Littérature scientifique sur le sujet « 1950s Illustration »
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Articles de revues sur le sujet "1950s Illustration"
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Zeller, Sara. « Centering the Periphery : Reassessing Swiss Graphic Design Through the Prism of Regional Characteristics ». Design Issues 37, no 1 (janvier 2021) : 64–75. http://dx.doi.org/10.1162/desi_a_00625.
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In the literature, the history of Swiss graphic design is regularly told as a linear development from illustrative tendencies to Modernist abstraction. Recent research has shown that these narratives were constructed and disseminated by a group of Modernist graphic designers through journals and their own publications. By the mid-1950s, the Modernists themselves began dividing designers of the time into two camps: the individual or illustrative versus the abstract or Modern. This dichotomy, which established itself quickly, continues to shape the narrative of Swiss graphic design to this day. However, this article argues that the reality of graphic design practice in Switzerland in the 1950s was more diverse than previously assumed. Outside an exclusive circle of practitioners, illustration and abstraction were understood more as design methods than as attitudes. Taking this as its starting point, this article looks beyond this dichotomy by drawing on unpublished sources of the time and, thereby, challenges the traditional understanding of Swiss graphic design.
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Korvatskaya, Elena Sergeevna. « The objective world of Soviet everydaylife in illustrated books for children of the 1950s and 1960s ». Культура и искусство, no 12 (décembre 2023) : 12–33. http://dx.doi.org/10.7256/2454-0625.2023.12.69124.
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The topic of Soviet everyday life is quite popular in the scientific community. The children's publications themselves are still outside the scope of research practices in the field of studying the culture of everyday life. The article analyzes the subject world in the domestic book illustration of the late 1940s-1960s. The aim is to identify markers of the everyday culture of the Soviet city, in particular Leningrad. The boundaries of the study are publications issued during the specified time period and addressed to children and adolescents. The attention was given to books about the life of a Soviet child of the Leningrad branch of Detgiz publishing house. It is established that in the children's illustrated book of the 1940s-1960s, large objects that visually defined the boundaries of everyday life, as well as elementary things for the organization of everyday life, became objects of everyday culture more often. Small interior items that have a decorative function will appear to a greater extent by the 1960s, that is, the conditions and priorities in the formation of the life of a Soviet citizen will change, and a tendency to detail the world of everyday life is formed in the book illustration. In the course of the study, a group of artists was identified who paid great attention to the depiction of everyday objects, but the illustrators did not separately show the belonging of the plot and the created space to a certain locality. They created a collective image of the everyday life of the Soviet country. Therefore, in the book illustration of the late 1940s-1960s in the subject world of Leningrad, it is not yet possible to clearly distinguish the features of the «Leningrad style», but it is possible to reconstruct the daily life of a Soviet citizen
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Bohn, Thomas M. « Bagpipe Players and Painted Birds : Some Reflections on Writing the History of the People in the Marshes from a German Perspective ». Journal of Belarusian Studies 10, no 1 (25 novembre 2020) : 32–43. http://dx.doi.org/10.30965/20526512-12350001.
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Abstract The article adopts an approach to the history of Belarus’, which plays with imaginations. It opens up two vistas concerning the past that are marked by fictional texts. The former belongs to developments before World War I and is connected with a short story by Jakub Kolas, whereas the latter attends to events of World War II and is related to a novel by Jerzy Kosiński. In both cases supplements to the main texts offer insights into Soviet history, on the one hand into the era of revolutionary culture of the 1920s, and on the other hand into the political thaw of the 1950s. The result is an illustration of the metamorphoses that took place in the transitional region of Central and Eastern Europe in the process of Soviet modernization.
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Hedenborg White, Manon. « Magic in Art, Poetry, and Biography ». Religion and the Arts 28, no 1-2 (27 mars 2024) : 133–69. http://dx.doi.org/10.1163/15685292-02801005.
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Abstract The article analyzes four works of poetry and illustration produced by the artist, poet, and occultist Marjorie Cameron (1922–1995) in the 1950s and 1960s. Widow of rocket scientist and occultist John “Jack” Whiteside Parsons (1914–1952), an early follower of Aleister Crowley’s (1875–1947) religion Thelema, Cameron was also a friend and collaborator of Beat artist Wallace Berman (1926–1976) and avant-garde filmmaker Kenneth Anger (1927–2023). In the 1950s and 1960s, Cameron delved deeply into Crowley’s magical writings alongside those of comparative mythologist Joseph Campbell (1904–1987). The article especially highlights how Cameron creatively adapted and re-worked the ideas of both thinkers in her artistic interpretations of her Holy Guardian Angel. A core argument of the article is that art, poetry, and esotericism were intertwined pursuits for Cameron, and that extra-textual sources (e.g., letters and biographical details) contemporary with the analyzed creative works are helpful in untangling their meaning.
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Savich, A. A. « History of Western Belarus in 1921–1939 in domestic soviet historiography of the 1950s–1980s. » Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 65, no 1 (12 février 2020) : 44–51. http://dx.doi.org/10.29235/2524-2369-2020-65-1-44-51.
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The study is aimed at understanding the process of formation and development of the Soviet national historiography in 1950s–1980s of the sociocultural history of Western Belarus in 1921–1939, identifying its thematic, ideological and political orientation. Based on a wide range of sources, a conclusion was made about the conditionality of domestic journalism and scientific historical thought on the socio-cultural issues of Western Belarus in 1921–1939. the assimilation policy of Poland and the desire of the Belarusian people for social liberation and national consolidation. With the exception of the problems of the communist and democratic press and the state of public education, there was no systematic substantive development of the topic during the Soviet period, which was explained by the secondary importance of cultural themes in the system of Marxist-Leninist methodology. The events of social and cultural life were used to confirm the difficult situation of the Belarusian people and as an illustration of the revolutionary struggle for “social and national liberation”, the approaches to its study were determined by the place and role of the Communist Party in the social and political situation, the Polish was clearly negative and alien to Belarusians. Socio-cultural influence on Western Belarus, ignoring the socio-cultural life of members of other national minorities and under control Communist Party groups. Socio-cultural issues developed in accordance with the Marxist-Leninist social-class canons, aimed at leveling national features and fostering internationalist priorities, resulting in the impoverishment of the sociocultural history of Western Belarus, the rejection of significant achievements of the Belarusian people in material and spiritual culture, in the field of education and science literature and art.
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Podalko, Petr. « “Another Russia in the Orient” : the Phenomenon of So-Called “Japanese Branch” of Russian Emigration ». ISTORIYA 13, no 7 (117) (2022) : 0. http://dx.doi.org/10.18254/s207987840022197-5.
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This article explores the phenomenon of Russian post-revolutionary emigration to Japan and the general differences between Eastern and Western emigration by Russians. Many Russians from different social strata came to Japan to escape from the horrors of the Bolshevic regime. There were three main periods, or “waves”, of emigration to Japan: 1917—1923, 1924—1940, 1945 — late 1950s. Many of the Russian refugees settled in the sea-ports, like Kobe or Yokohama, because of the unique variety of advantages the cities offered to foreigners. Here they turned to become quite a noticable (though not the largest) group of inhabitants of those cosmopolitan cities. The role these emigrants played in the “westernization” of Japan in spheres such as food and light industries was as great as their contribution to Japanese culture in such activities as ballet, classical music and teaching of foreign languages. Some names of those Russians are still well known in modern Japan, giving an illustration of the people who formed the Russian diaspora in Japan in 1920—1950s.
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Santhiago, Ricardo, et Astrid Salles. « An artist’s narrative self-construction : a conversation with Astrid Salles ». PORTO ARTE : Revista de Artes Visuais 23, no 38 (10 janvier 2018) : 197. http://dx.doi.org/10.22456/2179-8001.80806.
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In an interview with Ricardo Santhiago, visual artist Astrid Salles revisits aspects of her formation in the field of artistic creation since her youth in the late 1950s, in the state of São Paulo, in order to review important topics of her life history. She graduated in Music and is recognized as the first woman to play the French horn in Brazil. Astrid worked in illustration and landscape representation and now calls herself a painter. In the conversation, she recounts, among other points, her encounter with sertanist Orlando Villas-Bôas, which was crucial for her to dedicate her visual art production to reinterpreting indigenous graphic patterns.
