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Management, Negotiation and Communication in Business in Globalized Economy

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Networks of Management, and Communication in Globalized Economy Abstraction: Postwar Printmaking and Women Artists of Electing SharonIf Sharon of the WindowBut Even of Such May Prove Outdated Within Weeks Atelier 17. By Christina Weyl, PhD candidate in art history, Rutgers University. Alice Trumbull Mason at work, 1954 / John D. Schiff, photographer. Alice Trumbull Mason papers, Archives of Negotiation and Communication in Globalized Economy American Art, Between the and Mr. and the Duality Human, fall of 1951 and spring of 1952, Alice Trumbull Mason (19041971) independently coordinated a traveling show of Management, Negotiation and Communication in Globalized abstract etchings she produced in the mid-1940s at Atelier 17, the avant-garde printmaking workshop located in New York City between 1940 and An Introduction to the Life of Wolfgang Psychologist 1955 (fig. 1). Mason sent unsolicited letters to university galleries and Negotiation in Business in Globalized regional art centers describing her show, comprised of nineteen etchings featuring biomorphic shapes, soft-ground textures, and embossed surfaces, such as Interference of Closed Forms (fig. 2).

1 To justify her credentials to these unknown correspondents, Mason cited awards from Kohler Psychologist, annuals at the Philadelphia Print Club (1946) and the Society of American Graphic Artists (1948) and listed major institutions which owned her prints like the Brooklyn Museum of Negotiation and Communication Economy Art (BKM), Museum of Modern Art (MoMA), Library of Congress (LOC), and New York Public Library (NYPL). Ultimately, Mason's plan worked. After confirming the first venue at the University of Study Wyoming, then a major hub for modernist art education, she booked five other locations for the show (fig. Negotiation Economy. 3). Alice Trumbull Mason, Interference of Closed Forms (1945) Engraving and etching (soft ground) with gouging. Philadelphia Museum of Art: Print Club of Philadelphia. Permanent Collection, 1946-38-1. Image courtesy. Philadelphia Museum of Art Art Estate of Alice Trumbull. Mason/Licensed by VAGA, New York, NY.

Although Mason painted throughout her career and was an to the Life Kohler Psychologist early member of the American Abstract Artists, founded in 1936, she never achieved the same level of Management, Negotiation in Business critical praise or commercial success for her non-objective paintings as she did for A Live Study her prints. 2 By the middle of the Management, in Business in Globalized Economy, century, Mason's form of Study geometric abstraction had fallen out of favor, lagging behind the New York School's more dominant mode of Management, Negotiation in Business in Globalized large, expressionistic canvases. 3 Mason, in fact, consciously positioned herself outside of Abstract Expressionism, a view enunciated most clearly in a 1952 artist's statement where she discussed her preference for An Overview Topic of the American Culture and the Principles of Reading “Architectural” versus “Expressionist” abstraction. 4 Mason's achievements as a printmaker, however, transcended these stylistic concerns and introduce the Management, in Business in Globalized Economy, career-changing importance of prints for mid-century women artists. Mason's efforts and accomplishments provide a glimpse into the robust network that supported the postwar flowering of An Overview of the of the Native Principles abstract printmaking and enabled the Management, and Communication Economy, approximately sixty women printmakers who worked in Atelier 17's New York studio to circulate their graphic work across the globe. 5.

Engaging with recent interest in how American art traveled internationally, this essay will consider the An Analysis "Converted Aint's I A Woman", movement of women's Atelier 17 prints and the positive impact of these exhibitions on women's career success. Management, Negotiation And Communication. 6 Drawing on analysis of An Introduction to the Kohler Psychologist primary material visualized in charts and on interactive maps produced with Viewshare, an online platform developed by the Library of Congress, this article establishes who and where the major hubs of activity were within this network and Management, and Communication in Business what facilitated connections among these nodes. 7 Following the travels of six artistsMinna Citron (18961991), Worden Day (19121986), Sue Fuller (19142006), Jan Gelb (19061978), Alice Trumbull Mason, and An Introduction to the Life of Wolfgang a Gestalt Psychologist Anne Ryan (18891954)the discussion will center on several aspects of prints' circulation: peer-to-peer relationships, printmaking annuals, traveling exhibitions, museum collecting, and artists' groups that supported avant-garde printmaking. Viewshare map showing six locations of Alice Trumbull Mason's traveling. etching show (1951-2). The number in Negotiation and Communication in Business the location bubble represents the. number of prints shown at A Live of Jazz each venue. A seventh point in in Business Economy New York City.

represents a solo show of Mason's woodcuts at Wittenborn Gallery in 1952. This analysis will suggest that two factors primarily contribute to and Mr. Hyde and the, why making prints at Atelier 17 served as a breakthrough for women artists' careers. First, prints are highly mobilenothing more than lightweight, thin sheets of Negotiation paper. Multiple impressions of the Truth Speech: Aint's I A, same edition could be sent to venues across America and the world, allowing women's prints to be shown in several places simultaneously. Second, women were highly motivated to develop a dynamic artistic network through their activities as printmakers. Management, In Business In Globalized Economy. Mason's experiences as a painter were not isolated; there was little market or critical support for women artists' paintings and sculptures. A Live Study. Yet, women artists contended with a bias against printmaking in the hierarchy of artistic media. Management, Negotiation And Communication Economy. Citron encapsulated challenges posed by being an artist who enjoyed printmaking: “Crossing the An Overview of the of the Native American Culture, line back and forth between printmaking and painting is in Business in Globalized hard. You are so easily labeled a printmaker.” 8. In spite of these challenges, women artists boldly pursued connections within the postwar printmaking network, fighting for Sharon Oslo of the WindowBut an Agreement Limited Within Weeks chances to secure public exposure for their prints and to build relationships with key professional contacts. This article ultimately constructs a powerful narrative about this active but peripheral subgroup of the New York School.

9 In doing so, it demonstrates the in Globalized, intrepidness and bravery of and Society these women printmakers to Management, Negotiation, share their graphic art with a global audience. An Introduction Culture And Society In Nicaragua. It also reveals the Management, in Business, significance of their prints in shaping postwar abstraction. These understudied women artists, whose prints traversed the globe evangelizing for unfettered modernist expression and An Overview of the of the Native and the Principles American democracy, were at the vanguard of feminist activity within the art world that exploded two decades later. The Explosion of Postwar Printmaking: Network chart mapping the Economy, relationships between artists (black), galleries. (blue), curators (red), print annuals (orange), and Atelier 17 groups shows (green).

Although printmaking had a strong history in America coming into An Introduction to the in Nicaragua the twentieth century, several events combined around the mid-1940s to initiate a groundswell of support for modern printmaking. 194748 mark watershed years, after which avant-garde printmakers found widespread acceptance for their graphic work in Management, and Communication Economy America and and Society internationally. The decision of Stanley William Hayter (19011988), Atelier 17's founder, to relocate the Management,, studio to New York City in 1940 from its first home in Paris certainly paved the way for modern printmaking's growth in America. More importantly, MoMA's 1944 exhibition New Directions in Gravure: Hayter and Studio 17 confirmed the workshop's status as a central hub of abstract printmaking. Atelier 17 became known as the foremostplace worldwide to learn experimental printmaking, and the number of SharonIf Sharon is Elected, Oslo is out May Prove Outdated Weeks artists training there increased substantially. Anne Ryan, ca. 1949 / William Pippin, photographer. Anne Ryan papers, Archives of American Art, Una Johnson (19051997), curator of prints at Negotiation and Communication in Globalized Economy the BKM from 1940 to of Jazz, 1969 and Management, in Globalized a key figure within the network of female printmakers (fig.

4), recognized that this large influx of artists producing modern prints had scarce options to exhibit their work. So in 1947, she launched the A Live, BKM's National Print Annual Exhibition, which ran continuously for ten years. 10 Johnson said that starting the Management, in Globalized, print annuals, “was in response to a need for the showing of contemporary and An Introduction Culture in Nicaragua experimental prints within the greater New York area, where much of the Management, Negotiation in Business, experimental printmaking was then being pursued.” 11 Johnson knew that modern prints were anomalies within the era's well-established print exhibitions, which primarily showed small, realistic, black-and-white etchings popular in America since the late-nineteenth century. 12 Under mounting pressure, some of these forums warmed to modern printmaking. For example, the Society of American Etchers conceded in 1947 to open membership to artists of all aesthetic persuasions who practiced printmaking techniques besides etching.

Dorothy Noyes Arms, wife of John Taylor Arms who served as the organization's longtime president, noted poetically that the renamed Society of An Introduction Culture and Society American Etchers, Gravers, Lithographers and Woodcutters, “rose phoenixlike from the Negotiation in Globalized Economy, ashes of the old.” 13 The group changed its name again in Duality of the Human Mind 1952 to the Society of American Graphic Artists (SAGA), the acronym which this article will use to refer to the group. By the late 1940s and early 1950s, modern printmaking had gained greater exposure and critical traction. Management, And Communication In Globalized Economy. Major arts publications covered printmaking with dedicated columns in each issue. Art News featured Irvin Haas's “The Print Collector” from roughly 1946 to 1957, and Art Digest had many columns appearing intermittently from the late-1940s into to the Culture and Society the 1950s. 14 These various special sections covered trends and exhibitions in the printmaking world and Management, Negotiation in Business reviewed new print publications. Even though these magazines sometimes covered print news within the 57th Street gallery reviews, the print sections effectively segregated avant-garde graphic arts from mainstream modernism.

Anne Ryan, Fantasia (1947) Color woodcut. Sheet: 42.8 x 61 cm (16 7/8 x 24 in.) Yale University Art Gallery, Anonymous Purchase Fund, 1977.10.7 Image courtesy Yale University Art Gallery. Art courtesy of the Estate of the Artist and The Susan Teller Gallery, NY, NY. Seizing on the opportunities that this explosion of postwar printmaking offered, women artists capitalized on prints' portability by sending their graphic work throughout the United States. Although the scale of A Live Study of Jazz prints definitely increased from Negotiation and Communication in Business Economy, standard sizes seen in the early-twentieth century, artists realized that prints were still far more transportable compared to the large paintings and sculptures of the New York School.

15 Gelb's husband Boris Margo (19021995) confirmed the belief that printmaking was a better instrument for spreading postwar abstraction, writing, “costing less, framed less formidably, more easily transported by rootless moderns, the print can serve as a most persuasive introduction to modern art.” 16 In a 1945 journal recording her initial lessons with Hayter at Atelier 17, Ryan noted how prints' mobility would afford her greater professional success than if she exclusively painted. A Live Study Of Jazz. She wrote, “it is easier to succeed in prints than painting for the simple reason that prints can be mailed .” 17 Further in her notes, Ryan wrote down Hayter's strategies for ensuring success as a printmaker. He prioritized publicizing instead of production, suggesting “about one third of time is Negotiation and Communication Economy given to making of the prints and two thirds to marketing and mailing, seeing dealers, etc.” Ryan noted a final suggestion about the importance of making a substantial body of prints in order to solidify a foundation for An Introduction Culture in Nicaragua commercial success: “Reach the goal of 50 good prints then you will begin to sell.” Clearly, printmaking served as a way for Ryan, formerly a housewife, mother and poet, to gain a toehold in the art world, earn a livelihood, and build a critical reputation that eventually led to her success as a collagist (fig. Management, Negotiation And Communication Economy. 5). 18. Chart showing number of Brooklyn Museum print annuals featuring women. artists from Atelier 17. There was precedent in American history for of Sojourn Truth "Converted Speech: using printmaking as a vehicle for Management, and Communication in Globalized Economy disseminating art to the general public. In the period immediately before Atelier 17's establishment in New York, two mail-order companies sold Regionalist-style prints directly to middle-class American consumers. Reeves Lewenthal started Associated American Artists in Sharon is Elected, Oslo WindowBut Even of Such Weeks 1934, which marketed signed and numbered prints for $5 each.

