User:Andy02124/sandbox

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++++++++++++++++++++++++++++++ Flying High

++++++++++++++++++++++++++++++ Zabriskie merge

École du Louvre

Career
In 1954, Zabriskie bought the Madison Avenue Korman Gallery from its owner, an art school friend, Marvin Korman, for one dollar. Along with the lease, she assumed ... for about a dozen artists represented by Korman, including Pat Adams whom Z would represent for fifty years. She worked alone for the first few years; her artists paid their own exhibition expenses. A chance meeting with that guy led to introductions to other artists and collectors and expansion of her roster of artists. presented over 800 shows ...She represented painters ... and sculptors ...

Her shows featured sculptors Elie Nadelman and Mary Frank, and painters Pat Adams, Lester Johnson, Nell Blaine and Miyoko Ito. She also mounted historical shows at Zabriskie, including "Surrealism 1936: Objects, Photographs, Collages and Documents" (1986).

She was first to show a group of abstract ink drawings by sculptor Richard Stankiewicz after they were discovered in the 1985, two years after his death.

In 1980, Zabriskie opened a second gallery to exhibit sculpture ...had expanded to two spaces in New York. The gallery at 724 Fifth Avenue specialized in painting; sculpture was highlighted at 521 West 57th Street.

Zabriskie opened a Paris branch, Gallerie Zabriskie, at 29 rue Aubry le Boucher in 1977; Nicholas Callaway was its first director and its inaugural show was 26 American Photographers or whatever. The gallery, which combined an exhibition space and a bookstore, focused on photography.

The Paris gallery, which had moved to xxx in 19xx, closed in 1998. Its final exhibition, “Au Revoir Paris,” brought together the work of 26 American photographers who had had their first European solo gallery shows there. The show included Alfred Stieglitz, Berenice Abbott, Robert Frank, Diane Arbus, Walker Evans, Lisette Model, Paul Strand, Barbara Morgan and Lee Friedlander. In 1999, Zabriskie received La Medaille de la Ville de Paris for her significant contribution to French culture.

A collection of essays titled Zabriskie: Fifty Years celebrating the fiftieth anniversary of the gallery was published in 2004.

The New York galleries closed in 2010 although Zabriskie continued to work as a private dealer.(obit) She preferred the occupational title "gallerist" to art dealer, saying “My work is less about showing any given client a work of art for sale, but rather presenting an artist’s work."

Zabriskie's personal art collection was sold in 2021 by the Swann Auction Galleries.

https://archive.org/details/zabriskiefiftyye0000zabr/

++++++++++++++++++++++++++++++ For Fine and Dandy

Background
Vaudeville performer Joe Cook commissioned Donald Ogden Stewart to write a musical comedy tailored to his own unique comic persona. Fine and Dandy has been described as a mix of vaudeville, musical comedy and social satire, and was a popular hit, running for 255 performances during the 1930–1931 season at Erlanger's Theater. The Playbill for the original Broadway production, after listing the credits for book, music and lyrics, adds "Many Nonsensical Moments Created by Joe Cook". "No less than 314 trick 'props' and lunatic inventions are used by Cook at one time or another during the hilarious maneuvers of 'Fine and Dandy'. A few of the absurd items are green and yellow snakes, a pair of stilts, a disappearing cigar, a surf board, a breakaway golf club, a canoe mounted on wheels, a cocoanut tree, six illuminated torches, a bean-shooter, two 10-gallon milk cans and two live skunks." In 2007, three years after the successful release of a new studio cast recording, the Kay Swift Memorial Trust commissioned a new libretto which would remove Cook's vaudeville routines and change the setting from the Fordyce Drop Forge and Tool Company to a shoe factory, Fordyce Feet. In a newspaper interview, Swift's granddaughter Katharine Weber said, "It will be true to the spirit but will go in different directions." There will be no orchestra, but the actors will be "oddballs who play music on very non-standard instruments."

Act I
(scene defs are completely arbitrary.) Edgar Little, assistant manager of the Fordyce Drop Anvil and Tool Company, is enjoining his employees to focus on their work ("Chant"/"Machine Shop Opening"). George Ellis, recently graduated from Yale and now employed at the factory, vows to Maribelle that he wants to start at the bottom (of the company) and work his way up in order to be worthy of her affections ("Rich and Poor"). George's sister, Nancy, is engaged to Edgar, but is also wooed by Joe ("Fine and Dandy"). They kiss. Or they don't. Mr. Ellis, the former manager, tells Joe that he borrowed $100,000 from the company and lost it in the stock market crash. (Topical! I'm really winging it now.) I'm confused. "The wheels on the bus go round and round"
 * Scene 1 - The machine room
 * Scene 2 - The caddy house at the Country Club
 * Scene 3 - A sand trap on the golf course
 * Scene 4 - Joe's office (wait - how does Joe have an office already?)
 * Scene 5 - In front of Squibb's finance chart
 * Scene 6 - On the way to the graduation

