In the craggy seacoast town of Rockport, Massachusetts stands one of the most painted and photographed landmarks in New England. (L’Ecuyer, 2009) As a picture perfect backdrop, many art galleries and tourist brochures proudly exhibit this renowned structure. Simply known as Motif #1, its historical as well as cultural significance to the town is displayed for all to see.
The building was originally used as a fishing shack that housed fishing gear and fish since the American Civil War. (Bartllett, 2002) Motif #1 was built in 1880 on what is known as Bradley Wharf which gave fishermen easy access for storage. Jutting out into the inner harbor, Bear Skin Neck provided a quaint and provincial appeal which can be seen from the main street, Mt. Pleasant Street. (New England Life, 2009) From successive individual ownership it was turned over to the Rockport Pier Company. As the fishing industry grew, so did the interest in the charming area as often is the case with seaside towns. Besides being a fishing community, it quickly established itself as a tourist attraction. In the summer of 1890 with the U.S. Naval Fleet stationed out in the harbor, tourists were taken daily from the wharf out to the ships for inspections. These visits continued into the 1930. (Bartllett, 2002) In 1920 an American traveling through South America found a picture of the Motif #1 that was believed to have been painted in Czechoslovakia and brought it back to his home in New Hampshire. This little shack has inspired many artists. In 1930 it was used by John Buckley as a studio. Probably one of the more unusual use of the Motif was the Rockport Lenionnaires building a 27 foot replica float. It started out with Rockport Art Association members participation bu...
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...dlife.blogspot.com/2009/09/motif-1-rockport-ma.html
Bartllet, Leslie D., Motif No.1-The Little Fish Shack Which
Refused to Go Away™ © 2002
http://www.rockportusa.com/motifone/column040402.html
Barlett, Leslie D., My View Why Rockport’s Motif No 1 Matters, Gloucester Times, May 20, 2010
http://www.MyViewWhyRockport’sMotifNo1matters/GloucesteTimes.com
Curtis, Judith, Rockport: An Art Haven For Every Season, Cape Ann Guide 2010
L’Ecuyer, Jonathan, Rockport’s Motif No. 1 answers National Geographic question. Gloucestertimes. Com, Gloucester, MA
http://www.gloucestertimes.com/local/x546182521/Rockports-Motif-No-1-answers-Nation-Geographic-question
http://www.rockportusa.com/motifone/motif_named.html
Rockport Reconnaissance Report/ Essex County Landscape Inventory
Massachusetts Heritage Landscape Inventory Program
New England Travels
I am from a small town called Bristol Borough, Pennsylvania. It is along the Delaware River, about 25 miles northeast of Philadelphia. Bristol Borough was founded in 1681. This is the states third oldest borough, that was once a busy river port with important shipbuilding activities (Cohen 438). It is predominately residential, with the exception of Mill Street, the community's traditional commercial street. It includes fine examples of many major styles and idioms, reflecting the community's long history and its importance as a transportation and commercial center (Owen 133). The 28-acre Bristol Industrial Historic District includes the original town of Bristol and the residential area that extends northeast along the bank of the Delaware River (Owen 132). The Bristol Industrial Historic District is a significant collection of the factory and mill complexes containing elements dating from 1875-1937 (Owen 133). Among the mills is the Grundy Mill Complex. It is a visual representation of industrial growth of Bristol Borough. This mill was run by Joseph R. Grundy. The dramatic scale of later buildings stand as the source and monument to the wealth and power of Joseph Grundy (Owen 145). Joseph Grundy was the proprietor of the Bristol Worsted Mills, and one of the most prominent manufacturers and businessmen of Bucks County (Green 252). The Bristol Worsted Mills no longer run but the building is still standing. Bristol owes a lot to Joseph R. Grundy for his contributions to the people and the town itself.
“As New York City developed into the nations largest seaport and business center, the strategic value of Throgs Neck as a site for defense of the seaward approaches to the city from Long Island Sound became apparent. Construction of a fort was considered in 1818, and on July 26, 1826, the federal government purchased fifty-two acres of land from William Bayard. Construction of a fort began in 1833 with I.L. Smith as the architect. New England stone masons erected the thick walls of the fort using granite blocks ferried down from Greenwich, Connecticut. Irish laborers did much of ...