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Lee, Eun Joo. « Changes in the Representation of Children Shown in the Cover Illustration of a Magazine <Saebeot> ; in the 1950s-1960s ». Treatise on The Plastic Media 25, no 2 (31 mai 2022) : 23–32. http://dx.doi.org/10.35280/kotpm.2022.25.2.3.
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Basso, Andrew R., Patrick Ciaschi et Bree Akesson. « Cumulative domicide : The Sayisi Dene and destruction of home in mid-twentieth century Canada ». Current Sociology 68, no 5 (12 juin 2020) : 651–68. http://dx.doi.org/10.1177/0011392120927763.
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This article introduces a new concept to help explain domicide perpetrated against one group of people over space and time: ‘cumulative domicide’. The authors challenge the notion of domicide as an event and instead conceptualize the rights violation as a process. The cumulative domicide against the Sayisi Dene in Manitoba from the 1950s to the 1970s is a perfect illustration of the compounding, intergenerational effects that cumulative domicide can have upon a people when they are torn from their home and are not allowed to remake home elsewhere on their terms. In the case of the Sayisi Dene, the authors argue that processes of colonial expansion and hegemony are based on cumulative domicide and that this process occurs over variances in time and space.
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Spencer, Les. « The Expanding Role of Clinical Sociology in Australia ». Journal of Applied Social Science 3, no 2 (septembre 2009) : 56–62. http://dx.doi.org/10.1177/193672440900300205.
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This paper introduces clinical sociology as a humanistic, multidisciplinary specialty seeking to improve the quality of people's lives. It traces the emergence of clinical sociology in the United States in 1931, and in Australia in the late 1950s in the context of the pioneering clinical sociology research into social transformation at Australian society's margins by Neville Yeomans. A contemporary illustration is given demonstrating how a biopyschosocial model of health is now being implemented as world best-evidence-based practice within the Australian health care delivery system. Further arguments, citing national and international evidence based on sociotherapeutic models of intervention, support a proposal for the Australian Sociology Association to engage in dialogues with health care agencies with the view of establishing clinical sociologists as an integral part of the Australian health-care delivery system.
Thèses sur le sujet "1950s Illustration"
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Andersén, Jenny. « En virtuell klädkollektion : En rapport om processen i att designa och illustrera en virtuell klädbutik till Stardoll.com ». Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-19504.
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This is a report that goes through the design process of designing and illustrating a virtual clothing shop with the theme ”Stockholm Streetstyle” for the website ”Stardoll.com”. The purpose of the report is to examine how you can manage to get as close to designing a certain style or theme as possible, and also how the process of designing a clothing line can work, The illustrations were made in Adobe Illustrator and the final result of the project was an illustrated fashion collection with 21 parts, in the total of 6 outfits, and also a background for the shop.
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KLEOPFER, KIRSTIE L. « NORMAN ROCKWELL'S CIVIL RIGHTS PAINTINGS OF THE 1960s ». University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179431918.
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Schütz, Marine. « Entre les lignes : dessin, illustration et pratiques graphiques dans le Pop art (1950-1975) ». Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3104.
Texte intégralRésumé :
Dès l’apparition du Pop art autour de 1962, l’iconographie de l’illustration et de la publicité indique l’émergence d’une véritable esthétique graphique. La rencontre du Pop art et du dessin se révèle particulièrement intéressante car suivre les productions réalisées dans cette discipline éminemment manuelle permet de réexaminer les différentes positions des artistes vis-à-vis de la culture de masse et d’aborder des questions tant matérielles qu’iconographiques. Partant du constat que les formations artistiques sont à l’origine du va-et-vient entre options manuelles et mécaniques dans l’économie du Pop art, le propos débute par l’examen des conditions d’émergence du dessin. L’examen des relations entre dessin et culture de masse ne saurait être complet sans évoquer la réponse d’artistes qui s’engagent dans la recherche d’un dialogue avec un public croissant (par des stratégies de classe, l’iconographie de logos de produits, la prise en compte des possibilités de l’estampe etc.). Non seulement l’œuvre naît du parcours de la main, mais le dessin pop dépasse le seul processus créateur pour exister dans un corpus d’œuvres autonomes, qui s’écarte de tout schéma finaliste. Cette présence souligne ce que peuvent avoir de critique l’image et l’action du corps. De même que Claes Oldenburg et David Hockney opposent une tension manuelle aux expressions mécanisées dans la société – et là réside le double sens de la notion d’engagement autant physique que politique dans le dessin pop –, le réinvestissement du corps sous la forme du portrait et du nu affirme sa solidarité avec les combats pour la libération sexuelle à l’aube des années soixante-dixBy 1962 with the beginning of Pop art, the iconography of illustration and advertising points the development of an art founded on graphics. Interestingly, the relations between Pop art and drawing allow to follow how the handmade practices reassess the artists’ positions towards mass culture and deal with material issues (such as manual involvement) and the meaning of iconography (counter-culture, return of the figure). Starting from the point that artistic pop economy of art owes its back and forth mouvement between manual and mechanical options to its protagonists’ artistic education, this dissertation opens with the study of drawing’s emergence in a pedagogical context. The study of the relations between drawing and mass culture wouldn’t be fully led without assessing the answer of the artists who involve in the claim for a bigger audience (with a class strategy, an iconography full of mass products and the possibilities of prints). Moreover, not only the graphic works stem from the hand, but pop drawing overwhelms the solely issue of creation processes to exist in an autonomous corpus of works, which doesn’t fall into the finalist schema. This presence points how critical may be the body, through drawing, as an image and as an action. Similary to Claes Oldenburg and David Hockney who oppose a manual tension to the social mechanized expressions – and there lay the double sense of the very notion of involvement which is to be understood in Pop art in the same time on a physical and a political level – the reinvolvement of the body by way of portrait or nude shows its solidarity with the fights in the wake of the sixties, fight for sexual liberation, or women rights
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Royer, Ludovic. « Le territoire de Krasnoïarsk sous la direction d'Alexandre Lebed : enjeux géopolitiques : une illustration de la Russie contemporaine ». Paris 8, 2005. http://www.theses.fr/2005PA082531.
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En juin 1996, le général Lebed se classait troisième au premier tour des présidentielles qui devaient voir la réélection de Boris Eltsine. Après une courte période au sommet de l'Etat russe, Alexandre Lebed allait s'engager dans une nouvelle stratégie de conquête du pouvoir fédéral impliquant d'abord un passage par le pouvoir régional. Après son élection dans le Territoire de Krasnoïarsk, le général compte sur les richesses naturelles de la région pour s'offrir une campagne présidentielle efficace. Mais cette opulence de moyens s'avère être un enjeu considérable qui implique de puissants acteurs. Dans ce combat inégal, Alexandre Lebed est confronté aux luttes sans merci que se livrent les puissants groupes des oligarques. Incapable de s'emparer des leviers du pouvoir économique, le gouverneur Lebed doit, en outre, faire face à un populisme régional exacerbé. Constamment en guerre dans le grand jeu de la redistribution des propriétés, Alexandre Lebed disparaît prématurément en avril 2002In June 1996, Gen. Lebed came third in the first ballot of the presidential elections that were going to lead to Boris Yeltsin's re-election. After a short period at the summit of the Russian power, Alexander Lebed became involved in a new political battle which was meant to open the Kremlin's gates to him after he first won regional political power. After Lebed's election in the Krasnoyarsk Territory, the great wealth of the region, which is the source of financial means for his future campaign for the presidency, over which people from the field of politics as well as economics were soon competing. In this struggle where everyone tried to take the lion's share, Alexander Lebed found himself in the middle of merciless wars between powerful groups run by oligarchs. Unable to seize the levers of economic power, Governor Lebed had, moreover, to face the challenge of regional nationalism. Regularly on a war footing because of property redistribution, Alexander Lebed died in April 2002
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LISSONI, ELENA. « LA STORIA ILLUSTRATA : LODIVICO POGLIAGHI TRA ACCADEMIA E MODERNITA' (1857-1950) ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/745.