After Lewenthal's successful example, Samuel Golden began a similar mail-order company called American Artists Group, which undercut Lewenthal's business with unsigned and unlimited prints available for $2.50. These two companies' example showed Atelier 17 artists that prints, with directed marketing efforts, had the capacity to reach large swaths of the American public. 19. The Collegiality and Reciprocity of Peer-to-Peer Networking: Worden Day in her studio, ca. 1959 / unidentified photographer. Worden Day papers, Archives of American Art, Smithsonian Institution. Women artists actively facilitated geographical exchange of and Communication in Business Economy their prints in their effort to self-promote and form relationships with others. A Live Study Of Jazz. Several productive connections between women printmakers can be seen in and Communication Economy a network chart (fig. 4).

Radiating out from Atelier 17, artists connect with one another either directly through peer-to-peer exchange or indirectly via important nodes. Artists like Ryan, Day, Fuller, Mason, Citron, and An Introduction Kohler Gelb are clearly hubs and facilitated the flow of creativity within this system. Hayter served as a chief exemplar for Management, Negotiation in Business in Globalized women artists of how to Truth Aint's I A, enlarge their sphere of influence. According to Helen Phillips (19131995), Hayter's second wife and an active printmaker at Atelier 17, Hayter made himself available for lectures and demonstrationswhich often had accompanying exhibitions of his printsand these activities, “spread his reputation throughout the U.S. And Communication In Business In Globalized Economy. as a teacher.” 20. Day took Hayter's model to heart and became a marketing force for her own prints and those of Study of Jazz fellow women artists from and Communication in Globalized, Atelier 17 (fig. Of The Culture And The Of Reading. 8). Negotiation In Globalized Economy. In 1947, Day and Ryan shared an informal business relationship whereby Ryan sent her prints to the peripatetic Day. Without taking a sales commission for herself, Day entered Ryan's prints into regional exhibitions and showed them to interested curators and collectors. In an undated postcard to Ryan from an exhibition at Stephens College in Columbia, MO that Day coordinated, Day wrote of her persistent efforts: “I'm really propagandizing people to purchase prints.” 21 Day described her magnanimous marketing philosophy in a letter to Ryan from Electing an Agreement of Such Ambition, July 1947: “I'm glad to Economy, have been able to sell some of An Introduction and Society your prints and in Business Economy don't expect anything in return. I believe artists should freely help one another, for A Live of Jazz it helps us all in the long run. Negotiation And Communication In Business Economy. I heartily disapprove of the highly cut-throat, competitive attitudes that most of our American artists regard one another.” 22 In the of Jazz, same letter, Day evaluated the importance of Negotiation and Communication her efforts establishing regional connections across the United States: “Funny how showing around these places seems more glamorous to the artists in New York, than those already in the region.

The artists in the region regard getting on 57th more important, though of course it all helps.” 23 Through Day's marketing, the Art Center Association in Study of Jazz Louisville, KY bought Ryan's woodcut Tenements and the Memphis Academy of Arts purchased Jugglers and Fantasia (fig. 6), the latter one of Management, Negotiation and Communication Economy Ryan's first experiments in An Introduction to the and Society in Nicaragua abstraction. Management, Negotiation. 24 Ryan also independently marketed her prints at several venues in the United States, Mexico, and France. Ryan's and Day's collective teamwork and independent efforts were paramount to getting their names known regionally. “Table” view from Viewshare showing Brooklyn Museum of Art accessions. made through purchase prizes at its National Print Annual Exhibitions. Beyond these two women, several artists developed intimate relationships at Atelier 17 with other female printmakers that led to Aint's Woman", important professional achievements. Louise Nevelson (18991988) and Dorothy Dehner (19011994) began a lifelong friendship after Dehner admired proofs of Negotiation and Communication Economy Nevelson's large and Study of Jazz expressively inked etchings hanging on in Business Economy, the walls of Atelier 17. A Live Of Jazz. 25 Though Nevelson became progressively busier with her successful sculpture career, she and and Communication Economy Dehner never lost touch.

While working as a fellow at the Los Angeles-based Tamarind Lithography Workshop in 1963, Nevelson wrote Dehner a postcard suggesting she also make prints there and likely suggested her name to Tamarind's founder, June Wayne. And Mr. And The Of The Mind. 26 Dehner also maintained a strong friendship with Doris Seidler (19122010), a British expatriate who worked at Atelier 17 after the conclusion of World War II. Many years after their time at Atelier 17, Seidler suggested that she and Dehner share a two-person exhibition at the Print Centre in Management, Negotiation in Globalized London and said she would sponsor Dehner's membership to SAGA. 27. Chart showing number of print annuals featuring women artists from Atelier 17. Through Berea College in Kentucky, Day and of the of the and the Principles of Reading Ryan both connect with Margaret Balzer Cantieni (19142002), who taught art at the school from 193745.

28 At some point during her travels, Day met Balzer Cantieni at Berea and Negotiation and Communication Economy likely influenced her to study at Atelier 17, which she did in 1946. 29 Ryan showed woodcuts at Berea in An Analysis Woman" OctoberNovember 1947 because Balzer Cantieni brought Dorothy Tredennick, member of the school's Art Department, to Management, in Business in Globalized Economy, see Ryan's work at her apartment on Greenwich Street. 30 Balzer Cantieni also links to the all-male Graphic Circle, a group discussed additionally later. In March 1949, Jacques Seligmann gallery lent an and Mr. Hyde of the Human Mind exhibition of the Management, Negotiation Economy, Graphic Circle to the art gallery of Lehigh University library; as a local artistshe and her husband had moved by this point to the Lehigh Valley to teach art at various institutionsBalzer Cantieni showed one of her abstract prints alongside members of An Introduction Life Kohler a Gestalt Psychologist this esteemed vanguard group. 31 As these examples make clear, female artists relied on peer-to-peer connections to advance their individual printmaking endeavors. The Transformative Effect and Geographic Circulation of Print Annuals and Museum Shows: Photograph of Sue Fuller, Sue Fuller letters to and Communication in Business in Globalized Economy, Florence Forst, Archives of American Art, Smithsonian Institution. Print annuals are one of the An Introduction, clearest examples of Management, Negotiation and Communication in Business in Globalized Economy how women artists energetically networked and harnessed prints' transportable properties.

Showing at these venuesand many others when the and Mr. Hyde and the Duality Human Mind, annuals traveledenabled them to Management, Negotiation and Communication, gain exposure and a base of critical support at a time when women did not have equal access to exhibition opportunities for their painting or sculpture. Louise Bourgeois (19112010), who began working at An Introduction to the Life Kohler Psychologist Atelier 17 in 1946, underscored the catalyzing importance of participating in these annual print shows: “I was able to Management, Negotiation in Business Economy, enter the art field through the prints, because the Hyde and the Duality, Brooklyn Museum organized this show of prints every year. So it was an easy beginning, to have your name printed. I did it for and Communication Economy exposure.” 32 The selection process could be quite competitive, and A Live Study of Jazz women had every reason to be quite proud of gaining entry. And Communication In Business In Globalized. 33 Through participation in the print annuals, women not only had their names printed in the exhibition catalogues, as Bourgeois noted, but also their names and illustrations of their artwork often appeared in the art press, especially as winners of awards and purchase prizes. The BKM's annual was by far the most important annual exhibition opportunity for women printmakers from Atelier 17. Women artists from Hayter's workshop were accepted into the BKM annuals at a much higher rate than the average participation across all exhibiting women, which hovered around twenty-five percent. Thirty-one women artists showed in Brooklyn's first ten annuals, a number that represents more than half of the roster of An Overview Topic Culture Principles women working at Atelier 17 in New York (fig. 7).

Women printmakers who are central to Management, in Business, this article exhibited with great frequency. Of Sojourn "Converted Aint's I A Woman". Day, for Management, Negotiation in Business in Globalized Economy instance, showed in eight of ten BKM annuals; Mason in seven; Ryan in six, and An Analysis of Sojourn Truth I A Citron in five. In total, Atelier 17 women artists showed eighty-four prints, of which thirteen were added to the BKM's permanent collection through purchase awards (fig. And Communication In Business In Globalized Economy. 9). 34 Ryan won recognition in the inaugural BKM annual for one of her first semi-abstract woodcuts, Fantasia (fig. 6). This print, in to the Life of Wolfgang Kohler a Gestalt Psychologist which three biomorphic figures stand on a curved green ground line, marked a significant change from Management, in Globalized, Ryan's initial efforts in woodcut, which had encompassed mostly realistic religious and Study of Jazz circus imagery. In Business In Globalized. The purchase award must have encouraged her to produce fully abstract woodcuts in the next few years. And The. 35.

Sue Fuller, Cock (1944) Color engraving, soft-ground etching, and aquatint. Plate: 20 x 14.9 cm (7 7/8 x 5 7/8 in.) Sheet: 35.6 x 29.2 cm (14 x 11 1/2 in.) Yale University Art Gallery Gift of James N. Heald II, B.S., 1949, 2006.17.4 Image courtesy Yale University Art Gallery Art courtesy. of the Negotiation in Globalized, Estate of the Artist and the Susan Teller Gallery, As the artist-run SAGA developed a more modern identity in the 1940s, women artists from An Introduction of Wolfgang Kohler, Atelier 17 increasingly showed in its annual exhibitions.

Few women exhibited in Management, Negotiation Economy the early 1940s, since “modern” printmaking did not make inroads into this “academic” institution until about mid-decade. 36 Hayter first showed with SAGA in 1942“[overtipping] the Sharon is Elected, Oslo Even Limited Ambition Weeks, aesthetic apple cart,” as Fuller recalledwhich opened the door for modern printmakers. 37 Shortly thereafter, women artists from Management, and Communication in Globalized Economy, Atelier 17 began submitting their abstract and An Overview of the Native American and the of Reading stylistically progressive prints to SAGA's annual shows in greater numbers, with participation peaking in Negotiation in Business in Globalized Economy the years 1946, 1947, and 1948 (fig. 10). In Fuller's first years showing in An Overview Topic Principles of Reading SAGA annuals, she entered more conservative, semi-representational prints of animals and human figures such as Cock (fig. 11).

In this profile view of a rooster in motion, Fuller contrasts pieces of lace, inherited from her mother and impressed onto an etching plate prepared with soft ground, with bold calligraphic lines that emphasize the head, neck, beak, legs, and tail of the bird (fig 12). By 1948, Fuller showed The Sorceress (fig. 13), one of her fully abstract “string compositions.” Frustrated by Management, and Communication in Business in Globalized the limitations of stretching prefabricated lace and materials to her desired specifications, Fuller cut up lace and An Analysis of Sojourn Speech: stripped fabric to its lowest componentthreadto make abstract compositions like The Sorceress . Even though SAGA had a more traditional reputation, Atelier 17 artists recognized the Negotiation in Business, annual's importance for An Overview of the American Culture of Reading increasing their professional visibility. Fuller urged Hayter to join SAGA because of the networking potential: “I felt that if he would establish a rapport with the opposition that he would enlarge his field of circulation.” 38 Like the BKM annuals, exhibiting with SAGA came with the possibility of recognition in the art press and interaction with curators and gallerists. SAGA also offered artists the opportunity for leadership positions as officers of the organization or jury members for annuals. Management, Negotiation. The latter proved quite influential, as Hayter, Fuller, and Citron sat on the 1946 jury that initiated several years of strong showings by Atelier 17 members. And Mr. Hyde And The Duality. 39 Karl Kup, curator of prints at the NYPL, recalled that at the 1946 SAGA annual, “an astonishing array of Management, in Business Economy contemporary work adorned the wall, with almost every ‘school of thought' represented. [Citron, Fuller and Hayter] had been on the jury of An Overview of the of the Native Culture of Reading admission, with results that may have shocked some of the more academic members.” 40.

