BGuthrie Photos: DC -- Library of Congress -- Exhibit (Graphic Arts): Gibson Girl's America

DC -- Library of Congress -- Exhibit (Graphic Arts): Gibson Girl's America:

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Description of Pictures: “The Gibson Girl’s America: Drawings by Charles Dana Gibson” Exhibition Opens at Library of Congress on March 30

In the 1890s, illustrator Charles Dana Gibson created the "Gibson Girl," a vibrant, new feminine ideal—a young woman who pursued higher education, romance, marriage, physical well-being and individuality with unprecedented independence. Until World War I, the Gibson Girl set the standard for beauty, fashion and manners.

The Library of Congress announces a new exhibition, "The Gibson Girl’s America: Drawings by Charles Dana Gibson," which opens Saturday, March 30 in the Graphic Arts Galleries on the ground level of the Library’s Thomas Jefferson Building, 10 First St. S.E., Washington, D.C., and runs through Saturday, Aug. 17, 2013. The exhibition is free and open to the public from 8:30 a.m. to 4:30 p.m., Monday through Saturday.

"The Gibson Girl’s America" presents 24 works, primarily drawings. The exhibition highlights the rise of the Gibson Girl from the 1890s through the first two decades of the 20th century. It also illuminates how women’s increasing presence in the public sphere contributed to the social fabric of turn-of-the-20th-century America.

The items on display trace the arc of the artist’s career. Gibson (1867-1944) came of age when women’s roles were expanding and social mobility was increasing. He trained at the Art Students League in New York City and also in Europe. The artist created satirical illustrations based on his observations of upper-middle-class life for such mainstream magazines as Life, Collier’s Weekly, Harper’s Weekly, Scribner’s and Century.

Through creation and development of the Gibson Girl, the artist, an acclaimed master of pen-and-ink drawings, experienced unrivaled professional and popular success. Gibson’s skills and prolific output meshed with the high-volume demand at the time for magazine illustrations. His bold style and virtuoso technique exerted enormous influence on his peers and succeeding generations of illustrators.

The exhibition will be organized into five sections: Creating an Ideal, The Gibson Girl as the "New Woman," Social Relations Between the Sexes, High Society Scenes and Political Cartoonist. The exhibition presents a selection of Gibson’s lesser-known political images, spotlighting the concerns he addressed in his later work.

The items in the exhibition are drawn from Library of Congress Prints and Photographs Division, which holds the premier public collection of original drawings by Gibson.

The Prints and Photographs Division also includes approximately 14.4 million photographs, drawings and prints from the 15th century to the present day. International in scope, these visual collections represent a uniquely rich array of human experience, knowledge, creativity and achievement, touching on almost every realm of endeavor: science, art, invention, government and political struggle, and the recording of history. For more information, visit www.loc.gov/rr/print/.

