<script>
var options = {
attributes: {
rel: 'nofollow',
title: 'Click for more information',
},
className: 'internal-link',
format: {
url: function (value) {
return value
}
},
ignoreTags: ['a'],
validate: {
url: function (value) {
return value;
}
}
};
var str = 'Two Foxes';
document.write(linkifyHtml(str, options));
</script>
<p>Underneath the shelter of a large tree in winter, one fox rejoins what is likely its mate with a bird in hand—perhaps a grouse. Underneath the paws of the other fox appears to be a rabbit...a good day of hunting! Palmer’s somewhat implausible scenario is created in the service of closely observed details in physiognamy, texture, and posture. Perhaps most striking of all is the action, frozen in mid-gesture, where the foxes glare at viewers interrupting them.<span style="text-decoration: underline;"><br /><br />About the</span> Artist: Born in Farmington, UT, Palmer grew up in an agricultural family yet was encouraged in his artistic pursuits. He entered Utah State Agricultural College in 1911 before leaving for New York to study at the Art Students League and then for two years with the muralist <a href="https://en.wikipedia.org/wiki/Edwin_Blashfield" target="_blank" rel="noopener">Edwin Blashfield</a>. Owing to this background he traveled to Spain and studied with <a href="https://en.wikipedia.org/wiki/Joaqu%C3%ADn_Sorolla" target="_blank" rel="noopener">Joaquín Sorolla y Bastida</a>. Palmer appears to have painted as-yet unidentified murals in New York. In 1918 he served at the US Navy’s Pelham Bay training station as a Seaman 2<sup>nd</sup> Class. Immediately after the war, he traveled to Spain as an agent of the Robert Fridenberg Gallery, New York, to purchase old engravings. While there he traveled to the Louvre and sketched extensively in Spain and North Africa. Palmer also financed his stay in Europe through illustrations for periodicals like <a href="https://babel.hathitrust.org/cgi/pt?id=iau.31858046260562;view=1up;seq=174" target="_blank" rel="noopener"><em>Judge</em></a>, <a href="https://wws.elks.org/magazinescans/1922-08A.pdf" target="_blank" rel="noopener"><em>The Elks Magazine</em></a><em>, Colliers</em>, and <a href="https://babel.hathitrust.org/cgi/pt?id=uiug.30112074736619;view=1up;seq=402" target="_blank" rel="noopener"><em>John Martin’s Book</em></a> for children, along with book commissions like <a href="https://archive.org/details/hiddenheroesofthe1923eng" target="_blank" rel="noopener"><em>Hidden Heroes of the Rockies</em></a> (1923)—a collection of semi-historical tales set in and around his home state of Utah. In 1922 he married Beatrice Hunter and returned to Europe the following year, enacting a somewhat different itinerary than most artists: “Most everyone has covered the galleries of Europe, but few have paid as much attention to the exhibits in the various zoos along the way as I have. My sketchbooks are full of drawings made <em>en route</em>. The zoo at Antwerp had perhaps the most complete collection” (Green, “Utahns”). Throughout this period of commercial work, Palmer remained focused upon his goal of becoming “the greatest painter of animals in the world” (Greene, “Childhood”). Settling in New York, he spent years sketching animals at the Bronx Zoo; he traveled throughout North America toward the same ends. His animal paintings were exhibited at places like the National Academy of Design (1921), the Art Institute of Chicago (1926), and the Brooklyn Museum (1931). A collection of his works at the Sculptors Gallery (1922) was deemed “spontaneous and reveal[ing] a respect for the subtleties of animal anatomy” (<em>New York Tribune </em>19 Feb. 1922: 52). An art critic for the <em>New York Times</em> wrote of a show at Leonard Clayton Gallery (1934) that “There could not be a more detached or colder environment” than a zoo in which to behold wild animals. Palmer nevertheless was able to convey their individuality, “every pose inconceivable as belonging to another...filled with the inherent dignity of their indifference to all humanity” (Cary). In 1940 Palmer was awarded a Guggenheim fellowship for “creative work in the graphic arts, in particular studies of wild and domesticated animals.” He served again in the military during World War II. 2 works in the <a href="https://www.nga.gov/collection/artist-info.5750.html" target="_blank" rel="noopener">National Gallery of Art</a>. 