Geskiedenis Podcasts

Creekmore Fath

Creekmore Fath

Creekmore Fath is in 1916 in Oklahoma gebore. Sy gesin verhuis na Austin en raak op skool vriende met John Henry Faulk. Beide mans studeer aan die Universiteit van Texas saam met John Connally en Robert C. Eckhardt. As student het hy die goewerneur James Allred leer ken.

Fath was 'n voorstander van president Franklin D. Roosevelt en sy New Deal, en nadat hy die regsskool verlaat het, kon hy by sy administrasie in Washington werk kry. Daar is later beweer dat president Roosevelt gesê het dat Fath 'die beste politieke oordeel van enigeen van sy ouderdom in Washington het'.

Fath raak bevriend met Charles Edward Marsh, die multimiljoenêr -koerantuitgewer. Volgens Jennet Conant, die skrywer van The Irregulars: Roald Dahl en die Britse Spy Ring in Washington tydens oorlog (2008): "Nadat Marsh al sy fortuin verdien het, wou hy, soos baie mense, bydra tot die oorlogspoging en het hy besluit om homself tot u beskikking van die regering te stel. 'N Toegewyde New Dealer, het hy na die stad gekom met die idee dat hy sy groot geld en groot persoonlikheid vir die Roosevelt-administrasie kan aanwend, afwisselend in die Mayflower Hotel en by die konstruksiemagnaat George Brown, voordat hy 'n statige vierverdiepinghuis in R Street 2136 koop, in Dupont Circle. Hy het die elegante herehuis uit die negentiende eeu vinnig verander in 'n goed gefinansierde Demokratiese politieke salon, waar verskeie kabinetslede, senatore, finansiers en belangrike joernaliste kon staatmaak op 'n heerlike maaltyd en 'n stimulerende gesprek in die nuusberige stad. Na verloop van tyd het prominente New Dealers Marsh se wit sandsteenhuis met sy vensters in Palladia en smeedijzerrooster in Parys beskou as hul privaat klubhuis en gebruik dit as 'n kruising tussen hink tenk en 'n gunsteling watergat ".

Fath ontmoet baie belangrike politieke figure in Marsh se huis, waaronder Henry A. Wallace, Claude Pepper, Jesse H. Jones, Henry Morgenthau, Drew Pearson, Lyndon B. Johnson, Walter Lippmann, Walter Winchell en Ralph Ingersoll. Fath onthou later: 'Charles Marsh kon op groot vlak vermaak en 'n baie goeie personeel en kookkuns behou, sodat dit tydens die oorlog een van die beste restaurante in die stad was ... Hy het allerhande Washington -karakters vermaak. U sou 'n telefoonoproep kry om u uit te nooi vir 'n ete, Woensdag, of 'n middagete, Vrydagmiddag. Almal het gekom en inligting verhandel en geskinder. "

Fath het later 'n regspraktyk begin saam met sy langtermynvriend, Robert C. Eckhardt, in Austin. In 1947 trou hy met Adele Hay. Die jaar daarna het hy vir die kongres gehardloop, maar slegs derde geëindig in die primêre. Fath het Lyndon Baines Johnson gehelp in sy wedloop in die Amerikaanse senaat teen die voormalige goewerneur Coke Stevenson. Fath beskou Johnson as 'n opportunis, maar help hom, aangesien hy Stevenson as 'n rassis beskou.

Fath raak verbonde aan 'n groep politieke figure links van die Demokratiese Party. Dit sluit in Ralph Yarborough, John Henry Faulk, Minnie Fisher Cunningham, Ronnie Dugger en Frankie Carter Randolph, die eerste uitgewer van Die Texas Observer. Hulle was in opposisie teen goewerneur Allan Shivers wat die kandidaat van die Republikeinse Party, Dwight Eisenhower, teen Adlai Stevenson ondersteun het tydens die presidensiële verkiesing van 1952. Gedurende hierdie tydperk het Shivers en sy ondersteuners Fath daarvan beskuldig dat hy 'n kommunis is.

Fath bly aktief in die politiek en het Frances Farenthold gehelp in haar poging om in 1972 goewerneur van Texas te word. geen veldtog sonder Creekmore nie. " Farenthold is uiteindelik deur Dolph Briscoe verslaan.

Creekmore Fath is in Junie 2009 oorlede.

Creekmore Fath (93), 'n advokaat in Austin en een van die laaste van die FDR New Dealers, is op 25 Junie aan nierversaking by sy huis in Austin oorlede.

Mnr. Fath beklee verskeie posisies in die administrasie van president Franklin D. Roosevelt en speel 'n sleutelrol in verskeie belangrike Texas-verkiesings, insluitend die omstrede "grondverskuiwing" van 87 stemme wat Lyndon B. Johnson in 1948 na die senaat gestuur het.

In 1940 verlaat mnr. Fath 'n nuwe regspraktyk in Austin om 'n prokureur te word by 'n huiskomitee onder voorsitterskap van rep. John H. Tolan (D-Calif.) Wat ondersoek instel na die lot van armoedige trekarbeiders.

Drie-en-twintig jaar oud en onbekend met die manier van Washington, weet mnr. Fath nie dat hy aangemeld het om te werk vir 'n geselekteerde komitee wat ontbind sou word toe 'n nuwe kongres in 1941 byeenkom nie. presidentsvrou Eleanor Roosevelt om voor die komitee te getuig as 'n manier om publisiteit te genereer en die komitee in bedryf te hou. Hy het komiteelede daaraan herinner dat sy in haar koerantrubrieke kommer uitgespreek het oor die Okies en ander Dust Bowl -trekarbeiders.

'Goed, Creekmore, u sorg daarvoor,' het Tolan gesê. Die veteraan -wetgewer het gelag, en sy mede -komiteelede het saam met hom gelag. Hulle weet, soos meneer Fath nie weet nie, dat geen presidentsvrou ooit op Capitol Hill getuig het nie.

Die volgende oggend bel Fath die Withuis en gesels met Malvina Thompson, mev. Roosevelt se sekretaresse. "Ek het vir haar gesê dat ek dringend nodig het om mev. Roosevelt tydens 'n verhoor in Desember te gebruik, dat ek haar as 'n foefie wil gebruik," onthou hy.

Mevrou Roosevelt het hom die volgende middag genooi vir tee in die Withuis, en nadat sy dit saam met haar man uitgeklaar het, het sy ingestem om te getuig. Die paneel was grootliks bedrywig as gevolg van haar onderskrywing van sy werk.

Later het Thompson aan Fath gesê dat mev. Roosevelt ingestem het om met hom te vergader, want hy was die enigste een wat ooit erken het dat hy haar wou "gebruik". Thompson het ook aan Fath gesê dat die presidentsvrou gesê het: "Ek wou hom ontmoet omdat hy klink asof hy 14 jaar oud is."


Thomas Hart Benton [Kunstenaar] -versameling

Omvang:1601.5 lineêre voete in 2 bokse: 1 rekordoos en 1 plat grootte.

Plek nota:  Argiewe.

Taal: Engels

Opsomming:Die Thomas Hart Benton -versameling bevat ook rekords uit die argief   van Creekmore Fath, wat verband hou met die katalogus van Fath van die litografieë van die beroemde Amerikaanse regionaliskunstenaar Thomas Hart Benton, "The  Lithographs of Thomas Hart Benton" (1969). soos ander projekte  Fath was betrokke as 'n goeie vriend en die belangrikste versamelaar van 160 afdrukke van Benton. Die versameling bestaan ​​uit oorspronklike korrespondensie tussen Fath en Benton en ander individue en instansies,#160 foto's, navorsingsnotas, manuskripte, besigheidsrekords. Dit dek die   tydperk van die laat 1950's tot en met 2000.  

Biografiese/historiese noot:Thomas Hart Benton (1889-1975) was een van die voorste Amerikaanse regionalistiese kunstenaars en muraliste. Hy is gebore in Neosho, Missouri, in 'n familie van gesiene politici. Sy pa was Maecenas Benton, 'n prokureur en Amerikaanse kongreslid, en sy agtergroot oom was senator Thomas Hart Benton (1872-1858) van Missouri. Sy ma was Elizabeth Wise Benton, wat sy belangstelling en strewe na kuns aangemoedig het. Benton studeer aan die Western Military Academy (1905-06), gevolg deur die School of The Art Institute of Chicago (1907-09) en die Academie Julian in Parys (1909-1911). Terwyl hy in Parys was, was hy verdiep in die lewe van hedendaagse Franse kunstenaars en beleef hy die modernistiese style van die vroeë 20ste eeu, waaronder dié van Diego Rivera (1886-1957). In 1912 verhuis Benton na New York en trou in 1922 met Rita Piacenza (1896 - 1975), 'n Italiaanse immigrant wat 'n student was in een van sy kunsklasse. Hulle het 'n seun, Thomas Piacenza Benton, en 'n dogter, Jessie Benton, gehad. In die 20's en vroeë 1930's ontwikkel Benton sy unieke Regionalistiese styl wat gekenmerk word deur 'n vloeiende naturalisme wat in beide sy skilderye en muurskilderye verskyn het. In 1934 verskyn hy in Time Magazine saam met twee ander Midwesterners, Grant Wood en John Steuart Curry. In 1935 verlaat Benton New York, die episentrum van die Amerikaanse modernisme, wat hy verag het, en verhuis na Kansas City om klas te gee aan die Kansas City Art Institute. Terwyl hy in die Midde-Weste gewoon het, het hy die lewe in klein-stadse Amerika as sy kenmerkende onderwerp geneem. In 1937 publiseer hy sy outobiografie, An Artist in America, wat Sinclair Lewis aanmoedig om te sê: "Hier is 'n seldsame ding, 'n skilder wat kan skryf." Omtrent daardie tyd het Benton begin met die druk van litografieë in beperkte oplaag, wat aanvanklik vir $ 5 by die Associated American Artists Gallery in New York verkoop is. Na die oorlog was Benton steeds 'n produktiewe kunstenaar, 'n onderwyser en 'n muralis. Hy is op 85 -jarige ouderdom oorlede.

