Showing posts with label Art. Show all posts
Showing posts with label Art. Show all posts

Monday, March 6, 2023

Fern Isabel Coppedge, an American impressionist painter, born in Decatur, Illinois, 1883.


Born Fern Isabel Kuns on July 28, 1883, in Decatur, Illinois. Coppedge dreamed of being an artist since the age of thirteen, after being inspired by the dazzle of sunlight reflected on snow and sea and by the marvelous creative possibilities she discovered while visiting her older sister's watercolor class. Her husband, Robert W. Coppedge, himself an amateur painter, encouraged her to pursue this ambition. She attended the Art Institute of Chicago, the Art Students League of New York, and the Pennsylvania Academy of the Fine Arts

Born Fern Isabel Kuns on July 28, 1883, in Decatur, Illinois. Coppedge dreamed of being an artist since the age of thirteen, after being inspired by the dazzle of sunlight reflected on snow and sea and by the marvelous creative possibilities she discovered while visiting her older sister's watercolor class. Her husband, Robert W. Coppedge, himself an amateur painter, encouraged her to pursue this ambition. She attended the Art Institute of Chicago, the Art Students League of New York, and the Pennsylvania Academy of the Fine Arts.

A landscape artist, Fern Coppedge painted the villages and farms of Bucks County, often blanketed with snow, and harbor scenes from Gloucester, Massachusetts, where she spent her summers. Coppedge worked directly from nature by tying her canvas to a tree during winter storms.


Coppedge's early work, influenced by American impressionism, was marked by shimmering colors and attention to the effects of changing light upon a landscape. Later in her career, Coppedge moved towards post-impressionism, favoring a more fanciful use of color and a two-dimensional, abstract style.

During her artistic career, she received several awards, including the Shillard Medal in Philadelphia, a Gold Medal from the Exposition of Women’s Achievements, another Gold Medal from the Plastics Club of Philadelphia, and the Kansas City H.O. Dean Prize for Landscape. She was a member of several prominent art organizations, including the Philadelphia Art Alliance, the Art Students League of New York, and the Philadelphia Ten.

She became well known for her work as a landscape impressionist who painted scenes that were blanketed with snow, such as the villages and farms of Bucks County, Pennsylvania. Her famous works include (see images); Autumn Gold, Bucks County Scene, Lumberville, Lumberville Cottage, Old House, The Delaware Valley, and The Delaware Reflections.

Coppedge died on April 21, 1951, in New Hope, Pennsylvania, at the age of 67.







Compiled by Dr. neil Gale, Ph.D.

Wednesday, November 9, 2022

The Pabst Beer advertising sign on South Water Street, Chicago. 1943

Pabst Beer neon sign at South Water Street looking South. 1943
The Pabst Blue Ribbon neon [1] sign looking North at South Water Street, Chicago.





sidebar
Blended 33 to 1 means that 33 vats of beer are blended together to make one batch for consistency.
The Pabst sign was removed before June 1953 for the groundbreaking of the Prudential Insurance building. 
Prudential Plaza, 1964
The Prudential building opened to the public in 1955, replacing the Pabst neon sign.

Compiled by Dr. Neil Gale, Ph.D.



[1] Neon was first unveiled in modern form by Georges Claude, a French engineer, at the Paris Motor Show in December 1910. In 1923, Claude brought neon signage to the United State, selling two signs to a Packard car dealership in Los Angeles, California.

Saturday, April 30, 2022

A 1900 Description of Chicago's World's Columbian Exposition in 1893. Five stunning oil paintings included.

An exhibition of the scientific, liberal, and mechanical arts of all nations was held in Chicago between May 1 and October 31, 1893. The project had its inception in November 1885, in a resolution adopted by the directorate of the Chicago Inter-State Exposition Company. 

On July 6, 1888, the first well-defined action was taken, the Iroquois Club of Chicago, inviting the cooperation of six other leading clubs of that city in "securing the location of an international celebration at Chicago of the 400th anniversary of the discovery of America by Columbus." 

In July 1889, a decisive step was taken in the appointment by Mayor Cregier, under the resolution of the City Council, of a committee of 100 (afterward increased to 256) citizens, who were charged with the duty of promoting the selection of Chicago as the site for the Exposition. New York, Washington, and St. Louis were competing points, but the choice of Congress fell upon Chicago, and the act establishing the World's Fair in that city was signed by President Harrison on April 25, 1890. 

