early illustrators and cartoonists, such as Thomas Nast, had tended to depict Uncle Sam as an old man wearing a stars and stripes suit, but Flagg’s image is altogether more vigorous. His pose is of course inspired by Alfred Leet’s military recruiting poster of 1914 featuring Lord Kitchener (although Flagg would never confirm or deny the link). But what you might not know is that Flagg used his own face as the model for Uncle Sam. A staggering 4 million copies of the poster were printed between 1917 and 1918, making it the most popular poster of all time. Flagg was a member of the first Civilian Preparedness Committee organised in New York in 1917, and also served on the Committee of Pictorial Publicity (which was organised under the federal government’s Committee on Public Information). He went on to produce over 40 works in support of the war effort, including other well-known designs, such as Wake up America and Tell that to the Marines! Other activities included offering a free portrait to anyone who purchased a $1000 liberty bond, and writing and supervising the production of American Red Cross and U.S. Marine films.
The popularity of Flagg’s Uncle Sam poster resulted in its adaption and re-issue for World War II (400,000 copies printed). Flagg presented a copy to President Roosevelt and told him the story of using his own face. Roosevelt was impressed – ‘I congratulate you on your resourcefulness in saving model hire. Your method suggests Yankee forebears.’ (Flagg in fact was also to produce a poster for Roosevelt’s re-election campaign).
Although there have been numerous representations of Uncle Sam over the years, it is Flagg’s that has been the most enduring, his own face providing a personal face for the government to enable it to mobilise its people, to tell them to enlist, to buy bonds, and to help them to understand what was needed of them during wartime. Popular as the image was with many, the exhortation to duty and sacrifice did not sit well with everyone – some posters were defaced, leading a group of New York women to urge Congress to make the defacement of war posters a federal crime (– for a compelling account of how the relationship between the American government and its people was re-made during WWI and the impact on civil rights, see Christopher Capozzola’s Uncle Sam Wants You: World War I and the making of the modern American citizen, Oxford University Press, 2008. British Library shelfmark YC.2009.a.22).
And the afterlife of the image has been very interesting. Its copyright-free status has resulted in it being used to advertise everything from cigarettes to laxatives; it has been enlisted as anti-American propaganda by other nations, and most notably perhaps, the image was given a rather different ‘reverse’ face and appearance during the anti-Vietnam war campaign.
For more on the whirlwind life of Flagg see Susan E. Meyer’s entertaining and copiously illustrated James Montgomery Flagg, New York: Watson-Guptill Publications, 1974. British Library shelfmark X.423/2209
[C.H.]
23 May 2013
Norman Rockwell and the Four Freedoms
If you’ve already visited the Library to see Propaganda: power and persuasion (and if you haven’t, we’ll send Uncle Sam round to get you) you will have spotted 4 large posters by Norman Rockwell – the Four Freedoms, which have kindly been lent to us for the exhibition.
Rockwell (1894-1978) is probably one of the best known illustrators from the U.S. Hugely popular with the public for his vignettes of small town American life, the critical reception of his work has been rather less favourable - his folksy depictions of everyday Americana proving much too sugary and sentimental for the fine art world. ‘I guess I have a bad case of the American nostalgia for the clean, simple country life as opposed to the complicated world of the city,’ he wrote. But his Four Freedoms perhaps symbolise one of those conjunctions when particular images can strike the right cord at just the right moment – and in this case, help to promote exactly the right message for the government of the time.
On January 6, 1941, President Franklin D. Roosevelt delivered his State of the Union address to the 77th U.S. Congress. Arguing that fundamental liberties and values were under attack, he sought to convince the nation of the need for involvement in the war. In what came to be known as the 'Four Freedoms' speech, Roosevelt identified 4 essential human rights – freedom of speech, freedom of worship, freedom from want, and freedom from fear (you can read the full text here). These 'freedoms' were to become part of the founding principles of the Atlantic Charter, issued by FDR and Winston Churchill in August 1941 (text here).