Creekmore Fath (1916 - 2009) is in Oklahoma gebore en het in Texas grootgeword. Hy was 'n suksesvolle en invloedryke advokaat met 'n lang loopbaan in Texas. Nadat hy sy regsgraad aan die Universiteit van Texas behaal het, waar hy mede-stigter was van die kampus Progressive Democrats, verhuis hy na Washington, DC, om te dien in die administrasie van Franklin Delano Roosevelt en daarna by die Demokratiese Nasionale Komitee. In 1947 trou hy met Adele Hay (1917 - 2007), die dogter van die sosiale medewerker Alice Appleton Hay in New York en Clarence Hay, die seun van John Hay, die privaat sekretaris van Lincoln. Die Faths verhuis terug na Austin, waar hy as 'n liberale New Dealer tevergeefs na die kongres hardloop. Hy het die res van sy lewe deurgebring as 'n gesogte politieke konsultant en kampioen van progressiewe politiek. Gedurende sy veelvlakkige loopbaan het Fath merkwaardige boek- en kunsversamelings versamel. Hy koop sy eerste Benton -afdruk in 1939, waarvoor hy $ 5 betaal het nadat hy sy eerste vergoeding as advokaat ontvang het. Sy soeke na ander Benton -afdrukke lei tot die publikasie van die catalogus raisonn é van die kunstenaars se litografieë in 1969. Sy navorsing oor hierdie projek vorm die kern van die versameling van die Mercantile Library. Dit het ook 'n lewenslange vriendskap tussen hom en Benton gekweek. Fath's was die grootste private versameling Benton -afdrukke buite die kunstenaarsfamilie. Die Fath -versameling bestaan ​​uit slegs 'n paar van die ongeveer 100 litografieë wat Benton gemaak het, waaronder verskeie wat nie in die katalogus raisonn é verskyn het nie.

Omvang en inhoud let op:Die Thomas Hart Benton -versameling bevat korrespondensie, foto's, manuskripte, navorsingsnotas, besigheidsrekords, uitknipsels, brosjures en bewyse van drukkers wat verband hou met die publikasie van 'n katalogus van Thomas Hart Benton se litografie -afdrukke deur Creekmore Fath, & #8220 Die litografieë van Thomas hart Benton ” (1969), en vir ander projekte wat Fath begin het ten opsigte van Benton se kunsuitstallings, publikasies, lesings.  

Die belangrikste deel van die versameling is die briewe wat die skrywer en die kunstenaar in die 1960's uitgeruil het, waar Thomas Hart Benton (1889-1975) die onderwerpe en geskiedenis van sy afdrukke verduidelik, asook sy loopbaan en groei as 'n Amerikaanse kunstenaar . Die korrespondensie tussen Creekmore Fath (1916-2009) en talle individue, museums en galerye is 'n bewys van sy groot belangstelling in Benton se kuns en sy navorsingsvaardighede om inligting oor die volledige stel afdrukke te vind. Alle korrespondensie getuig van die wye sosiale verbintenisse wat die twee mense tydens die 1960's en die 8217's en die 1970's gehad het.

Die foto's van die versameling bevat hoofsaaklik werklike reproduksies van Benton se kunswerke sowel as sy groetekaartjies, 'n kenmerkende artefak. Daar is 'n paar foto's van Benton en Fath.

Die manuskripte is hoofsaaklik getikte dokumente van die publikasies uit verskillende stadiums van die werk, sowel as handgeskrewe navorsing en gespreksnotas. Daar is baie uitknipsels van drukreproduksies, as gevolg van die werk aan die ontwerp van die katalogus.

Besigheidsrekords in die versameling is hoofsaaklik finansiële state met betrekking tot die druk van die katalogus deur die University of Texas Press.

Voorwaardes vir toegangsopmerking:  Hierdie versameling is oop vir navorsing. 'N Inhoudslys vir die versameling kan gevind word in die PDF -hulpmiddel.

Voorwaardes vir gebruik Nota:Vanweë die skaars en brose aard van hierdie bron, moet die reproduksie van die versameling se materiaal deur biblioteekpersoneel hersien word. Kontak die biblioteek by 314-516-7247 vir meer inligting.

Kopiereginligting: Die navorser aanvaar die volle verantwoordelikheid vir die nakoming van alle wette op kopiereg, eiendom en laster soos dit van toepassing is.

Vergoedingsdienste: Fooie verbonde aan personeel se navorsingstyd, kosteverhaling in reproduksietyd en materiaal, en lisensiëring kan van toepassing wees.

Aanbevole aanhalingsnota: Die voorkeuraanhaling vir hierdie versameling is "Uit die versamelings van die St. Louis Mercantile Library in UM - St. Louis."


So lank na die kommunistiese bedreiging

Toe Creekmore Fath in Junie op 93 sterf, het ons amptelik die laaste van 'n invloedryke groep liberale aktiviste gesien wat tydens die Groot Depressie aan die Universiteit van Texas volwasse geword het. Dit is 'n geslag wat die moeite werd is om te vier, veral omdat hulle baie dankie verdien vir die soort rasse -geregtigheid wat in Texas bestaan.

Die lewensverhaal van Fath en sy verhale (selfs sy naam klink Elizabethan) het op baie maniere 'n voorbeeld gestel van hierdie UT-liberale en Chris Dixie van Houston, Otto Mullinax van Dallas, Maury Maverick Jr. van San Antonio, Bob Eckhardt van Houston en Fath van Austin . En wat hulle bymekaar gehou het.

Ek het Fath ontmoet tydens my aanvanklike uitval in die politiek, die toekomstige Amerikaanse senator Ralph Yarborough wat in 1954 veldtog verloor het vir goewerneur teen die konserwatiewe demokraat Allan Shivers. Die wedloop was naby genoeg om die regerende elite te ontstel. Om te wen, het Shivers hom beywer vir die doodstraf vir lede van die Kommunistiese Party, saam met tradisionele rassistiese aanvalle op die NAACP en integrasie.

Teen 1956 was konserwatiewe heersers in Texas so bekommerd oor die dreigement van Yarborough dat hulle Price Daniel oorreed het om sy setel in die senaat te laat vaar en om goewerneur teen die liberale bedreiging te gaan. In dieselfde jaar het die Amerikaanse senator Lyndon Johnson en die huisvoorsitter Sam Rayburn besluit om die Shivercrats uit te daag vir die beheer van die Texas -demokrate. Yarborough -magte, waaronder Fath, het ook 'n uitdaging van links gelê.

Ek het uiteindelik 'n afgevaardigde van Austin uit die liberale vleuel na die staatsbyeenkoms beland. Ons het aangekom om onself uitgesluit te hou omdat die Johnson -magte die kaartjies beheer het. Sommige van ons het deur 'n venster vir vroue in die gebou ingekom. Ander het op die vloer gekom met vervalste kaartjies wat deur Henry Holman, 'n vakbond -timmerman van Austin, afgedruk is. Ons het binnegedring om die afvaardiging van 200 lede van Travis County in wanorde te vind, ewe verdeel tussen Johnson en Yarborough.

Op 'n stadium was die belangrikste stem die sitplek van die liberale afvaardiging uit Harris County. Afgevaardigdes van Travis County moes ondervra word. Fath het vir die liberale getel, en Johnson -advokaat John Cofer vir die ander kant. Aan die einde van elke peiling sou die twee plegtig resultate bekend maak wat teenstrydig was. Fath het die liberale laat wen, Cofer het die Johnsoniete gewen. Nadat hy die afvaardiging drie keer gestem het en dieselfde teenstrydige uitkomste gekry het, moes Travis County sonder stemming slaag. Tog was die byeenkoms 'n sukses. Die liberale dinamo van Houston, Frankie Randolph, het Johnson se kandidaat vir die Demokratiese Nasionale Komitee verslaan. Die volgende jaar het Yarborough Price Daniel se senaatsitplek in 'n spesiale verkiesing gewen en die eerste liberale oorwinning sedert Jimmie Allred in die dertigerjare.

Al hierdie vreemde optrede het sy wortels by UT in die dertigerjare. Terwyl die universiteit die kern van intellektuele fermentasie in die staat was, het die Texas Wetgewer sy periodieke rooi-lokaas-histerie op die kampus gefokus as 'n broeikas van radikalisme. By UT het Fath saam met Dixie, Mullinax en Herman Wright saamgespan om die Young Democrats te herorganiseer in die Progressive Democrats. In 1936 het Mullinax, Wright en Dixie (met Fath die laasgenoemde veldtog) verloor staatswetgewende veldtogte uit hul tuisgemeentes. Almal loop oor 'n progressiewe demokratiese kwessie: belasting op die onttrekking van swael, 'n idee wat deur 'n ander invloedryke liberaal, Bob Montgomery, gedryf word.