Under the requirements of the law, the President appointed eight Commissioners-at-large, with two Commissioners and two alternates from each State and Territory and the District of Columbia. Col. George R. Davis of Chicago was elected Director-General by the body thus constituted. Ex-Senator Thomas M. Palmer of Michigan was chosen as President of the Commission, and John T. Dickinson, of Texas, as Secretary. This Commission delegated much of its power to a Board of Reference and Control, who were instructed to act with a similar number appointed by the World's Columbian Exposition. 

The latter organization was incorporated with a directorate of forty-five members, elected annually by the stockholders. Lyman J. Gage of Chicago was the corporation's first President and was succeeded by W.T. Baker and Harlow N. Higinbotham.
In addition to these bodies, certain powers were vested in a Board of Lady Managers, composed of two members, with alternates, from each State and Territory, besides nine from the city of Chicago. Mrs. Bertha Honoré Palmer was chosen President of the latter. This Board was particularly charged with supervising women's participation in the Exposition and the exhibits of women's work.

The Board of Lady Managers funded and ran the Children's Building at the Fair. Mrs. Bertha Honoré Palmer was the catalyst of innovation, and the progressive ideals paid off for the students being taught in the Children's Building. 
The supreme executive power was vested in the Joint Board of Control. The site selected was Jackson Park, in the South Division of Chicago, with a strip connecting Jackson and Washington Parks, known as the "Midway Plaisance," which was surrendered to "concessionaires" who purchased the privilege of giving exhibitions or conducting restaurants or selling booths thereon. 

The site's total area was 633 acres, and that of the buildings - not reckoning those erected by States other than Illinois and foreign governments - was about 200 acres. When this was added to the acreage of the foreign and State buildings, the total space under the roof was approximately 250 acres. 

These figures do not include the buildings erected by private exhibitors, caterers, and vendors, which would add a small percentage to the grand total. Forty-seven foreign Governments made appropriations for the erection of their own buildings and other expenses connected with official representation, and there were exhibitors from eighty-six nations. 

The United States Government erected its own building and appropriated $500,000 to defray the expenses of a national exhibit, besides $82,500,000 toward the general cost of the Exposition. The appropriations by foreign Governments aggregated about $86,500,000, and those by the States and Territories, $6,120,000 - that of Illinois being $8,800,000. The entire outlay of the World's Columbian Exposition Company, up to March 31, 1894, including the cost of the preliminary organization, construction, operating, and post-Exposition expenses, was $27,151,800. This excludes foreign and State expenditures, which would swell the aggregate cost to nearly $845,000,000. 

Citizens of Chicago subscribed $5,608,206 toward the capital stock of the Exposition Company, and the municipality, $5,000,000, which was raised by the sale of bonds.
The site, while admirably adapted to the purpose, was, when chosen, a marshy flat, crossed by low sand ridges, upon which stood occasional clumps of stunted scrub oaks. Before the gates of the great fair were opened to the public, the entire area had been transformed into a dream of beauty. Marshes had been drained, filled in, and sodded; driveways and broad walks constructed; artificial ponds and lagoons dug and embanked, and all the highest skill of the landscape gardener's art had been called into play -to produce varied and striking effects. 

But the task had been a Herculean one. There were seventeen principal (or, as they may be called, departmental) buildings, all with beautiful and ornate designs in many sizes. They were known as the Manufacturers' and Liberal Arts, the Machinery, Electrical, Transportation, Woman's, Horticultural, Mines and Mining, Anthropological, Administration, Art Galleries, Agricultural, Art Institute, Fisheries, Live Stock, Dairy and Forestry buildings, and the Music Hall and Casino. Several of these had large annexes. 

The Manufacturers' Building was the largest. It was rectangular (1687x787 feet), having a ground area of 31 acres and a floor and gallery area of 44 acres. Its central chamber was 1280x380 feet, with a nave 107 feet wide, both hall and nave (accommodates the congregation) being surrounded by a gallery 50 feet wide. It was four times as large as the Roman Coliseum and three times as large as St. Peter's in Rome; 17,000,000 feet of lumber, 13,000,000 pounds of steel, and 2,000,000 pounds of iron had been used in its construction, involving a cost of $1,800,000.
It was initially intended to open the Exposition, formally on October 21, 1892, the quadricentennial of Columbus' discovery of land in the Western Hemisphere. However, the magnitude of the undertaking rendered this impracticable. Consequently, while dedicatory ceremonies were held on that day, preceded by a monster procession and followed by elaborate pyrotechnic displays at night, May 1, 1893, was fixed as the opening day - the machinery and fountains being put in operation, at the touch of an electric button by President Cleveland, at the close of a short address. 