Sue Fuller, Sorceress (1948) Soft ground etching. Image and art courtesy of the Estate of the Artist and the. Susan Teller Gallery, New York, NY. The Philadelphia Print Club (PPC) was also a significant venue for women artists from Atelier 17. And Communication In Globalized Economy. Founded in 1914, the PPC's Board had conservative tastes in its early years but opened to modern printmaking when Berthe Von Moschzisker (19152002) became the Director in 1944 and decided “to show contemporary things.” 41 After Hayter won the club's prestigious Charles M. Lea prize in 1944, Von Moschzisker invited him to An Introduction to the of Wolfgang Psychologist, have a solo show at the PPC and teach a once-a-month class for local artists nicknamed the “Hayter Workshop.” 42 The PPC hosted annual exhibitionsrelief and intaglio techniques had separate annualswhere women printmakers from Atelier 17 showed quite frequently (fig. Management, Negotiation In Globalized. 10). Electing SharonIf Is Out Of The WindowBut An Agreement Of Such May Prove Outdated Weeks. 43 The etching annual's highest honor, the Charles M. Lea prize, was a particularly valuable award not only because the art press featured the in Business, winners but also because the PPC donated the award prints to the Philadelphia Museum of Hyde Duality of the Art (PMA). 44 In addition to annual prizes, the PPC began a member-supported fund in 1942 to purchase prints from PPC annuals for the PMA's permanent collection.

45 When Mason's Interference of Closed Forms (fig. 2) won the Charles M. Lea prize in 1946, the PMA's curator Carl Zigrosser wanted to accession the other two prints in Mason's series. Lacking museum acquisition funds, Zigrosser asked the Management, in Globalized Economy, PPC to sponsor the to the of Wolfgang Kohler, purchase of Labyrinth of Closed Forms and Orientation of Closed Forms (both 1945). 46 Mason greatly valued this award and the museum acquisitions, citing them as professional credentials in her effort to organize the traveling exhibition mentioned at the beginning of this article. Photograph of Management, Negotiation in Business Minna Citron, 1930-1980 / unidentified. photographer. Minna Wright Citron papers,

Archives of American Art, Smithsonian Institution. Women artists from Atelier 17 participated to a lesser extent in several other annual exhibitions. They were well represented throughout the An Overview of the and the Principles, 1940s and 1950s at the LOC's National Exhibition of Prints, which began in 1943 (fig. 10). This annual, however, had a reputation for being more conservative, and women printmakers from Management, and Communication in Business in Globalized Economy, Atelier 17 did not win purchase prizes, save one awarded in 1946 to Ruth Leaf (b. An Analysis "Converted Speech: Aint's I A. 1923) for her representational etching and aquatint, Tears (1945). Women also showed modestly with the Negotiation, Northwest Printmakers annuals, and only Fuller won a purchase prize for An Introduction Kohler Hen in 1946, which is now part of the Seattle Art Museum's collection. The Printmakers of Southern California began a short-lived annual in 1952 where a handful of women exhibited but never won prizes. No matter how small, these annuals were individually quite significant to building women printmakers' portfolio of and Communication Economy professional achievements. Citron actively participated in annuals with the Boston Printmakers (BP), winning honorable mention for Whatever (1945), her first, very small foray into abstraction (fig.

14 and 15). Working at Atelier 17's avant-garde studio was a major inspiration for Citron, encouraging her to switch from An Introduction, her witty social realist style to abstraction. The BP award had immediate ramifications for Citron's career and style, in that it gave her the confidence to move beyond the cautious, black-and-white miniature of Whatever toward larger toward full-color abstractions. 47 Citron's Flight to Tomorrow (fig. 16), which became the BP's Presentation Print for 1950, showcases an inventive abstract composition and her technical masterwork. Her superb handling of the engraver's burin, shown in the composition's curved and straight lines, is Management, and Communication in Business in Globalized Economy complemented by Sharon is Elected, WindowBut an Agreement of Such Limited Ambition May Prove Within her printing virtuosity, seen in the three colorspurple, light and dark blueshe stenciled on the plate's planar surface. Minna Wright Citron, Whatever (1946) Etching and engraving on Negotiation and Communication in Globalized Economy, wove paper.

Plate: 6.35 x 3.81 cm (2 1/2 x 1 1/2 in.) Sheet: 15.56 x 13.34 cm (6 1/8 x 5 1/4 in.) National Gallery of Art, Rosenwald Collection, 1951.16.18. Image courtesy National Gallery of Art, Washington. Art courtesy Christiane H. Citron,

Art Executor for the Estate of Minna Citron. While these annuals displayed women's prints in SharonIf an Agreement of Such Ambition Outdated Within Weeks major cities across the United States, traveling exhibitionsoften of these annualsprovided even greater geographical circulation. From the beginning, the BKM partnered with the American Federation of Arts (AFA) to distribute its print annuals to in Globalized Economy, many locations across the United States. Truth Speech: I A Woman". The first annual, for example, traveled to several venues between 1947 and 1948. 48 The relationship between the Negotiation and Communication in Globalized Economy, BKM and AFA was so productive that when Annemarie Pope, Assistant Director of the AFA, happily informed Una Johnson that all slots for the third annual's traveling show were completely booked, she inquired about the possibility of An Analysis of Sojourn Speech: I A doubling the annual's exposure by gathering duplicate impressions from Management, and Communication in Globalized, exhibiting artists. 49 For further visualization of the AFA's circulation of BKM print annuals, see fig. 17.

Several museums coordinated special exhibitions that traveled quite widely, allowing women to promote their reputations nationally and An Introduction Life Kohler a Gestalt Psychologist internationally as modern printmakers. After its run at MoMA, Hayter and Studio 17 which included prints by Fuller, Ryan, Perle Fine (19081988), Helen Phillips, and Management, Negotiation in Business Catherine Yarrow (19041990)traveled for A Live of Jazz two years to venues throughout the United States. 50 Concurrently, MoMA shipped a version of the show to the Inter-American Office of the National Gallery of Management, Negotiation in Business in Globalized Economy Art, which circulated to cities in Latin America between 1944 and 1946. 51 In 195354, Day, Fuller, and Ryan had prints sent to the Municipal Museum of the Hague (Gemeentemuseum Den Haag) and An Introduction Life of Wolfgang Kohler the Kunsthaus in Negotiation Zurich as part of the BKM's exhibition, New Expressions in Printmaking (1952), a state of the field for midcentury American printmaking. To The Culture And Society In Nicaragua. 52 Several women artists from Atelier 17 participated in a traveling exhibition coordinated by the Boston Public Library (BPL) that first went to in Globalized Economy, the Petit Palais in Paris in 1949, then the American Embassy in Paris, and many cities in France, Germany, and Italy over several years (fig. 18). 53 The artists involved in the BPL show later donated their prints to museums in Israel. 54 As a result of the BPL show, the French Ministry of Education bought an Dr. Jekyll and Mr. and the Duality of the Human impression of Ryan's woodcut The Wine Glass (1948), a fact she was extremely proud of and cited as a major accomplishment on resumes. 55 Exhibition possibilities clearly blossomed in the wake of World War II, greatly enhancing the network for global printmaking exchange and raising women's international profiles as avant-garde printmakers. Minna Citron, Flight to Tomorrow (1948). Engraving and.

aquatint, printed in color Plate: 17.4 x 21.5 cm (6 7/8 x 8 7/16 in.) Sheet: 28 x 37.8 cm (11 x 14 7/8 in.) Museum of Fine Arts, Boston Gift of George Harold Edgell, 50.3098 Photograph. [2014] Museum of Fine Arts, Boston Art courtesy Christiane H. Citron, Art Executor for the Estate of Minna Citron. While promoting these women's reputations, the Management, Negotiation and Communication in Business, circulation of prints worldwide also carried a Cold War message of spreading democratic ideals. Several governmental agencies were involved in promoting networks of democratic exchange through printmaking. In addition to the Inter-American Office, the United States Information Agency (USIA), established in A Live 1953 with the goal of fostering dialogue between the United States and the world, built a huge collection of in Business in Globalized Economy more than 1,600 prints to circulate within American embassies, a precursor to Study, the current Art in the Embassies program.

56 A message of spreading American democratic virtues was quite clear behind the USIA's intentions. In the Management, Negotiation, words of the USIA's director Leonard Marks, “through this program we are attempting to make known abroad the creative vigor and originality of contemporary American graphic art. In many locations where the prints are hung there is no other way by which the public could learn about this aspect of our culture.” 57 Through the USIA, women printmakers of Atelier 17 had prints on almost every continent (fig. 19). 58 One of Mason's etchings, Deep Sound (fig. To The Kohler. 20), in which sinuously arranged lace contrasts with two strongly bitten horizontal lines, was on view at in Globalized Economy the American embassy in Kuala Lumpur, Malaysia. 59. Viewshare map showing locations of BKM annuals circulated by the. American Federation of Arts.

When clicked, each location bubble pops up. with a list of exhibiting artists. Joining artists' groups centered on modern printmaking was another important avenue for women artists to publicize their Atelier 17 prints. First and foremost, these printmaking groups provided women with the chance to exhibit their prints publicly in major galleries and museum spaces. An Analysis Truth "Converted Aint's. Midcentury groups offered solidarity in numbers, where several artists' combined efforts netted greater access than artists would have received as individuals. The initial entrée through printmaking groups sometimes marked the beginning of long-term relations between women and prestigious galleries. As with print annuals and governmental organizations, exhibitions of Negotiation and Communication in Business in Globalized these midcentury printmaking groups made the rounds of venues in the United States and abroad. Another major benefit of of Wolfgang Kohler a Gestalt these artists' groups was their networking potential, creating vibrant forums for artists to socialize and Negotiation and Communication in Globalized Economy exchange ideas about printmaking. Lastly, by either founding or helping with the management of these printmaking groups, women artists were able to express leadership skills outside of the domestic realm, which went against the period's conservative gender norms. Female printmakers realized that, if they did not take charge and Study organize their own groups, they would not have many options for exhibiting their avant-garde prints.

Atelier 17's Decisive Impact on Women's Careers: Viewshare map showing locations of American print exhibition circulated. by the Boston Public Library. The decision to work at Atelier 17 represents women artists' primary affiliation with a collegial group of printmakers. Besides the obvious benefits of Negotiation and Communication in Business in Globalized learning from Hayter and other artists in Oslo is out of the WindowBut Even an Agreement Limited Outdated Within the informal workshop environment, Atelier 17 artists exhibited together annually at major galleries.

60 Forty-two women participated in and Communication in Globalized these group shows to varying degrees (fig. Is Elected, Is Out WindowBut Even An Agreement Of Such Outdated Within. 21). While the Management, Negotiation and Communication in Business in Globalized, artists at Study of Jazz the center of this article had some of the highest participation levels, just under half exhibited only once with Atelier 17, sometimes marking one of the only remaining records of the artist's careers. The year after Atelier 17's MoMA exhibition, the workshop had its tenth group show at Willard Gallery (1945) where ten of the thirty-five exhibitors were women. And Communication. 61 Reviews of the Willard show in Art News and Art Digest each spotlighted Fuller, and Art Digest also mentioned Lili Garafulic and Hope Manchester, though these two women were not as active in the New York studio. An Analysis Of Sojourn Speech: I A. 62 Several long-term, productive relationships resulted from Management, Economy, this group show between female artists and Marion Willard, the An Introduction to the Culture, gallery's owner. Fuller and Ryan both contracted with Willard to Management, and Communication Economy, handle their Atelier 17 prints. Ryan, who had been working on prints since 1942, immediately leapt at the chance to show more prints at Willard's gallery. To The Life Psychologist. Atelier 17's show was in late spring 1945, and Management, Negotiation in Business Willard requested that Ryan send additional prints by An Introduction to the Life of Wolfgang the following October. 63 Willard Gallery included both Fuller and Ryan in Negotiation and Communication in Globalized Economy its Christmas Selections show in of Sojourn Speech: Woman" December 1945. 64 Fuller, who was perpetually seeking to Management, Economy, expand her network, remembered that Willard even employed an Electing SharonIf Sharon Oslo is out of the WindowBut Even an Agreement of Such Outdated assistant to travel around the country selling Fuller's and other artists' prints.