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La ricerca ricostruisce la complessa e multiforme personalità artistica di Lodovico Pogliaghi - pittore, scultore, ornatista, illustratore attivo tra la fine dell’Ottocento e la prima metà del secolo successivo - inserendola all’interno dello scenario internazionale. Muovendo dall’attività di illustratore sono emersi i rapporti dell’artista, oltre che con la tradizione e la pittura di storia, con la fotografia, la cartellonistica e il cinema delle origini, in un fitto dialogo tra cultura ‘alta’ e nuove istanze della comunicazione in funzione del pubblico di massa.The research reconstructs in the international historical and critical frame the complex and wide artistic personality of Lodovico Pogliaghi - painter, sculptor, decorator, illustrator active from the end of nineteenth to the mid-twentieth century. His illustrations reveal artist’s relationships to tradition, history painting, photograph, poster art and silent cinema in a continuous dialogue between high culture and innovative request of visual communication.
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LISSONI, ELENA. « LA STORIA ILLUSTRATA : LODIVICO POGLIAGHI TRA ACCADEMIA E MODERNITA' (1857-1950) ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/745.
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La ricerca ricostruisce la complessa e multiforme personalità artistica di Lodovico Pogliaghi - pittore, scultore, ornatista, illustratore attivo tra la fine dell’Ottocento e la prima metà del secolo successivo - inserendola all’interno dello scenario internazionale. Muovendo dall’attività di illustratore sono emersi i rapporti dell’artista, oltre che con la tradizione e la pittura di storia, con la fotografia, la cartellonistica e il cinema delle origini, in un fitto dialogo tra cultura ‘alta’ e nuove istanze della comunicazione in funzione del pubblico di massa.The research reconstructs in the international historical and critical frame the complex and wide artistic personality of Lodovico Pogliaghi - painter, sculptor, decorator, illustrator active from the end of nineteenth to the mid-twentieth century. His illustrations reveal artist’s relationships to tradition, history painting, photograph, poster art and silent cinema in a continuous dialogue between high culture and innovative request of visual communication.
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Chabaud, Sandrine. « Sémiologies et entreprise de 1950 à l'an 2000 en France : vers la construction des discours identitaires et institutionnels des méga-marques médiatiques ». Paris 2, 2007. http://www.theses.fr/2007PA020027.
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Ce travail propose une recherche sur l’application de la sémiologie/tique comme enjeu stratégique pour l’entreprise et au profit de l’émergence des identités de marques. En confrontant les points de vue de la littérature scientifique, de 1950 à l’an 2000 en France, et nos entretiens menés auprès des professionnels possédant une formation ou une culture sémiotique, nous dessinons un « parcours » retraçant la vie du couple sémiologie et entreprise. Par cette application, les marques y racontent une histoire, elles se racontent : aujourd’hui dans le contexte des fusions économiques et de la mondialisation, l’identité est fragile. De cette inquiétude d’identités, la nécessité d’établir des significations partagées suppose l’implication de la sémiologie dans l’entreprise pour lui créer son histoire, ses pratiques et son actualité. Les marques cherchent à ancrer leur autorité ; elles veulent exister pour différents publics, une sorte de « reconnaissance mutuelle » nécessaire pour s’affirmer ; elles imposent enfin ses perceptions de la société dans laquelle elles s’inscrivent, à travers un discours culturel et social. Ce travail s’inscrit dans une démarche de la construction du sens et de la narration. Il s’appuie sur l’étude de deux cas de marque et méga-marque - Wanadoo (France Télécom) et TF1 (LCI), à travers trois types de sémiologie : le logotype comme support de communication fixe, la page d’accueil de portail internet comme support arborescent et l’habillage télévisuel comme support animé. Ces trois systèmes de signification déploient des espaces langagiers propres à l’identité de la marque.
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Maillard, Sophie. « Pharmacie, pharmacien et médicament à travers le dessin de presse (1950-2000) ». Bordeaux 2, 2000. http://www.theses.fr/2000BOR2P098.
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Moreau, Florence. « Pour une histoire culturelle du magazine "LIFE" dans les années 1950 : mythe, photojournalisme et rhétorique de l'image au service d'une culture visuelle américaine ». Paris 7, 2012. http://www.theses.fr/2012PA070056.
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Fleuron du photojournalisme américain du XXe siècle qui connaît son apogée pendant les années 1950, le magazine Life jouit d'une aura prestigieuse qui en fait une entité iconique de la presse périodique illustrée et de la culture américaine du XXe siècle. Classiquement convoqué dans la littérature en sa qualité de parangon d'un genre de presse modélisant des pratiques éditoriales, Life endosse également jouer un rôle de « mémoire visuelle » de la société américaine du XXe siècle. La présente thèse intègre ce statut emblématique de Life, à la croisée de deux champs d'investigations distincts que sont les études américaines et l'histoire de la presse, autour de trois grands axes : historiographie, pratiques éditoriales et iconographie du magazine. Ceci, afin d'identifier et d'analyser les principaux enjeux impliqués dans le projet « d'histoire culturelle » que nous défendons dans notre analyse du contenu éditorial du magazine. Ce projet, né d'une certaine insatisfaction face à une critique idéologique qui analyse le contenu éditorial de Life dans son seul contexte politique, se traduit par la volonté de mettre en œuvre une méthodologie qui se propose de revisiter les pratiques intellectuelles élaborées par Life autour de la photographie. En concevant la réflexion autour des fonctions heuristiques, narratives et cognitives des images photographiques — assorties de leur mise en récit à travers des essais photographiques fondés sur une relation iconotextuelle qui met le texte au service de la narration visuelle — l'objectif de cette thèse est de faire la lumière sur le contenu éditorial d'un magazine qui semble paradoxalement mal connu, au regard de son statut iconiqueAs a leading 20 Century American photojournalism magazine, Life benefits from a prestigious aura turning it into an iconic entity — in press history, scholars usually refer to Life as a paragon of picture magazine when in the meantime Life plays a part in collective history as a Visual record of 20th Century American society -. The first part of this doctoral dissertation dedicated to examining the historiography of Life, explores the emblematic status held by Life, both on the academic field of press history and American studies. As a mainstream culture artifact, and under the impulsion of the counterculture of the 1960s, Life has largely been criticized for being a conservative media. Due to a dissatisfaction with the ideological critique towards Life — which often reduces the study of its editorial content to political issues — the second part of this work focuses on Life's editorial practices, so as to understand how its news content serves the establishment of a Visual culture, rather than offers a sole political statement. These first two parts are preliminary to the main purpose of this doctoral dissertation, which is to identify and analyze the main stakes that are raised when considering Life as a cultural artifact. Thus, the scope of the third part is to investigate Life's use of photography as means to celebrate and evaluate the cultural references the magazine highlights. The corpus of this investigation is a series of case studies, based on a selection of photo-essays published in Life during the early 1950s, when the magazine reached its golden age, so as to revisit this overrated area
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Galland, Jean-Michel. « L'édition illustrée de l'entre-deux-guerres à travers l'œuvre de trois de ses acteurs, Clément Serveau, Jean-Gabriel Daragnès et Daniel Henry Kahnweiler : une approche socio-esthétique ». Thesis, Université Paris sciences et lettres, 2021. http://www.theses.fr/2021UPSLN001.