The total number of admissions from that date to October 31 was 27,530,460 - the largest for any day being October 9 (Chicago Day), amounting to 761,944. The total receipts from all sources (including National and State appropriations, subscriptions, etc.) amounted to $28,151,168.75, of which $10,626,330.76 was from the sale of tickets and $3,699,581.43 from concessions. The aggregate attendance fell short of that at the Paris Exposition of 1889 by about 500,000, while the receipts from the sale of tickets and concessions exceeded the latter by nearly $5,800,000. Subscribers to the Exposition stock received a ten percent return on the same.
The Illinois building was the first of the State buildings to be completed, and it was also the largest and most costly but was severely criticized from an architectural standpoint. The exhibits showed the internal resources of the State, as well as the development of its governmental system and its progress in civilization from the days of the first pioneers. The entire Illinois exhibit in the State building was under the charge of the State Board of Agriculture, who devoted one-tenth of the appropriation, and a like proportion of floor space, to the exhibition of the work of Illinois women as scientists, authors, artists, decorators, etc. Among the special features of the Illinois exhibit were the following: 

State trophies and relics, kept in a fire-proof memorial hall; the display of grains and minerals, and an immense topographical map (prepared at the cost of $15,000), drafted on a scale of two miles to the inch, showing the character and resources of the State, and correcting many serious cartographical errors previously undiscovered.

Compiled by Dr. Neil Gale, Ph.D.

Wednesday, April 13, 2022

Chicagoan Magazines from 1926 to 1935, 166 Full Issues.

The Chicagoan, published from 1926 to 1935 in Chicago, was explicitly modeled on the New Yorker in both its graphic design and editorial content. The magazine aimed to portray the city as a cultural hub and counter its image as a place of violence and vice. It was first issued biweekly and then, in a larger format, monthly, ceasing publication in the midst of the Depression. The magazine received little national attention during its lifetime and few copies survive.
ISSUES OF THE CHICAGOAN MAGAZINE.