The Library of Congress, the nation’s oldest federal cultural institution and the largest library in the world, holds more than 155 million items in various languages, disciplines and formats. The Library serves the U.S. Congress and the nation both on-site in its reading rooms on Capitol Hill and through its award-winning website at www.loc.gov.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. LOCGIB_130329_016.JPG: The Gibson Girl's America: Drawings by Charles Dana Gibson: An acclaimed master of pen-and-ink drawing, Charles Dana Gibson (1867–1944) came of age when the expansion of women's roles and increasing social mobility were changing America. After training at the Art Students League in New York City and in Europe, Gibson began to create satirical illustrations based on his observations of upper-middle-class life for such mainstream magazines as Life, Collier's Weekly, Harper's Weekly, Scribner's, and Century. In the 1890s he created the "Gibson Girl," a vibrant, new feminine ideal who was the visual embodiment of what writers of the period described as the "New Woman." The Gibson Girl pursued higher education, romance, marriage, physical well-being, and individuality with unprecedented independence. From the 1890s until World War I, the glamorous Gibson Girl set the standard for beauty, fashion, and manners, bringing her creator unrivaled professional and popular success. Gibson's artistic skills and prolific output meshed beautifully with the then high-volume demand for magazine illustrations. His bold style and virtuoso technique exerted enormous influence on his peers and succeeding generations. The drawings in this exhibition are selected from the exceptional collection of Gibson's work at the Library of Congress and trace the arc of the artist's career, highlighting the rise of the Gibson Girl from the 1890s through the first two decades of the twentieth century. The exhibition also presents a selection of the artist's lesser-known political images, spotlighting the concerns he addressed in his later work. Ultimately, The Gibson Girl's America illuminates how women's increasing presence in the public sphere contributed to the social fabric of turn-of-the-twentieth-century America and brings renewed appreciation to an artist whose illustrations help capture the spirit of this transformative era.
2. LOCGIB_130329_022.JPG: Creating an Ideal Southern Beauty Southern Beauty Charles Dana Gibson's creation, the "Gibson Girl," possessed a flawlessly beautiful face, was tall and slim-waisted yet voluptuous, and radiated physical grace and self confidence. Each drawing displayed here exemplifies a different aspect of Gibson's iconic ideal of white, middle-class American womanhood. Modeling how to dress, stand, sit, present oneself, and interact with others, the Gibson Girl set the standard for feminine beauty and behavior from the 1890s until World War I. In his work, Gibson drew from professional models, family, and friends. These reportedly included his sister, Mrs. Josephine Gibson Knowlton; his wife, Irene (n�e) Langhorne; actress Camille Clifford; and dancer Evelyn Nesbit.
3. LOCGIB_130329_029.JPG: Classic Beauty: This simple, frontal view of a young woman's head with her perfectly proportioned features, steadfast gaze, and upswept hair presents the unmistakable look of a Gibson Girl. This classic image of a self-possessed young woman was a gift to the Library from the artist. The use of fewer, bolder pen strokes in this drawing compared with early dated works suggests that Gibson created it no earlier than 1893, when he moved gradually away from a fine-lined drawing technique after working that year in Paris.
4. LOCGIB_130329_037.JPG: A Model Even in Mourning: A young widow emerges from a moment of reverie, reaching down to gather folds of her dress and rising from her chair. Her upright carriage and elegant black dress make her a model of composure and beauty. This scene from Gibson's visual chronicle of a widow's recovery from loss reveals his sensitivity to her plight. He also demonstrates his virtuoso drawing technique in rendering her dress, skillfully alternating lush passages of black ink with areas of both broad and finely applied pen strokes.
5. LOCGIB_130329_055.JPG: Southern Beauty: Gibson created this drawing more than a decade after his marriage in 1895 to Irene Langhorne, a native Virginian. Viewers may detect some resemblance to the artist's wife in this half-length image. The young woman's demure expression, modest dress, and regal air befit a beautiful southern belle. The drawing was published multiple times in book review and advertising sections of Scribner's and Collier's Weekly, and as a frontispiece for editions of Mrs. Burton Harrison's popular novel entitled A Daughter of the South.
6. LOCGIB_130329_060.JPG: The Gibson Girl as the "New Woman": Writers in the 1890s and early 1900s described the "New Woman" as an independent and often well-educated, young woman poised to enjoy a more visible and active role in the public arena than women of preceding generations. They agreed that the Gibson Girl represented the visual ideal of this new phenomenon. During her lengthy popularity, the Gibson Girl appeared in varied guises that highlighted her talents and interests as well as her beauty and social skills. As her star faded, the Gibson Girl's active, vital persona paved the way for future icons, such as the flapper of the 1920s.
7. LOCGIB_130329_070.JPG: Honing Her Talent: In addition to physical fitness, Gibson also championed the Gibson Girl's development of interests and talents in the arts. In this drawing, multiple, heavy lines of pencil in the areas of the violinist's arms and hands reveal Gibson's considerable efforts to attain accurate positioning of her hands and arms in the act of playing. He outlines the woman's figure with spare, bold lines and uses shorter, thinner lines to render her serene face, capturing her absorption in making music. Gibson also depicted young women singing in drawings published by Life in the 1890s.