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Cette thèse a pour ambition de comprendre et d’expliquer l’illustration littéraire, une pratique artistique majeure de l’entre-deux-guerres français. Les carrières et les publications de trois acteurs de l’édition illustrée de cette période, Daniel Henry Kahnweiler, Jean-Gabriel Daragnès et Clément Serveau, font d’abord l’objet d’une étude détaillée menant à un premier niveau d’explication des corpus considérés, exprimée à ce stade en termes de personnalité et de contexte. Une approche socio-esthétique de l’activité dans son ensemble est ensuite développée sur la base des théories de Pierre Bourdieu. Les structures, pendant l’entre-deux-guerres, des champs de l’illustration, de l’art et de la littérature sont décrites. Un modèle, à la fois conceptuel et expérimental, de l’illustration littéraire est proposé. Cet outil, à même de rendre compte des caractéristiques des œuvres et du parcours de leurs auteurs, est utilisé pour revisiter l’interprétation des trois corpus éditoriaux étudiésThe purpose of this thesis is to understand and explain the literary illustration, a major artistic practice in France between the world wars. The careers and the publications of three actors of the illustrated edition in that period, Daniel Henry Kahnweiler, Jean-Gabriel Daragnès and Clément Serveau, are first closely examined in order to offer a first level of explanation of these bodies of works, viewed at this stage through the lenses of personality and context. A socio-aesthetic analysis of this activity as a whole is then developed, based on the theories of Pierre Bourdieu. The structures, during the period between the wars, of the fields of illustration, art and literature are described. A model, both conceptual and experimental, of the literary illustration is proposed. This tool, able to explain the characteristics of the works and the careers of the illustrators, is used to revisit the interpretation of the three studied corpora
Livres sur le sujet "1950s Illustration"
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Then & now : 1960s quotations & illustrations. Inverness : for the Right Reasons Charity, 2014.
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Lu Xun xin tian di : Qiu Sha, Wang Weijun de yi shu qiu suo li cheng : 1950-2011 ping lun xuan ji. Beijing Shi : Xue yuan chu ban she, 2013.
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Fashion illustration, 1920-1950 : Techniques and examples. Mineola, N.Y : Dover Publications, 2009.
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Foster, Walter T. Fashion illustration, 1920-1950 : Techniques and examples. Mineola, N.Y : Dover Publications, 2009.
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Foster, Walter T. Fashion illustration, 1920-1950 : Techniques and examples. Mineola, N.Y : Dover Publications, 2009.
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Gracia, Ruiz Llamas Ma. Ilustración gráfica en periódicos y revistas de Murcia, 1920-1950. [Murcia : Universidad de Murcia, Secretariado de Publicaciones, 1992.
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Bodt, Saskia de. Prentenboeken : Ideologie en illustratie, 1890-1950. Amsterdam : Ludion, 2003.
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Ljubljani, Narodna galerija v., dir. Risba na Slovenskem I : 1870-1950. Ljubljana : Narodna galerija, 2009.
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Museum, Brandywine River, et New Britain Museum of American Art, dir. Double lives : American painters as illustrators, 1850-1950. New Britain, Conn : New Britain Museum of American Art, 2008.
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Sylvie, Ballester-Radet, Garret Virginie et Musée municipal de Sens, dir. Jean-Gabriel Daragnès, 1886-1950 : Un artiste du livre à Montmartre. [Sens] : Musée de Sens, 2007.
Trouver le texte intégralChapitres de livres sur le sujet "1950s Illustration"
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Wincencjusz-Patyna, Anita. « Chapter 5. From Halley’s Comet to the Scout Kwapiszon ». Dans Children’s Literature, Culture, and Cognition, 123–43. Amsterdam : John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.05win.
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This chapter presents a historic review of the use of photomontage and photo-based collage in Polish books for children (fiction and poetry) in the 20th century. The earliest example dates from 1934, whereas the latest one is dated 1981. The chapter begins with an outline of the artistic background in the period 1918–1939, it gives a short typology of photo-based illustrations, and then analyses the only known examples of genuine photomontage created for children’s books before World War II, namely works by Aleksander Krzywobłocki and Jerzy Janisch in Kometa Halley’a (Halley’s Comet) by Alina Lan, and a sample of works by Franciszka and Stefan Themerson. The chapter continues through the period of the so-called Polish School of Illustration (1950s–1970s), paying special attention to Adam Kilian and Stanisław Zamecznik’s illustrations, and ends with a presentation of the extensive and varied use of photography in illustrations by Bohdan Butenko, one of Poland’s most prominent illustrators.
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Beck Pristed, Birgitte. « Russian Illustration in German Children's Books of the 1980s–1990s ». Dans Ost-westlicher Kulturtransfer in der deutschsprachigen Kinder- und Jugendliteratur, 277–94. Göttingen : V&R unipress, 2023. http://dx.doi.org/10.14220/9783737014687.277.
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Jefferson, Ann. « The Return of Genius ». Dans Genius in France. Princeton University Press, 2014. http://dx.doi.org/10.23943/princeton/9780691160658.003.0018.
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This chapter chronicles the return of genius as a viable object of thought, this time in the context of madness. It first turns to the conjunction between neurosis and full-blown psychosis where genius commands greatest attention in the latter half of the twentieth century. This is explored in the case of Friedrich Hölderlin, who becomes the object of theoretical attention in the early 1950s. The chapter shows how, in the early years of theory Pierre Jean Jouve (a poet-essayist, more than a theorist in the late twentieth-century style) and Maurice Blanchot have examined the case of Hölderlin, with supporting illustration from other examples.
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« Illustrations ». Dans Literature of the 1950s, viii—ix. Edinburgh University Press, 2012. http://dx.doi.org/10.1515/9780748631667-002.
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Hai-Jew, Shalin. « Children's Book Visualizations From an Artmaking Generative AI ». Dans Advances in Media, Entertainment, and the Arts, 86–114. IGI Global, 2024. http://dx.doi.org/10.4018/979-8-3693-1950-5.ch005.
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How would a well-known artmaking generative AI (A-GAI) go about illustrating children's books? This chapter uses multiple prompting approaches to elicit children's book illustrations for known stories and more original plots to identify some early visual patterns from Deep Dream Generator. The research explores a variety of questions around the quality of the output images in conveying visual meaning in the children's book space (albeit using fictional prompts). This exploratory work provides some early and preliminary insights into this space, including in how to set up a light experiment using an A-GAI.
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« [Illustration] ». Dans Journal (1950-1956), [viii]. Presses de l'Université Laval, 2020. http://dx.doi.org/10.2307/j.ctv1h0p1hg.3.
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« [Illustrations] ». Dans Superstorm 1950. Purdue University Press, 2023. http://dx.doi.org/10.2307/j.ctv2ckjq30.10.
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Jankowski, Gene F., et David C. Fuchs. « A Brief History of Broadcasting ». Dans Television Today and Tomorrow, 9–26. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195074871.003.0002.
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Abstract There never has been a personality as dominant in the industry as Arthur Godfrey was in the 1950s and ‘60s. He had two TV shows in the top ten as well as a two-hour weekday program carried on both radio and television. Gene once received an opportunity to fly to Buffalo with Godfrey, an expert pilot who flew his own plane everywhere. On the way back, after Godfrey had finished charming the local citizens, Gene noticed a pat tern in the radio conversation as they flew in and out of various flight control sectors. It went like this: “Rochester, this is Mike One at five thousand feet.” “Right, Mike One, you’re clear.” “Thanks Rochester.” “Good night, Mister Godfrey.” Every single air traffic controller knew that Mike One was Arthur Godfrey. Gene asked him how this could be. “Every Christmas,” he said, “I send out thousands of grease pencils to the controllers-that’s how they mark their radar scopes-with a note of appreciation signed ‘From you friend, Arthur Godfrey.’” It was a perfect illustration of Godfrey the performer and Godfrey the salesman, the one interchangeable with the other.
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Blewett, Kelly, et Alisa Clapp-Itnyre. « Visualizing Velveteen : Original Illustrations and Subsequent Adaptations ». Dans The Velveteen Rabbit at 100, 38–61. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496845993.003.0003.
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Relying on theories of illustration articulated by Molly Bang, William Moebius, Perry Nodelman, and others, this chapter argues that the original pictures by William Nicholson underscore the text’s deeper psychological themes in ways that later adaptations resist and reinterpret. Stylistic elements of the illustrations reflect the state of mind of the Rabbit as he negotiates two transformations (new toy to loved toy; loved toy to real rabbit). A significant resurgence of interest in the 1980s through the present has resulted in illustrated editions that tend to displace the Rabbit as the central figure in favor of emphasizing the Boy, as 1980s focus on childhood, child-psychology, and resistance to gender stereotypes now held sway.
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Schatz, Ronald W. « On Top of the World, 1946–56 ». Dans The Labor Board Crew, 50–74. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043628.003.0003.