Vol. 1, No. 1, June 14, 1926
Vol. 1, No. 2, July 15, 1926
Vol. 1, No. 3, August 1, 1926
Vol. 2, No. 1, Sept 15, 1926
Vol. 2, No. 2, October 1, 1926
Vol. 2, No. 3, October 15, 1926
Vol. 2, No. 4, Nov. 1, 1926
Vol. 2, No. 5, Nov. 15, 1926
Vol. 2, No. 6, Dec. 1, 1926
Vol. 3, No. 1, March 26, 1927
Vol. 3, No. 2, April 9, 1927
Vol. 3, No. 3, April 23, 1927
Vol. 3, No. 4, May 7, 1927
Vol. 3, No. 5, May 21, 1927
Vol. 3, No. 6, June 4, 1927
Vol. 3, No. 7, June 18, 1927
Vol. 3, No. 8, July 2, 1927
Vol. 3, No. 9, July 16, 1927
Vol. 3, No. 10, July 30, 1927
Vol. 3, No. 11, Aug. 13, 1927
Vol. 3, No. 12, Aug. 27, 1927
Vol. 3, No. 13, Sept 10, 1927
Vol. 4, No. 1, Sept 24, 1927
Vol. 4, No. 2, October 8, 1927
Vol. 4, No. 3, October 22, 1927
Vol. 4, No. 4, Nov. 5, 1927
Vol. 4, No. 5, Nov. 19, 1927
Vol. 4, No. 6, Dec..17, 1927
Vol. 4, No. 7, Dec. 31, 1927
Vol. 4, No. 8, January 14, 1928
Vol. 4, No. 9, January 28, 1928
Vol. 4, No. 10, Feb. 11, 1928
Vol. 4, No. 11, Feb. 25, 1928
Vol. 4, No. 12, March 10, 1928
Vol. 4, No. 13, March 24, 1928
Vol. 5, No. 1, April 7, 1928
Vol. 5, No. 2, April 21, 1928
Vol. 5, No. 3, May 5, 1928
Vol. 5, No. 4, May 19, 1928
Vol. 5, No. 5, June 2, 1928
Vol. 5, No. 6, June 16, 1928
Vol. 5, No. 7, June 30, 1928
Vol. 5, No. 8, July 14, 1928
Vol. 5, No. 9, July 28, 1928
Vol. 5, No. 10, August 11, 1928
Vol. 5, No. 11, August 25, 1928
Vol. 5, No. 12, August 8, 1928
Vol. 5, No. 13, Sept 22, 1928
Vol. 6, No. 1, October 6, 1928
Vol. 6, No. 2, October 20, 1928
Vol. 6, No. 3, Nov. 3, 1928
Vol. 6, No. 4, Nov. 17, 1928
Vol. 6, No. 5, Dec. 1, 1928
Vol. 6, No. 6, Dec. 15, 1928
Vol. 6, No. 7, Dec. 29, 1928
Vol. 6, No. 8, January 12, 1929
Vol. 6, No. 9, January 26, 1929
Vol. 6, No. 10, Feb. 9, 1929
Vol. 6, No. 11, Feb. 23, 1929
Vol. 6, No. 12, March 2, 1929
Vol. 6, No. 13, March 16, 1929
Vol. 7, No. 1, March 30, 1929
Vol. 7, No. 2, April 13, 1929
Vol. 7, No. 3, April 27, 1929
Vol. 7, No. 4, May 11, 1929
Vol. 7, No. 5, May 25, 1929
Vol. 7, No. 6, June 8, 1929
Vol. 7, No. 7, June 22, 1929
Vol. 7, No. 8, June 6, 1929
Vol. 7, No. 9, July 20, 1929
Vol. 7, No. 10, August 3, 1929
Vol. 7, No. 11, August 17, 1929
Vol. 7, No. 12, August 31, 1929
Vol. 7, No. 13, Sept 14, 1929
Vol. 8, No. 1, Sept 28, 1929
Vol. 8, No. 2, October 12, 1929
Vol. 8, No. 3, October 26, 1929
Vol. 8, No. 4, Nov. 9, 1929
Vol. 8, No. 5, Nov. 23, 1929
Vol. 8, No. 6, Dec. 7, 1929
Vol. 8, No. 7, Dec. 21, 1929
Vol. 8, No. 8, January 4, 1930
Vol. 8, No. 9, January 18, 1930
Vol. 8, No. 10, Feb. 1, 1930
Vol. 8, No. 11, Feb. 15, 1930
Vol. 8, No. 12, March 1, 1930
Vol. 8, No. 13, March 15, 1930
Vol. 9, No. 1, March 29, 1930
Vol. 9, No. 2, April 12, 1930
Vol. 9, No. 3, April 26, 1930
Vol. 9, No. 4, May 10, 1930
Vol. 9, No. 5, May 24, 1930
Vol. 9, No. 6, June 7, 1930
Vol. 9, No. 7, June 21, 1930
Vol. 9, No. 8, July 5, 1930
Vol. 9, No. 9, July 19, 1930
Vol. 9, No. 10, August 2, 1930
Vol. 9, No. 11, August 16, 1930
Vol. 9, No. 12, August 30, 1930
Vol. 9, No. 13, Sept 13, 1930
Vol. 10, No. 1, Sept 27, 1930
Vol. 10, No. 2, Oct. 11, 1930
Vol. 10, No. 3, Oct. 25, 1930
Vol. 10, No. 4, Nov. 8, 1930
Vol. 10, No. 5, Nov. 22, 1930
Vol. 10, No. 6, Dec. 6, 1930
Vol. 10, No. 7, Dec. 20, 1930
Vol. 10, No. 8, January 3, 1931
Vol. 10, No. 9, January 17, 1931
Vol. 10, No. 10, Jan. 31, 1931
Vol. 10, No. 11, Feb. 14, 1931
Vol. 10, No. 12, Feb. 28, 1931
Vol. 10, No. 13, March 14, 1931
Vol. 11, No. 1, March 28, 1931
Vol. 11, No. 2, April 11, 1931
Vol. 11, No. 3, April 25, 1931
Vol. 11, No. 4, May 9, 1931
Vol. 11, No. 5, May 23, 1931
Vol. 11, No. 6, June 6, 1931
Vol. 11, No. 7, June 20, 1931
Vol. 11, No. 8, July 4, 1931
Vol. 11, No. 9, July 18, 1931
Vol. 12, No. 1, August 1931
Vol. 12, No. 2, Sept 1931
Vol. 12, No. 3, October 1931
Vol. 12, No. 4, November 1931
Vol. 12, No. 5, December 1931
Vol. 12, No. 6, January 1932
Vol. 12, No. 7, February 1932
Vol. 12, No. 8, March 1932
Vol. 12, No. 9, April 1932
Vol. 12, No. 10, May 1932
Vol. 12, No. 11, June 1932
Vol. 12, No. 12, July 1932
Vol. 13, No. 1, August 1, 1932
Vol. 13, No. 2, Sept 1932
Vol. 13, No. 3, October 1932
Vol. 13, No. 4, November 1932
Vol. 13, No. 5, December 1932
Vol. 13, No. 6, January 1933
Vol. 13, No. 7, February 1, 1933
Vol. 13, No. 8, March 1, 1933
Vol. 13, No. 9, April 1, 1933
Vol. 13, No. 10, May 1, 1933
Vol. 13, No. 11, June 1, 1933
Vol. 13, No. 12, July 1, 1933
Vol. 14, No. 1, August 1, 1933
Vol. 14, No. 2, Sept 1, 1933
Vol. 14, No. 3, October 1, 1933
Vol. 14, No. 4, November 1, 1933
Vol. 14, No. 5, December 1, 1933
Vol. 14, No. 6, February 1, 1934
Vol. 14, No. 7, March 1, 1934
Vol. 14, No. 8, April 1, 1934
Vol. 14, No. 9, May 1, 1934
Vol. 14, No. 10, June 1, 1934
Vol. 14, No. 11, July 1, 1934
Vol. 14, No. 12, August 1934
Vol. 15, No. 1, Sept 1, 1934
Vol. 15, No. 2, October 1, 1934
Vol. 15, No. 3, November 1, 1934
Vol. 15, No. 4, December 1, 1934
Vol. 15, No. 5, January 1, 1935
Vol. 15, No. 6, February 1, 1935
Vol. 15, No. 7, March 1, 1935
Vol. 15, No. 8, April 1, 1935  