Montgomery was 'n gunsteling teiken van die rooiaas in Austin. Kort na die verkiesing, op aandrang van Johnson -vriend Roy Miller, 'n kragtige swael -lobbyis, het die wetgewer Montgomery begin ondersoek en probeer om die progressiewe demokrate as kommuniste bloot te stel. Saam met Montgomery is Mullinax gedagvaar. Drie van ons het vir die Wetgewer opgedaag vir 'n program om swael te belas, en hy het aan die wetgewers gesê, en ons is verslaan op die aanklag dat hulle kommuniste is. ”

Tydens sy getuienis gevra of hy in die stelsel van winsoogmerk glo, het Montgomery geantwoord: 'Ek doen dit beslis. Ek sou graag wou sien dat dit uitgebrei word tot 120 miljoen mense. ”

Die UT -liberale het almal aan die regte skool gegaan en in die vroeë 821740's in die praktyk gekom. Fath en Eckhardt, een van die eerste arbeidsadvokate in die staat, het kortliks 'n gesamentlike praktyk in Austin gehad. Fath het tydens die Tweede Wêreldoorlog in die weermag ingegaan en daarna die verouderde president Franklin Roosevelt as hulpverlener gedien.

Terug in Austin val Fath terug in die politiek. Toe Johnson in 1948 vir die senaat deelneem, kondig Fath aan dat Johnson ’s die leë sitplek in die Amerikaanse huis as 'n nie -gerekonstrueerde nuwe handelaar is. Hy en sy vrou, die dogter van 'n voormalige minister van buitelandse sake, het in 'n motor 'n kano gevoer met 'n kano bo -op en geteken met die slagspreuk, “Fath for Congress … He Paddles His Own Canoe. ”

Op een of ander manier het die slagspreuk nie die truuk gedoen nie. Fath eindig derde in die Demokratiese voorverkiesing. Daarna het hy met gemengde gevoelens aan die werk gegaan vir die Senaat -veldtog van Johnson. Liberale soos Fath was nog nooit gesellig met die toekomstige president se ideologie nie. Ons het Johnson met 'n mate van voorbehoud bekyk, en Fath, met gepaste voorbehoud, dekades later in 'n outobiografiese opstel geskryf.

Met geen Republikeinse Party om van te praat nie, was die liberale en konserwatiewe Demokrate van die staat bitter vyande. Fath en mede -liberale noem hulself graag troue demokrate. ” Shivers en Daniel het verkies om bekend te staan ​​as Demokratiese gereeldes wat GOP -presidentskandidate ondersteun het. Johnson het gereeld probeer om albei kante te speel. Met Fath en ander liberaliste wat teësinnig agter hom was, het hy sy berugte 48 stemme en 8221 landverskuiwing in 'n afloop van die Demokratiese Senaat uitgehaal, wat steeds berug is vir die korrupsie.

In die versameling outobiografiese essays van William Roger Louis, Brand Orange Orange Brittania (2006), open Fath sy dikwels snaakse inskrywing deur te skryf: “Die geskiedenis van my lewe kan saamgevat word deur te sê dat ek my veral toewy aan twee dinge: die Demokratiese Party en die Universiteit van Texas. ”

Hy het moontlik liberalisme by die lys gevoeg. Na sy mislukking in sy verkiesing, was Fath 'n politieke reënmaker en strateeg agter die Yarborough-veldtogte, en die vroeë ontbrekings van Sissy Farenthold vir goewerneur. Hy kon die telefoon optel en bel, en Farenthold onthou, en ek gee nie om watter land dit was nie, hy ken iemand daar. Daar sou geen veldtog gewees het sonder Creekmore nie. ”

Terwyl Fath vir 'n meer liberaal ingestelde Texas gewerk het, het mede-UT ’ers Dixie en Mullinax by Herman Wright in Houston aangesluit, wat vakbonde verteenwoordig in 'n industriële sentrum. Anders as hul Britse eweknieë in Cambridge, wat na kommunisme afgedwaal het, het die Texas -liberale meestal standvastige New Dealers gebly. In 1948 skakel Wright met Henry Wallace en word hy die kandidaat van die Progressiewe Party vir goewerneur. Dixie en Mullinax het met hul vriend gebreek en die Demokrate ondersteun. Kort daarna het Eckhardt by Dixie aangesluit in sy Houston -oefening. Maury Maverick Jr. het in San Antonio die regte beoefen en het hom gou by Fath aangesluit in die politieke arena.

Maury Junior, soos hy genoem is, het een van die staat se belangrikste advokate vir burgerlike vryhede geword. Vroeg het hy 'n swart prysvegter, Sporty Harvey, verteenwoordig in 'n uitdaging teen die Texas -verbod op bokswedstryde tussen rasse. Later dagvaar hy die staat namens John Stanford, sekretaris van die Texas Kommunistiese Party, en val die soektog en beslaglegging op die Stanford ’s -biblioteek en korrespondensie aan in 'n saak wat die Amerikaanse hooggeregshof bereik het. Nadat hy die wetgewer verlaat het, het hy sy latere jare aan die skryf van ietwat brandende rubrieke vir die San Antonio Express-Nuus, in teenstelling met die Viëtnam -oorlog en later praat oor die lot van die Palestyne.

Eckhardt, wat in 2001 oorlede is, beland in beide die Wetgewer en die Kongres, en bepleit progressiewe populistiese oorsake en word 'n toonaangewende advokaat vir oop strande. (Sien die uitstekende biografie van Gary Keith, Eckhardt: Daar was eens 'n kongreslid van Texas.) Dixie was altyd 'n vooraanstaande vakbondadvokaat. Hy het die berugte Texas Ranger, A.Y. Allee, namens Pancho Medrano en ander wat betrokke was by die beroemde plaaswerkers van 1966-67 ’ by La Casita Melons in Rio Grande City. Op politieke gebied was Dixie saam met Frankie Randolph die dryfveer agter die Harris County Democrats, die eerste organisasie wat die stryd werklik na die Shivercrats geneem het. Hy was, soos die stigter van die Observer -redakteur, Ronnie Dugger op 'n keer op hierdie bladsye oor hom gesê het, “hard as kaktus. ”

So was Mullinax. Nie lank in sy loopbaan het Mullinax gedoen wat byna ondenkbaar was vir die tye: Hy het 'n skadevergoeding namens 'n jong swart man aanhangig gemaak teen die polisiehoof van Nacogdoches, op grond van polisie -brutaliteit. Die saak is natuurlik verlore, maar dit spreek boekdele oor hierdie liberale en vasberadenheid wat Mullinax later vir my gesê het dat hy altyd 'n vuurwapen gedra het toe hy met sy kliënt heen en weer oor Oos -Texas gery het.

Hierdie liberale beoefen klassieke koalisie -politiek. Onder ander prestasies het hulle elemente van georganiseerde arbeid saamgebring met histories uitgehegde swartes en Latino's tot op die punt dat dit teen 1962 polities nie meer moontlik was om die NAACP of die GI Forum, Hector Garcia ’s Spaanse organisasie aan te val nie. Toe John Connally in 1962 as goewerneur verkies word, word hy die eerste gevestigde demokraat aan die hof en wen segmente van hierdie koalisie, en volgens berig van Johnson.

Nog 'n ding om te weet oor Fath, Eckhardt, Dixie, Mullinax en Randolph, saam met nog 'n groot liberaal, Minnie Fisher Cunningham van New Waverley: Hulle het almal gehelp om die Waarnemer in 1954.

Alhoewel hulle nooit geleef het om die Texas te sien waarna hulle sedert die dertigerjare gewerk het nie, het Creekmore Fath en sy liberale groepe baie voorheen ondenkbare dinge laat gebeur. (En Fath was getuie van die eens onpeilbare verkiesing van Barack Obama voordat hy gesterf het.) Hulle het die weg gebaan vir 'n progressiewe toekoms in die staat wat breër en veel meer invloedryk kan wees. Dit sal die nuwe liberale Texans nie seermaak om na dieselfde soort integriteit en hardkoppigheid te streef as wat Fath en die “commie -liberale getoon het nie.


Creekmore Fath - Geskiedenis

Creekmore Fath het grootgeword in Cisco en Fort Worth, Texas, voordat hy in 1931 na Austin verhuis het. In 1933 studeer hy aan die Austin High School, waar sy debatgenoot John Henry Faulk was. Hy het die University of Texas College of Liberal Arts en die School of Law bygewoon. By UT was hy deel van die geselekteerde groep studente wat begelei is deur die bekende professor in ekonomie, dr. Bob Montgomery. Hy is in 1939 gelisensieer om regte te beoefen en het 'n Austin -praktyk geopen met die toekomstige Amerikaanse kongreslid Bob Eckhardt en toekomstige distriksregter Mace Thurman.

