A SCHOLARLY BOOK REPOSITORY
Mark Wayne Nelson details the efforts of one of America’s most underappreciated public servants. In 1934, Franklin D. Roosevelt invited Marriner S. Eccles, a Mormon from Utah, to join his administration. As a Republican businessman, Eccles seemed an unlikely candidate for the role of leading crusader for a fairer and more economically sound distribution of the nation’s wealth. From his first position in the Treasury Department, though, he emerged as the central mover in revolutionizing the mortgage structure of the private home market in the United States.
After FDR appointed him to head the Federal Reserve, Eccles drafted legislation that restructured that institution as well. Throughout the remainder of the New Deal, he was the most powerful advocate of what came to be called “Keynesian Policy,” which involved direct federal stimulus of the economy. Presenting the first comprehensive and independent analysis of Eccles’s influential career, Jumping the Abyss wrestles with economic issues that remain relevant today.
Finalist for the Utah State Historical Society Best Book Award.
Chinese ink painters of the Republican period (1911–1949) creatively engaged with a range of art forms in addition to ink, such as oil painting, drawing, photography, and woodblock prints. They transformed their medium of choice in innovative ways, reinterpreting both its history and its theoretical foundations. Juliane Noth offers a new understanding of these compelling experiments in Chinese painting by studying them as transmedial practice, at once shaped by and integral to the modern global art world.
Transmedial Landscapes and Modern Chinese Painting shines a spotlight on the mid-1930s, a period of intense productivity in which Chinese artists created an enormous number of artworks and theoretical texts. The book focuses on the works of three seminal artists, Huang Binhong, He Tianjian, and Yu Jianhua, facilitating fresh insights into this formative stage of their careers and into their collaborations in artworks and publications. In a nuanced reading of paintings, photographs, and literary and theoretical texts, Noth shows how artworks and discussions about the future of ink painting were intimately linked to the reshaping of the country through infrastructure development and tourism, thus leading to the creation of a uniquely modern Chinese landscape imagery.
Chinese ink painters of the Republican period (1911–1949) creatively engaged with a range of art forms in addition to ink, such as oil painting, drawing, photography, and woodblock prints. They transformed their medium of choice in innovative ways, reinterpreting both its history and its theoretical foundations. Juliane Noth offers a new understanding of these compelling experiments in Chinese painting by studying them as transmedial practice, at once shaped by and integral to the modern global art world.
Transmedial Landscapes and Modern Chinese Painting shines a spotlight on the mid-1930s, a period of intense productivity in which Chinese artists created an enormous number of artworks and theoretical texts. The book focuses on the works of three seminal artists, Huang Binhong, He Tianjian, and Yu Jianhua, facilitating fresh insights into this formative stage of their careers and into their collaborations in artworks and publications. In a nuanced reading of paintings, photographs, and literary and theoretical texts, Noth shows how artworks and discussions about the future of ink painting were intimately linked to the reshaping of the country through infrastructure development and tourism, thus leading to the creation of a uniquely modern Chinese landscape imagery.
As assistant press secretary to President Harry S. Truman, Eben A. Ayers brought with him twenty-six years of experience as a newspaperman. He knew when he had a good story and knew how to record it. His private diary, which he kept unbeknownst to his associates, tells the inside story of the Truman White House clearly, colorfully, and with an acute sense of history.
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