In 1873 at the age of thirty-nine, Viktor Alexandrovich Hartmann, Russian architect and painter, died from an aneurysm. He was at the forefront of the Russian Revival, friend of and inspiration to many contemporaries in the field of architecture, art and music. Shortly after his death, Vladimir Vasilievich Stasov, helped to arrange an exhibition of Hartmann’s work.
Mussorgsky poured out his feeling about his friend’s death in a letter to Stassov. who shared the Russian nationalist tendencies of Hartmann and Mussorgsky and had brought the two men together in the first place.
Mussorgsky’s piano suite was not published until after his death, is dedicated to Stassov. Stassov, with whom Mussorgsky had discussed the suite as he composed it, explained in the first edition of the Pictures at an Exhibition: “The composer here portrays himself walking now right, now left, now as an idle person, now urged to go near a picture; at times his joyous appearance is dampened, he thinks in sadness of his dead friend. …”
Sir Georg Solti – Chicago Symphony Orchestra 1980
via Viktor Hartmann: Born May 5, 1834
From age twelve until age ninety-nine, William Henry Jackson was involved on some level with photography. After a tour of duty in the Civil War, he headed West and eventually settled in Omaha, Nebraska, where he opened a portrait photography studio with his brother Edward. As Jackson explained, however, “Portrait photography never had any charms for me, so I sought my subjects from the house-tops, and finally from the hill-tops and about the surrounding country; the taste strengthening as my successes became greater in proportion to the failures.” In 1870 he accompanied geologist Ferdinand Vandiveer Hayden on an expedition across Wyoming, along the Green River, and eventually into the Yellowstone Lake area. Jackson’s images were the first published photographs of Yellowstone. Partly on the strength of these photographs, the area became America’s first national park in March 1872.
On one of several independent expeditions that he headed, Jackson also became the first to photograph the prehistoric Native American dwellings in Mesa Verde, Colorado. He finally settled in Denver, Colorado, where he worked as a commercial landscape photographer and continued to publish his photographs as postcards.
Loren MacIver …was essentially a self-taught painter, having attended classes at the Art Students League only briefly at ages ten and eleven. Her work was included in group shows at New York’s Contemporary Arts Gallery in 1933 and 1942…The Museum of Modern Art acquired one of her works in 1935, well before her first one-person exhibition in 1938 at Marian Willard’s East River Gallery. From 1936 to 1939 she worked on the Federal Art Project of the Works Progress Administration.
Tracking Loren MacIver~ http://brooklynrail.org/2008/03/artseen/tracking
Collection at The Met~ http://metmuseum.org/art/collection/search#!/search?artist=MacIver,%20Loren$Loren%20MacIver
Barbara Kruger ~ By Christopher Bollen ~ Published 02/28/13
Kruger’s spectacular corpus, spanning four decades, is often described as political—and it is. But just as much it creates these moments of internal identity confusion in which we don’t know if we are acting as victim, oppressor, or witness. Usually, we are all of the above.
Kruger famously—and perhaps, at first, inadvertently—got her training as an artist the hard way: through a full-time job as a magazine designer at Condé Nast, starting out at Mademoiselle. And while some of those early layout techniques of bold graphics inform her work, a pulsating visual-linguistic triple-take keeps all of her pieces so alive that she’s become known for her own immediately identifiable, authoritative style—even if authority is what is being questioned in the authoritative typeface.
Source: Barbara Kruger – Page – Interview Magazine
Many women, as well as men, who earned modest reputations with their camera in the 1890s, took up the craft as a hobby…Johnston, however, took up photography as a business; it was no idle amusement for her. “I have not been able to lose sight of the pecuniary side,” she emphasized, “though for the sake of money or anything else I would never publish a photograph which fell below the standard I have set for myself.”
Frances Benjamin Johnston~ http://www.cliohistory.org/exhibits/johnston/
Library of Congress~ http://www.loc.gov/rr/print/coll/fbjchron.html