© The Quigley Publishing Company, a Division of QP Media, Inc.

Compiled by Dr. Neil Gale, Ph.D. 

Sunday, May 2, 2021

Rosa Raisa, Chicago’s Jewish Diva in the Golden Age of Opera.

She was born Raisa Burchstein in Białystok, Podlaskie, Poland, on May 30, 1893. Her voice attracted attention even at a young age, and she traveled through Poland as a child singer. She fled the Bialystok pogroms of 1907 to settle in Italy. Her potential was discovered by a wealthy family that sponsored her vocal studies in Naples with the great teacher Barbara Marchisio, a legendary soprano of the 19th century. 

Raisa Burchstein made her concert debut in Rome in 1912. She was then introduced to the conductor Cleofonte Campanini, and her operatic career was launched.

Campanini himself said, "I know she is young now and not fully developed artistically, but mark my words, one of these days, she will be known all over the world as one of the greatest dramatic sopranos."

Campanini engaged Raisa to sing during the 1913 Verdi centennial celebration in Parma. She sang the dramatic role of the seduced heroine, Leonora, in the revival of Oberto, Verdi's first opera. Raisa Burchstein's success was so phenomenal that Campanini immediately brought her to Chicago for the 1913-14 season. But first, he shortened her name. He asked her the meaning of "Raisa," and when she answered, "Rose, in Russian," he created the melodious name Rosa Raisa –– "Rose Rose."

Who was Cleofonte Campanini? He was a virtuoso conductor, comparable to Arturo Toscanini. But Toscanini conducted in New York, the operatic capital, while his rival spent most of his time in Chicago. Campanini didn't have recordings to extend his fame. 

Above all, Campanini died in 1919 at age 59––young for a conductor. Had he lived through the splendid Chicago seasons of the 1920s––who knows how well he might be remembered now?

ROSA RAISA IN CHICAGO
Raisa's first role with the Chicago Grand Opera at the Auditorium––her first appearance in the United States––was in the first week of the 1913 season in the title role of Aida. Although Raisa was well-received from the start, she remained somewhat in the background during her first season with the company. She was not flamboyant and, of course, was very young at the time. 

The Yiddish-speaking Jewish opera lovers of the West Side called her Unzer Raizele (Our Rosie), as she had been born humbly as Raisa Burchstein in Bialystok, Poland.

The director of the Chicago Opera Company, Cleofonte Campanini, had discovered Raisa in Italy, where she had come to live and study after escaping the 1907 pogroms in Bialystok. Campanini brought Raisa to Chicago, where he and his wife guided her career and acted as virtual parents to her until the impresario died in 1919.