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American unions and companies did not reach a grand accord after World War II, as many historians claimed in the 1960s and 1970s, nor did corporations continuously maneuver to undermine unions after the war ended, as labor historians began arguing in the 1990s. Relations were more complex than that. Compromises were reached at thousands of firms, mediated by the former staff of the National War Labor Board, whom companies and unions hired as their principals arbitrators. This chapters offers three illustrations: Harry Shulman at the Ford Motor Company, John T. Dunlop in the construction industry, and Sylvester Garrett in the steel industry. The compromises depended on slowly rising inflation in wages and prices, a factor that only a few of the intermediaries acknowledged.
Actes de conférences sur le sujet "1950s Illustration"
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Hogben, Paul. « The Making of a Newcastle Modernist : The Early House Designs of Sydney C. Morton ». Dans The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online : SAHANZ, 2022. http://dx.doi.org/10.55939/a3982p26oy.
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In his article series “Modern Homes of Newcastle”, published in the Newcastle Morning Herald between 1961 and 1964, journalist Alan Farrelly wrote about the contemporary domestic architecture of Newcastle and its surrounds and in doing so brought public attention to the work of a generation of the city’s younger architects. Prominent amongst these was Sydney Charles Morton who had four houses of his own design featured in the series. These houses stand out for their bold modernist appearance involving stark rectilinear forms, light-weight construction, flat roofs and large amounts of glazing. For readers of the newspaper, they were an illustration of how far residential design in their region had come. This paper looks at the pre-history of these houses in the early domestic work of Morton which included the design of ‘Orana’, or what locally became known as “the chicken coop”. In the context of early 1950s Newcastle, where pitched roof, brick and tile homes were standard, ‘Orana’ certainly represented a radical departure and rethinking of the modern house. Like that of many of his generation, Morton’s work, and in particular his breakthrough project in ‘Orana’, occupies a position of ‘ultra’ defiance against convention. The aim of this paper is to understand how this position developed and grew in strength within his time as a student at Sydney Technical College and within his early practice.
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Lebedev, Dmitry. « British Book Illustration of the 1900–1910s : Sources of Inspiration ». Dans 4th International Conference on Art Studies : Science, Experience, Education (ICASSEE 2020). Paris, France : Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.040.
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Tomassoni, Rosella, Valentina Coccarelli et Francesco Spilabotte. « THE CRISIS OF THE EGO IN THE PAINTINGS AND DRAWINGS OF GIAN CARLO RICCARDI : BRIEF PSYCHOLOGICAL REFLECTIONS ». Dans 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.10.
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The main purpose of this study is to analyse and examine some of the paintings of the Italian avant-garde artist Gian Carlo Riccardi. Our work will focus in particular on a psychological study of the paintings and drawings realised by the artist. Our study basically focuses on the compositions created between the 1980s and 1990s and the graphic works executed in the 2000s. The first category examines certain works characterised by intense abstractionism. The pictorial material used by Gian Carlo Riccardi is manipulated, contaminated and destroyed, leaving only �relics�, symbolising a crisis of the ego. The second category analyses the drawings that make up the �Bestiary� collection. Gian Carlo Riccardi imprints on the blank sheets, the deformity and physical and moral decadence of the humanity represented, a bestiary humanity. This research aims to show how, through the works examined, Gian Carlo Riccardi synthesises individual and collective anguish through heterogeneous pictorial interventions, within which the gesture lacerates and lays bare the underlying �cutaneous� tissue, and illustrations where the sign traces the outlines of naked bodies revealing the scabrous reality of the commodification of flesh.
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Rocaciuc, Victoria. « Book graphics in the creation of the fine artist Stefan Sadovnikov ». Dans Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.10.
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Since the 1980s, visual artist Stefan Sadovnikov has been involved in book graphics. In this field, the artist managed to approach various genres of literature: poetry, prose, scientific literature, etc. According to the illustrated topics, the graphic techniques approached by the graphic designer are: pencil, pen, gouache, including computer techniques. The strong part of his illustrations consists in appealing by the artist to the plastic principles related to the sign and symbol. Analyzing the book illustrations signed by the fine artist Stefan Sadovnikov, we notice a wide range of allegorical symbols and metaphors created by the artist based on various principles of agglutination, interference of shapes and plastic lines, specific especially to the thinking of sculpture artists. By plastically combining the human figure with the object, the artist personifies the ideas of home, city, music, poetry and love. The artistic image appears as a quintessence of the human character’s relations with the object. Thus, in several illustrations created by the fine artist Stefan Sadovnikov, inanimate objects came to life and features identical to human character and spirit.
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Anderson, Ted L., et Gregory W. Brown. « Advanced Assessment of Crack-Like Flaws in Pipelines ». Dans ASME 2011 Pressure Vessels and Piping Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/pvp2011-57623.
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The emergence of fitness-for-service standards has created an opportunity to advance pipeline integrity assessment technology and methodologies. This paper describes modern approaches for assessing cracks and other planar flaws in pipelines. Many traditional approaches rely on simplistic characterizations and equations that have not evolved to take into account advancing technologies. For example, the NG-18 method dates from the early 1970s and is still widely used today. However, so-called conservative methods such as NG-18 can actually be unconservative in some instances, such as when used to determine hydrostatic testing intervals. This paper highlights today’s advanced approaches to pipeline integrity assessment. Case studies are presented illustrating the assessment of pipeline anomalies, such as crack assessment following hydrotesting and simulation of burst tests using a ductile fracture model.
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Spasskova, O. P., et T. V. Horanska. « ILLUSTRATIONS BY E. UDIN AND V. YEFYMENKO FOR THE BOOK “FOLK SONGS IN THE RECORDS OF IVAN FRANKO” IN THE CONTEXT OF UKRAINIAN BOOK GRAPHICS OF THE 1960S ». Dans DEVELOPMENT OF CULTURE AND ART IN THE WAR AND POST-WAR PERIODS. Izdevnieciba “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-341-5-19.
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Marushiakova, Elena, et Vesselin Popov. « Images and Symbols of the Gypsies (Roma) in the Early USSR ». Dans GLOCAL Conference on Asian Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/cala2022.6-2.
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The October Revolution and the subsequent creation of the USSR, located on a vast area in Eurasia, was a spectacular historical attempt to create a ‘new society,’ characterised by radical changes in all social and cultural spheres, as well as the creation of new, Soviet symbolisms. This general historical context reflected on all spheres of life, including the state policy towards the Gypsies (labelled today as Roma), which was particularly active in the 1920s and 1930s. The name ‘Gypsies,’ which was used at that time, is more appropriate in our case, because in this general category, in addition to Roma (living scattered throughout the USSR), several other communities either did not identify as Roma or were not Roma by origin (Dom and Lom in the South Caucasus region, and the Lyuli or Jugi in Central Asia), but all shared Indian origin. Soviet policy towards the Gypsies had various dimensions, including codification of the Romani language, creation of Gypsy national literature and of a Gypsy national theater, Gypsy schools, Gypsy collective farms, and artisan’s artels. Along with this, new public images and symbolisms related to the Gypsies were created, and were presented in various forms in the USSR itself and broadcast to the West for propaganda. The new Soviet Gypsy symbolisms, were, using Stalin’s popular formulation of Soviet literature as an analogy, ‘national in form and socialist in content.’ Based on this formulation, the two main directions in which these images and symbols were developed and popularised were determined – firstly, based on the ancient social and cultural traditions of the Gypsies, and, secondly, in the presentation of the new, socialist dimensions which were occurring in their lives. In the synopsis, we will analyse examples of public images and symbols, distributed through various channels – photographs in the press (Gypsy and mainstream), the layout and illustrations of books, posters, stage plays, movies, etc. – covering both indicated directions. At the same time, we reveal how this new symbolism affected the Gypsy community and Soviet society as a whole, as well as a wider dimension, outside the USSR, including that of the present-day. Part of this symbolism (of the first type) is presently used, in a modified form, in digital spaces, mostly by various Roma organisations worldwide creating a new virtual world of Pan-Roma unity.