Drypoint etching, 1936, by Arthur W. Heintzelman, commemorating the Tercentenary of the founding of Rhode Island by Roger Williams. Courtesy of Roger Williams University Archives.
In "Everyday Use," Alice Walker stresses the importance of heritage. She employs various ways to reveal many aspects of heritage that are otherwise hard to be noticed.
"POSTSCRIPT to the Pennsylvania Gazette, No. 2075. BOSTON, September 15." Town Meeting. Boston: The Pennsylvania Gazette, September 1768.
In the halls of the State Capitol building, Robert Straub’s portrait hangs near the House Of Representatives chamber on the second level of the building. The realistic acrylic painting salutes Straub’s effort in the establishment of the Willamette Greenway to preserve the natural state of the riverbank from 1975-1979. The subject preferred to have a more governmental pose, but various observers appreciated the informality. Paul Missal spend one year working on the collaborated portrait with Straub, as he helped decide the setting says it, “reflects the spirit of Oregon as I have always seen it.” Using donations and other non public funds, the painting was purchased through the State Historical Properties Commission.
I have lived in or around Winston –Salem nearly all my life but have never once researched the Reynolds name or been to Reynolda House. I found the house to be amazing with all the thought and planning that went into its architecture and its functionality as a self-sufficient farm of its day; I for some reason have a hard time thinking that the early 1900s had skilled, intelligent people that could master such a feat. Touring Reynolda House, which is a museum and discussed later in this paper, was an adventure. Not only was the art breathtaking but the house was decorated as it was in R.J’s and Katharine’s era. While researching for this paper, it was easy to place myself back in that era at the beginning of what I am calling the Reynolds’ legacy. The Reynolda House museum is people friendly and a very nice tour in my
The city of Lowell is mainly known for its large amounts of textile mills and factories that were mostly used during the Industrial Revolution. Since textile mills and this entire system is a huge part of the history of Lowell, I thought it had to be drawn. My sketch of the mills took inspiration from the essay, “The Town with the Golden Future,” by Will Preston. I thought this essay was very fascinating to read because it touched upon every important detail of the ghost town Bradian. I felt that the three images included within the essay helped me relate the details he was describing with my own imagination to create and visualize the town even more. I think being able to see the images really helped me feel what it was like to drive through
In his essay “The Monument and the Bungalow,” Pierce Lewis advocates for his readers to consider the importance of landscape as a visual history that is as equally important as a written history. He encourages the cultivation of skills necessary to understand and participate in the informatively rich landscapes of our everyday lives. Pierce uses as example his own past experiences within teaching the ability of reading landscapes and makes a poignant observation of the commonality within American culture to take for granted the collective landscape and overlook the rich histories and details of our cultures that they may hold.
Upon closer inspection, one may find the nature of a shadow to share a striking likeness to the darker aspects of human emotion. Waning by day and ubiquitous by night, as apprehension shrinks from confidence and thrives with ambiguity, shadows clearly display many symbolic characteristics of fear. Throughout his novel, A Tale of Two Cities, Dickens visually illustrates this concept through numerous instances of his own motif of shadows. He makes use of the prevalence of oppression regarding eighteenth century France and its observably dehumanizing effects on its victims, specifically Alexandre and Lucie Manette as well as the entire peasant class, to form the image of a fearful target, frequently faced with the shadow of its own repressed fears. As evidence shows, Dickens appropriately uses visual imagery to depict how the motif of shadows corresponds with apprehension and fear.
"Themes." Home Page English 112 VCCS Litonline. 22 Mar. 2004. Web. 1 Apr. 2011. .
Dr. De Le Torre makes a distinction between liberation theology and liberative theology. De Le Torre states in his Liberationist lecture when we refer to liberationist ethics we are referring to liberation theology. Liberation ethics refers to liberation theology a movement which developed during the 1960’s or early 1970’s in Latin America dealing with military dictatorship poverty etc.
Jacobs, Jane. "12-13." The Death and Life of Great American Cities. New York: Random House, 1961. N. pag. Print.
Hodges, Michael. New Statesman. 12/14/2009, Vol. 138 Issue 4979, P13-13. 2/5p. 1 Illustration. N.p.: n.p., n.d. Print.
... middle of paper ... ...of the year. New York: Globe Books, Cambridge Division, 1981. Print. The. Chapter 1 Section VI.