February 29, 1940: Hattie McDaniel wins an Oscar

The 12th Academy Awards ceremony was held on February 29, 1940, at the Ambassador Hotel in Los Angeles, with Bob Hope hosting. Gone With The Wind was nominated for 13 awards and won for Outstanding Production, Directing (Victor Fleming), Actress (Vivien Leigh), Art Direction (Lyle Wheeler), Cinematography HM(Color) (Ernest Haller and Ray Rennahan), and Film Editing (Hal Kern and James Newcom). Sidney Howard posthumously received the Writing (Screenplay) award, and production designer William Cameron Menzies received a special award for “outstanding use of color for the enhancement of dramatic mood in the production of Gone With The Wind.” In the Actress in Supporting Role category, Hattie McDaniel made history becoming the first African American to receive an Academy Award.

Here are five things you should know about the first African American to win an Academy Award~
First Black Winner Accepted Her Honor in a Segregated ‘No Blacks’ Hotel in L.A.~

The Curious Case Of A Missing Academy Award~ http://www.npr.org/templates/story/story.php?storyId=100937570

The Artwork of Nijinsky~

nijinskySource: Art Found Out: “Vaslav Nijinsky – in Raw Vision magazine”

For a short period of time, 1918-19, not long before mental illness completely overtook his life, Vaslav Nijinsky created a small body of drawings and paintings…The largest collection of this Nijinsky’s art is in the collection of the Foundation John Neumeier. Neumeier is a dancer, choreographer, and the director of the Hamburg Ballet.

Nijinsky: A Dance with Madness
ARTS ABROAD; At the Altar of Nijinsky, Elusive Firebird and Faun

Sir John Tenniel: Born February 28, 1820


John Tenniel was born in Kensington, London, on 28 February 1820, the youngest son of John Baptist Tenniel, of Huguenot lineage. He was a skilful artist from an early age, and later studied at the Royal Academy Schools, but became dissatisfied with the teaching there, and decided to follow a more independent line. He left for the Clipstone Street Art Society where he met his lifelong friend, Charles Keene. They jointly produced an early work entitled “Book of Beauty,” a series of humorous sketches which were exhibited and subsequently sold. At the age of sixteen, he exhibited some of his early works in oils at the Suffolk Street Galleries in London. For a period of five years from the age of seventeen, he was a contributor to exhibitions at the Royal Academy. At the age of twenty he was accidentally blinded in one eye as a result of a fencing match with his father. He submitted a cartoon entitled “The Spirit of Justice” for a competition aimed at attracting artists to decorate the new Houses of Parliament, but his work was not accepted. However, in 1845 he was commissioned to paint a fresco for the House of Lords. He spent a short time in Munich to study the art of fresco in preparation for his mural painting in the House entitled, “Saint Cecilia.”


Realising that paintings in oils were unlikely to bring him either fame or fortune, he decided to turn his hand to book illustration. His earliest recorded illustrations appeared in Hall’s Book of British Ballads dated 1842. He was sole illustrator for La Motte-Fouqué’s Undine in 1845. His series of black and white drawings for an edition of Aesop’s Fables were published by John Murray in 1848. His skill at drawing animals and men in dramatic situations caught the eye of Mark Lemon, editor of Punch, a magazine then in the early stages of establishing itself as a popular Victorian weekly publication of satire and humour. Richard Doyle, one of the key artists associated with the magazine resigned in 1850 leaving a vacancy which, on the suggestion of Douglas Jerrold, was filled by Tenniel. Thus began a lifelong position at the Punch Office culminating in Tenniel becoming the foremost illustrator of its pages. He contributed to volume nineteen and his first political cartoon appeared in volume twenty. Tenniel married in 1852, but sadly his wife died two years later; there were no children. He professed to have no political opinions but followed the leanings of his employers. He also declared that he never used models, or nature for the figure, or drapery, or anything else, but had a wonderful memory of observation for anything he saw.