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Ings, Welby. « Beyond the Ivory Tower : Practice-led inquiry and post-disciplinary research ». Dans LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.171.
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This address considers relationships between professional and postdisciplinary practices as they relate to practice-led design research. When viewed through territorial lenses, the artefacts and systems that many designers in universities develop can be argued as hybrids because they draw into their composition and contexts, diverse disciplinary fields. Procedurally, the address moves outwards from a discussion of the manner in which disciplinary designations, that originated in the secularisation of German universities during the beginning of the nineteenth century, became the template for how much knowledge is currently processed inside the academy. The paper then examines how these demarcations of thought, that included non-classical languages and literatures, social and natural sciences and technology, were disrupted in the 1970s and 1980s, by identity-based disciplines that grew inside universities. These included women’s, lesbian and gay, and ethnic studies. However, of equal importance during this period was the arrival of professional disciplines like design, journalism, nursing, business management, and hospitality. Significantly, many of these professions brought with them values and processes associated with user-centred research. Shaped by the need to respond quickly and effectively to opportunity, practitioners were accustomed to drawing on and integrating knowledge unfettered by disciplinary or professional demarcation. For instance, if a design studio required the input of a government policymaker, a patent attorney and an engineer, it was accustomed to working flexibly with diverse realms of knowledge in the pursuit of an effective outcome. In addition, these professions also employed diverse forms of practice-led inquiry. Based on high levels of situated experimentation, active reflection, and applied professional knowing, these approaches challenged many research and disciplinary conventions within the academy. Although practice-led inquiry, argued as a form of postdisciplinarity practice, is a relatively new concept (Ings, 2019), it may be associated with Wright, Embrick and Henke’s (2015, p. 271) observation that “post-disciplinary studies emerge when scholars forget about disciplines and whether ideas can be identified with any particular one: they identify with learning rather than with disciplines”. Darbellay takes this further. He sees postdisciplinarity as an essential rethinking of the concept of a discipline. He suggests that when scholars position themselves outside of the idea of disciplines, they are able to “construct a new cognitive space, in which it is no longer merely a question of opening up disciplinary borders through degrees of interaction/integration, but of fundamentally challenging the obvious fact of disciplinarity” (2016, p. 367). These authors argue that, postdisciplinarity proposes a profound rethinking of not only knowledge, but also the structures that surround and support it in universities. In the field of design, such approaches are not unfamiliar. To illustrate how practice-led research in design may operate as a postdisciplinary inquiry, this paper employs a case study of the short film Sparrow (2017). In so doing, it unpacks the way in which knowledge from within and beyond conventionally demarcated disciplinary fields, was gathered, interpreted and creatively synthesised. Here, unconstrained by disciplinary demarcations, a designed artefact surfaced through a research fusion that integrated history, medicine, software development, public policy, poetry, typography, illustration, and film production.
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Sreedharan, Priya, Alan H. Sanstad et Joe Bryson. « Informing Climate Change Policy Through Economics and Engineering Perspectives on Energy Efficiency ». Dans ASME 2009 3rd International Conference on Energy Sustainability collocated with the Heat Transfer and InterPACK09 Conferences. ASMEDC, 2009. http://dx.doi.org/10.1115/es2009-90435.
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Energy “sustainability” and energy supply have again emerged as central public policy issues and are at the intersection of the economic, environmental, and security challenges facing the nation and the world. The goal of significantly reducing greenhouse gas (GHG) emissions associated with energy production and consumption, while maintaining affordable and reliable energy supplies, is one of the most important issues. Among the strategies for achieving this goal, increasing the efficiency of energy consumption in buildings is being emphasized to a degree not seen since the 1970s. “End-use” efficiency is the core of the State of California’s landmark effort to reduce its GHG emissions, of other state and local climate-change initiatives, and is emphasized in emerging federal GHG abatement legislation. Both economic and engineering methods are used to analyze energy efficiency, but the two paradigms provide different perspectives on the market and technological factors that affect the diffusion of energy efficiency. These disparate perspectives influence what is considered the appropriate role and design of public policy for leveraging not just efficient end-use technology, but other sustainable energy technologies. We review the two approaches and their current roles in the GHG policy process by describing, for illustrative purposes, the U.S. Environmental Protection Agency’s assessment of energy efficiency in the American Clean Energy and Security Act of 2009 Discussion Draft. We highlight opportunities and needs for improved coordination between the engineering, economic and policy communities. Our view is that a better understanding of disciplinary differences and complementarities in perspectives and analytical methods between these communities will benefit the climate change policy process.
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Lu, Xiaoguang. « Knowledge Management Best Practices and Application in Field Development, IORs and Life-Cycle Reservoir Management ». Dans SPE/IATMI Asia Pacific Oil & Gas Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/205723-ms.
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Abstract This paper presents a unique E&P knowledge management system which has been widely accepted and applied by upstream petroleum industry. This knowledge management system started in mid-1990s and consists of standard static and dynamic knowledge base, comprehensive evaluation reports, and fit-for-purpose analytics tools applicable to the entire E&P lifecycle. Emphasis is placed on illustrating the breadth and depth of the E&P knowledge and advanced analytics in terms of their capturing and applications in field development and production. This knowledge base consists of >1600 reservoirs from around the world, each containing ~400 reservoir-level static parameters and a set of dynamic performance data. The static parameter covers reservoir characteristics, fluid properties, original in-place volume, EUR, recovery factor, production-related data (such as well spacing, well pattern, well EUR et al.), reservoir management practices, and key IORs/EORs and their incremental recovery. The knowledge extraction process involves collecting, reviewing, and synthesizing geologic, reservoir engineering and production data on a representative sample of global reservoirs. The reliable, coherent, high-quality knowledge base provides a foundation for the development of primary recovery index using supervised machine learning. Insights and intelligence derived from this knowledge base are critical to decision-making for both initial or early field development and production stages. The development application includes, but not limited to: (1) quantifying in-place volume, EUR, and recovery factor; (2) characterizing possible production performance and uncertainties and obtaining a conceptual production performance curve; (3) validating development plan options; and (4) benchmarking reservoir simulation results. The production application includes: (1) benchmarking production performance; (2) identifying upside potential and improved oil recovery opportunities; (3) finding best practices and lessons learned in reservoir management and secondary recovery practice; and (4) screening EOR methods, calibrating potential incremental recovery and characterizing EOR process performance. Lack of knowledge standardization and absence of coherence of data from various data sources are the main challenges facing industry's data-driven application. The knowledge management system presented in this study provides the most reliable knowledge base, advanced analytics tools, and practical application workflow to help the upstream industry become more efficient in applying collective human intelligence.
Rapports d'organisations sur le sujet "1950s Illustration"
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Tweet, Justin S., Vincent L. Santucci, Kenneth Convery, Jonathan Hoffman et Laura Kirn. Channel Islands National Park : Paleontological resource inventory (public version). National Park Service, septembre 2020. http://dx.doi.org/10.36967/nrr-2278664.