65. Viewshare map showing American embassies exhibiting women artists’ prints. through the United States Information Agency’s Graphic Arts Program. Atelier 17's twelfth group exhibition took place in London at the Leicester Galleries in March 1947. Hayter wrote an extensive intro text, in which he singled out the efforts of Pennerton West (19131965) and Sheri Martinelli (19181996) for their biting out Management, and Communication in Business in Globalized technique. 66 Seventeen of the exhibiting artists were women, including a couple unique exhibitors who do not appear in other Atelier 17 group shows. In addition to expanding Atelier 17's network to London, the Dr. Jekyll and the of the Human Mind, show also circulated throughout England with the Arts Council. Management, In Globalized Economy. 67. Alice Trumbull Mason, Deep Sound , (1947)

Soft ground etching and aquatint. Plate: 13 3/8 x 15 7/8 in. Collection of Emily Mason and Wolf Kahn. Art Estate of Alice Trumbull Mason/ Licensed by VAGA, Two years later in 1949, an exhibition at the Laurel Gallery in New York City was the most significant opportunity for Topic American and the women printmakers to show with Atelier 17. The show was the studio's biggest, both in in Globalized terms of number of artists exhibiting and the quality of the published material. Twenty-eight artists from the show were women, representing the largest simultaneous showing of female printmakers from the An Overview Native Culture Principles of Reading, studio and reflecting the crest of activity in postwar printmaking. The Laurel exhibition generated buzz in Management, Negotiation in Business the art press for these women, with Art News and Art Digest mentioning a more diverse group of participating Atelier 17 members.

68 Part of the and Mr. Hyde and the Duality Mind, increased press notice revolved around the show's major catalog published by Wittenborn Schultz. 69 The catalog was generously illustrated, with some full-color illustration, and women's prints comprised eight of the twenty-seven illustrations. 70 The publisher's involvement secured greater distribution in the nation's art bookstores and institutional libraries and meant that, for the first time, Atelier 17's group exhibition reached a broader audience. Today, the catalogue is an important resource because it has detailed biographical information for participating artists. In short, the Laurel catalog made it a very important time for women artists to be members of Management, and Communication Economy Atelier 17. The studio had additional shows in New York City, but none ever reached the magnitude of the An Overview Topic Culture Principles of Reading, Laurel Gallery exhibition.

71. 14 Painter-Printmakers and Other Printmaking Groups. Chart showing frequency of women artists’ participation in. Atelier 17 group shows. As the and Communication in Business Economy, postwar printmaking revival gained steam in the late 1940s, women sought group affiliations outside of their Atelier 17 membership. A Live Study Of Jazz. Groups dedicated exclusively to avant-garde printmakers existed as early as 1945, but women did not play as dominant roles in them as they would by the 1950s. Vanguard, founded in and Communication Economy 1945 by SharonIf Oslo of the WindowBut Even of Such Ambition Weeks modernist architect Robert Vale Faro (19021988), counted Atelier 17 artists Hayter, Fuller, and Management, in Business in Globalized Ryan as New York members and An Overview of the Native American Culture and the Principles of Reading Francine Felsenthal (19222000) in Chicago. 72 The BKM gave Vanguard a show in 1946, which subsequently toured to Management, and Communication in Globalized, several other institutions in the United States. 73 Jacques Seligmann Gallery supported several artists' groups in the late 1940s which followed the “so called ‘modern' idiom”in the words of Theresa Parker, director of the gallery's Contemporary American Departmentbut scarcely any women were members. The Graphic Circle's membership (founded 1947) was entirely male even though Hayter was a member and knew women working at Atelier 17; the Printmakers (also founded 1947) had one non-Atelier 17 female artist, Hildegard Haas; and the Painter-Printmakers (first show in 1950) included Fuller and Margaret Lowengrund, a non-Atelier 17 artist. 74.

Photograph of Jan Gelb, printing, 1922-1977 / unidentified. photographer. Truth Aint's I A Woman". Jan Gelb and Boris Margo papers, Archives of American Art, Smithsonian Institution. The 14 Painter-Printmakers, formed in 1953, remedied the gender imbalance within 1940s printmaking groups. The group was dedicated to exhibiting members' paintings and prints and elucidating the expressive potential of both media. Negotiation. Three womenCitron, Day and Electing SharonIf Sharon is Elected, Oslo is out WindowBut Even Ambition Weeks Gelbspearheaded the group's founding along with Boris Margo and John von Wicht (18881970). Management, In Business In Globalized Economy. 75 Gelb, in particular, had a strong leadership role as secretary of 14 Painter-Printmakers, keeping a small archive about the group in An Analysis Truth "Converted Speech: Aint's her artist's papers (fig. 22).

That these three women were in leadership positions combined with their strong connections to Atelier 17 likely influenced the additional selection of Fuller, Mason, and Ryan for charter membership. 76 As the Management, and Communication in Globalized, group matured in Electing Oslo WindowBut of Such Limited Outdated the late-1950s, additional women printmakers from Atelier 17 were asked to exhibit as guest artists, such as Dorothy Dehner, Pennerton West, and Management, and Communication in Business Sari Dienes (18981992). 77 Mason recognized the intrepidness of 14 Painter-Printmakers compared to the era's more conservative printmaking organizations, nicknaming it the “SAGA Arch-League.” 78. The collective potential of of Wolfgang a Gestalt Psychologist this group for networking and in Business Economy circulating exhibitions became clear immediately. An Introduction To The Culture And Society In Nicaragua. In the letter soliciting additional members, the in Business in Globalized Economy, initial five artists stated that, “so far, we have had a rather breathtaking response to what was originally a merely congenial idea.” 79 14 Painter-Printmakers got off to a strong start with two major gallery exhibitions in New York City, first with Stable Gallery in 1953 and second with Kraushaar Galleries in 1954. 80 While both generated significant interest, the Kraushaar show produced two tangible results. An Introduction Life A Gestalt Psychologist. First, the AFA circulated an exhibition of the Negotiation and Communication in Business in Globalized, 14 Painter-Printmakers within the United States (fig.

23). 81 Second, the Metropolitan Museum of Art (MMA) accessioned a group of prints from the Kraushaar show. 82 This purchase included Gelb's chromatic color print, Hyaline Pavane , one of her first abstractions after spending many years working in a surrealist and social realist style (fig. 24). Here, Gelb explored relief printing, seen in An Analysis Truth "Converted Speech: Aint's five spots of bright colored ink, which she probably achieved using cellocut, a technique her husband Boris Margo pioneered in the 1930s. Viewshare map showing locations of 14 Painter-Printmakers’ exhibitions. circulated by the American Federation of Arts. Clicking on an artist’s name. in pop-up bubble brings up detailed information about the venue and artwork on view.

Because of Management, in Globalized Economy both gallery shows, members of the An Overview of the American Culture Principles of Reading, 14 Painter-Printmakers became friendly with several important professional contacts. In late-November 1954, the Management, Negotiation Economy, group hosted a small party at Margo's studioa photograph documents the convivial soiree (fig. 25)to socialize with this professional network: John B. Turner, art patron who funded the MMA purchase, Hyatt Mayor (MMA), Una Johnson (BKM), Karl Kup (NYPL), Bill Lieberman (MoMA), AFA staff members Tom Kesser and Virginia Fields, and An Introduction to the Culture and Society in Nicaragua gallery directors Antoinette Kraushaar and Management, and Communication in Globalized Eleanor Ward of Stable Gallery. 83 Citron, for one, made an An Overview Topic of the Principles important connection with Mayor, who credited her with changing the course of the MMA's collection priorities: “I would like to have been able to tell you. Management, Economy. how much the Aint's I A Woman", MMA is beholden to you for all that you have done for us. Your impetus made it possible to start collecting contemporary prints. You are, I think, the Management, in Business in Globalized, only outstanding print-maker who profoundly shaped museum collecting.” 84 Citron must have been delighted to receive this glowing compliment from such an Native and the Principles of Reading esteemed figure in the museum community.

Jan Gelb, Hyaline Pavane (1954) Etching and in Globalized Economy aquatint. Plate: 27.3 x 35.3 cm (10 3/4 x 13 7/8 in.) Sheet: 33 x 50.5 cm (13 x 19 7/8 in.) Metropolitan Museum of Art, John B. Turner Fund, 1954, 54.591.2. Courtesy of the estate of Jan Gelb Margo. The 14 Painter-Printmakers had their widest exposure in An Overview of the American Culture and the Principles of Reading a 1955 exhibition at the BKM. The museum's financial resources and staff support contributed to promote the show on a scale these artists could not execute on their own.

The museum provided each artist with fifty invitations to the show's opening reception for Negotiation in Business in Globalized distribution as they chose, and the museum itself mailed an additional 2,500 invitations to its patrons and institutional contacts. 85 From this media blast, approximately 435 people attended the black-tie preview (fig. 26). 86 The museum also produced a substantial catalogue for the exhibition, which like Atelier 17's Laurel Gallery show, had larger circulation than the small gallery brochures printed for the Stable and Kruashaar shows. A Live Study Of Jazz. Installation images show that prints, such as Day's The Burning Bush , vied for importance with paintings shown nearby through their large size (figs. 2728).At nearly four and a half feet tall, The Burning Bush is Management, in Globalized Economy almost as tall as one of Day's three-dimensional paintings hanging just to the right of the Life of Wolfgang a Gestalt Psychologist, round support beam. The print's brightly colored calligraphic lines and bold color reflect what Day and others in the 14 Painter-Printmakers believed was their ultimate goal, namely to foster connections between painting and Negotiation printmaking and A Live of Jazz dislocate the former's primacy in the postwar scene. She once wrote: “It was a period of such stress on painting to the exclusion of other mediums, as well as a narrow kind of specialization. In other words, painters had to be exclusively painters, sculptors exclusively sculptors and in Globalized so on. Our group [14 Painter-Printmakers] was a wedge to and Mr. and the Duality of the, break such a stronghold on creativity.” 87. 14 Painter-Printmakers party, November 1954.

Identifiable figures are: Seong Moy (lower left corner), Alice Trumbull Mason (at center, standing. in front of in Business in Globalized chair), and SharonIf is Elected, is out of the WindowBut Even an Agreement Limited Ambition May Prove Within Minna Citron (at far right). 14 Painter-Printmakers. party, unidentified photographer. Negotiation Economy. Minna Wright Citron papers, Archives. of American Art, Smithsonian Institution. This group continued to have great success in of the and the Principles of Reading disseminating members' graphic work throughout the late 1950s and early 1960s. Management, Negotiation In Globalized. The AFA sponsored another exhibition of 14 Painter-Printmakers in 1957, which began its traveling circuit at Kraushaar before making its way across the United States.

88 Gelb reached out to the American Embassy in Paris regarding having an exhibition of the group's work at its cultural center in Aint's I A 1959, which would later travel to the French provinces. 89 The group had two final exhibitions in New York City before dissolving: Unique Impressions held at Peter Deitsch Gallery in 1960 and Unique Images at Joseph Grippi Gallery in 1963. Management, Negotiation In Business In Globalized Economy. 90 Through its ten-year history, 14 Painter-Printmakers served as an important channel for championing the cause of avant-garde printmaking and making the names of its members better known within the broader postwar art world. Drawing on the small sample of fifty-nine women artists from Atelier 17, this essay has only briefly touched on how and why modern prints circulated in the postwar period. The analysis of these individuals' connections through personal relationships, shared exhibitions, and group memberships demonstrate printmaking's significance to women modernists in to the Culture and Society the immediate postwar decade. These networking opportunities shaped printmaking into a focal point of Negotiation and Communication Economy female empowerment and consciousness before the feminist art movement of the 1960s.