When World War I began, Raisa remained in Italy, missing the 1914-15 Chicago seasons.

When Raisa arrived in Chicago from Italy for the 1916 season, she brought the baritone Giacomo Rimini with her. They opened the season with Aida. That year, Rimini and Raisa appeared for the first time in Chicago in the opera Falstaff, with Rimini as Sir John and Raisa as Mrs. Page.
Raisa and Rimini are in costume aboard the ship.


She did return in 1917 to sing the first American performances of Mascagni's Isabeau, Montemezzi's La Nave, and Respighi's La Fiamma.

In 1920, Raisa and Rimini were married. They continued to sing together and later taught together.





Photograph of Raisa by Daguerre Studio, Chicago. "To Miss Elizabeth Stein Remembrance Rosa Raisa Chicago, 1920."


In the 1919-20 season, Raisa became identified with a significant new role, Bellini's Norma, staged for the first time in Chicago in 25 years.

The overwhelming event of the 1919-20 season was the death of Cleofonte Campanini. The company gave him a farewell as theatrical as his life had been, with a memorial at center stage of the Auditorium, home of the Chicago Opera.

Raisa had married Giacomo Rimini, the Italian-Jewish baritone, in 1920. They continued to sing together and later taught together. 

In the 1920s, the company toured the country, delighting audiences everywhere with performances of Mary Garden's Cleopatra and Rosa Raisa in Halévy's La Juive (The Jewess). 

In 1924, Toscanini engaged Mrs. Raisa for the La Scala Opera House in Milan, Italy, to create Asteria in Boito's posthumous opera, Nerone, and most significantly, to make the title role of the icy Chinese princess in the world premiere of Giacomo Puccini's Turandot (Tour Ran Doh)  on April 25, 1926.
Rosa Raisa as Princess Turandot. Full-color poster for the world premiere of Turandot, April 25, 1926, at La Scala Opera House in Milan, Italy. Turandot is an opera in three acts by Giacomo Puccini, posthumously completed by Franco Alfano in 1926, and set to a libretto (the text of an opera) in Italian by Giuseppe Adami and Renato Simoni. Soprano Rosa Raisa created the title role.





In 1936, she sang Leah in the American premiere of Rocca's The Dybbuk in Detroit.

The couple's Chicago home was in the Congress Hotel. One of Raisa's voice students in the late 1930s, Charlotte Pomrenze Handwerger, described the scene in an interview with Chicago Jewish History Magazine: "A beautiful fourth-floor suite on the northeast corner of the hotel, with a bay window overlooking Grant Park and Lake Michigan. Mrs. Raisa, impeccably groomed, dignified, wearing pearls with pulled-back hair, would be seated at the piano. Giacomo Rimini was present, as well, during some of the sessions––a large, imposing man. Their daughter Giulietta (born in 1931) would sometimes pop into the room. Each summer, Raisa, her family, and servants would pack up and move their household to Italy, to their villa near Verona."

Charlotte chose to marry young and raise a family instead of pursuing an operatic career––much to the disappointment of Raisa, Rimini, and Charlotte's parents. (Her father, Dr. Herman M. Pomrenze, was a leading figure in the Labor Zionist movement.) She did go on to sing for many years in choruses, including Max Janowski's. Her husband, Robert Handwerger, was the cantor at Temple Emanuel for 43 years (1945-88). 

Chicago Jewish History Magazine spoke with another visitor to the Raisa-Rimini home in the 1930s, Tybee Hyman Grais. Tybee would accompany her good friend and cousin, the late Shirley Hyman Cotton, to her voice lessons and help by turning the pages of the music as Shirley sang. Tybee remembers Raisa as a wonderful, gracious lady who included the girls in the dinner parties she held in her suite. Giacomo Rimini would act as cook, preparing heaping plates of pasta. Tybee remembers the thrill of going from the hotel through the underground passage––called "Peacock Alley"––beneath Congress Street, directly into the fabulous Auditorium for an evening of opera. Upon retirement from the stage, they opened a singing school in Chicago i1938It's believed the school was located in the Congress Hotel in Chicago, where Raisa and Rimini resided.

Lois Salter sent me this 1943 photo of her mother, Shirley Hymen Cotton - (July 22, 1917—August 28, 1987), a student of Rosa Raisa.
Professional Name: Shirley Sorrelle, 26 years old, Soprano.
Photograph (Nov. 23, 1943) - George Nelidoff Studio, 721 N. Michigan Avenue, Chicago.