Tenniel cartoons for PUNCH: http://punch.photoshelter.com/gallery/John-Tenniel-Cartoons/G0000JCRWVO.C79Y/

Tenniel illustrations for Aesop’s Fables: https://archive.org/details/aesopsfablesane00aesogoog

Tenniel illustrations for Alice in Wonderland: http://commons.wikimedia.org/wiki/Category:John_Tenniel%27s_illustrations_of_Alice%27s_Adventures_in_Wonderland

Tenniel illustrations for Through the Looking-Glass and What Alice Found There: http://commons.wikimedia.org/wiki/Category:John_Tenniel%27s_illustrations_of_Through_the_Looking-Glass_and_What_Alice_Found_There

Elizabeth Taylor: Born February 27, 1932

awetElizabeth Rosemond Taylor was considered one of the last, if not the last, major star to have come out of the old Hollywood studio system.
Biography on IMDb~ http://www.imdb.com/name/nm0000072/bio

Time/LIFE photographs~ http://time.com/3650010/elizabeth-taylor-photos-from-a-legendary-life/

ANDY’S PORTRAITS OF LIZ by Jerry Saltz~ http://www.artnet.com/magazineus/features/saltz/andy-warhols-portraits-of-liz3-24-11.asp

The Elizabeth Taylor AIDS Foundation (ETAF)

Elihu Vedder: Born February 26, 1836

During the second half of the nineteenth century Elihu Vedder was among the ev1870most imaginative and independent of the American expatriate artists. After studying with the genre painter Tompkins H. Matteson in New York, Vedder traveled to Paris…In 1857 he moved to Florence…Vedder returned to the United States in 1860 and began to establish a reputation for imaginative literary paintings and book illustrations. He became a member of the Tile Club and the Century Association and an intimate of notable artistic and literary circles in New York.
About this artist~ https://collections.lacma.org/node/167054

Elihu Vedder (1836–1923)~ http://www.questroyalfineart.com/artist/elihu-vedder/
From the Met Collection~ https://tinyurl.com/zevyv9f
Elihu Vedder’s Rubáiyát of Omar Khayyám~ http://americanart.si.edu/exhibitions/online/vedder/rubaiyatmain.html

Johnny Cash: Born February 26, 1932


kidjohnnyJohnny Cash was a towering figure in 20th century American music, a minimalist with a booming Old Testament baritone who could wrench an abundance of power from stark settings. At first Cash was backed by guitar and bass; in the end it was simply guitar. But when a voice can tell a story with as much resonance as Cash’s could, not much else is needed.


Cash’s songs – from his early gospel recordings and the resonant outlaw-country of Fifties classics like “Folsom Prison Blues” to late efforts like his unlikely, gut-wrenching cover of Nine Inch Nails’ “Hurt” – influenced not only his fellow country musicians, but also rockers from Bono to Bob Dylan. By turns those songs were laden with pathos, whimsy, regret, hope, lust, and fury; they always cut to the heart of its subject matter, whether it be God, love or the plight of prisoners and Native Americans. Cash led a tumultuous life, battling drug addiction, chaffing against orthodoxy, and doing things his own way. But by the end The Man in Black became an icon, a man who earns almost universal respect among music fans.


George Harrison: Born on February 25, 1943

George Harrison

georgewguitarAs a songwriter, Harrison was continually out-gunned by Lennon-McCartney. The intense trio of songs he contributed to Revolver — “Taxman,” “I Want to Tell You,” and “Love You To” — would be his most significant contribution to a single Beatles album. He had other classics to his credit, including “Here Comes the Sun” and “Something,” his first Beatles A-side, a track which would top the charts in America. (Both came off 1969’s Abbey Road) But Harrison also funneled his creativity into the guitar, a suitably introspective pursuit. From his raw, early rock-and-roll influences he extrapolated a wide-ranging and poetic style. In the late sixties, he helped introduce the slide guitar to prominence; he also popularized the 12-string Rickenbacker guitar and its ultra-distinctive sound on 1964’s A Hard Day’s Night.




“The art Hitler hated.”


I have observed among the pictures submitted here quite a few paintings which make one actually come to the conclusion that the eye shows things differently to certain human beings than the way they really are, that is, that there really are men who see the present population of our nation only as rotten cretins; who, on principle, see meadows blue, skies green, clouds sulphur yellow, and so on—or, as they say, experience them as such. I do not want to enter into an argument here about the question of whether the persons concerned really do or do not see or feel in such a way, but in the name of the German people, I want to forbid these pitiful misfortunates who quite obviously suffer from an eye disease, to try vehemently to foist these products of their misinterpretation upon the age we live in, or even to wish to present them as “Art.”   ~Adolph Hitler, 1937