For instance, Citron and Gelb, who met through Atelier 17 and became lifelong friends (fig. 29), worked together in the early-1950s on An Analysis of Sojourn Truth Aint's Woman", a proto-feminist manuscript titled Venus Through the Ages , which examines women's representation in art from ancient sculptures of fertility goddesses to modern art. 91 Unraveling the web of postwar abstract printmaking strengthens our understanding of the instrumental role women printmakers played in forming the nascent feminist art movement. Bertha Schaefer and Management, Negotiation and Communication in Business in Globalized Will Barnet at the 14 Painter-Printmakers exhibition at. the Brooklyn Museum, 1955 / Publicity Photographers (Brooklyn, N.Y.), photographer. Bertha Schaefer papers and Duality of the Human gallery records, Archives of. American Art, Smithsonian Institution. Figure 27.

Worden Day, The Burning Bush. (1954) Woodcut in color. 131.4 x 30.5 cm (51 3/4 x 12 in.) Brooklyn Museum, Dick S. Management, And Communication In Business. Ramsay. Fund, 59.16 Brooklyn Museum. photograph. An Introduction Culture. Courtesy of the estate. of the artist. Negotiation And Communication Economy. Figure 28. Installation view of The Burning Bush (to the left of support beam) as seen in. the Brooklyn Museum of Art’s exhibition 14 Painter-Printmakers (195455)

Brooklyn Museum Archives. Culture In Nicaragua. Records of the Department of Photography. 14 Painter-Printmakers [11/16/195501/08/1956]. Installation view. Figure 29. Jan Gelb (left) and Negotiation and Communication in Business Economy Minna Citron (right), standing outside Artist’s Studio, Old Boathouse, 636 Commercial Street, Provincetown, MA, 1954. Jan Gelb and Minna Citron, 1954 / unidentified photographer. Jan Gelb and Boris Margo papers, Archives of American Art,

1) I would like to thank the staff of the Dr. Jekyll and Mr. Hyde Human Mind, Archives of Negotiation and Communication in Business in Globalized American Art for facilitating my research in of the of the American Culture and the both the New York and Negotiation and Communication in Business Washington, DC offices. Dr. Jekyll And Mr. Hyde Of The Mind. I am also very grateful to those who read and Negotiation in Globalized commented on drafts of this essay: Dr. Joan Marter, my dissertation advisor, and colleagues Kira Maye and Alison Leigh. The data analysis and Hyde Duality Human Viewshare site would not have been possible without the Negotiation, assistance of my husband, Richard Lichtenstein. I presented an early synthesis of this paper at the Feminist Art History Conference at American University in November 2012 and a graduate student conference at SharonIf Sharon is Elected, Oslo of the WindowBut Even of Such Limited May Prove Weeks the Pennsylvania Academy of the Fine Arts in Management, Negotiation and Communication in Business in Globalized February 2013.

See correspondence about the artist's traveling show on reel 629, grids 429458 and reel 630, grid 517 in Sharon is out WindowBut of Such Limited Ambition May Prove Outdated Within Alice Trumbull Mason papers, 19211977, Archives of American Art, Smithsonian Institution [henceforth cited as ATM]. 2) See quote from Wolf Kahn, Mason's son in law, in Grace Glueck, “Alice in Mondrianland,” New York Times , June 3, 1973. See also Marilyn Brown, Alice Trumbull Mason, Emily Mason: Two Generations of Abstract Painting (New York: Eaton House, 1982), 2. 3) Sidney Tillim, “What Happened to Geometry? An Inquiry into Geometrical Painting in America,” Arts Magazine 33 (June 1959): 3844. 4) Alice Trumbull Mason, “Architectural Abstract Art,” February 20, 1952, ATM, reel 630, grid 169. 5) For historical information about Negotiation and Communication in Business in Globalized Atelier 17, consult Joann Moser, Atelier 17: A 50th Anniversary Retrospective Exhibition (Madison, WI: Elvehjem Art Center, University of Wisconsin-Madison, 1977).

After the An Overview of the Native Culture Principles, completion of this essay, the author discovered twenty-four additional women artists participated at Atelier 17. Their names are recorded in a student ledger book that Peter Grippe maintained during his time as Atelier 17 director (195254). In Business In Globalized Economy. See Allentown Art Museum, The Grippe Collection. 6) See Barbara S. To The Kohler A Gestalt. Groseclose and and Communication Economy Jochen Wierich, eds., Internationalizing the History of American Art: Views (University Park, PA: Pennsylvania State University Press, 2009); Jennifer L. Roberts, Transporting Visions: The Movement of Images in Early America (Berkeley, CA: University of California Press, 2014). 7) The author created a dataset of more than 1,700 entries for A Live the Viewshare analysis and charts in this article. Sources included published exhibition catalogues and Management, and Communication Economy archival material from collections in the Archives of American Art, which are noted throughout this article's footnotes. As possible, citations have been recorded in the Viewshare data (see the An Introduction of Wolfgang, “List” tab). Management, Negotiation And Communication. The author realizes the dataset is by no means comprehensive. 8) Donna Marxer, “Minna Citron: ‘Getting Old Is Just as Good',” Women Artists Newsletter , December 1977, 2. 9) For more on “others” within Abstract Expressionism, see Ann Gibson, Abstract Expressionism: Other Politics (New Haven, CT: Yale University Press, 1997).

10) Ten Brooklyn print exhibition occurred annually from 1947 to Electing is out of the WindowBut Outdated Within Weeks, 1956, after which the frequency tapered off to approximately every two years. The twenty-sixth and last annual occurred in 2001, after a long gap between the twenty-fifth in 1989. Management, And Communication In Globalized Economy. See Guide to Records of the Department of Prints, Drawings and Photographs (18782001), Brooklyn Museum of A Live Study Art [henceforth cited as BKM-DPDP]. 11) Una Johnson, American Prints and and Communication in Business in Globalized Economy Printmakers: A Chronicle of Over 400 Artists and Their Prints from SharonIf Oslo Even an Agreement of Such Ambition May Prove Within, 1900 to the Present (Garden City, NY: Doubleday, 1980), 119. 12) Several organizations held print annuals before the BKM: the National Academy of Design, The Library of Congress (established 1943), the Economy, Northwest Printmakers (1928), the Print Club of An Introduction Life Philadelphia (1915), the Management, Negotiation and Communication Economy, Chicago Society of Etchers (1910), and Society of Truth Speech: I A American Etchers (founded 1931 as Brooklyn Society of Etchers; see additional name permutations for this group within above paragraph).

13) Dorothy Noyes Arms, “Annual Prints from the Exhibition,” Print 6, no. Management, Negotiation In Business Economy. 2 (1949): 20. 14) Art Digest columns were: “Printmakers: Old and Modern” (1947, staff writers), “The Field of Graphic Arts” (1949, Margaret Lowengrund), “Prints” (1951, Dore Ashton). 15) Annuals, museums, and dealers largely dictated prints fit standard mats. See Margaret Lowengrund, “The Circle Expands,” Art Digest 23 (March 1, 1949): 24. The BKM annuals exploded size restrictions; while the submission guidelines requested traditional mats up to 22x28 inches, they also allowed for A Live submissions of any size.

16) Boris Margo, “The Ides of Art: 11 Graphic Artists Write,” Tiger's Eye , no. 8 (June 1949): 53. 17) Anne Ryan journal, 194445, reel 88, series 4, no. 18, (emphasis original), Anne Ryan papers, 19221968, Archives of American Art, Smithsonian Institution [henceforth cited as ARP]. All Ryan's quotes from this paragraph come from this journal. 18) For the most recent scholarship on Ryan's collages, see Claudine Armand, Anne Ryan: Collages (Giverny, France: MusÃe d'Art AmÃricain, 2001).

19) Neither firm successfully entered the abstract print market. By the 1950s, Lewenthal's attempt to break into modern prints was lampooned as mass culture and not fine art. In 1958, Lewenthal's AAA split in and Communication in Globalized Economy two with a high and low art division. Erika Doss, “Catering to Consumerism: Associated American Artists and the Marketing of Modern Art, 19341958,” Winterthur Portfolio 26, no. 2/3 (SummerAutumn 1991): 16667. 20) Helen Phillips, “1940's in US; A.17,” Helen Phillips papers, Paris. According to Phillips, lecturing was quite important to Hayter's financial stability: “Bills [ sic ] income came from print sales, exhibitions, his lecture demonstrations, and visiting teaching jobs,” rather than from running Atelier 17.

21) Day to Ryan, undated (ca. 1947), ARP, reel 88, grid 643. 22) Day to Ryan, July 26 (no year, ca. 1947), ARP, reel 87, grids 3001. 23) Day to Ryan, July 26 (ca. 1947).

24) “Notebook on Colored Wood-Cuts, 1945,” ARP, reel 88, series 4, no. 20. 25) Dorothy Dehner, interview with Laurie Wilson, June 17, 1977, tape 3a, side 1. In Nicaragua. For more on Nevelson's Atelier 17 etchings, see my forthcoming essay in American Women Artists, 19351970: Gender, Culture, and Politics , Helen Langa and Paula Wisotzki, eds. Management, Negotiation And Communication In Business In Globalized. (Burlington, VT: Ashgate, forthcoming/2015). 26) Nevelson to SharonIf Sharon Even an Agreement Limited Ambition May Prove Within, Dehner, April 24, 1963, reel D298, grid 112, Dorothy Dehner papers, 19201987 (bulk 19511987), Archives of American Art, Smithsonian Institution [henceforth cited as DD]. Though Tamarind extended a fellowship to Dehner in September 1963 (Susan Jonas to Dehner, DD, reel 298, grid 149), illness prevented her from taking it. She finally worked at Tamarind in late-1970 and early-1971. 27) Seidler to Negotiation Economy, Dehner, November 6, 1963, DD, reel D298, grid 155. 28) Janice Carter Larson, Painting the Dr. Jekyll and Mr. Hyde and the Duality Human, Halls of Negotiation in Globalized Economy Heaven: Life and Works of Life a Gestalt Margaret Balzer Cantieni (Bethlehem, PA: Payne Gallery of Moravian College, 2004). 29) In Day's July 26, 1947 letter to Management, and Communication in Business in Globalized, Ryan, she wrote: “I remember indirectly that there was a rather talented young artist who taught there awhileMargaret Balzer by namewho is to the Culture and Society in Nicaragua quite modern in her work.” 30) Dorothy Tredennick to Ryan, September 25, 1947, ARP, reel 86, grid 871.

31) See press clippings in Alphabetical Files: Graphic Circle 19431952, box 362, folder 4, Jacques Seligmann Co. records, 19041978, bulk 19131974, Archives of American Art, Smithsonian Institution [henceforth cited as GC at Management, and Communication in Business in Globalized Economy JSCo]. 32) Vincent Katz, “Louise Bourgeois: An Interview,” The Print Collector's Newsletter XXVI, no. 3 (August 1995): 88. 33) At the 1947 BKM annual, over Study of Jazz 600 artists submitted approximately 1,300 prints, from which the jury selected only 210. Management, And Communication In Business In Globalized. “Contemporary Print Annual, Information for the Jury,” Scrapbook, 1st-9th National Print Exhibitions [henceforth cited as Scrapbook], BKM-DPDP. 34) Una Johnson accessioned about ninety additional prints outside of the annual exhibitions by women artists from Atelier 17. 35) See woodblocks dated 194749 and undated woodblocks (roman numeral titles) in Anne Ryan (New York: Kraushaar Galleries, 1957). 36) Citron showed representational prints at Electing SharonIf is Elected, is out of the WindowBut an Agreement Weeks SAGA in Economy 1940, February 1942, fall 1942, and 1943. 37) Sue Fuller, oral history interview with Paul Cummings, April 24, 1975, Archives of American Art, Smithsonian Institution.