In September 1940 verhuis hy na Washington, DC om as waarnemende advokaat te dien by die Amerikaanse Huis van Verteenwoordigers Tolan -komitee se spesiale komitee om die interstate -migrasie van behoeftige burgers te ondersoek. Vervolgens dien hy as advokaat vir die spesiale komitee vir ondersoek na nasionale verdedigingsmigrasie. Daarna was hy raadgewer by die President ’s Advisory Commission oor die St. Lawrence Seaway and Power Project.

Creekmore word in 1942 hoofadvokaat by die Amerikaanse senaatskomitee oor patente en ondersoek Duitse kartelle met bande met Amerikaanse korporasies. Sy werk daar trek die aandag van president Franklin D. Roosevelt, wat op 14 Junie 1943 Creekmore na die Withuis gebel het vir advies rakende die Amerikaanse kontrak met Cyanamid en Mexiko. Daarna word hy assistent -generaal -raad van die Raad vir Ekonomiese Oorlogvoering (waar dr. Montgomery tydens die Tweede Wêreldoorlog gedien het).

In 1943 is Creekmore in die Amerikaanse weermag opgeneem en later by die Office of Strategic Services (OSS) aangestel. Vir die res van die Tweede Wêreldoorlog was hy betrokke by die stuur van gekodeerde boodskappe van die president na bevelvoerders en bondgenote in die veld. In 1945 word hy mede -raadgewer van die Office of War Mobilization and Reconversion. Op 15 April 1946 word hy spesiale assistent van sekretaris van binnelandse sake J. A. (Cap) Krug.

Op 15 Februarie 1947 bedank hy by die departement van binnelandse sake om uitvoerende assistent te word van uitvoerende direkteur Gael Sullivan van die Demokratiese Nasionale Komitee. Op 25 April van daardie jaar trou hy met Adele Hay Byrne, dogter van Clarence en Alice Appleton Hay en kleindogter van John Hay, hulp van president Lincoln en later die Amerikaanse minister van buitelandse sake.

Adele was baie gereis en het 'n lewendige belangstelling in buitelandse aangeleenthede uit lewenservaring. Sy het saam met haar eerste man in Latyns -Amerika gewoon en Spaans magtig geword. In haar kollegejare, as student in beeldende kunste, het Adele in Parys gewoon, haar Frans vervolmaak en 'n lewenslange waardering vir die Franse kultuur opgebou. Later het Adele in Engels en Frans vir blindes opgeneem en opgeneem en by die weeklikse Latyns -Amerikaanse rondetafel by UT aangesluit.

Creekmore het die DNC -pos bedank sodat hy en Adele na Austin kon verhuis. Op 1 September 1947 het Creekmore 'n kantoor in die Littlefield -gebou geopen waar hy regte beoefen het en aktief geword het in die demokratiese politiek in Texas. In 1948 het hy as 'n FDR -demokraat 'n onsuksesvolle kandidaat vir die Amerikaanse kongres gemaak.

Op 24 Maart 1949 het die burgemeester van Austin, Tom Miller, en die ondervoorsitter van die Demokratiese Party, Creekmore Fath, 'n groot partytjie-ete en geldinsameling gereël met samespreker Sam Rayburn as hoofspreker. Hulle was later medevoorsitter van Adlai Stevenson se Texas-veldtogte. Gedurende die vyftigerjare het Creekmore en Frankie Randolph onder meer die Demokrate van Texas georganiseer en was die liberale opposisie teen Allan Shivers, Lyndon Johnson en John Connally se bewind van die Texas Democratic Party.

In 1960 was Creekmore weer in Washington as raadgewer van die subkomitee vir vryheid van inligting van die Senaat se handelskomitee, wat as waghond gedien het oor die vereistes van die uitsaaibedryf om gelyke tyd aan politieke kandidate te gee. Hierdie subkomitee het later die volledige teks van die Kennedy-Nixon-debatte gepubliseer.

Creekmore was 'n aktiewe bondgenoot en adviseur van Ralph Yarborough tydens sy veldtogte vir goewerneur en Amerikaanse senaat. In 1968 was hy tesourier van die Don Yarbrough Gubernatorial Campaign. Op 15 Desember 1970 dien hy as algemene voorsitter en broodmeester vir 'n Texas Appreciation Dinner ter ere van senator Yarborough. In 1972 en 1974 het Fath gubernatoriale primêre veldtogte vir Frances “Sissy ” Farenthold gehelp. In haar loopbaan in 1972 het Farenthold verrassend oortref die destydse regering. Preston Smith en sy luitenant -goewerneur Ben Barnes, maak 'n afloop teen Dolph Briscoe, wat uiteindelik die oorhand gekry het.

Creekmore, 'n vurige versamelaar, het die uitgawes van The University of Texas Press van “The Lithographs of Thomas Hart Benton ” in 1969, 1979 en 1990 saamgestel en geredigeer. . Die kunsversameling van Adele is ook uitgestal en bewonder.

Creekmore was 'n jarelange lid van die Liberal Arts Foundation Advisory Council aan die Universiteit van Texas. In 2002 ontvang hy en twee professore Pro Bene Meritis -toekennings van die College of Liberal Arts. In 2001 het hy en Adele ongeveer $ 12 miljoen aan die Universiteit van Texas geskenk. Hulle was vrygewige skenkers vir politieke veldtogte en vir 'n aantal nie-winsgewende organisasies. Adele was bekend vir haar werk vir Demokratiese en burgerlike vryheid.

Creekmore en Adele Hay Fath was lewenslank sterk verbind tot beleid en optrede wat die lewe in Texas en in die wêreld kan verander en verbeter, en ook nie net gedurende hul lewens nie. Aan toekomstige UT -studente het hulle gawes van ondersteuning nagelaat wat drome moontlik kan maak, naamlik die Creekmore en Adele Hay Fath Excellence Fund in Humanities Resources, die Creekmore en Adele Hay Fath Excellence Fund in Foreign Language Study, en die Creekmore en Adele Hay Fath Excellence Fonds in Amerikaanse geskiedenisbronne. Hulle nalatenskap is verseker vir die komende geslagte.


Trail Riders, 1964-1965

Robert Torchia, & ldquo Thomas Hart Benton/Trail Riders/1964-1965, & rdquo Amerikaanse skilderye, 1900–1945, NGA Online Editions, https://purl.org/nga/collection/artobject/55371 (besoek 29 Junie 2021).

U kan volledige uitgawes van hierdie katalogus van die katalogus se tuisblad aflaai.

  • Oorsig
  • Inskrywing
  • Inskripsie
  • Herkoms
  • Uitstallingsgeskiedenis
  • Tegniese opsomming
  • Bibliografie
  • Verwante inhoud
Oorsig

Laat in sy loopbaan konsentreer Thomas Hart Benton op landskappe, waarvan baie geïnspireer is deur reise na landelike gebiede te skets. Alhoewel die meeste hiervan boerderybedrywighede verteenwoordig, was hy ook aangetrokke tot skouspelagtige uitsigte op die berg, soos in die een wat uitgebeeld word Trail Riders. Die skildery is geïnspireer deur 'n reis uit 1964 wat Benton saam met sy goeie vriend, die Kansas City -prokureur Lyman Field, na die Canadian Rockies geneem het. Die kunstenaar onthou dat hulle binne nege en 'n half uur van Banff na Mount Assiniboine gery het, sy eerste perdry in meer as 30 jaar.

Mount Assiniboine is geleë op die Continental Divide op die grens tussen Mount Assiniboine Provincial Park in British Columbia en Banff National Park in Alberta. Dit is die hoogste piek in die suidelike kontinentale reekse van die Kanadese Rockies en staan ​​bekend as "die Matterhorn van Noord -Amerika" vanweë sy driehoekige vorm. Benton het homself en sy reisgenoot as klein figure te perd aan die onderkant van die komposisie voorgestel, verdwerg deur die majestueuse landskap.

Inskrywing

Trail Riders is geïnspireer deur 'n reis wat Benton en sy goeie vriend, die advokaat van Kansas City, Lyman Field, in 1964 na die Canadian Rockies geneem het. Die 75-jarige kunstenaar onthou dat hulle in nege-en-'n-half van Banff na Mount Assiniboine gery het in die loop van twee dae, sy eerste perdry in meer as 30 jaar. [1] & nbsp [1]
Aangehaal in Creekmore Fath, Die litografieë van Thomas Hart Benton (Austin, TX, 1990), 218. Veld raak saal-seer, maar Benton vermy die penarie deur die vooruitsig te hê om skuimrubbervulling by sy saal Henry Adams by die skrywer te voeg, 28 Maart 2012, NGA-kuratoriale lêers. Na sy gewone werkproses, het Benton 'n reeks tekeninge van die berg op die perseel gemaak en in die herfs begin met die skildery in sy ateljee, wat dit in 1965 voltooi het.