Entertainment before the graduation ceremony includes Joe and some pantomime horses ("Giddyup Back"), which turns into an impromptu gymnastics exhibition, featuring that guy. After the new graduates belt out the school anthem ("Fordyce"), Mrs. Fordyce announces her restructuring plan. She appoints Joe, who has flattered her with his attentions, as general manager, displacing Mr. Ellis. Maribelle dumps George, now that he's no longer the son of a manager. George and Nancy compare notes on their failed romances ("Let's Go Eat Worms in the Garden").
 * Scene 7 - Garden of the Fordyce Night School

Act II
Joe promises his co-workers a better life... ("Etiquette" wait, that's not listed either. Dietz surmises that it could be the number called "Opening" in the Playbill.) Squibb reorganizes the workers, shortens their hours, extends their lunch break to three hours, and arranges weekly picnics (with miniature golf!) to keep his employees from going on strike. Everyone is happy and Miss Hunter taps her heart out ("Jig Hop"). Is this where the board gives Joe $100,000 on condition that he quit and never have anything to do with Fordyce? If so, Joe uses the money to replace the money Mr. Ellis "borrowed" from the company coffers. Wedding plans are afoot. Mrs. Fordyce has hooked Joe, and Maribelle has settled for Edgar. George and Nancy are apparently just metaphorical bridesmaids. Squibb announces, at the last minute, that he is already married and has four children. Partners are swapped and the show ends with a double wedding, Mirabelle and George, and Mrs. Fordyce and Edgar ("Wedding Bells"). Nancy is still a bridesmaid but joins in the big finale anyway, right after Miss Needles (where'd she come from?) does a toe dance, because, hey, she's wearing the shoes. ("Waltz Ballet").
 * Scene 1 - Employee's picnic grounds
 * Scene 2 - Interior of a bank
 * Scene 3 - Mrs. Fordyce's garden

Synopsis (2004 reconstruction)
The former manager, Mr. Ellis, has fiddled with the company's books but Squibb covers for him because he loves Ellis's daughter, Nancy, a Fordyce employee. Nancy's brother George, recently graduated from Yale, plans to work his way from the bottom of the workforce to the top in order to gain the affection of Marabelle. Squibb's workforce "improvements" cause productivity to drop by 70%. The company board pays him $100,000 to resign and he uses the money to cover Ellis's "loan". A triple wedding seems to be in the works — Joe and Mrs. Fordyce, Nancy and x, Marabelle and Edgar. But

Principal characters

 * Joe Squibb, former mechanic and new general manager of the Fordyce Drop Forge and Tool Company
 * Wiffington, Joe's sidekick
 * Mrs. Fordyce, a widow and owner of the Fordyce Company
 * Maribelle Fordyce, her daughter, George's love interest
 * Nancy Ellis, factory employee, Joe's love interest
 * George Ellis, Yale graduate, factory employee, Nancy's brother
 * Mr. Ellis, former manager, father of Nancy and George
 * Edgar Little, assistant manager, engaged to Nancy
 * Miss Hunter, company secretary and tap dancer extraordinaire

Cast
Additional members of the large Broadway cast included the Merriel Abbott Specialty Dancers, the Tommy Atkins Sextet, the Four Horsemen, and, according to a contemporary review, a "beauty chorus of 60 lithe and lustrous girls".

Theater historian Dan Dietz suggests that some of the comedy quartets, such as the Uninternational Four, the Four Horsemen, and the Giersdorf Brothers, may actually have been Joe Cook playing multiple roles, as he did in his well-known "Four Hawaiians" skit.

Musical numbers
Songs, dances and novelty numbers as listed in the Playbill for the original production. The show was frequently revised during its run; a song that became a standard, "Nobody Breaks My Heart", was added to the wedding scene shortly after the show opened.

The "Mechanical Ballet" was arranged by choreographer Eugene Von Grona. The music has been lost; it may or may not have been written by Kay Swift. New York Times theater critic Brooks Atkinson called it "the most stunning dance number [with the Tommy Atkins Sextet] attired in costumes of original color schemes, against quiet and expansive backgrounds". It may have been an homage or a parody of George Antheil's Ballet Mécanique, which had its New York premier in 1927.


 * Act I
 * Chant — The Entire Ensemble
 * "Rich or Poor" — Maribelle, George and Ensemble
 * "Fine and Dandy" — Joe Squibb and Nancy
 * "Wheels of Steel" — Edgar
 * "Mechanical Ballet" — Tommy Atkins Sextet, Jack Hanlen and Ensemble
 * "Starting at the Bottom" — George and Ensemble
 * "Can This Be Love?" — Nancy
 * "I'll Hit a New High" — Miss Hunter, Tommy Atkins Sextet and Ensemble
 * "Fine and Dandy" (reprise) — Maribelle, Tommy Atkins Sextet and Ensemble
 * "Giddyup Back" — Joe Squibb and Horses
 * "Fordyce" — Ensemble
 * "Finaletto" — The Entire Company
 * "Let's Go Eat Worms in the Garden" — Nancy, George, Betsy Rees (billed as "Miss Needles"), Uninternational Four and Ensemble


