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Drawing for an Audience of One: Art ...

Armandroff, Olivia.

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Drawing for an Audience of One: Art in Muriel Draper's Archives.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Drawing for an Audience of One: Art in Muriel Draper's Archives./
作者:	Armandroff, Olivia.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
面頁冊數:	186 p.
附註:	Source: Masters Abstracts International, Volume: 82-04.
Contained By:	Masters Abstracts International82-04.
標題:	Art history. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27998322
ISBN:	9798678107435

Drawing for an Audience of One: Art in Muriel Draper's Archives.
Armandroff, Olivia.

Drawing for an Audience of One: Art in Muriel Draper's Archives. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 186 p.

Source: Masters Abstracts International, Volume: 82-04.

Thesis (M.A.)--University of Delaware, 2020.

This item must not be sold to any third party vendors.

Muriel Draper, a much-overlooked author and tastemaker in early-twentieth-century New York, was a cosmopolitan woman with eclectic interests, including mysticism, the Soviet Union, and the Harlem Renaissance. Today, Draper is best known through the voice of others and their reminiscences of her salon. Gatherings she convened and attended in Europe and America in the first half of the twentieth century set her and her work in dialog with a group of leading artists, writers, musicians, and social influencers. Not easily definable, her friends, including Mark Tobey, Carl Van Vechten, and Max Ewing, sought to come to terms with her uniqueness and capture her true nature through drawings, photographs, and sculptural portraits. But she never succumbed to their desires. Instead, in life and in death, Draper cannily crafted her own image, both participating in and rejecting the statuses assigned to her. She consciously curated her archive at Yale University by collecting and depositing correspondence, drawings, and photographs which provide evidence of a woman who enchanted nearly everyone who met her. As perhaps a final project of design, Draper created an arrival "portrait" of herself that left significant gaps, and an enduring air of mystery. The thesis asks whether we can identify a material trace of an ephemeral salon and its hostess. It interrogates how the intimate, collaborative relationships established between intellectual peers in such a salon setting can be recorded and preserved in artistic form. It also uses Draper's example to explore larger notions about legacy, history, and remembrance. How could a woman who so carefully curated and bequeathed an archival record of her life be so quickly forgotten and erased from the annals of history? When she is remembered, is it as she desired? Was Draper a woman of her time, or one distinct from it, and is it her more common traits or her unique eccentricities that survive today?

ISBN: 9798678107435Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Caricature

Drawing for an Audience of One: Art in Muriel Draper's Archives.
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520 $a Muriel Draper, a much-overlooked author and tastemaker in early-twentieth-century New York, was a cosmopolitan woman with eclectic interests, including mysticism, the Soviet Union, and the Harlem Renaissance. Today, Draper is best known through the voice of others and their reminiscences of her salon. Gatherings she convened and attended in Europe and America in the first half of the twentieth century set her and her work in dialog with a group of leading artists, writers, musicians, and social influencers. Not easily definable, her friends, including Mark Tobey, Carl Van Vechten, and Max Ewing, sought to come to terms with her uniqueness and capture her true nature through drawings, photographs, and sculptural portraits. But she never succumbed to their desires. Instead, in life and in death, Draper cannily crafted her own image, both participating in and rejecting the statuses assigned to her. She consciously curated her archive at Yale University by collecting and depositing correspondence, drawings, and photographs which provide evidence of a woman who enchanted nearly everyone who met her. As perhaps a final project of design, Draper created an arrival "portrait" of herself that left significant gaps, and an enduring air of mystery. The thesis asks whether we can identify a material trace of an ephemeral salon and its hostess. It interrogates how the intimate, collaborative relationships established between intellectual peers in such a salon setting can be recorded and preserved in artistic form. It also uses Draper's example to explore larger notions about legacy, history, and remembrance. How could a woman who so carefully curated and bequeathed an archival record of her life be so quickly forgotten and erased from the annals of history? When she is remembered, is it as she desired? Was Draper a woman of her time, or one distinct from it, and is it her more common traits or her unique eccentricities that survive today?
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