Hierdie panoramiese uitsig word oorheers deur die sneeubedekte Mount Assiniboine, geleë op die Continental Divide op die grens tussen Mount Assiniboine Provincial Park in British Columbia en Banff National Park in Alberta. The highest peak in the Southern Continental Ranges of the Canadian Rockies, it is known as “the Matterhorn of North America” because of its triangular shape. When Benton traveled to the mountain there were no roads in the area it was accessible only on horseback or foot. Lake Magog appears at the left center of the composition. Sir James Outram, who climbed the mountain in 1901, described it much the way it appears in Benton’s painting:

The peak is grandest from its northern side. It rises, like a monster tooth, from an entourage of dark cliff and gleaming glacier, 5,000 feet above the valley of approach the magnificent triangular face, barred with horizontal belts of perpendicular cliff and glistening expanses of the purest snow and ice, which constitutes the chief glory of the mountain, soaring more than 3,000 feet directly from the glacier that sweeps its base. On the eastern and the southern sides the walls and buttresses are practically sheer precipices 5,000 to 6,000 feet in vertical height, but the contour and character of the grand northern face more than compensate for the less sheer and lofty precipices. [2]   [2]
James Outram, In the Heart of the Canadian Rockies (New York, 1906), 41.

Benton represented himself and his traveling companion as miniscule figures on horseback at the bottom of the composition, dwarfed by the majestic landscape. He also made a lithograph of Trail Riders (1964/1965). [3]   [3]
This lithograph is not listed in Creekmore Fath, ed., The Lithographs of Thomas Hart Benton (Austin, TX, 1990). Examples periodically appear on the art market see 19th- and 20th-Century Contemporary Prints and Multiples (Christie’s, New York East, Sept. 20, 2000), lot 2.

Late in his career Thomas Hart Benton concentrated on landscapes, many of which were inspired by sketching trips to rural areas. Most of these represented farming activities, but by the 1960s Benton had largely abandoned his agrarian views of the Midwest and the South and had become attracted to spectacular mountain vistas such as The Sheepherder (1958, private collection), which resulted from his travels to the Grand Teton Mountains in Wyoming. The artist’s daughter, Jessie Benton, recollected:

You know, he took aside many, many years to paint the mountains. He said it was the damndest hardest things he ever did, the mountains are impossible to paint. And it took him years to finally paint a picture that he was satisfied with. But you know that’s why I think he paid no attention to all those critics and stuff because he would get these things that he had to do. And while they were still quibbling over Persephone, he was off in Wyoming trying to paint the Tetons for three, four, five years. And really literally off, you know, in the woods in Jackson Hole driving around by himself for years. And he’d come home every now and then. . . . He was always going off on sketching trips and going off here and there. And then he’d come home. [4]   [4]
Quoted from Thomas Hart Benton, directed by Ken Burns, written by Geoffrey C. Ward, aired on Nov. 1, 1989, on PBS as part of Ken Burns’s America series.

Matthew Baigell has noted that Benton “interpreted the great mountain ranges at times as formidable presences, at times as great rococo spectacles, as if he could caress each peak and ridge, or, for a moment, hold a mountain in his hand.” [5]   [5]
Matthew Baigell, Thomas Hart Benton (New York, 1974), 183, 187.

Inskripsie
Herkoms

The artist [1889-1975] his bequest to NGA.

Geassosieerde name
Uitstallingsgeskiedenis
Tegniese opsomming

The painting was executed on a plain-weave, medium-weight canvas and was unlined. The ground appears to have been applied by the artist because it does not extend onto the tacking edges, which are original and intact. The reverse of the canvas was coated with a commercially prepared white ground. The canvas was stretched onto a six-member wooden stretcher with one crossbar in each direction turnbuckles are in place to expand the corners, while the crossbars have internal joinery. Infrared reflectography has revealed an overall grid pattern applied to the canvas beneath the paint layer. [1]   [1]
The infrared examination was conducted using a Santa Barbara Focalplane InSb camera fitted with an H astronomy filter. Some of the lines were doubled, with the artist having marked the correct grid line with a “V”. Also noticeable in the infrared examination are changes to the snow line and the shapes of the mountain peaks. The figure on the right in the red shirt also appears to have originally had a pack on his back. Underpainting is also visible in the limbs of the trees and in areas of shadow. The paint was applied in thin, dilute layers, with the final layers applied as glazes. An overall application of thick, glossy synthetic resin varnish exists on the surface.

Structurally the painting is in sound condition the canvas is in plane and remains supple. The paint and ground layers are in excellent condition, with no cracking, losses, or signs of paint insecurity. The varnish is only mildly discolored but it is overly glossy. It is also crazed, causing some areas of the painting to appear unsaturated, and the work has a good amount of fibers stuck in it.


Creekmore Fath - History

Otto Mullinax was born in Clearwater, TX on June 28, 1912. He attended the University of Texas and received a BA and LL.B degree in 1937. While at the University of Texas, he became involved in progressive politics and ran for Texas public office as a student. He went on to found and participate in many progressive organizations, including the Progressive Democrats, Chaparral Club, and others. He co-founded the Dallas law firm Mullinax & Wells in 1947, which participated in labor and segregation litigation. It also served as general counsel to the Texas State Federation of Labor. He represented cases for the ACLU and was one of the founders of the progressive biweekly journal, Texas Observer. He is considered by many to have played a leading role in progressive politics in Texas. Otto Mullinax died in Dallas, TX on March 14, 2000.

Biographical note prepared using material from the collection and biographical information published in Marquis Who’s Who on the Web.

Omvang en inhoud

The bulk of the papers are subject files related to notable cases regarding free speech, communist, labor and union activity, segregation, etc democratic and progressive causes and politics activities of friends and colleagues and progressive publications. One file contains correspondence and notes to be used for a planned published history of the Progressive Democrats. The subject files contain clippings, correspondence, drafts, printed material, legal documents, and a few photographs. In addition, there are several scrapbooks with clippings documenting similar topics. There is a small amount of published government reports.


Corn and Winter Wheat, 1948

Robert Torchia, &ldquoThomas Hart Benton/Corn and Winter Wheat/1948,&rdquo American Paintings, 1900–1945, NGA Online Editions, https://purl.org/nga/collection/artobject/119613 (accessed June 29, 2021).

You may download complete editions of this catalog from the catalog’s home page.

  • Oorsig
  • Inskrywing
  • Inskripsie
  • Herkoms
  • Uitstallingsgeskiedenis
  • Tegniese opsomming
  • Verwante inhoud
Oorsig

In the years following World War II, American regionalist art fell out of fashion, its popularity superseded by the promotion of modernist abstraction. After the deaths of Grant Wood and John Steuart Curry in 1942 and 1946, Thomas Hart Benton was the sole survivor of the movement’s three major artists. Benton retreated from the controversial social commentary characteristic of his murals from the previous decade and painted a number of landscapes representing agricultural activities, such as Corn and Winter Wheat. In the shocks of corn prominently displayed in the foreground, as well as the farmers planting winter wheat in the distance, Benton depicts a labor-intensive, traditional method of farming that was being rendered obsolete by mechanization. Corn and Winter Wheat, like other landscapes by Benton during this period, is a nostalgic look back in time to the Midwest’s agrarian, pre-industrial past.

Inskrywing

Corn and Winter Wheat is probably based on sketches that Benton made while traveling in rural Missouri in 1945. Dwarfed by the rolling Missouri farmland, two farmers in the center foreground plant winter wheat with the aid of a horse-drawn wagon. A farmhouse with a red barn and windmill, standard ingredients of the American regionalist landscape, appear in the left background. Six shocks of corn occupy the foreground.

Since the late 1930s Benton had been painting landscapes such as Cradling Wheat (1938, St. Louis Art Museum, MO) that represent farming in the rural areas where he often traveled in search of suitable subjects. These works had been successful for Benton, and an early example, July Hay (1943), was acquired by the Metropolitan Museum of Art the same year it was executed. Benton’s small-scale easel paintings were derived from motifs found in the monumental public murals that had helped to establish his reputation in the 1920s and 1930s. For example, farming scenes have a prominent role in his Social History of Missouri (1936) in the House Lounge of the Missouri State Capitol in Jefferson City. After the war Benton avoided controversial social commentary in his paintings and even experimented with a mythological subject—Achelous and Hercules (1947, Smithsonian American Art Museum, Washington, DC)—for a mural commissioned by a women’s clothing store in St. Louis.

In an earlier and very similar painting also titled Corn and Winter Wheat [fig. 1]   [fig. 1] Thomas Hart Benton, Corn and Winter Wheat, c. 1945, oil and varnish glazes on fabric, Worcester Art Museum, Worcester. Gift from the Chapin and Mary Alexander Riley Collection, 1970.156. © Worcester Art Museum , Benton has represented a farmer seated on the ground gathering corn into shocks. The corn shocks are also a prominent feature of the equally similar 1945 lithograph Loading Corn [fig. 2]   />[fig. 2] Thomas Hart Benton, Loading Corn, 1945, lithograph, The Museum of Modern Art, New York. Gift of W. J. Cole. © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY that was based on sketches Benton had made in autumn in Missouri. He explained that such scenes were “to be seen on most hill farms. The problem with these subjects is not to find them but to find them in a pictorially workable setting.” [1]   [1]
Creekmore Fath, The Lithographs of Thomas Hart Benton (Austin, TX, 1990), no. 65, 150.

