Annotated Bibliography: Frances Simpson Stevens<\/p>\n
Berghaus, Gu\u0308nter. International Futurism in Arts and Literature<\/em>. De Gruyter, 2000. European Cultures. EBSCOhost<\/em>. Web. ezproxy.lib.davidson.edu\/login?url=http:\/\/search.ebscohost.com\/login.aspx?direct=true&db=e000xna&AN=627686&site=ehost-live. This book performs an in-depth analysis of the development of futurism, tracking individual artists from around the world and the impact of their work. The first chapter provides a political history of Futurism, while subsequent chapters dig into the persona lives and careers of artists, beginning with Marinetti and his critics. In a section focusing on \u201cItalian Futurism and Avant-Garde Painting in the United States,\u201d Lisa Panzera details the relationship between Mina Loy and Frances Simpson Stevens, and goes on to narrate Stevens\u2019s later life and the impact she had on Modernism in the United States after she returned from Italy (227-230).<\/p>\n Burke, Carolyn. Becoming Modern: The Life of Mina Loy<\/em>. 1st ed., New York, Farrar, Straus, and Giroux, 1996. Print. This book biographies the artist and poet Mina Loy, focusing not only on her career but also her personal life and relationships. Burke explains how different artists and lovers impacted Loy, and how Loy in turn influenced the communities and avant-garde movements with which she interacted. Burke breaks down her analysis by location and time-period. In the section detailing Florence between 1913 and 1914, Burke follows the friendship between Mina Loy and Mabel Dodge, explaining how Dodge eventually connected Loy with Frances Simpson Stevens\u2014a young artist from New York who could rent Loy\u2019s available studio space (143-151). Burke goes on to depict the relationship between Loy and Stevens, which grew from mentorship to friendship, and show how the two women became acquainted with Marinetti and the Italian Futurists (150-154).<\/p>\n Burke, Carolyn and Naomi Sawelson-Gorse. \u201cIn Search of Frances Simpson Stevens.\u201d Art in <\/em>America,<\/em> 82.4 (1994): 106-115. Print. This source pieces together the lost details of Stevens\u2019s biography, detailing her childhood, personal life, and career. Burke and Sawelson-Gorse track the development of Stevens\u2019s artistic style, the shows in which she exhibited, and the relationships she formed in Italy and the United States. \u201cUntil recently neither the basic facts of her biography could be verified,\u201d they explain, \u201cnor the circumstances of her involvement determined\u201d (106). The article focuses in particular on the dynamism of Stevens\u2019s work, how she engaged gender artistically, and her interactions with \u201cMarinetti\u2019s machine esthetic\u201d (111).<\/p>\n \u201cFrances Simpson Stevens 1911 (1894-1976).\u201d Helen Temple Cooke Library<\/em>, Dana Hall School, 16 Sept. 2011, library.danahall.org\/archives\/danapedia\/alumnae\/frances-simpson-stevens-1911-1894-1976\/. This source focuses entirely on Frances Simpson Stevens, narrating her life from the time she was born in Chicago, IL to the time she died, \u201can equestrian with a stable of 22 horses\u201d in California. Stevens attended the Dana Hall School, an elite boarding school in Wellesley, Massachusetts. This piece, published on the school\u2019s library website, was originally written as a \u201cperson of the week\u201d in 2006 to highlight the accomplishments of one of their most famous alumni. The biography provides particular detail about Stevens\u2019s early life as a student, but goes on to clearly outline her career, her relationship with Prince Dimitri Golitsyn, and her later life.<\/p>\n Naumann, Francis M. \u201cA Lost American Futurist.\u201d Art in America,<\/em> 82.4 (1994): 104-113. Print. This article centers entirely around Francis Simpson Stevens, attempting to unearth her as an influential American artist among the Italian Futurists. Naumann does the scholarly work to piece together Steven\u2019s often ignored career using \u201crecently discovered photographs, exhibition records and other clues\u201d (105). The article moves chronologically through Stevens\u2019s life, discussing her development as an artist and her various paintings in detail. Naumann analyzes the changing representational nature of her work, the type of paint she used and how she applied it, and the critical response she received. Nauman also discusses Stevens\u2019s cartoons and drawings, which are often ignored in favor of her paintings (110). This broad analysis of Stevens\u2019s art presents her as a dynamic, multidimensional figure of the avant-garde.<\/p>\n Philadelphia Museum of Art. \u201cDynamic Velocity of Interborough Rapid Transit Power Station.\u201d 2017,\u00a0 Web. philamuseum.org\/collections\/permanent\/51430.html?mulR=612018957. This analysis of Francis Simpson Stevens\u2019s last known preserved painting, provided by the archive which holds it, positions the piece within Stevens\u2019s career, the Futurist movement in Italy, and Modernism in the United States. Additionally, the article provides biographical information about Stevens\u2019s that depicts her as an influential artist, committed to learning and sharing the dynamic artistic vision of the Futurists. Finally, because Stevens\u2019s Dynamic Velocity of Interborough Rapid Transit Power Station<\/em> is within the larger collection at the Philadelphia Museum of Art, a reader is uniquely able to compare and contrast the painting with other surviving works by different artists.<\/p>\n","protected":false},"excerpt":{"rendered":" Annotated Bibliography: Frances Simpson Stevens Berghaus, Gu\u0308nter. International Futurism in Arts and Literature. De Gruyter, 2000. European Cultures. EBSCOhost. Web. ezproxy.lib.davidson.edu\/login?url=http:\/\/search.ebscohost.com\/login.aspx?direct=true&db=e000xna&AN=627686&site=ehost-live. This book performs an in-depth analysis of the development of futurism, tracking individual artists from around the… Read More<\/a><\/p>\n","protected":false},"author":125,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-3180","post","type-post","status-publish","format-standard","hentry","category-bibliography"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3180","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/users\/125"}],"replies":[{"embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/comments?post=3180"}],"version-history":[{"count":1,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3180\/revisions"}],"predecessor-version":[{"id":3181,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3180\/revisions\/3181"}],"wp:attachment":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/media?parent=3180"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/categories?post=3180"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/tags?post=3180"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}