She would say, "We sang together, we quit together, we teach together." After Giacomo Rimini died in 1952, she retired to her Pacific Palisades home with her daughter. She divided her time between California, Chicago, and Italy and returned to Chicago for many performances of the young Lyric Opera. She gave her entire opera wardrobe to the Lyric Opera in 1956.

In the mid-1950s, Mrs. Raisa maintained a vocal studio in the Fine Arts Building at 410 South Michigan Avenue. Across the hall was the office of the young theatrical manager Danny Newman. In 1948, he married the great Yiddish actress Dina Halpern. Mr. Newman would listen for the departure of Mrs. Raisa's students, and when she was free, they would converse in Yiddish through the open doors of their offices to improve his Yiddish language skills.

Despite Mrs. Raisa's hopes, Shirley did not pursue further operatic study––although, like Charlotte, she did continue to sing professionally.

Rosa Raisa was a star in Chicago's first golden age of opera in the early decades of the 20th century. Before she died in 1963, she encouraged and applauded the beginnings of Lyric Opera's current golden age.

Her last local performance was at an outdoor concert in Grant Park in 1938. Only World War I or serious illness could keep her from her adoring Chicago fans.

Indeed, Rosa Raisa would remain the backbone of the Chicago Opera Company's dramatic wing for over 20 years. She sang all the great roles. The volume and intensity of her voice were magnificent. 

Records never fully captured her voice, not the records of those days. But it was a huge voice of tremendous warmth and color and belonged to the most warmhearted woman. No doubt, one of the reasons for the lavish language is that it was impossible to hear her in opera without being emotionally stirred. She was generous on and off the stage, and her voice and presence shared the color and opulence of the significant roles. Raisa's voice struck at two vulnerable places: the spinal cord and the heart.
On October 4, 1963, the opening night of the Chicago Lyric Opera season, the audience found a rose pinned to every theater seat. The performance was dedicated to the memory of Rosa Raisa, who died on September 28, 1963, and the house was decorated with 3,700 roses donated by Medard C. Lange.

The opera being performed that night offered a particularly apt memorial to Chicago opera's great Jewish Soprano. Verdi's Nabucco (Nebuchadnezzar) is about the Babylonian conquest of Jerusalem and contains the stirring "Va, Pensiero," the chorus of the captive Jews on the banks of the Euphrates. They think of home and sing the nostalgic words, "Fly, my thoughts, on golden wings."

Rosa Raisa is buried at Holy Cross Cemetery in Culver City, Los Angeles County, California.

by Bev Chubat
Edited by Dr. Neil Gale, Ph.D.
#JewishThemed #JewishLife

Sunday, January 31, 2021

Vivian Dorothea Maier, the Unknown Chicagoland Urban Photographer.

When John Maloof, a real estate agent, amateur historian, and garage-sale obsessive, acquired a box of photographic materials and personal detritus at an auction in suburban Chicago in 2007, he quickly realized that he had stumbled upon an unknown master of street photography. But despite his vigorous snooping, he could find no record of Vivian Maier, the name scribbled on the scraps of paper that he found among the negatives, prints, and undeveloped rolls of film. He tracked down the rest of the boxes emptied from an abandoned storage garage, amassing a collection of hundreds of thousands of frames shot in New York, Chicago, France, South America, and Asia between the nineteen-fifties and the nineteen-seventies. 

Two years after he bought the first box, he Googled the name again and, to his surprise, found an obituary announcing that Vivian Maier had died only a few days before. The short text had just enough information for Maloof to deduce that Maier had worked as a nanny in suburban Chicago.
My Personal Favorite Vivian Maier Photograph. What a Happy Cat.


Vivian Dorothea Maier was born in New York, New York, on February 1, 1926. She spent much of her childhood in France, starting at the age of four in 1930. She briefly lived in close quarters with a noted female photographer, Jeanne Bertrand, who may have taught the young Maier how to take pictures when she was a girl. After 1949 she moved back to New York City, learning English by going to movie theaters.

In 1951 she came to Chicago to work as a nanny for a North Shore family. She worked for several north shore families over the next 40 years. Maier was a very private person who pursued her photography interest in her spare time and on days off. She never showed her photographs to anyone.
Vivian Maier Self Portrait



Most of Maier's photographs were taken with twin-lens Rolleiflex cameras. The Rolleiflex camera's viewfinder is top-down, so it is held inconspicuously at hip height, looking down. Maier was able to capture fleeting moments and turned them into something extraordinary.