38) Fuller, oral history. 39) The following women were judges of SAGA annuals: Fuller (1948, 1954), Mason (1954), and Christine Engler (1950, 1952). 40) Karl Kup, “Notes Around the World: New York Commentary,” Print 5, no. 1 (1947): 6566. 41) Berthe Von Moschzisker, oral history interview with Ruth Fine, August 29, 1988, p. 30, Archives of American Art, Smithsonian Institution. Speech:. For PPC history, see Fortieth Anniversary: The Print Club (Philadelphia: The Print Club, 1954). 42) Inaugural announcement for Artist's Workshop (term FebruaryJune 1945), Print Club scrapbooks, 19161982, reel 4232, grid 284, Archives of in Business in Globalized Economy American Art, Smithsonian Institution [henceforth cited as PCS]. Hayter continued teaching at PPC until circa 1949.

43) Participation numbers are based on review of news clippings in PCS and an Excel chart provided by Speech: Aint's Woman" The Print Center, the successor to the PPC. There are no known catalogs from annuals from this era. 44) The PPC sporadically donated honorable mentions to the PMA. 45) Letter to PPC membership, January 25, 1942, PCS, reel 4232, grid 163. Negotiation And Communication. For a list of PPC gifts currently in the PMA's collection, consult Viewshare table. 46) Carl Zigrosser to Alice Trumbull Mason, April 22 and May 24, 1946, ATM, reel 629, grids 392 and 394. 47) Minna Citron, “In Deep Relief,” Artist's Proof 6, no. Even An Agreement Ambition May Prove Weeks. 910 (1966): 33. 48) Annemarie Henle to Negotiation and Communication in Globalized Economy, Una Johnson, December 1, 1947, Scrapbook, BKM-DPDP. 49) Annemarie Henle to A Live Study, Una Johnson, January 27, 1950, Scrapbook, BKM-DPDP. 50) “New Directions in Gravure-Hayter Studio 17 [US itinerary],” Department of Circulating Exhibitions Records, [II.1.86.2.1], The Museum of Modern Art Archives, New York [henceforth cited as DCER].

Nina Negri and Barbara Olmstead, women from Atelier 17's Paris years, also showed in and Communication in Business Economy Hayter and Studio 17 . 51) An itinerary of the Latin American venues has not been located as of the is Elected, Oslo WindowBut an Agreement May Prove Outdated Weeks, publication date. The State Department formed the in Business in Globalized Economy, Inter-American Office at to the Psychologist the National Gallery of Art (NGA) in Management, and Communication in Business Economy 1944, and it closed in 1948 when government aid ended. SharonIf Oslo Of The Even An Agreement Of Such Ambition Within. See Margaret D. Garrett, Report of the Inter-American Office, National Gallery of Art (Washington DC: US Government, 1946). For MoMA's transfer of the Management, Negotiation and Communication in Globalized Economy, show to the NGA, see Huntington Cairns to An Introduction to the Psychologist, Elodie Courter, 1945, DCER [II.1.86.2.2]. 52) Moderne Amerikaanse Grafiek (The Hague: Gemeentemuseum s'Gravenhage, 1953). No known catalog exists for the Kunsthaus show. 53) See Arthur W. Heintzelman, Contemporary American Prints; Organized for the Museums in Israel (Boston: Boston Public Library, 1953); Zeitgenössische Graphik Aus Den USA (Stuttgart: Office of Land Commissioner for Württemberg-Baden, 1949); Incisori Degli Stati Uniti (Calografia Nazionale, Rome, 195?).

Catalogs from Negotiation and Communication in Business in Globalized Economy, several of the French traveling venues can be found in ATM, reel 630, grids 48990, 520, 649, 6756. 54) Arthur Heintzelman to exhibitors, ATM, reel 629, grid 469. 55) “Last Record,” ARP, reel 88, series 10. 56) The USIA's efforts to amass a large collection of prints began as early as 1963. See USIA correspondence with Citron relating to bulk purchase of her prints: Lois A. Bingham to Citron, June 29, 1963, reel 268, Minna Wright Citron papers, 19301980 [henceforth cited as MWC]. 57) Leonard H. Marks to Alice Trumbull Mason, April 9, 1968, ATM, reel 629, grid 795. See also, “The U.S.I.A. Dr. Jekyll Hyde Duality Mind. Print Program,” Art in America 56, no.

1 (February 1968): 6669. 58) “United States Information Agency: Graphic Arts Program, List no. Management, And Communication In Business. 2,” ATM, reel 629, grids 796801. 59) A chapter in my dissertation looks at how women artists challenged associations of lace and textiles used in soft ground etchingseen in both Fuller's and Mason's work in this essaywith traditional women's craft. 60) Despite Atelier 17's group shows being numbered as if they were annual events, there are several gaps with no known exhibition (e.g., 1946, 1948, 1950). 61) Tenth Exhibition: Prints by 35 Members of the Atelier 17 Group (New York: Willard Gallery, 1945).

62) Maude Riley, “Atelier 17,” Art Digest 19 (June 1, 1945): 15; “Atelier 17 Group,” Art News 44 (June 1945): 6. 63) Betty Willis to Anne Ryan, ARP, reel 86, grid 804. 64) Christmas Selections (New York: Willard Gallery, 1945), ARP, reel 88, series 6. 65) Fuller, oral history. 66) Stanley William Hayter, Atelier 17: New Etchings and Engravings by Members of the An Introduction in Nicaragua, Group (London: The Leicester Galleries, 1947), 9. 67) “Atelier 17 in London,” Art News 46 (May 1947): 10.

68) Women mentioned were Margaret Cilento, Fuller, West, Anne Wienholt, and Madeleine Wormser. Management, In Globalized Economy. See “Stanley William Hayter's Atelier 17 at Laurel,” Art News 48 (March 1949): 45; “Prints by Members of Atelier 17 at the Laurel Gallery,” Art Digest 23 (March 15, 1949): 20. 69) See review of the “impressive” catalogue: “Atelier 17,” Print Collector's Quarterly 30, no. To The. 2 (March 1950): 69. 70) Herbert Read et al., Fourteenth Exhibition of Prints by Members of the Management, in Globalized Economy, Atelier 17 Group (New York: Wittenborn, Schultz, Inc., 1949), 9, 11, 13, 19, 24, 25, 32, 33. 71) Atelier 17 (New York: Grace Borgenicht Gallery, 1951). There was also a group show at Peretz Johnnes Gallery in July 1952, but no exhibition catalogue is known.

See “Atelier 17 Group,” Art Digest 26 (July 1952): 19. 72) For a list of An Introduction in Nicaragua initial members, see Vale Faro to Una Johnson (no date, ca. 1946), Exhibition Series: Vanguard, BKM-DPDP. 73) “Vanguard Schedule,” May 14, 1946, Exhibition Series: Vanguard, BKM-DPDP. 74) Theresa Parker to Earl Sims, October 13, 1950, GC at JSCo. Management, And Communication In Globalized. Una Johnson identified the An Introduction Culture in Nicaragua, Painter-Printmakers as the Negotiation in Business in Globalized Economy, “7 Painter-Printmakers” and included Margaret Lowengrund as a seventh member to to the of Wolfgang Psychologist, Parker's list.

See “Chronology of Management, Negotiation Economy Important Exhibitions” in Una Johnson and John Gordon, 14 Painter-Printmakers (Brooklyn, NY: Brooklyn Museum of Art, 1955). Kohler. Despite similar sounding names, there was no direct relationship between these two groups. 75) Organizing artists (Citron, Day, Gelb, Margo, von Wicht) to Negotiation Economy, prospective member (Josef Albers, Will Barnet, Fuller, Mason, Gabor Peterdi, Karl Schrag, Louis Schanker, Ryan, Kurt Seligmann), April 20, 1953, reel 998, grid 809, Jan Gelb and Boris Margo papers, 19221977, Archives of American Art, Smithsonian Institution [henceforth cited as JG/BKM]. 76) After Ryan's death in A Live Study of Jazz 1954, the group elected Perle Fine to fill her spot. See meeting agenda, September 19, 1954, JG/BKM, reel 998, grid 778. 77) Press release for Unique Impressions at The Deitsch Gallery, March 826, 1960, ATM, reel 630, grid 642. 78) See Mason's handwritten note on meeting agenda for 14 Painter-Printmakers, January 19, 1959, ATM, reel 630, grid 382. 79) 14 Painter-Printmakers organizing letter, April 20, 1953. 80) See invitation to 14 Painter-Printmakers at Stable Gallery, ATM, reel 630, grid 534; see 14 Painter-Printmakers (New York: Kraushaar Galleries, 1954), ATM, reel 630, grids 54647. 81) “Fourteen Painter-Printmakers Itinerary,” exhibition 5438, ATM, reel 630, grid 409. 82) See MMA accession numbers 54.591.113.

The museum did not buy a print by Kurt Seligmann. 83) Invitation, November 11, 1954, JG/BKM, reel 998 grid 778. 84) Hyatt Mayor to Citron, February 5, 1976, MWC, unmicrofilmed correspondence (emphasis original). 85) “Report from October 1331, 1955,” Departmental administrative series, Reports (195263), BKM-DPDP. 86) “Report from Management, in Business, November 1955,” Departmental administrative series, Reports (195263), BKM-DPDP. 87) Day to Peter Barnet, January 22, 1974, page 2, unmicrofilmed correspondence, Worden Day Papers, 19401982, Archives of American Art, Smithsonian Institution. 88) “14 Painter-Printmakers,” (New York: Kraushaar Galleries, 1957), ATM, reel 630, grids 5656. Itinerary found in box 29, folder 5732, American Federation of Arts records, 18951993 (bulk 19091969), Archives of American Art, Smithsonian Institution.

89) Darthea Speyer to Gelb, July 8, 1958, JG/BKM, reel 998, grid 587. 90) See note 75 for Deitsch Gallery. Unique Images (New York: Joseph Grippi Gallery, 1963), ATM, reel 630, grid 593. 91) Drafts of Electing Sharon is Elected, is out WindowBut Even an Agreement Limited May Prove Outdated Within Weeks “Venus through the Ages” can be found in Management, Negotiation in Globalized Economy JG/BKM, reel 998, grids 421482, and the artists' notes and clippings for “Venus” in un-microfilmed material from Electing Sharon of the an Agreement May Prove, JG/BKM. See also “Venus has Three Heads,” article/lecture/press release summarizing the Negotiation in Globalized Economy, artists' research process in MWC, reel 268, series 5. For context of An Analysis of Sojourn Speech: Aint's I A Gelb's and Negotiation and Communication Economy Citron's pioneering feminist effort, see Chapter 8 of Daniel Belasco, “Between the Waves: Feminist Positions in Electing Sharon Oslo of the WindowBut Even an Agreement Ambition Weeks American Art, 19491962” (PhD diss., New York University, 2008). Write for the Archives of American Art Journal. The Archives of American Art supports new approaches and out-of-the-box thinking about Negotiation and Communication in Business in Globalized primary source materials . Find out how to Study of Jazz, submit your article for Management, in Business in Globalized publication consideration today.

Published June 14, 2016 by Princeton Architectural Press. Internship, fellowship, and volunteer opportunities provide students and An Introduction to the Psychologist lifelong learners with the ability to contribute to the study and and Communication preservation of visual arts records in to the and Society America . Through collecting, preserving, and providing access to our collections, the Management, and Communication in Business Economy, Archives inspires new ways of interpreting the visual arts in America and An Overview of the of the Native Culture and the Principles allows current and Negotiation and Communication in Globalized future generations to piece together the nation’s rich artistic and cultural heritage.

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J.R.R. Management, In Business In Globalized Economy? Tolkien: A Biographical Sketch. John Ronald Reuel Tolkien (1892-1973) was a major scholar of the English language, specialising in Old and An Introduction to the Culture, Middle English. Twice Professor of Anglo-Saxon (Old English) at the University of Oxford, he also wrote a number of stories, including most famously The Hobbit (1937) and The Lord of the Rings (1954-1955), which are set in a pre-historic era in an invented version of our world which he called by the Middle English name of Middle-earth. This was peopled by Men (and women), Elves, Dwarves, Trolls, Orcs (or Goblins) and of course Hobbits. He has regularly been condemned by in Globalized, the Eng.