J. Richard Gruber has noted that Benton’s carefully observed and researched agricultural subjects show that the artist “viewed these scenes as reflective of a larger order at work, a traditional American agrarian order that was based on the importance of man working in harmony with the world of nature. The abundance of the harvest in these works serves as evidence of the fruits of man’s labor when he respected those natural systems and worked in accordance with the laws of the natural world.” [6]   [6]
J. Richard Gruber, Thomas Hart Benton and the American South (Athens, GA, 1998), 46. Corn and Winter Wheat, like other landscapes by Benton during this period, is a nostalgic look back in time to the country’s agrarian, pre-industrial past that extols the virtues of the rural midwestern lifestyle.

In the years following World War II, American regionalism fell out of fashion, its popularity superseded by the growing attention paid to modernist abstraction in America. Grant Wood had died in 1942, John Steuart Curry in 1946, and the reputation of Thomas Hart Benton, the sole survivor of the movement’s three leading artists, was in decline. In May 1946 the well-known art historian Horst W. Janson wrote an article for the Magazine of Art in which he attacked regionalism, stating that the movement was “essentially anti-artistic in its aims and character” and “nourished by some of the fundamental ills of our society” before directing some personal aspersions at Benton. [7]   [7]
H. W. Janson, “Benton and Wood, Champions of Regionalism,” Magazine of Art, May 1946, quoted in Henry Adams, Thomas Hart Benton: An American Original (New York, 1989), 320. In 1947 Benton broke with his dealer Reeves Lewenthal ostensibly because he did not use enough Missouri artists to execute a commission for a St. Louis department store. In 1948, when Look magazine published a list of the 10 best American artists based on the recommendations of museum professionals and critics, Benton’s name was not mentioned. [8]   [8]
“Are These Men the Best Painters in America Today?” Look, Feb. 3, 1948, 44–48, discussed in Henry Adams, Thomas Hart Benton: An American Original (New York, 1989), 320. Henry Adams has noted that the indistinct, painterly quality of Corn and Winter Wheat can be related to the artist’s “slightly depressed mood at the time, when he’s being pushed off stage and the America he knew is changing, and he’s trying to figure out who he is as an artist and what he should do next.” [9]   [9]
Henry Adams to Robert Torchia, Mar. 28, 2012, NGA curatorial files.


Legacy Project

Bernard Rapoport at book signing for Being Rapoport. Rapoport (Bernard) Papers. E_rap_0623.

With generous support from the Bernard and Audre Rapoport Foundation and other generous donors, the Dolph Briscoe Center for American History embarked upon a three-year, collaborative project to create a publicly accessible, enhanced digital edition of Bernard Rapoport’s memoir Being Rapoport: Capitalist with a Conscience, as told to Dr. Don Carleton and originally published by the University of Texas Press in the Briscoe Center's Focus on American History Series in 2002.

The enhanced ebook features 1,500 hyperlinks that jump from the text of the online book to corresponding photographs, letters, newspaper clippings, reports, and additional archival documents selected from the Bernard Rapoport Papers, Bernard Rapoport Oral History Collection, and other Briscoe Center collections. These links encourage the online reader to explore Being Rapoport and gain a deeper understanding of Bernard Rapoport's message and philosophy of service.

The Rapoport Legacy Project determined to

  • Prepare the Being Rapoport: Capitalist with a Conscience book text for the web
  • Create a website for the enhanced version of the book
  • Produce more detailed, in-depth inventories of the Bernard Rapoport Papers, the Bernard Rapoport Oral History Collection, and related archival collections
  • Select and digitize documents from the Rapoport Papers and related collections to support the enhanced content of the book
  • Create metadata for the digital files
  • Create hyperlinks within the online edition of the book, which direct the user to the enhanced content and
  • Maintain the website and preserve the individual digital files.

Archival collections inventoried for the project

The Rapoport Papers document Rapoport’s career as founder, CEO, and chairman emeritus of the American Income Life Insurance Company his support of Democratic politicians and issues in the United States, particularly Texas and his philanthropic activities in education, healthcare, and social justice. Composed of over 200 feet of archival material spanning nearly a century, the collection contains correspondence, diaries, college papers, political files, photographs, newspaper clippings, printed material, audiotapes, videotapes, and DVDs. Prominent correspondents represented in the Rapoport Papers include Bill and Hilary Clinton, Ted Kennedy, Ann Richards, Tom Daschle, Ralph Yarborough, Bill Moyers, John Henry Faulk, Lloyd Bentsen, and Molly Ivins.

The Rapoport Oral History Collection contains audiotape interviews with numerous family members, friends, and colleagues of the Rapoports, conducted in preparation for Rapoport’s memoir.

Clarence Ayres was a professor in the UT Department of Economics. Bernard Rapoport studied under Dr. Ayres in the late 1930s, during which time both were members of the Progressive Democrats, and maintained contact with him for a number of years afterward. The collection primarily consists of correspondence regarding economics, teaching, publishing, and events impacting UT.

Attorney Sissy Farenthold was a Texas House Representative and the first serious female nominee for the Democratic vice presidential ticket in the 1972 election. Rapoport was a great supporter of Farenthold during her political campaigns and served as her finance chairman in 1972. The Farenthold Papers document this relationship as well as her tenure as Texas state legislator, participation in the "Dirty Thirty" and reform of political corruption, membership on legislative committees, campaigns for governor against Dolph Briscoe, and nomination to be the Democratic candidate for the U.S. vice presidency, among other topics.

Lawyer and active member of the Democratic Party, Creekmore Fath attended the University of Texas and was a member of the Progressive Democrats, where he befriended Bernard Rapoport. The two maintained a friendship after graduation and Rapoport often contributed to the campaigns on which Fath worked, including those of Sissy Farenthold and Ralph Yarborough. The Fath Papers elucidate Fath's education at the University of Texas his work in the Roosevelt administration, the Democratic National Committee, and Democrats of Texas and numerous political campaigns with which he was involved.

Folklorist, entertainer, lecturer, and writer John Henry Faulk was a radio and television broadcaster blacklisted for alleged Communist associations. Faulk sued AWARE, Inc. for libel, and the case was decided in his favor in 1962. Faulk lectured and wrote extensively on civil liberties and his blacklisting experience and was active in civic and political affairs. Rapoport befriended Faulk after his libel suit due to their shared views on labor, civil liberties, Israel, Vietnam, UT, and support of the liberal wing of the Democratic Party. To help Faulk recover from his blacklisting, Rapoport employed him to speak at his company's events and other associations' meetings.

A syndicated liberal columnist known for her biting wit and humor, Molly Ivins was an editor and contributor to the Texas Observer. Bernard Rapoport financially contributed a great amount annually to the Observer, and he developed relationships with many of the staffers and editors, including Ivins.

Maury Maverick Jr. was a San Antonio attorney, columnist, activist, and former Texas legislator. The son of New Deal Congressman and San Antonio mayor, Maury Maverick Sr., Maverick was a three-term member of the Texas House of Representatives and champion of labor and civil rights. Bernard Rapoport and his father supported both Maury Maverick Sr. and Jr. during their political careers, and Bernard eventually befriended Maury Jr. and corresponded with him throughout their lives.

The Pope Papers contain the research materials of journalist John M. Pope for his UT thesis centered on the blacklisting of John Henry Faulk during the Second Red Scare, which is discussed in Being Rapoport.

As the embattled president of UT in the 1940s, Homer Rainey refused to kowtow to the reactionary forces of the Board of Regents and Texas Legislature by standing up for academic freedom and supporting the Economics Department. Rainey's subsequent gubernatorial campaign pitted the liberal and conservative wings of the Democratic Party against one another. Rainey's campaign marked the first time Bernard Rapoport took a visible and influential role in a political campaign. He organized McLennan County, and his efforts resulted in McLennan being the sole county Rainey carried. These events left an indelible mark on Rapoport.

From its first issue in 1954, the Texas Observer newspaper aimed to provide progressive viewpoints and to address topics that readers would not find in mainstream Texas newspapers. Bernard Rapoport began providing financial support to the Texas Observer in 1962 and was consistently a major consumer, contributor, and donor to the Observer. The Bernard and Audre Rapoport Foundation continues this tradition.

A graduate of the University of Texas at Austin, Don H. Yarborough was a Democratic politician, whose ability to articulate liberal values helped bring reform to the Texas Democratic Party. This collection includes motion picture film documenting his 1968 Democratic gubernatorial primary campaign, for which Rapoport served as the finance chairman.

The Yarbrorough Papers document the political career of Senator Ralph W. Yarborough, who became a U.S. Senator and the leader of the liberal wing of the Democratic Party in Texas during the tumultuous 1960s. A strong supporter and close friend of Yarborough, Rapoport helped Ralph win reelection in 1958 and served as his finance chairman in 1964, 1970, and 1972. In the 1980s, Rapoport donated funds to establish a professorship in Yarborough's name at the University of Texas at Austin.

This project was made possible by a lead gift from The Bernard and Audre Rapoport Foundation with support from the following donors:


The Lithographs of Thomas Hart Benton

Love this book. It is in very good condition with the dust jacket intact. If you are interested in the art of Thomas Hart Benton this is a nice exposure to some of his works. I especially enjoy the artist's hand written comments by each lithograph describing the circumstances of the drawing.

Great communications with the seller and very quick Cited by: 3. Love this book. It is in very good condition with the dust jacket intact. The Lithographs of Thomas Hart Benton book you are interested in the art of Thomas Hart Benton this is a nice exposure to some of his works.