VIVIAN MAIER'S CAMERA HISTORY
Vivian Maier’s first camera was a modest Kodak Brownie box camera with one shutter speed, no aperture, and focus control. In 1952 she purchased her first Rolleiflex camera. Over the course of her career, she used Rolleiflex 3.5T, Rolleiflex 3.5F, Rolleiflex 2.8C, Rolleiflex Automat, and others. She later also used a Leica IIIc, an Ihagee Exakta, a Zeiss Contarex, and various other SLR cameras. 

Maier used mostly Kodak Tri-X and Ektachrome film. 
Rolleiflex Camera
It seems that, for Maier, the nanny’s life allowed her to be with people, but not of them. She actively cultivated her own unknowability, perhaps as a way to maintain this separateness. She never spoke of a desire to make a living as a photographer. In Chicago, where she lived for decades, she refused to give film processors and pawn shopkeepers her real name instead of handing out fake names everywhere. She demanded separate locks for her rooms in her employers’ houses and forbade anyone from ever entering her space. She didn’t mention family or old friends. She lied about where she was born, claiming France as her homeland (she was born in New York City), and spoke with a contrived Continental accent that no one could place. She dressed in an outdated style, like a Soviet factory worker from the 1950s. An acquaintance recalls asking Vivian what she did for a living. Her response: “I’m a sort of spy.”

Her archives of pictures, films, and voice recordings reveal a fascination with rape and murder, urban blight and the ravages of poverty, the brutality of the city stockyards, and political unrest. 

There’s no disputing that Maier was peculiar and prickly and that her interests spanned the benign and the morbid. But she was neither a Mary Poppins nor a surrogate Mommie Dearest. The people who knew her described impenetrability that, even in retrospect, threatens the fantasy that people who choose to care for children are all hugs and rainbows.

Maier had neither money nor connections, but she had control over how she lived, what she looked at, and what she photographed.

Her photographs (see Chicago and Illinois photo album below) of the urban and suburban streets track the fluctuations of the economy, the growth of the city, the cycles of the seasons, the emotions in the faces of the children she cared for, the way her own body advanced through the years. She chose her job not because she especially loved children, but because of the life it enabled her to have, what it allowed her to see. She valued her freedom above all. Her art and profession have more in common than they may initially seem. She was a perpetual outsider, and she liked it that way. She moved among people but did not belong to any of them. She was close but not entangled. She could always walk away.

Maier spent the late fifties and sixties traveling and photographing the world alone. It seemed that, on those trips, Maier was the freest she had ever been and ever would be. That’s how she wanted to see herself. And she did.
Well, I suppose nothing is meant to last forever. We have to make room for other people. It’s a wheel. You get on, you have to go to the end. And then somebody has the same opportunity to go to the end and so on.   —Vivian Dorothea Maier
She lived her final years in the Rogers Park community of Chicago and was unknown and impoverished. It was not until after her death in 2009 that her life’s work was accidentally discovered. Since then, her photographs have been exhibited throughout the world.

Her pictures help us to understand that Maier wasn't invisible except to us. She was looking at herself all along.

Vivian Dorothea Maier died on April 21, 2009, in Oak Park, Illinois. She was cremated and had her ashes scattered, Specifically by the Gensburg sons, likely in the Catherine Chevalier Woods in the Forest Preserves of Cook County, near Chicago's O'Hare Airport. 
Finding Vivian Maier | 2015 Oscar Nominee | Official Trailer

Compiled by Dr. Neil Gale, Ph.D.

CHICAGO & ILLINOIS
Maxwell Street, Chicago, Illinois, 1962
What are these kids looking at?
Hull House, Chicago, IL., January 31, 1963.
Kiddieland, Sandwich, IL., September 1966.
Vivian Maier Self Portraits
VIVIAN MAIER'S CAMERA HISTORY
Vivian Maier’s first camera was a modest Kodak Brownie box camera with one shutter speed, no aperture, and focus control. In 1952 she purchased her first Rolleiflex camera. Over the course of her career, she used Rolleiflex 3.5T, Rolleiflex 3.5F, Rolleiflex 2.8C, Rolleiflex Automat, and others. She later also used a Leica IIIc, an Ihagee Exakta, a Zeiss Contarex, and various other SLR cameras. Maier used mostly Kodak Tri-X and Ektachrome film.