Foster, Robert Frederick, (1853–25 Dec. 1945), Card Editor of the New York Tribune, New York Sun, Vanity Fair, Game and Gossip, etc

2007 ◽  
Keyword(s):  
New York ◽  
Vanity Fair ◽  
Fair Game ◽  
New York Tribune

scholarly journals Horace Greeley, Founder and Editor of The New York Tribune

1903 ◽  
Vol 9 (1) ◽  
pp. 187
Author(s):  
Charles H. Levermore ◽  
William Alexander Linn
Keyword(s):  
New York ◽  
New York Tribune

From the history of American journalism.

2021 ◽  
Author(s):  
Tat'yana Alent'eva
Keyword(s):  
New York ◽  
Civil War ◽  
Editorial Staff ◽  
The United States ◽  
Political Struggle ◽  
Political Issues ◽  
North Americans ◽  
American Journalism ◽  
History Of ◽  
New York Tribune

The monograph examines the period in the history of the United States immediately preceding the Civil War of 1861-1865. The problem that is at the center of the author's attention is the public opinion of Americans on the most important domestic political issues. The paper analyzes the influence of the newspaper "New York Tribune" on the formation of views, opinions and preferences of Americans. For the first time in Russian American studies, a thorough analysis of the leading periodical of the pre-war period is given, the composition of the editorial staff and the views of journalists are described in detail. Special attention is paid to the founder and publisher of "Tribune" Horace Greeley. The monograph examines both socio-economic problems and the party-political struggle. The most important compromise measures, the Civil War in Kansas, the presidential elections of 1856 and 1860 are evaluated through the prism of the comments of the New York Tribune and at the same time through the perception of its readers. As a result, the monograph creates a multicolored palette of opinions of North Americans, their perception of the situation in the country on the eve of the Civil War. This allows us to expand and deepen our understanding of the causes of the second North American revolution. For professionals, students, and anyone interested in the problems of history.

Leyda, Jay (1910–1988)

2018 ◽  
Author(s):  
Sueyoung Park-Primiano
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Museum Of Modern Art ◽  
Film Library ◽  
Sergei Eisenstein ◽  
Vanity Fair ◽  
Dziga Vertov ◽  
Artistic Training ◽  
Art Dealer

Jay Leyda’s peripatetic life and protean career cut a unique, remarkable path. The long list of roles he mined include filmmaker, photographer, critic, archivist, art dealer, translator, librettist, and educator. He is best remembered, however, as a leading historian of early and Soviet and Chinese cinemas, interests he started to develop in the vibrant art circle he helped establish in New York City in the 1930s. Born in Detroit, Michigan, Leyda was raised by his grandmother in Dayton, Ohio. His artistic training started early; after studying photography under Jane Reece, he moved to New York City in 1929 to work as Ralph Steiner’s darkroom assistant. After a year of working for Steiner, Leyda left and supported himself by freelancing as a portrait photographer for various magazines, including Vanity Fair and Arts Weekly; in this capacity he met and photographed Alfred Barr, the first director of the Museum of Modern Art (MoMA) and the person largely responsible for establishing its film library. Leyda also secured a position as sound and recording arranger at the Bronx Playhouse, where he was exposed to repeated showings of films by internationally acclaimed directors including Sergei Eisenstein and Dziga Vertov.

On Colonialism: Articles from the New York Tribune and Other Writings

1974 ◽  
Vol 7 (1) ◽  
pp. 132
Author(s):  
John D. Hargreaves ◽  
Karl Marx ◽  
Frederick Engels
Keyword(s):  
New York ◽  
New York Tribune

scholarly journals Nickolas Muray, Environmental Portraiture, Vanity Fair

2021 ◽  
Author(s):  
Corser Du Pont
Keyword(s):  
New York ◽  
Vanity Fair ◽  
Technical Control ◽  
Creative Vision ◽  
Made In

This thesis is a case study of five environmental portraits made in Europe by New York studio photographer Nickolas Muray (1892-1965) for a 1926 commission by Vanity Fair magazine (1913-1936). The thesis, in the form of a sixty-three page illustrated essay, describes the circumstance of his photographic production, and the magazine's subsequent use of his photographs. Muray produced environmental portraits by photographing his assigned subjects in their workplaces, homes and gardens. He retouched, and then contact-printed the negatives; the prints he surrendered to Vanity Fair. The magazine cropped and otherwise manipulated the images in order to effectively place them in page layouts. From negatives, to prints, to offset-printed reprodutions, the photographic materials bear aesthetically significant images of environmental portraiture that testify to Muray's versatility, technical control, and creative vision.

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