1 work at the <a href="https://www.brooklynmuseum.org/opencollection/artists/857/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 1 work at the <a href="https://chrysler.emuseum.com/objects/8274/children?ctx=39d60a55-5fc4-4e5f-8d4d-dd39e9205453&idx=0" target="_blank" rel="noopener">Chrysler Museum of Art</a>. 1 work at <a href="http://utahdcc.force.com/public/PtlArtifactDetail?id=a0n70000001TuzSAAS&bcn=ptlartifacts&bcu=http%3A%2F%2Futahdcc.force.com%2Fpublic%2Fapex%2Fptlartifacts%3Fbcn%3DArtSearch%26bcu%3Dhttp%253A%252F%252Futahdcc.force.com%252Fpublic%252Fapex%252FPtlArtSearch%253FKeyword%253DArtist%2526searchTerm%253D%26field%3DartApp__Artist__c%26heading%3DHerman%2BPalmer%26ps%3D0%26value%3Da0j70000000CbMIAA0&ps=0" target="_blank" rel="noopener">State of Utah Art Collections</a>.</p>
<p><span style="text-decoration: underline;">Sources Consulted</span>: Elsie Green, “Utahns in New York,” <em>Salt Lake Telegram </em>21 Jan. 1923: 11; Elsie Greene, “Childhood Tales Aid Utah Artist” <em>Salt Lake Telegram</em> 27 Aug. 1922: 10; Elisabeth Luther Cary, “Our Artists Today See Animals as Individuals,” <em>New York Times</em> 1 July 1934: 132.</p>
Palmer, (George) Herman, 1894-1946
<script>
var options = {
attributes: {
rel: 'nofollow',
title: 'Click for more information',
},
className: 'internal-link',
format: {
url: function (value) {
return value
}
},
ignoreTags: ['a'],
validate: {
url: function (value) {
return value;
}
}
};
var str = 'New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18229';
document.write(linkifyHtml(str, options));
</script>
<script>
var options = {
attributes: {
rel: 'nofollow',
title: 'Click for more information',
},
className: 'internal-link',
format: {
url: function (value) {
return value
}
},
ignoreTags: ['a'],
validate: {
url: function (value) {
return value;
}
}
};
var str = 'Federal Art project';
document.write(linkifyHtml(str, options));
</script>
<script>
var options = {
attributes: {
rel: 'nofollow',
title: 'Click for more information',
},
className: 'internal-link',
format: {
url: function (value) {
return value
}
},
ignoreTags: ['a'],
validate: {
url: function (value) {
return value;
}
}
};
var str = '1935-1940';
document.write(linkifyHtml(str, options));
</script>
<script>
var options = {
attributes: {
rel: 'nofollow',
title: 'Click for more information',
},
className: 'internal-link',
format: {
url: function (value) {
return value
}
},
ignoreTags: ['a'],
validate: {
url: function (value) {
return value;
}
}
};
var str = 'Ritz, Abigail (photography)
Cooper, Ken (biography)';
document.write(linkifyHtml(str, options));
</script>
<script>
var options = {
attributes: {
rel: 'nofollow',
title: 'Click for more information',
},
className: 'internal-link',
format: {
url: function (value) {
return value
}
},
ignoreTags: ['a'],
validate: {
url: function (value) {
return value;
}
}
};
var str = 'jpeg, 883 KB
jpeg, 14.8 MB';
document.write(linkifyHtml(str, options));
</script>
<script>
var options = {
attributes: {
rel: 'nofollow',
title: 'Click for more information',
},
className: 'internal-link',
format: {
url: function (value) {
return value
}
},
ignoreTags: ['a'],
validate: {
url: function (value) {
return value;
}
}
};
var str = 'Still image';
document.write(linkifyHtml(str, options));
</script>
<script>
var options = {
attributes: {
rel: 'nofollow',
title: 'Click for more information',
},
className: 'internal-link',
format: {
url: function (value) {
return value
}
},
ignoreTags: ['a'],
validate: {
url: function (value) {
return value;
}
}
};
var str = '136';
document.write(linkifyHtml(str, options));
</script>
<script>
var options = {
attributes: {
rel: 'nofollow',