Rockwell was inspired by Roosevelt's speech and the Atlantic Charter - 'I wanted to do something bigger than a war poster, make some statement about why the country was fighting the war.' But he struggled to find a suitable idea. Then, during one sleepless night, he recalled seeing a neighbour stand up at a town meeting and say something with which everyone had disagreed. 'But they had let him have his say. No one had shouted him down. My gosh, I thought, that's it. There it is. Freedom of Speech. I'll illustrate the Four Freedoms using my Vermont neighbours as models. I'll express the ideas in simple, everyday scenes. Freedom of Speech - a New England town meeting. Freedom from Want - a Thanksgiving dinner. Take them out of the noble language of the proclamation and put them in terms everybody can understand.'
He prepared some sketches to illustrate the Four Freedoms, and took them to various government departments. Even though there was some enthusiasm for his drawings, he met with little success. 'The war was going badly, no one had time for posters... Finally late in the afternoon, we found ourselves in the Office of War Information (or, to speak plainly, the propaganda department).' An official was shown the sketches but was immediately dismissive: 'The last war you illustrators did the posters... This war we're going to use fine arts men, real artists.' Rockwell finally decided to offer them to the Saturday Evening Post instead.
The Post had been using Rockwell’s illustrations since 1916 and was happy to publish the images. He spent the next 6 months producing 4 large paintings; these were then reproduced in the Post over 4 consecutive weeks, commencing 20 February 1943. Contemporary writers had been chosen to provide essays on the ideas represented (e.g., the Pulitzer Prize winner Booth Tarkington wrote one to accompany Freedom of Speech). The images were a big hit with the public. Readers were invited to buy sets of reproductions for framing and 25,000 orders poured in. The Office of War Information, which had originally been so sniffy, did an about turn and asked for permission to print 2.5 million posters. The posters appeared in factories, stores, schools, public buildings – everywhere. In addition, the original paintings (which are now housed in the Norman Rockwell Museum) went on tour around the country in an exhibition which not only helped to explain the aims of the war, but also provided the focal point for a major war bond drive. Sponsored by the Saturday Evening Post and the U.S. Treasury Department, the exhibition visited 16 major cities, was viewed by 1,222,000 people and helped to sell more than $132 millions worth of bonds for the war effort. As Roosevelt later said to Rockwell, ‘I think you have done a superb job in bringing home to the plain, everyday citizen the plain everyday truths behind the Four Freedoms... I congratulate you… for the spirit which impelled you to make this contribution to the common cause of a freer, happier world.’
It's perhaps worth noting that Rockwell was only ever happy with two of his Freedom paintings (Speech and Worship), but remained dissatisfied with both Freedom from Want and Freedom from Fear ('Neither of them has any wallop.'). He was also aware that, despite the popularity at home, Freedom from Want - Thanksgiving Dinner in particular, had not gone down well in Europe. Hardly surprising; the table groaning under the weight of food struck a rather discordant note in a war-torn Britain suffering food shortages.
A reproduction of another Rockwell image also appears in the exhibition – it accompanies a recording of the song Rosie the Riveter by the Four Vagabonds, and is very different from the more iconic image of Rosie (We can do it!) by J. Howard Miller. But take a look at Rockwell's rather strange and muscular Rosie when you visit. And if you think there's something familiar about her, you're right. Rockwell admired many artists and sometimes referenced the 'Old Masters' in his work. His 1943 illustration is modelled on Michaelangelo's Prophet Isaiah in the Sistine Chapel!
Rockwell quotes are taken from Norman Rockwell: My Adventures as an Illustrator. As told to Thomas Rockwell. Curtis Publishing Comany: Indianapolis, 1979. BL shelfmark: x955/3165
[C.H.]
21 May 2013
Justin Webb, James Montgomery Flagg and Uncle Sam
A portrait of Justin Webb, presenter of the Today programme on BBC Radio
4, just before delivering the third annual Benjamin Franklin House Robert H.
Smith lecture in American Democracy ('Wise Up America! A Friendly Word from a Foreigner'), co-sponsored by the Eccles Centre for American Studies at the
British Library on 10 May 2013.
James Montgomery Flagg's famous First World War recruiting poster image of Uncle Sam is from the current Propaganda: Power and Persuasion exhibition at the Library, which runs until 17 September.
[Ander McIntyre is a photographer and a Fellow at the Eccles Centre for American Studies at the British Library. He is an occasional contributor to this blog.]
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