8. LOCGIB_130329_080.JPG: An Athletic Image: This poster advertising the June issue of Scribner's Magazine highlights the Gibson Girl's ability to take part in and enjoy strenuous physical activities. Through depictions of young women bicycling, playing tennis and golf, horseback riding, swimming, and the like, Gibson and fellow illustrators helped promote the idea of the athletic girl as fashionable and socially acceptable. The pronounced frontality and symmetry of this design reinforce the visual impression of balance, an essential skill in cycling.
9. LOCGIB_130329_090.JPG: Emerging Artist: Within the servants' realm, a budding artist pauses in drawing from her model, a visiting policeman. The young woman's concentration and her bold, cartoonish likeness of her subject play off humorously against his stolid appearance. The scene demonstrates Gibson's interest in exploring social spheres beyond the upper-middle class and a sympathetic portrayal of artistic aspiration on the part of young women. During the Golden Age of American Illustration (ca. 1880–1930), notable numbers of women successfully pursued careers in the visual arts.
10. LOCGIB_130329_108.JPG: Back to Nature: With casual grace, two elegantly dressed young women repose on the rocky ledges of a rugged mountainside. The hikers who hail or wave to one another frame the central pair and animate the expansive scene. Gibson's meticulous depiction of their hats accentuates the Gibson Girls' stylish attire and visually reinforces the impression of height, leading the eye to the mountains. In this classic, often reproduced image, Gibson shows off the classic Gibson Girl as a figure who embraced outdoor physical activities.
11. LOCGIB_130329_122.JPG: The Gibson Girl Phenomenon: The Gibson Girl image spread far and wide through American culture and society. She appeared in songs and operettas, clothing lines, hairstyles, and wallpaper designs, to mention only a few examples. James Montgomery Flagg, Howard Chandler Christy, Wladyslaw Benda, and Nell Brinkley, all peers of Gibson, introduced their own rival icons of feminine beauty, but none came close to winning the great following of the Gibson Girl.
12. LOCGIB_130329_132.JPG: Reading the Jury: Gibson uses the jury as a device for visual study of women from diverse social backgrounds as they respond to a hypothetical case. He skillfully delineates an array of social types as seen in the wide range of ages, and varied dress and headgear that indicate socioeconomic status. Their expressions run the gamut from skeptical to incredulous to disdainful to pitying. Women hardly ever served on juries in 1902, the year of this drawing, except when called upon to do so in rare cases involving women defendants.
13. LOCGIB_130329_171.JPG: Revisiting the Jury: In contrast with his 1902 depiction, Gibson's updated perspective on the jury in this 1927 drawing shows the integration of women with men as participants in civic duty. Despite passage of the Nineteenth Amendment in 1920 that qualified women as "electors," states did not immediately pass legislation to include them for jury selection. Gibson's drawing of five women and seven men, nonetheless, recognizes that increasing numbers of women were serving as jurors. His parade of "twelve peers good and true" casts amusing and amused looks at the viewer, while demonstrating the artist's acute, amused observation of the jury.
14. LOCGIB_130329_182.JPG: Social Relations Between the Sexes: Gibson not only endowed his idealized women with beauty and charm, he also portrayed them as dominant figures in the rituals of courtship and marriage. With winsome self-assurance, the Gibson Girl displayed independence and assertiveness in scenes with her handsome counterpart, the "Gibson Man," as well as with less charming suitors. This new dynamic in gender relations underscores Gibson's progressive, positive outlook on women taking greater initiative in fulfilling their own wishes for happiness.
15. LOCGIB_130329_195.JPG: Changing with the Times: In this late career drawing, Gibson depicts a new feminine ideal -- the slim flapper with bobbed hair. Four suitors of varied ages and demeanors focus upon the languid beauty who has given them tea, accepted their flowers, and returned their attentions with an impassive gaze and no encouragement. Still deploying his bravura pen-and-ink technique, Gibson imbues this 1920s scene of courtship with a dynamic that recalls his earlier classic work, in which the beautiful young woman has the upper hand.
16. LOCGIB_130329_205.JPG: A Nod to Precedent: As she takes the stage, an attractive young singer glances casually toward the tall author whose exasperated gaze toward her offsets her pert poise. Gibson deftly characterizes the two as contrasting studies in dark and light, their interaction overshadowing the line of possible understudies or chorus singers lined across the stage. In this scene, Gibson alludes to the "soubrette," a lively, coquettish character type that originated in European theater and opera and performed light soprano parts.
17. LOCGIB_130329_240.JPG: Playful Parody: In this amusing scene, Gibson parodies his beauties' interplay with a male admirer. One of them wields a hat pin as if to fix in place a miniaturized Gibson man like an entomological specimen. He kneels, raising his hands in a pitiful, beseeching gesture. As the embodiment of the New Woman, the Gibson Girl projects a new assertiveness in her interactions with men. No longer does she appear in thrall to a potential partner's preferences. One in a popular series of seven, this image became one of Gibson's most famous and enduring.
18. LOCGIB_130329_266.JPG: High Society Scenes: Although Gibson concentrated on the upper-middle classes in much of his work, he also featured the Gibson Girl in high society settings. His career spanned a period of upward mobility and preoccupation with social status in American society. His illustrations of elevated social milieus appealed to audiences interested in such ambitious striving. Gibson's gentle social satires were very popular.