title: 'Click for more information',
},
className: 'internal-link',
format: {
url: function (value) {
return value
}
},
ignoreTags: ['a'],
validate: {
url: function (value) {
return value;
}
}
};
var str = 'Illustrations for \"Flights Abroad\"';
document.write(linkifyHtml(str, options));
</script>
<script>
var options = {
attributes: {
rel: 'nofollow',
title: 'Click for more information',
},
className: 'internal-link',
format: {
url: function (value) {
return value
}
},
ignoreTags: ['a'],
validate: {
url: function (value) {
return value;
}
}
};
var str = 'Short story by F. St. Mars adopts centers upon a black kite--that is, the migratory predator--who as the narrative opens is hunting in the Southern Downs of England. A series of events take it across Europe and eventually to Africa, engaging in showdowns with wild dogs and avoiding human hunters. In a dramatic finale, the kite kills a grouse but then: \"Another rush of wings, mightier than the first. Another scuffle. Another burst of feathers, and the kite was down. A tremendous and awful apparition of a bird, known but vaguely to men as a war-like crested eagle, was on top of him. And there the story, and the life of our black kite, ended quite abruptly thus--!\" (427). The story\'s point of view owes something to literary naturalism and its dynamics of Social Darwinism, most famously rendered in the works of Jack London.
Four illustrations to Mars\'s story were created by New Deal Gallery artist A. E. Cederquist. Their captions run as follow:
Page 419: \"Before science he was a black or migratory kite and had no business where he was at all.\"
Page 423: \"He knew that a caravan meant a city sooner or later, and it may mean food.\"
Page 425: \"He dare not take his eyes off the crouching, advancing red shape in front of him.\"
Page 426: \"The first sand grouse was down again, the kite on top of it.\"';
document.write(linkifyHtml(str, options));
</script>
Cederquist, A[rthur] E[manuel] (1884-1954)
<script>
var options = {
attributes: {
rel: 'nofollow',
title: 'Click for more information',
},
className: 'internal-link',
format: {
url: function (value) {
return value
}
},
ignoreTags: ['a'],
validate: {
url: function (value) {
return value;
}
}
};
var str = 'The Outing Magazine 56 (July 1910): 419, 423, 425, 426.';
document.write(linkifyHtml(str, options));
</script>
<script>
var options = {
attributes: {
rel: 'nofollow',
title: 'Click for more information',
},
className: 'internal-link',
format: {
url: function (value) {
return value
}
},
ignoreTags: ['a'],
validate: {
url: function (value) {
return value;
}
}
};
var str = 'The Outing Magazine';
document.write(linkifyHtml(str, options));
</script>
<script>
var options = {
attributes: {
rel: 'nofollow',
title: 'Click for more information',
},
className: 'internal-link',
format: {
url: function (value) {
return value
}
},
ignoreTags: ['a'],
validate: {
url: function (value) {
return value;
}
}
};
var str = '1910-07';
document.write(linkifyHtml(str, options));
</script>
<script>
var options = {
attributes: {
rel: 'nofollow',
title: 'Click for more information',
},
className: 'internal-link',
format: {
url: function (value) {
return value
}
},
ignoreTags: ['a'],
validate: {
url: function (value) {
return value;
}
}
};
var str = 'Cooper, Ken';
document.write(linkifyHtml(str, options));
</script>
<script>
var options = {
attributes: {
rel: 'nofollow',
title: 'Click for more information',
},
className: 'internal-link',
format: {
url: function (value) {
return value
}
},
ignoreTags: ['a'],
validate: {
url: function (value) {
return value;
}
}
};
var str = '1. jpeg, 393 KB
2. jpeg, 429 KB
3. jpeg, 187 KB
4. jpeg, 441 KB';
document.write(linkifyHtml(str, options));
</script>
<script>
var options = {
attributes: {
rel: 'nofollow',
title: 'Click for more information',
},
className: 'internal-link',
format: {
url: function (value) {
return value
}
},
ignoreTags: ['a'],
validate: {
url: function (value) {
return value;
}
}
};
var str = 'Still images';
document.write(linkifyHtml(str, options));
</script>