I especially enjoy the artist's hand written comments by each lithograph describing the circumstances of the drawing.

Great communications with the seller and very quick 5/5(9). The following is a list of the lithographs produced by Thomas Hart Benton.

For information please refer to the complete catalog The Lithographs of Thomas Hart Benton compiled and edited by Creekmore Fath. The StationLithograph, The Lithographs of Thomas Hart Benton book of 5 7/8 (H) x 6 1/8 (W) inches Circulated by Delphic Studios, New York City Catalogue: FATH 1.

The Lithographs of Thomas Hart Benton book. Read reviews from world’s largest community for readers/5(6). make offer - thomas hart benton "the race" original lithograph pencil signed (ed) fath#56 Thomas Hart Benton lithograph Portrait By Al Kennedy Signed 48/ Painting $ Thomas Hart Benton lithographs for sale.

American, Back to Artist Catalogue. A Drink of Water Lithograph,F edition 10 x 14 1/4 in. Signed on the stone and signed The Lithographs of Thomas Hart Benton book pencil. This is a fine impression with full margins. The condition is excellent. This early work was based on a drawing done in the Ozarks.

Make Offer - Rare Signed Lithographs of Thomas Hart Benton () Creekmore The Lithographs of Thomas Hart Benton book TOM BENTON'S AMERICA by Thomas Hart Benton/HC/Americana/Signed $ 9h 46m.

Thomas Hart Benton was an American artist whose paintings, lithographs, and murals contributed to the Regionalist movement.

View Thomas Hart Benton’s 3, artworks on artnet. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. See available prints and multiples, works on paper, and paintings for sale and learn about the Nationality: American. Contains a complete catalogue raisonne of lithographs of Thomas Hart Benton ().

First edition was released inand Second in This reissue was made on the occasion of the centennial of Benton's birth. The Lithographs of Thomas Hart Benton by Benton, Thomas Hart and a great selection of related books, art and collectibles available now at The Lithographs of Thomas Hart Benton (New, Expanded Edition) by Thomas Hart The Lithographs of Thomas Hart Benton book.

University Of Texas Press, Hardcover. The Lithographs of Thomas Hart Benton book very good/good. Quarto. Quarto. Landscape. 80 prints. There is darkening to bottom corner edges of paper. Price clipped dust jacket. Sunning to dust jacket spine.

Jacket in a brodart protective wrapper. The lithographs of Thomas Hart Benton. [Thomas Hart Benton Creekmore West Fath] Book: All Authors / Contributors: Thomas Hart Benton Creekmore West Fath.

Find more information about: ISBN: OCLC Number: Notes: Includes chronology adapted from "A chronology of my life" by Thomas Hart Benton.

Get this from a library. The lithographs of Thomas Hart Benton. [Thomas Hart Benton Creekmore West Fath] -- Benton's 95 lithographs are reproduced and described, usually with the artist's hand-written comments.

Estimate: $1, - $1, Description: Thomas Hart Benton, American () New England Farm,lithograph, edition ofsigned in pencil lower margin, framed. 9 x 13 3/4 inches Condition Report: This lithograph has been hinged to the mount with two strips of brown tape at the top edge.

Discoloration from light exposure. Paper is i. Thomas Hart Benton () Benton fits the familiar mold of Jack London, John Steinbeck, Ernest Hemingway—the roughneck artist, the temperamental genius disguised as a Joe.

But beneath the denim and swagger, there lurks something else: a soul, Benton said, ‘impregnated with a deep sense of the value of life, of the beauty of the basic Read More». Benton was a highly intelligent, energetic, flamboyant, pugnacious and hard drinking fellow, who quite often found himself in the center of controversy.

As a student, he was unruly and alienated many of his peers and teachers. Thomas Hart Benton was born in Neosho, Missouri, and named for a great uncle and ear. Thomas Hart Benton's prints illustrate American life in the West and South.

His subjects were often farm workers, factory employees, and home-and-hearth scenes. Many consider him the leader of the American Regionalism Movement.

Thomas Hart Benton's artwork contrasted light and dark and used intense colors to express movement. Thomas Hart Benton (Ap – Janu ) was an American painter and with Grant Wood and John Steuart Curry, he was at the forefront of the Regionalist art movement.

The fluid, sculpted figures in his paintings showed everyday people in scenes of life in the United States. His work is strongly associated with the Midwestern United States, the Born: ApNeosho, Missouri.

You may have noticed in Sunday’s post an image of Thomas Hart Benton’s lithograph “I Got a Gal on Sourwood Mountain”, one of several artworks based on a folk music song title. He created the same picture nine years earlier, as this oil painting with a different title (albeit in a mirror image – as most of his lithographs are).

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REFERENCES Adams, Henry (). Thomas Hart Benton: An American Original. New York: Alfred A. Knopf. Adams, Henry (). Thomas Hart Benton: Drawing from Life.

Seattle, Washington: Henry Art Gallery, University of Washington. Adams, Henry (). Tom and Jack: The Intertwined Lives of Thomas Hart Benton and Jackson Pollock. New York. Benton’s work can be found at the Met, the Smithsonian, The Truman Library and many other museums and galleries across the U.S.

He was elected to the National Academy of Design, has illustrated many books, wrote (and twice appended) his autobiography and is the subject of Thomas Hart Benton, a documentary by Ken Burns. Lithographs of Thomas Hart Benton, First Revised Edition,Includes the entire 95 print catalog HudsonPulpAndRockets 5 out of 5 stars () $ $ $ (20% off).

Benton, Thomas Hart () An important American regionalist artist who produced nearly lithographs. Auction amount: $83, Sold: Thomas Hart Benton (American, ) Birth Place: Neosho (Newton county, Missouri, United States) Thomas Hart Benton was a famous painter and muralist who was born in Neosho, Missouri on Ap Benton studied for years in Paris and New York City during the s when he would become.

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If Thomas Hart Benton’s artwork could talk, I believe it would sound like Donna Baier Stein’s prose–plainspoken, vivid, generous, and honest. The nine stories in this collection–which use Benton’s lithographs as imaginative springboards–form a vibrant patchwork quilt of small towns, county fairs, and rural dance halls peopled by.

Thomas Hart Benton sketched fiddlers and farm wives, preachers and soldiers, folks gathering in dance halls and tent meetings. Though his lithographs depict the past, the real-life people he portrayed face issues that are front and center today: corruption, women’s rights, racial : Serving House Books.

The Grapes Of Wrath With Lithographs by Thomas Hart Benton by Steinbeck, John Book condition: Orig. half rawhide and raffia ["grass cloth"] with front cover illustrations by Benton. Near fine in slightly soiled s Book Description. Welcome to the Thomas W.

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Thomas Hart Benton, (born ApNeosho, Mo., U.S.—died Jan. 19,Kansas City, Mo.), one of the foremost painters and muralists associated with the American Regionalists of the s.

The son of a member of Congress, Benton worked as a cartoonist for the Joplin (Missouri) American in and then studied at the Art Institute of Chicago. 10 results for thomas hart benton lithograph Save thomas hart benton lithograph to get e-mail alerts and updates on your eBay Feed.

Unfollow thomas hart benton lithograph to stop getting updates on your eBay Feed. “Scenes from the Heartland: Stories Based on Lithographs by Thomas Hart Benton,” by Donna Baier Stein (Serving House Books pages $15), is available through online retailers.

(Serving House Books) Most of us have experienced the distinct pleasure of scrutinizing a work of art in person or studying a printed version in a book. Scenes from the Heartland: Stories Based on Lithographs by Thomas Hart Benton by Donna Baier Stein book review. Click to read the full review of Scenes from the Heartland: Stories Based on Lithographs by Thomas Hart Benton in New York Journal of Books.

Review written by Townsend : Donna Baier Stein. Thomas Hart Benton (Ap – Janu ) was an American painter and muralist. Along with Grant Wood and John Steuart Curry, he was at the forefront of the Regionalist art movement. His fluid, sculpted figures in his paintings showed everyday people in scenes of life in the United States.

Though his work. The arrival last week of a retrospective at Fort Worth’s Amon Carter Museum was my opportunity to reopen the Benton file. American Epics: Thomas Hart Benton and Hollywood is not only the first major museum exhibition of Benton’s work in more than 25 years, but also the first to highlight some of the artist’s intersections with and developments alongside the burgeoning of.

EVENT OVERVIEW: Donna Baier Stein will be In Conversation with Steve Sitton, Curator of The Thomas Hart Benton Home and Studio State Historic Site in Kansas City, about Donna's New Softcover Collection Scenes from the Heartland: Stories Based on Lithographs by Thomas Hart Benton.

This Event is Co-Presented by Rainy Day Books & The Kansas City Public Library. Library Resource List | Thomas Hart Benton | 5 Benton, Thomas Hart. Benton Drawings: A Collection of Drawings by Thomas Hart Benton. Columbia: University of Missouri Press, Call No: NCB A45 Club, Czestochowski, Joseph S.