 * Act II
 * Opening — Ensemble with the Merriel Abbott Specialty Dancers
 * "Jig Hop" — Miss Hunter and Ensemble
 * "Bird in Hand" — George and Maribelle
 * Specialties — The Giersdorf Brothers
 * "That Thing I Can't Forget" — Mrs. Fordyce
 * "Starting at the Bottom" (reprise) — Abbott Dancers, Boys and Jimmy Hadreas (billed as "Office Boy")
 * "Can This Be Love" (reprise) — Edgar, Maribelle and George
 * "Wedding Bells" — Ensemble
 * Waltz Ballet — Betsy Rees and Abbott Dancers
 * Finale — Entire Company

Recording
No original cast recording was made; most of the orchestrations and dance music were lost, with the exception of several songs which had been published individually. Orchestrator Russell Warner teamed with Swift in 1980s to reconstruct the score. After Swift's death in 1993, Warner continued to work on the project for ten years. A studio recording was released in 2004 by PS Classics with a cast that included Andrea Burns, Mario Cantone, Carolee Carmello, Gavin Creel, Mark Linn-Baker, Jennifer Laura Thompson, Deborah Tranelli, and Anne Kaufman. The recorded score drops "Mechanical Ballet", "Giddyup Back" and "Bird in Hand", and includes several numbers not explicitly listed in the Playbill for the original production. Historian Dan Dietz writes that these may have been listed under a different name or were part of another number.
 * "Machine Shop Opening" — Edgar and ensemble. May have been "Chant" and/or "Wheels of Steel".
 * "Sing High" — Male ensemble. May have been part of the "Mechanical Ballet".
 * "Etiquette" — Edgar and ensemble. May have been part of the act II "Opening". Originally sung by Joe.
 * "Nobody Breaks My Heart" — Nancy. Added later in the run of the original production.
 * "Nature Will Provide" — Wedding singer. May have been part of the "Waltz Ballet" or the finale.



https://www.newspapers.com/clip/107700163/fine-and-dandy-boston-preview-1930/ Boston Globe September 2, 1930 p17 Joe Cook's Show Scores at Colonial

Career
On his return from Denmark, (finished MFA, class of '93?) Ipsen established a studio in Boston, first at 3 Pembroke St., eventually moving to the Harcourt Studios. His work at this period included landscapes, seascapes and still-lifes, but his primary focus was on portraiture. His early paintings of his mother and his wife earned good reviews. When a portrait of his mother as a young singer was shown in Richmond, Indiana, an admirer composed a poem to honor it.

In 1913 Ipsen was elected into the National Academy of Design as an Associate member and became a full Academician in 1924. He was also a member of the Salmagundi Club, the Century Association, the American Water Color Society, the New York Water Color Club and the American Federation of Arts.

Ipsen exhibited at name (place, date)... Chase Galleries (Boston, xxxx),

Ipsen won two prizes awarded by the National Academy for Design: the 1921 Thomas R. Proctor Prize for portraiture? and the 1929 Isaac N. Maynard Prize for best portrait for "Mrs. Maynard". He received the Pennsylvania Academy of Fine Arts's 1937 Walter Lippincott Prize for Mr. Lauth and Bottles (Theodore C. Lauth of Fort Myers, Florida, and his fox terrier). He also won National Arts Club prize and was awarded the Century Association Art Committee medal for best picture in a professional exhibition (1947-1948), Mr. John Lane.

Legacy
Ipsen's work is in the collections of ...

+++++++++++++++++++++++++++++ Paul Creston

Early life and education
Creston was born in New York City to Gaspare Guttovegio and Carmela Collura, who had immigrated from Sicily the year before. Recognizing his aptitude for music, his parents purchased a piano for ten dollars and he started taking piano lessons at age 8. soon replaced by a $300 piano.

Creston studied piano with Gaston Dethier, Carlo Stea, and G. Aldo Randegger, and organ with Pietro Yon. At age 15 he left high school, where he acquired the nickname "Cress", to help support his family. He held a number of office jobs while continuing his self-education in composition.

He changed his name legally to Paul Creston in 1927 when he married Louise Gotto, a member of the Martha Graham dance company.

Career
Through contacts, Theater organ

Creston began to compose seriously in 1932.

Creston was the organist and choirmaster at St. Malachy Roman Catholic Church from 1934 until 1967, when he took a teaching post at Central Washington State College. He remained at CWSC until retiring in 1975 although both during and after ... He taught at over 40 institutions... Students included...

accordion commission http://ameraccord.com/commissions/creston.htm

Creston wrote two books on music theory,

In an essay for Music Educators Journal, Creston outlined his philosophy of... and ...

"In 1956 he was elected president of the National Association for American Conductors and Composers, serving until 1960. From 1960-1980 he was invited to be guest composer for many colleges and orchestras in the USA. He died in 1985, after a year’s battle with cancer. "

Awards

 * Two Guggenheim fellowships (1938 and 1939)
 * The New York Music Critics' Circle award for Symphony No. 1, Opus 20 (1943) Selected as the best of the symphonic works by American composers which had their New York premieres during the 1942-43 season.
 * Music Award of the American Academy of Arts and Letters (1943)
 * Symphony No. 1 won first place in the Paris International Commission (1952)

Alchin Chair at USC


 * The chapter ... the biography is available on-line but the rest of the book, including the bibliography and whatever, is not.