Texte intégralRésumé :
Channel Island National Park (CHIS), incorporating five islands off the coast of southern California (Anacapa Island, San Miguel Island, Santa Barbara Island, Santa Cruz Island, and Santa Rosa Island), has an outstanding paleontological record. The park has significant fossils dating from the Late Cretaceous to the Holocene, representing organisms of the sea, the land, and the air. Highlights include: the famous pygmy mammoths that inhabited the conjoined northern islands during the late Pleistocene; the best fossil avifauna of any National Park Service (NPS) unit; intertwined paleontological and cultural records extending into the latest Pleistocene, including Arlington Man, the oldest well-dated human known from North America; calichified “fossil forests”; records of Miocene desmostylians and sirenians, unusual sea mammals; abundant Pleistocene mollusks illustrating changes in sea level and ocean temperature; one of the most thoroughly studied records of microfossils in the NPS; and type specimens for 23 fossil taxa. Paleontological research on the islands of CHIS began in the second half of the 19th century. The first discovery of a mammoth specimen was reported in 1873. Research can be divided into four periods: 1) the few early reports from the 19th century; 2) a sustained burst of activity in the 1920s and 1930s; 3) a second burst from the 1950s into the 1970s; and 4) the modern period of activity, symbolically opened with the 1994 discovery of a nearly complete pygmy mammoth skeleton on Santa Rosa Island. The work associated with this paleontological resource inventory may be considered the beginning of a fifth period. Fossils were specifically mentioned in the 1938 proclamation establishing what was then Channel Islands National Monument, making CHIS one of 18 NPS areas for which paleontological resources are referenced in the enabling legislation. Each of the five islands of CHIS has distinct paleontological and geological records, each has some kind of fossil resources, and almost all of the sedimentary formations on the islands are fossiliferous within CHIS. Anacapa Island and Santa Barbara Island, the two smallest islands, are primarily composed of Miocene volcanic rocks interfingered with small quantities of sedimentary rock and covered with a veneer of Quaternary sediments. Santa Barbara stands apart from Anacapa because it was never part of Santarosae, the landmass that existed at times in the Pleistocene when sea level was low enough that the four northern islands were connected. San Miguel Island, Santa Cruz Island, and Santa Rosa Island have more complex geologic histories. Of these three islands, San Miguel Island has relatively simple geologic structure and few formations. Santa Cruz Island has the most varied geology of the islands, as well as the longest rock record exposed at the surface, beginning with Jurassic metamorphic and intrusive igneous rocks. The Channel Islands have been uplifted and faulted in a complex 20-million-year-long geologic episode tied to the collision of the North American and Pacific Places, the initiation of the San Andreas fault system, and the 90° clockwise rotation of the Transverse Ranges, of which the northern Channel Islands are the westernmost part. Widespread volcanic activity from about 19 to 14 million years ago is evidenced by the igneous rocks found on each island.
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Kleber, Emily J., Greg M. McDonald, W. Adolph Yonkee et Elizabegth Balgord Balgord. Interim Geologic Map of the Plain City Southwest 7.5' Quadrangle, Weber and Box Elder Counties, Utah. Utah Geological Survey, juillet 2024. http://dx.doi.org/10.34191/ofr-765.
Texte intégralRésumé :
The Plain City Southwest (SW) and Ogden Bay 7.5′ quadrangles are in Weber, Box Elder, and Davis Counties. The quadrangles include parts of the communities of Hooper, Warren, and Reese, the Harold Crane Waterfowl Management Area, several waterfowl wetlands, as well as the southwestern corner of Willard Bay Reservoir. The North Fork and South Fork of the Weber River f low south into the Ogden Bay Wildlife Management Area at the edge of Great Salt Lake. The northwestern part of the Ogden Bay quadrangle and the southwestern part of the Plain City SW quadrangle contain most of Little Mountain, a small bedrock mountain with about 500 feet of relief. The western side of Little Mountain as well as the northern part of the Plain City SW quadrangle are part of Willard Bay of Great Salt Lake. Small meandering channels flow into the bays from local drainages. Numerous evaporation ponds related to industrial minerals production cover the central western and northwestern part of the Plain City SW quadrangle, obscuring geologic deposits. This mapping project will provide the basis for identifying and delimiting potential geologic hazards in future Utah Geological Survey (UGS) geologic hazard maps, part of the UGS Geologic Hazards Mapping Initiative (Castleton and McKean, 2012). Mapping for the project was done on stereographic pairs of aerial photographs from the following sources: black-and-white aerial photographs from the U.S. Department of Agriculture (USDA) Agricultural Stabilization and Conservation Service (1958, 1965, 1971a, 1971b). Mosaics of some USDA photographs were accessed using the Weber County web services (USDA Agricultural Stabilization and Conservation Service, 1937, 1962, 1980, 1985). Additional aerial photography sets from the National Agricultural Imaging Program (NAIP) were used (Utah Geospatial Resource Center [UGRC], mid-1990s, 2006, 2009, 2011, 2016a, 2018a, 2021a) as well as high-resolution (15cm) Hexagon imagery (Utah Geospatial Resource Center, 2021b). Most Quaternary unit contacts, including human disturbed areas, were mapped using two lidar elevation datasets (Utah Geospatial Resource Center [UGRC], 2016b, 2018b). The geologic map was made by transferring the geology from the aerial photographs to a geographic information system (GIS) database using the programs ESRI ArcPro and Global Mapper v. 18 for a target scale of 1:24,000. Cross section A-A′ was created in Adobe Illustrator. Field-based investigations included shallow subsurface investigations in targeted areas with a soil auger. Materials from 1 to 3 meters were observed, documented, and sampled, which aided in preparing descriptions of most Quaternary units.
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Kleber, Emily J., Greg M. McDonald, W. Adolph Yonkee et Elizabegth Balgord. Interim Geologic Map of the Ogden Bay 7.5' Quadrangle, Weber and Davis Counties, Utah. Utah Geological Survey, juillet 2024. http://dx.doi.org/10.34191/ofr-766.
Texte intégralRésumé :
The Plain City Southwest (SW) and Ogden Bay 7.5′ quadrangles are in Weber, Box Elder, and Davis Counties. The quadrangles include parts of the communities of Hooper, Warren, and Reese, the Harold Crane Waterfowl Management Area, several waterfowl wetlands, as well as the southwestern corner of Willard Bay Reservoir. The North Fork and South Fork of the Weber River f low south into the Ogden Bay Wildlife Management Area at the edge of Great Salt Lake. The northwestern part of the Ogden Bay quadrangle and the southwestern part of the Plain City SW quadrangle contain most of Little Mountain, a small bedrock mountain with about 500 feet of relief. The western side of Little Mountain as well as the northern part of the Plain City SW quadrangle are part of Willard Bay of Great Salt Lake. Small meandering channels flow into the bays from local drainages. Numerous evaporation ponds related to industrial minerals production cover the central western and northwestern part of the Plain City SW quadrangle, obscuring geologic deposits. This mapping project will provide the basis for identifying and delimiting potential geologic hazards in future Utah Geological Survey (UGS) geologic hazard maps, part of the UGS Geologic Hazards Mapping Initiative (Castleton and McKean, 2012). Mapping for the project was done on stereographic pairs of aerial photographs from the following sources: black-and-white aerial photographs from the U.S. Department of Agriculture (USDA) Agricultural Stabilization and Conservation Service (1958, 1965, 1971a, 1971b). Mosaics of some USDA photographs were accessed using the Weber County web services (USDA Agricultural Stabilization and Conservation Service, 1937, 1962, 1980, 1985). Additional aerial photography sets from the National Agricultural Imaging Program (NAIP) were used (Utah Geospatial Resource Center [UGRC], mid-1990s, 2006, 2009, 2011, 2016a, 2018a, 2021a) as well as high-resolution (15cm) Hexagon imagery (Utah Geospatial Resource Center, 2021b). Most Quaternary unit contacts, including human disturbed areas, were mapped using two lidar elevation datasets (Utah Geospatial Resource Center [UGRC], 2016b, 2018b). The geologic map was made by transferring the geology from the aerial photographs to a geographic information system (GIS) database using the programs ESRI ArcPro and Global Mapper v. 18 for a target scale of 1:24,000. Cross section A-A′ was created in Adobe Illustrator. Field-based investigations included shallow subsurface investigations in targeted areas with a soil auger. Materials from 1 to 3 meters were observed, documented, and sampled, which aided in preparing descriptions of most Quaternary units.
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Henderson, Tim, Vincent Santucci, Tim Connors et Justin Tweet. National Park Service geologic type section inventory : Southern Plains Inventory & ; Monitoring Network. National Park Service, juin 2022. http://dx.doi.org/10.36967/nrr-2293756.