19. LOCGIB_130329_278.JPG: An Unsuitable Marriage: The story line is all too clear in this poignant post-World War I drawing. A returning soldier collapses in disappointment at seeing that the girl he left behind has married another. His friend supports him, onlookers send sympathetic looks, and even his former sweetheart appears wistful. In addition to demonstrating his storytelling skills, Gibson also forcefully addresses a theme of recurring importance to him -- his opposition to sacrificing love in favor of marriage for wealth and social position.
20. LOCGIB_130329_311.JPG: Passing Social Judgment: A ravishing beauty walks the gauntlet as a "jury" of social peers renders its verdicts. Her impeccable carriage, simple gown, and poise accentuate her youthful purity, which sets her apart from the elaborately dressed ladies. Their off-putting expressions contrast drastically with their male escorts' appreciative smiles. By mocking the airs of superiority and pretension that characterize high society, Gibson underscores the Gibson Girl's natural appeal and ability to handle social situations with ease.
21. LOCGIB_130329_331.JPG: Reaching for Social Heights: Foreign dignitaries in uniform or exotic dress converse and mingle with gowned beauties in glittering company moving to the right. Mr. Tagg leads the way with his reddened nose in the air. With eyes closed, he savors a fantasy disclosed in a tiny thought balloon in the upper right -- being presented at court in England. Gibson, who was known to dislike social snobbery, mocks his character's pretensions by portraying him as faintly ridiculous with self-importance. Gibson esteemed the work of great cartoonists and some admirers of his work argue that he proudly regarded himself as one of them.
22. LOCGIB_130329_367.JPG: Social Triumph: A spritely Mr. Pipp steals the spotlight from his daughters in this scene, a high point in one of Gibson's most popular narratives, The Education of Mr. Pipp. Gibson developed Pipp, one of his most beloved characters, from a small, downtrodden German man who reportedly modeled for him in 1898 in Munich. Portrayed as a prosperous, henpecked businessman, this humble figure inspired a cast of characters, including his domineering wife and two glamorous daughters who persuaded him to make the Grand Tour.
23. LOCGIB_130329_393.JPG: Political Cartoonist: During World War I, Gibson led the Division of Pictorial Publicity for the Committee on Public Information, an independent government agency created by President Wilson, and recruited top illustrators to design posters and billboards to build popular support for America's entry into the war. In his own work, Gibson radically transformed the Gibson Girl into various allegorical figures whose monumental, sometimes militant forms, stand out as powerful wartime images. His wartime posters promoted an activist strain of patriotism and his political cartoons conveyed strong anti-German commentary, support for the Allies, and pro-American involvement in the conflict. The serious, even dark tone of this work persisted in Gibson's post-war imagery that reflected his concern about racism in the United States.
24. LOCGIB_130329_404.JPG: Women on the Home Front: With hoe in hand, a latter-day Gibson Girl shakes hands with Uncle Sam, who welcomes her into the Women's Land Army of America (1917–1921). This civilian organization arose during World War I to provide placement of volunteers, usually women called "farmerettes," in agricultural work to replace men in military service. Using Gibson's illustration with the line "Until the Boys Come Back," the New Jersey WLA produced several versions of this poster for fund-raising and recruitment campaigns.
25. LOCGIB_130329_416.JPG: Appeal for Action: Robed in the American flag, Miss Columbia, the symbolic embodiment of the nation, fends off skeletal Death with one arm, while shielding a wounded soldier with her other. In this poster, which calls the viewer to service, Gibson pays tribute to the American Ambulance Field Service, founded by young Americans in Paris after the start of World War I. Some 2,500 volunteer ambulance drivers supported French Armies in every major battle and carried more than 500,000 wounded as well as munitions and supplies.
26. LOCGIB_130329_439.JPG: Betrayal of Belgium: Kaiser Wilhelm II kneels before the allegorical figure of Civilization representing Belgium who grieves amid a ruined, grave-filled landscape. Published in Life, Gibson's political cartoon reinforces an essay in the magazine that indicts the kaiser's allowance of destructive wartime actions toward Belgium, whose neutrality was violated repeatedly by Germany as it sought to vanquish France. Although the kaiser did not formulate war policies, he could have objected to the strategic decisions made by his generals.
27. LOCGIB_130329_445.JPG: Envisioning Hope for Peace: Two female allegorical figures bring dramatic action to one of Gibson's most dynamic cartoons. In the foreground, Democracy kicks the large head of Autocracy off a cliff; his helmeted head bears the caricatured features of Kaiser Wilhelm II. The caricatured head of Field Marshal Paul Von Hindenburg lies on the lower left. The winged figure of Peace approaching from the right signals hope for the end of the Great War, although Germany did not sign the Armistice until one year later.
28. LOCGIB_130329_465.JPG: Strong Warning: In the wake of World War I, membership in the Ku Klux Klan grew to unprecedented levels in the 1920s, rising to exceed four million people nationally. Gibson created a compelling visual metaphor for the alarming threat this rise posed to national unity in this powerful political cartoon published in a double page spread in Life. An essay in the same volume of the magazine acknowledged troubling questions posed by racial segregation in colleges housing but voiced no definitive solution or any commentary on the Klan.
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