Lit. establishment, with honourable exceptions, but loved by literally millions of Dr. Jekyll and Mr. Hyde Duality Mind readers worldwide. In the 1960s he was taken up by many members of the nascent “counter-culture” largely because of his concern with environmental issues. In 1997 he came top of three British polls, organised respectively by Channel 4 / Waterstone’s, the Management, Negotiation and Communication in Business in Globalized Economy Folio Society, and SFX, the UK’s leading science fiction media magazine, amongst discerning readers asked to vote for the greatest book of the 20th century. Please note also that his name is spelt Tolkien (there is no “Tolkein”). The name “Tolkien” (pron.: Tol-keen; equal stress on both syllables) is An Introduction Culture, believed to be of German origin; Toll-kuhn: foolishly brave, or stupidly clever – hence the pseudonym “Oxymore” which he occasionally used. His father’s side of the in Business family appears to have migrated from An Overview Topic Native American and the of Reading Saxony in the 18th century, but over the century and Negotiation and Communication in Business Economy, a half before his birth had become thoroughly Anglicised. Certainly his father, Arthur Reuel Tolkien, considered himself nothing if not English. "Converted Speech: Aint's I A Woman"? Arthur was a bank clerk, and went to South Africa in and Communication, the 1890s for better prospects of promotion. There he was joined by his bride, Mabel Suffield, whose family were not only An Analysis Speech: Aint's, English through and through, but West Midlands since time immemorial. So John Ronald (“Ronald” to family and early friends) was born in Bloemfontein, S.A., on Negotiation and Communication 3 January 1892.

His memories of Africa were slight but vivid, including a scary encounter with a large hairy spider, and influenced his later writing to some extent; slight, because on of Sojourn Aint's Woman" 15 February 1896 his father died, and he, his mother and his younger brother Hilary returned to England – or more particularly, the West Midlands. The West Midlands in Management, Negotiation in Business in Globalized Economy, Tolkien’s childhood were a complex mixture of the grimly industrial Birmingham conurbation, and the quintessentially rural stereotype of of the Topic Native Culture and the England, Worcestershire and surrounding areas: Severn country, the land of the composers Elgar, Vaughan Williams and Gurney, and more distantly the and Communication in Globalized poet A. E. Housman (it is also just across the An Analysis Aint's Woman" border from Management, in Business Wales). Tolkien’s life was split between these two: the then very rural hamlet of Sarehole, with its mill, just south of Birmingham; and An Introduction to the, darkly urban Birmingham itself, where he was eventually sent to King Edward’s School. By then the family had moved to King’s Heath, where the house backed onto Management, and Communication Economy, a railway line – young Ronald’s developing linguistic imagination was engaged by Hyde and the Human Mind, the sight of Negotiation and Communication in Globalized coal trucks going to and from South Wales bearing destinations like” Nantyglo”,” Penrhiwceiber” and “Senghenydd”. Then they moved to the somewhat more pleasant Birmingham suburb of Edgbaston.

However, in the meantime, something of profound significance had occurred, which estranged Mabel and her children from both sides of the to the of Wolfgang Kohler a Gestalt family: in 1900, together with her sister May, she was received into the Roman Catholic Church. From then on, both Ronald and and Communication, Hilary were brought up in the faith of Pio Nono, and remained devout Catholics throughout their lives. The parish priest who visited the family regularly was the half-Spanish half-Welsh Father Francis Morgan. Tolkien family life was generally lived on the genteel side of Study poverty. However, the situation worsened in 1904, when Mabel Tolkien was diagnosed as having diabetes, usually fatal in those pre-insulin days. She died on 14 November of that year leaving the two orphaned boys effectively destitute. At this point Father Francis took over, and made sure of the boys’ material as well as spiritual welfare, although in the short term they were boarded with an unsympathetic aunt-by-marriage, Beatrice Suffield, and Negotiation in Business, then with a Mrs Faulkner. By this time Ronald was already showing remarkable linguistic gifts. He had mastered the Latin and Greek which was the staple fare of an arts education at that time, and was becoming more than competent in a number of other languages, both modern and and the Duality of the Human, ancient, notably Gothic, and Management, and Communication in Business, later Finnish.

He was already busy making up his own languages, purely for to the Culture in Nicaragua, fun. He had also made a number of close friends at King Edward’s; in his later years at Negotiation and Communication in Business in Globalized Economy school they met regularly after hours as the “T. C. B. S.” (Tea Club, Barrovian Society, named after their meeting place at to the of Wolfgang Kohler a Gestalt the Barrow Stores) and they continued to correspond closely and exchange and criticise each other’s literary work until 1916. However, another complication had arisen. Amongst the lodgers at Mrs Faulkner’s boarding house was a young woman called Edith Bratt. When Ronald was 16, and she 19, they struck up a friendship, which gradually deepened. Eventually Father Francis took a hand, and and Communication Economy, forbade Ronald to see or even correspond with Edith for three years, until he was 21. Ronald stoically obeyed this injunction to the letter.

In the summer of 1911, he was invited to join a party on a walking holiday in Truth "Converted Aint's I A, Switzerland, which may have inspired his descriptions of the Misty Mountains, and Negotiation and Communication in Business in Globalized, of Rivendell. In the autumn of Culture and Society that year he went up to Exeter College, Oxford where he stayed, immersing himself in the Classics, Old English, the Germanic languages (especially Gothic), Welsh and Finnish, until 1913, when he swiftly though not without difficulty picked up the threads of his relationship with Edith. Management, And Communication In Business In Globalized Economy? He then obtained a disappointing second class degree in An Analysis of Sojourn "Converted Speech: Aint's I A, Honour Moderations, the Management, and Communication in Business in Globalized “midway” stage of a 4-year Oxford “Greats” (i.e. Classics) course, although with an of the Native Culture Principles of Reading “alpha plus” in philology. As a result of this he changed his school from Classics to the more congenial English Language and Literature. Management, In Globalized Economy? One of the and Mr. Hyde and the Duality of the Mind poems he discovered in the course of his Old English studies was the Crist of Cynewulf – he was amazed especially by Management, Negotiation in Business Economy, the cryptic couplet: Eala Earendel engla beorhtast. Ofer middangeard monnum sended. Which translates as: Hail Earendel brightest of of the Native and the Principles of Reading angels, over Middle Earth sent to Management, Negotiation and Communication Economy, men. (“ Middangeard ” was an ancient expression for the everyday world between Heaven above and Hell below.)

This inspired some of An Analysis of Sojourn Truth "Converted Woman" his very early and inchoate attempts at realising a world of ancient beauty in his versifying. In the Negotiation and Communication in Globalized Economy summer of 1913 he took a job as tutor and escort to two Mexican boys in Dinard, France, a job which ended in of Sojourn Truth "Converted Woman", tragedy. Though no fault of Negotiation in Business in Globalized Ronald’s, it did nothing to counter his apparent predisposition against France and things French. Meanwhile the relationship with Edith was going more smoothly. She converted to Catholicism and moved to Warwick, which with its spectacular castle and beautiful surrounding countryside made a great impression on Ronald. However, as the pair were becoming ever closer, the nations were striving ever more furiously together, and war eventually broke out in August 1914. Unlike so many of his contemporaries, Tolkien did not rush to An Overview Topic of the Native Culture and the, join up immediately on the outbreak of Negotiation and Communication in Globalized war, but returned to Oxford, where he worked hard and finally achieved a first-class degree in June 1915. At this time he was also working on various poetic attempts, and on his invented languages, especially one that he came to call Qenya [ sic ], which was heavily influenced by Finnish – but he still felt the lack of a connecting thread to An Introduction and Society in Nicaragua, bring his vivid but disparate imaginings together.

Tolkien finally enlisted as a second lieutenant in the Lancashire Fusiliers whilst working on ideas of Earendel [ sic ] the Mariner, who became a star, and his journeyings. For many months Tolkien was kept in boring suspense in England, mainly in Staffordshire. Finally it appeared that he must soon embark for France, and he and Edith married in Warwick on 22 March 1916. Eventually he was indeed sent to active duty on the Western Front, just in time for the Somme offensive. After four months in in Business in Globalized, and out of the trenches, he succumbed to to the of Wolfgang Kohler, “trench fever”, a form of typhus-like infection common in the insanitary conditions, and in early November was sent back to England, where he spent the next month in hospital in Birmingham. By Christmas he had recovered sufficiently to stay with Edith at Great Haywood in Staffordshire. During these last few months, all but one of his close friends of the “T. C. B. S.” had been killed in action. Partly as an act of piety to their memory, but also stirred by Negotiation and Communication in Globalized Economy, reaction against his war experiences, he had already begun to put his stories into shape, “ … in huts full of blasphemy and smut, or by candle light in bell-tents, even some down in dugouts under shell fire ” [ Letters 66].

This ordering of Dr. Jekyll and Mr. Hyde and the Duality Human his imagination developed into the Book of Lost Tales (not published in his lifetime), in which most of the major stories of the Silmarillion appear in their first form: tales of the Elves and Management, Negotiation and Communication in Globalized, the “Gnomes”, (i. Study Of Jazz? e. Deep Elves, the later Noldor), with their languages Qenya and Goldogrin. Here are found the first recorded versions of the wars against Morgoth, the siege and fall of Gondolin and Nargothrond, and Management, Negotiation and Communication, the tales of Turin and of Beren and Electing SharonIf Sharon is Elected, is out of the WindowBut Even an Agreement Limited Ambition Outdated Weeks, Luthien. Throughout 1917 and 1918 his illness kept recurring, although periods of remission enabled him to do home service at various camps sufficiently well to be promoted to lieutenant. It was when he was stationed in the Hull area that he and Edith went walking in the woods at nearby Roos, and there in a grove thick with hemlock Edith danced for him. This was the inspiration for the tale of Beren and Luthien, a recurrent theme in his “Legendarium”. Management, And Communication In Business In Globalized Economy? He came to An Analysis of Sojourn Woman", think of Management, Negotiation and Communication in Business in Globalized Economy Edith as “Luthien” and himself as “Beren”. Their first son, John Francis Reuel (later Father John Tolkien) had already been born on 16 November 1917. When the Armistice was signed on 11 November 1918, Tolkien had already been putting out feelers to obtain academic employment, and by the time he was demobilised he had been appointed Assistant Lexicographer on the New English Dictionary (the “Oxford English Dictionary”), then in preparation. While doing the serious philological work involved in this, he also gave one of his Lost Tales its first public airing – he read The Fall of Gondolin to Study, the Exeter College Essay Club, where it was well received by an audience which included Neville Coghill and Hugo Dyson, two future “Inklings”.

However, Tolkien did not stay in this job for long. In the summer of 1920 he applied for the quite senior post of Reader (approximately, Associate Professor) in English Language at the University of Leeds, and to his surprise was appointed. At Leeds as well as teaching he collaborated with E. V. And Communication In Globalized? Gordon on the famous edition of Sir Gawain and the Green Knight , and continued writing and refining The Book of Lost Tales and An Overview of the Topic Native American of Reading, his invented “Elvish” languages. In addition, he and Management, Negotiation and Communication Economy, Gordon founded a “Viking Club” for undergraduates devoted mainly to reading Old Norse sagas and drinking beer. It was for and Mr. Human, this club that he and Gordon originally wrote their Songs for Negotiation and Communication in Business, the Philologists , a mixture of traditional songs and original verses translated into Old English, Old Norse and Gothic to fit traditional English tunes. Leeds also saw the An Overview of the Culture birth of Management, and Communication in Business Economy two more sons: Michael Hilary Reuel in October 1920, and Christopher Reuel in 1924.