Texte intégralRésumé :
Type sections are one of several kinds of stratotypes. A stratotype is the standard (original or subsequently designated), accessible, and specific sequence of rock for a named geologic unit that forms the basis for the definition, recognition, and comparison of that unit elsewhere. Geologists designate stratotypes for rock exposures that are illustrative and representative of the map unit being defined. Stratotypes ideally should remain accessible for examination and study by others. In this sense, geologic stratotypes are similar in concept to biological type specimens, however, they remain in situ as rock exposures rather than curated in a repository. Therefore, managing stratotypes requires inventory and monitoring like other geologic heritage resources in parks. In addition to type sections, stratotypes also include type localities, type areas, reference sections, and lithodemes, all of which are defined in this report. The goal of this project is to consolidate information pertaining to stratotypes that occur within NPS-administered areas, in order that this information is available throughout the NPS to inform park managers and to promote the preservation and protection of these important geologic heritage resources. This effort identified two stratotypes designated within two park units of the Southern Plains Inventory & Monitoring Network (SOPN): Alibates Flint Quarries National Monument (ALFL) has one type locality; and Capulin Volcano National Monument (CAVO) contains one type area. There are currently no designated stratotypes within Bent’s Old Fort National Historic Site (BEOL), Chickasaw National Recreation Area (CHIC), Fort Larned National Historic Site (FOLS), Fort Union National Monument (FOUN), Lake Meredith National Recreation Area (LAMR), Lyndon B. Johnson National Historical Park (LYJO), Pecos National Historical Site (PECO), Sand Creek Massacre National Historic Site (SAND), Waco Mammoth National Monument (WACO), and Washita Battlefield National Historic Site (WABA). The inventory of geologic stratotypes across the NPS is an important effort in documenting these locations in order that NPS staff recognize and protect these areas for future studies. The focus adopted for completing the baseline inventories throughout the NPS has centered on the 32 inventory and monitoring (I&M) networks established during the late 1990s. Adopting a network-based approach to inventories worked well when the NPS undertook paleontological resource inventories for the 32 I&M networks and was therefore adopted for the stratotype inventory. The Greater Yellowstone I&M Network (GRYN) was the pilot network for initiating this project (Henderson et al. 2020). Methodologies and reporting strategies adopted for the GRYN have been used in the development of this report for the SOPN. This report includes a recommendation section that addresses outstanding issues and future steps regarding park unit stratotypes. These recommendations will hopefully guide decision-making and help ensure that these geoheritage resources are properly protected and that proposed park activities or development will not adversely impact the stability and condition of these geologic exposures.
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Henderson, Tim, Vincent Santucci, Tim Connors et Justin Tweet. National Park Service geologic type section inventory : Sonoran Desert Inventory & ; Monitoring Network. National Park Service, septembre 2022. http://dx.doi.org/10.36967/2294374.
Texte intégralRésumé :
Type sections are one of several kinds of stratotype. A stratotype is the standard (original or subsequently designated), accessible, and specific sequence of rock for a named geologic unit that forms the basis for the definition, recognition, and comparison of that unit elsewhere. Geologists designate stratotypes for rock exposures that are illustrative and representative of the map unit being defined. Stratotypes ideally should remain accessible for examination and study by others. In this sense, geologic stratotypes are similar in concept to biological type specimens; however, they remain in situ as rock exposures rather than curated in a repository. Therefore, managing stratotypes requires inventory and monitoring like other geologic heritage resources in parks. In addition to type sections, stratotypes also include type localities, type areas, reference sections, and lithodemes, all of which are defined in this report. The goal of this project is to consolidate information pertaining to stratotypes that occur within NPS-administered areas, in order that this information is available throughout the NPS to inform park managers and to promote the preservation and protection of these important geologic heritage resources. This effort identified six stratotypes designated within four park units of the Sonoran Desert Inventory & Monitoring Network (SODN): Chiricahua National Monument (CHIR) has three type areas; Coronado National Memorial (CORO) has one type area; Gila Cliff Dwellings National Monument (GICL) has one type area; and Saguaro National Park (SAGU) has one type area. Table 1 provides information regarding the six stratotypes currently identified within SODN parks. There are currently no designated stratotypes within Casa Grande Ruins National Monument (CAGR), Fort Bowie National Historic Site (FOBO), Montezuma Castle National Monument (MOCA), Organ Pipe Cactus National Monument (ORPI), Tonto National Monument (TONT), Tumacácori National Historical Park (TUMA), or Tuzigoot National Monument (TUZI). However, CHIR, MOCA, SAGU, and TUZI contain important rock exposures that could be considered for formal stratotype designation as discussed in the “Recommendations” section. The inventory of geologic stratotypes across the NPS is an important effort in documenting these locations so that NPS staff may recognize and protect these areas for future studies. The focus adopted for completing the baseline inventories throughout the NPS has centered on the 32 inventory and monitoring (I&M) networks established during the late 1990s. Adopting a network-based approach to inventories worked well when the NPS undertook paleontological resource inventories for the 32 I&M networks and was therefore adopted for the stratotype inventory. The Greater Yellowstone I&M Network (GRYN) was the pilot network for initiating this project (Henderson et al. 2020). Methodologies and reporting strategies adopted for the GRYN have been used in the development of this report for the SODN. This report includes a recommendation section that addresses outstanding issues and future steps regarding park unit stratotypes. These recommendations will hopefully guide decision-making and help ensure that these geoheritage resources are properly protected and that proposed park activities or development will not adversely impact the stability and condition of these geologic exposures.
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Henderson, Tim, Vincent Santucci, Tim Connors et Justin Tweet. National Park Service geologic type section inventory : National Capital Region Inventory & ; Monitoring Network. National Park Service, juillet 2022. http://dx.doi.org/10.36967/2293865.
Texte intégralRésumé :
Type sections are one of several kinds of stratotypes. A stratotype is the standard (original or subsequently designated), accessible, and specific sequence of rock for a named geologic unit that forms the basis for the definition, recognition, and comparison of that unit elsewhere. Geologists designate stratotypes for rock exposures that are illustrative and representative of the map unit being defined. Stratotypes ideally should remain accessible for examination and study by others. In this sense, geologic stratotypes are similar in concept to biological type specimens, however they remain in situ as rock exposures rather than curated in a repository. Therefore, managing stratotypes requires inventory and monitoring like other geologic heritage resources in parks. In addition to type sections, stratotypes also include type localities, type areas, reference sections, and lithodemes, all of which are defined in this report. The goal of this project is to consolidate information pertaining to stratotypes that occur within NPS-administered areas, in order that this information is available throughout the NPS to inform park managers and to promote the preservation and protection of these important geologic heritage resources. This effort identified 20 stratotypes designated within seven park units of the National Capital Region I&M Network (NCRN): Chesapeake and Ohio Canal National Historical Park (CHOH) contains three type sections, two type localities, one type area, and eight reference sections; George Washington Memorial Parkway (GWMP) contains one type locality; Harpers Ferry National Historical Park (HAFE) contains two type sections, and one type locality/type area; Manassas National Battlefield (MANA) contains two type areas; Monocacy National Battlefield (MONO) contains one type section; National Capital Parks-East (NACE) contains one type locality; Prince William Forest (PRWI) contains one type section. Note that two stratotype designations (for the Harpers and Mather Gorge Formations) are shared amongst multiple park units. Table 1 provides information regarding the 20 stratotypes currently identified within the NCRN. There are currently no designated stratotypes within Antietam National Battlefield (ANTI), Catoctin Mountain Park (CATO), Rock Creek Park (ROCR), and Wolf Trap National Park for the Performing Arts (WOTR). However, CATO, CHOH, and GWMP contain important rock exposures that could be considered for formal stratotype designation as discussed in the Recommendations section. The inventory of geologic stratotypes across the NPS is an important effort in documenting these locations in order that NPS staff recognize and protect these areas for future studies. The focus adopted for completing the baseline inventories throughout the NPS has centered on the 32 inventory and monitoring (I&M) networks established during the late 1990s. Adopting a network-based approach to inventories worked well when the NPS undertook paleontological resource inventories for the 32 I&M networks and was therefore adopted for the stratotype inventory. The Greater Yellowstone I&M Network (GRYN) was the pilot network for initiating this project (Henderson et al. 2020). Methodologies and reporting strategies adopted for the GRYN have been used in the development of this report for the NCRN. This report includes a recommendation section that addresses outstanding issues and future steps regarding park unit stratotypes. These recommendations will hopefully guide decision-making and help ensure that these geoheritage resources are properly protected and that proposed park activities or development will not adversely impact the stability and condition of these geologic exposures.