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Texan Creekmore Fath : He Paddled His Own Canoe

Creekmore Fath with former law partner — and U.S. Congressman — Bob Eckhardt. Photo by Alan Pogue.
So Long to the ‘Communist Threat’:
Creekmore Fath, last of a generation of progressive activists

I met Fath during… future U.S. Sen. Ralph Yarborough’s losing 1954 campaign for governor against conservative Democrat Allan Shivers… To win, Shivers campaigned for the death penalty for Communist Party members…

By Dave Richards / August 27, 2009

[This article appears in the August 21 issue of The Texas Observer, Texas’ progressive biweekly that’s been fighting the good fight for more than five decades.]

When Creekmore Fath died in June at 93, we’d officially seen the last of an influential cluster of liberal activists who came of age during the Great Depression at the University of Texas. It’s a generation worth celebrating, especially since they deserve plenty of thanks for what modicum of racial justice exists in Texas.

Fath’s often-storybook life (even his name sounds Elizabethan) in many ways exemplified what set apart these UT liberals — Chris Dixie of Houston, Otto Mullinax of Dallas, Maury Maverick Jr. of San Antonio, Bob Eckhardt of Houston, and Fath of Austin. And what kept them together.

I met Fath during my initial foray into politics, future U.S. Sen. Ralph Yarborough’s losing 1954 campaign for governor against conservative Democrat Allan Shivers. The race was close enough to alarm the ruling elite. To win, Shivers campaigned for the death penalty for Communist Party members, along with traditional racist attacks on the NAACP and integration.

By 1956, Texas’ conservative rulers were so worried about the Yarborough threat that they persuaded Price Daniel to abandon his Senate seat and run for governor against the liberal menace. That same year, U.S. Sen. Lyndon Johnson and House Speaker Sam Rayburn decided to challenge the Shivercrats for control of the Texas Democrats. Yarborough forces, including Fath, also mounted a challenge from the left.

I ended up an Austin delegate to the state convention from the liberal wing. We arrived to find ourselves locked out because the Johnson forces controlled the tickets. Some of us got into the building through a women’s restroom window. Others made it to the floor with counterfeit tickets printed up by Harry Holman, a union carpenter from Austin. We scrambled in to find the 200-plus-member Travis County delegation in disarray, equally divided between Johnson and Yarborough.

At one point, the key vote was seating the liberal delegation from Harris County. Travis County delegates had to be polled. Fath counted for the liberals, and Johnson lawyer John Cofer for the other side. At the conclusion of each polling, the two would solemnly announce results that were contrary. Fath had the liberals winning, Cofer had the Johnsonites winning. After polling the delegation three times and getting the same contradictory outcomes, Travis County had to pass without a vote. Even so, the convention was a success. The liberal dynamo from Houston, Frankie Randolph, defeated Johnson’s candidate for the Democratic National Committee. The next year, Yarborough won Price Daniel’s Senate seat in a special election—the first liberal win since Jimmie Allred in the 1930s.

All of this strange carrying-on had its roots at UT in the 1930s. While the university was the heart of intellectual ferment in the state, the Texas Legislature was focusing its periodic red-baiting hysteria on the campus as a hotbed of radicalism. At UT, Fath joined with Dixie, Mullinax, and Herman Wright to reorganize the Young Democrats into the Progressive Democrats. In 1936, Mullinax, Wright, and Dixie (with Fath running the latter’s campaign) ran losing state-legislature campaigns from their home counties. All ran on a Progressive Democratic issue: taxing the extraction of sulfur, a notion floated by another influential liberal, Bob Montgomery.

Montgomery was a favorite target of the red-baiters in Austin. Soon after the election, at the instigation of Johnson friend Roy Miller, a powerful sulfur lobbyist, the Legislature began investigating Montgomery and trying to expose the Progressive Democrats as communists. Along with Montgomery, Mullinax was subpoenaed. “Three of us ran for the Legislature on a program to tax sulfur,” he told the lawmakers, “and were defeated on the charge of being communists.”

Asked during his testimony whether he believed in the “profit system,” Montgomery replied: “I most certainly do. I would like to see it extended to 120 million people.”

The UT liberals all went on to law school and into practice in the early ’40s. Fath and Eckhardt, one of the state’s first labor lawyers, briefly had a joint practice in Austin. Fath went into the army during World War II and then served the aging President Franklin Roosevelt as an aide.

Back in Austin, Fath plunged back into politics. When Johnson ran for Senate in 1948, Fath announced for Johnson’s vacant U.S. House seat as an unreconstructed New Dealer. He and his wife, the daughter of a former secretary of state, campaigned in a car with a canoe roped on top and painted with the slogan, “Fath for Congress … He Paddles His Own Canoe.”

Somehow the slogan didn’t do the trick. Fath finished third in the Democratic primary. Then he went to work, with mixed feelings, for Johnson’s Senate campaign. Liberals like Fath had never been cozy with the future president’s go-with-the-political-wind ideology. “We viewed Johnson with some reserve,” Fath wrote, with appropriate reserve, decades later in an autobiographical essay.

With no Republican Party to speak of, the state’s liberal and conservative Democrats were bitter enemies. Fath and fellow liberals liked to call themselves “loyal Democrats.” Shivers and Daniel preferred to be known as Democratic Regulars who had supported GOP presidential candidates. Johnson often tried to play both sides. With Fath and other liberals reluctantly behind him, he pulled off his infamous 48-vote “landslide” in a Democratic Senate runoff still notorious for its corruption.

In William Roger Louis’s collection of autobiographical essays, Burnt Orange Brittania (2006), Fath opens his often-witty entry by writing, “The history of my life can be summed up by saying that I am devoted above all to two things: the Democratic Party and the University of Texas.”

He might have added ­liberalism to the list. After failing in his one run for elective office, Fath went on to be a political rainmaker and strategist behind the ’50s and ’60s Yarborough campaigns, and the early ’70s near-misses of Sissy Farenthold for ­governor. “He could pick up the phone and call,” Farenthold recalls, and “I don’t care what county it was, he’d know somebody there. There would have been no campaign without Creekmore.”

While Fath was working for a more liberal-minded Texas, fellow UT’ers Dixie and Mullinax joined Herman Wright in Houston, representing labor unions in what was becoming an industrial ­center. Unlike their British ­counterparts at Cambridge, who wandered off to communism, the Texas liberals mostly remained staunch New Dealers. In 1948, Wright linked up with Henry Wallace and became the Progressive Party candidate for governor. Dixie and Mullinax broke with their friend and supported the Democrats. Shortly thereafter, Eckhardt joined Dixie in his Houston practice. Maury Maverick Jr. practiced law in San Antonio and soon joined Fath in the political arena.

Maury Junior, as he was called, became one of the state’s foremost civil liberties lawyers. Early on, he represented a black prizefighter, Sporty Harvey, in a challenge to the Texas prohibition against interracial boxing matches. Later he sued the state on behalf of John Stanford, secretary of the Texas Communist Party, attacking the search and seizure of Stanford’s library and correspondence in a case that made it to the U.S. Supreme Court. After leaving the Legislature, he spent his later years writing somewhat incendiary columns for the San Antonio Express-News, inveighing against the Vietnam War and later speaking out about the plight of the Palestinians.

Eckhardt, who died in 2001, ended up in both the Legislature and Congress, championing progressive populist causes and becoming a leading advocate for open beaches. (See Gary Keith’s excellent biography, Eckhardt: There Once Was a Congressman from Texas.) Dixie was always a pre-eminent union lawyer. He successfully sued the notorious Texas Ranger, A.Y. Allee, on behalf of Pancho Medrano and others involved in the famous 1966-67 farm workers’ strike at La Casita Melons in Rio Grande City. On the political front, along with Frankie Randolph, Dixie was the driving force behind the Harris County Democrats, the first organization that truly took the battle to the Shivercrats. He was, as founding Observer editor Ronnie Dugger once said of him in these pages, “tough as cactus.”

So was Mullinax. Not long into his career, Mullinax did what was almost unthinkable for the times: He filed a damage suit on behalf of a young black man against the police chief of Nacogdoches, alleging police brutality. The case was lost, of course, but it speaks volumes about these liberals’ tenacity Mullinax later told me he always carried a firearm when he drove with his client back and forth across East Texas.

These liberals practiced classic coalition politics. Among other accomplishments, they brought together elements of organized labor with historically disenfranchised blacks and Latinos—to the point where, by 1962, it was no longer politically possible to attack the NAACP or the GI Forum, Hector Garcia’s Hispanic organization. When John Connally ran for governor in 1962, he became the first establishment Democrat to court and win segments of this coalition—reportedly at the urging of Johnson.

Nog 'n ding om te weet oor Fath, Eckhardt, Dixie, Mullinax en Randolph, saam met nog 'n groot liberaal, Minnie Fisher Cunningham van New Waverley: Hulle het almal gehelp om die Observer in 1954 te stig.

Alhoewel hulle nooit geleef het om die Texas te sien waarna hulle sedert die 1930's gewerk het nie, het Creekmore Fath en sy liberale groepe baie voorheen ondenkbare dinge laat gebeur. (En Fath was getuie van die eens onpeilbare verkiesing van Barack Obama voordat hy gesterf het.) Hulle het die weg gebaan vir 'n progressiewe toekoms in die staat wat breër en veel meer invloedryk kan wees. Dit sal die nuwe liberale Texans nie skade berokken om na dieselfde soort integriteit en hardkoppigheid te streef as wat Fath en die "commie liberals" getoon het nie.