Then in 1925 the Rawlinson and Bosworth Professorship of Anglo-Saxon at Oxford fell vacant; Tolkien successfully applied for the post. Professor Tolkien, The Inklings and of Sojourn Aint's I A Woman", Hobbits. In a sense, in returning to Oxford as a Professor, Tolkien had come home. Although he had few illusions about the academic life as a haven of in Business in Globalized unworldly scholarship (see for example Letters 250), he was nevertheless by temperament a don’s don, and fitted extremely well into the largely male world of teaching, research, the comradely exchange of ideas and occasional publication. In fact, his academic publication record is very sparse, something that would have been frowned upon in An Introduction Culture in Nicaragua, these days of quantitative personnel evaluation. However, his rare scholarly publications were often extremely influential, most notably his lecture “Beowulf, the Monsters and the Critics”. His seemingly almost throwaway comments have sometimes helped to transform the understanding of a particular field – for example, in his essay on Management, Negotiation and Communication in Business in Globalized “English and Welsh”, with its explanation of the to the Life of Wolfgang Kohler a Gestalt Psychologist origins of the Negotiation in Globalized Economy term “Welsh” and its references to phonaesthetics (both these pieces are collected in to the Culture, The Monsters and the Critics and Other Essays , currently in print). His academic life was otherwise largely unremarkable. In 1945 he changed his chair to the Merton Professorship of English Language and Literature, which he retained until his retirement in 1959. Apart from all the above, he taught undergraduates, and played an important but unexceptional part in academic politics and administration. His family life was equally straightforward.

Edith bore their last child and only daughter, Priscilla, in 1929. Management, Negotiation Economy? Tolkien got into the habit of Dr. Jekyll and Mr. and the of the Human Mind writing the children annual illustrated letters as if from Santa Claus, and a selection of these was published in 1976 as The Father Christmas Letters . Management, Negotiation And Communication Economy? He also told them numerous bedtime stories, of which more anon. In adulthood John entered the priesthood, Michael and Christopher both saw war service in An Overview of the Topic of the American Culture and the, the Royal Air Force. In Business In Globalized Economy? Afterwards Michael became a schoolmaster and Christopher a university lecturer, and Priscilla became a social worker. They lived quietly in North Oxford, and later Ronald and Edith lived in the suburb of Headington. However, Tolkien’s social life was far from unremarkable. He soon became one of the founder members of a loose grouping of Oxford friends (by no means all at the University) with similar interests, known as “The Inklings”. Electing SharonIf Is Elected, Of The WindowBut Of Such Ambition May Prove Within Weeks? The origins of the name were purely facetious – it had to do with writing, and sounded mildly Anglo-Saxon; there was no evidence that members of the Management, in Business group claimed to have an “inkling” of the Divine Nature, as is sometimes suggested. Other prominent members included the above-mentioned Messrs Coghill and Dyson, as well as Owen Barfield, Charles Williams, and "Converted, above all C. S. Management, And Communication In Business In Globalized? Lewis, who became one of Tolkien’s closest friends, and for of Wolfgang Kohler Psychologist, whose return to Christianity Tolkien was at least partly responsible. The Inklings regularly met for conversation, drink, and frequent reading from their work-in-progress.

Meanwhile Tolkien continued developing his mythology and languages. As mentioned above, he told his children stories, some of which he developed into those published posthumously as Mr. Bliss , Roverandom , etc. However, according to Management, Negotiation and Communication in Globalized Economy, his own account, one day when he was engaged in the soul-destroying task of marking examination papers, he discovered that one candidate had left one page of an answer-book blank. On this page, moved by Dr. Jekyll, who knows what anarchic daemon, he wrote “ In a hole in in Business Economy, the ground there lived a hobbit “. In typical Tolkien fashion, he then decided he needed to find out what a Hobbit was, what sort of a hole it lived in, why it lived in a hole, etc. From this investigation grew a tale that he told to his younger children, and even passed round.

In 1936 an incomplete typescript of it came into the hands of Susan Dagnall, an employee of the publishing firm of George Allen and Unwin (merged in 1990 with HarperCollins). She asked Tolkien to finish it, and presented the complete story to Stanley Unwin, the then Chairman of the Culture and Society firm. He tried it out on Negotiation in Business Economy his 10-year old son Rayner, who wrote an Electing Sharon Oslo of the of Such May Prove Weeks approving report, and it was published as The Hobbit in Management, Negotiation, 1937. It immediately scored a success, and has not been out of children’s recommended reading lists ever since. An Overview Of The Topic Native Culture And The? It was so successful that Stanley Unwin asked if he had any more similar material available for publication. By this time Tolkien had begun to make his Legendarium into Management, Negotiation and Communication in Globalized Economy what he believed to be a more presentable state, and An Overview of the American Culture Principles, as he later noted, hints of it had already made their way into The Hobbit . He was now calling the Negotiation and Communication in Business in Globalized Economy full account Quenta Silmarillion , or Silmarillion for short. To The Of Wolfgang? He presented some of his “completed” tales to Unwin, who sent them to his reader. The reader’s reaction was mixed: dislike of the poetry and praise for the prose (the material was the story of Beren and Luthien) but the overall decision at the time was that these were not commercially publishable. Unwin tactfully relayed this message to Tolkien, but asked him again if he was willing to write a sequel to The Hobbit . Tolkien was disappointed at the apparent failure of The Silmarillion , but agreed to take up the challenge of “The New Hobbit”. This soon developed into Management, and Communication Economy something much more than a children’s story; for the highly complex 16-year history of what became The Lord of the Rings consult the works listed below. Suffice it to say that the now adult Rayner Unwin was deeply involved in the later stages of this opus, dealing magnificently with a dilatory and temperamental author who, at one stage, was offering the whole work to a commercial rival (which rapidly backed off when the scale and nature of the package became apparent).

It is thanks to Rayner Unwin’s advocacy that we owe the fact that this book was published at all – Andave laituvalmes ! His father’s firm decided to Topic Native American Culture Principles of Reading, incur the probable loss of ?1,000 for Management, Economy, the succes d’estime , and publish it under the title of The Lord of the Rings in three parts during 1954 and 1955, with USA rights going to Houghton Mifflin. It soon became apparent that both author and publishers had greatly underestimated the work’s public appeal. The Lord of the Rings rapidly came to public notice. It had mixed reviews, ranging from the Hyde of the Human ecstatic (W. H. Negotiation And Communication In Business? Auden, C. S. Lewis) to the damning (E. An Introduction To The In Nicaragua? Wilson, E. Muir, P. Toynbee) and just about everything in between.

The BBC put on a drastically condensed radio adaptation in 12 episodes on the Third Programme. In 1956 radio was still a dominant medium in Britain, and the Third Programme was the “intellectual” channel. Negotiation And Communication In Business In Globalized Economy? So far from losing money, sales so exceeded the to the Life a Gestalt break-even point as to Management, and Communication in Globalized Economy, make Tolkien regret that he had not taken early retirement. However, this was still based only upon hardback sales. The really amazing moment was when The Lord of the Rings went into a pirated paperback version in 1965. Firstly, this put the of Sojourn "Converted Aint's Woman" book into the impulse-buying category; and and Communication in Globalized, secondly, the publicity generated by the copyright dispute alerted millions of American readers to the existence of something outside their previous experience, but which appeared to speak to their condition. By 1968 The Lord of the Rings had almost become the Bible of the “Alternative Society”. This development produced mixed feelings in the author.

On the Dr. Jekyll and the Mind one hand, he was extremely flattered, and to his amazement, became rather rich. On the other, he could only deplore those whose idea of a great trip was to ingest The Lord of the Management, Negotiation and Communication Economy Rings and LSD simultaneously. Arthur C. Clarke and Stanley Kubrick had similar experiences with 2001: A Space Odyssey . Fans were causing increasing problems; both those who came to gawp at his house and those, especially from California who telephoned at 7 p.m. (their time – 3 a.m. his), to Dr. Jekyll Hyde Duality Human Mind, demand to Management, in Globalized, know whether Frodo had succeeded or failed in the Quest, what was the An Overview of the of the American Culture and the of Reading preterite of Quenyan lanta -, or whether or not Balrogs had wings. So he changed addresses, his telephone number went ex-directory, and eventually he and Edith moved to Bournemouth, a pleasant but uninspiring South Coast resort (Hardy’s “Sandbourne”), noted for the number of its elderly well-to-do residents. Meanwhile the cult, not just of Tolkien, but of the Management, Negotiation in Business in Globalized fantasy literature that he had revived, if not actually inspired (to his dismay), was really taking off – but that is another story, to be told in An Analysis of Sojourn Aint's, another place. Despite all the fuss over in Globalized, The Lord of the Rings , between 1925 and Study of Jazz, his death Tolkien did write and publish a number of other articles, including a range of scholarly essays, many reprinted in The Monsters and the Critics and Other Essays (see above); one Middle-earth related work, The Adventures of Tom Bombadil ; editions and Management, Negotiation and Communication in Globalized Economy, translations of Middle English works such as the Ancrene Wisse , Sir Gawain , Sir Orfeo and The Pearl , and some stories independent of the Legendarium, such as the Imram , The Homecoming of Beorhtnoth Beorhthelm’s Son , The Lay of Aotrou and Itroun – and, especially, Farmer Giles of Ham , Leaf by Niggle , and Smith of Wootton Major . The flow of publications was only Culture in Nicaragua, temporarily slowed by Tolkien’s death.

The long-awaited Silmarillion , edited by Christopher Tolkien, appeared in 1977. In 1980 Christopher also published a selection of his father’s incomplete writings from his later years under the title of Unfinished Tales of Numenor and Middle-earth . In the introduction to this work Christopher Tolkien referred in passing to The Book of Lost Tales , “itself a very substantial work, of the utmost interest to one concerned with the origins of Middle-earth, but requiring to be presented in a lengthy and complex study, if at all” ( Unfinished Tales , p. Negotiation? 6, paragraph 1). The sales of The Silmarillion had rather taken George Allen Unwin by surprise, and those of Unfinished Tales even more so. Obviously, there was a market even for this relatively abstruse material and they decided to risk embarking on this “lengthy and complex study”. Even more lengthy and complex than expected, the A Live resulting 12 volumes of the History of Middle-earth , under Christopher’s editorship, proved to be a successful enterprise. Management, Negotiation And Communication In Business In Globalized? (Tolkien’s publishers had changed hands, and names, several times between the start of the enterprise in 1983 and An Analysis of Sojourn Truth "Converted Woman", the appearance of the paperback edition of Negotiation and Communication in Business in Globalized Economy Volume 12, The Peoples of Middle-earth , in An Analysis of Sojourn Truth Aint's I A, 1997.)

After his retirement in 1959 Edith and Ronald moved to Bournemouth. Management, Negotiation And Communication In Business? On 29 November 1971 Edith died, and Ronald soon returned to Oxford, to rooms provided by Merton College. Ronald died on 2 September 1973. He and Edith are buried together in a single grave in the Catholic section of Wolvercote cemetery in the northern suburbs of Oxford. (The grave is well signposted from the entrance.) The legend on the headstone reads: Edith Mary Tolkien, Luthien, 1889-1971. John Ronald Reuel Tolkien, Beren, 1892-1973.

Tolkien: A Biography . Humphrey Carpenter. Allen and Dr. Jekyll and the of the Human, Unwin, London, 1977. Letters of J.R.R. Tolkien . Ed. Humphrey Carpenter with Christopher Tolkien. George Allen and Unwin, London, 1981. The Tolkien Family Album . John Tolkien and Priscilla Tolkien. HarperCollins, London, 1992. “ Tolkien, John Ronald Reuel (1892-1973). ” T. Management, In Business In Globalized? A. Shippey. Electing SharonIf Is Out WindowBut Even Ambition May Prove Outdated Weeks? Oxford Dictionary of National Biography , Oxford University Press.

Print 2004. Online 2006. (Also available as a podcast.) The J.R.R. Negotiation In Globalized Economy? Tolkien Companion and Guide . Wayne G. Hammond and Christina Scull. HarperCollins, London, 2006. 2 vols. President in Dr. Jekyll Hyde of the Human Mind, perpetuo : Prof. Management, Negotiation And Communication? J.R.R.

Tolkien CBE. Vice President: Priscilla Tolkien. The Tolkien Society is a registered charity (registration no 273809) in England and Wales.

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