202:, was active in promoting the interests of American female artists. Her best known work is the cover for the Buffalo Courier: Women's Edition in 1895. Similar to other posters and covers being produced at this time, the cover displays organic and natural forms as well as the color blocking technique indicative of Art Nouveau style. Glenny's figure displays a hard face, however, uncommon of the bourgeois women depicted in posters of this time. A classical revival of sorts, the woman stares out in a stark frontality. She is softened by the flowing hair ribbon above her head and the full blooms of the flowers in her coiffured hair. While feminine in features, hairstyle, and clothing, the woman holds a firm stance in the face of women's rights.
314:. Within the text, there are many examples of works by influential women who were authors, film makers, photographers and printmakers. Glenny's entry in the volume regarding "The Buffalo Courier's Women's Edition" from May 8, 1895 explicates the importance of "Women's Editions" magazines. Women's editions magazines were usually longer than the regular magazine and were marketed specifically towards women. For example, "The Buffalo Courier's Women's Edition" was "forty pages (versus the usual ten) ... promoted with colorful posters and flyers to attract readers and advertisers alike." These editions proved that women were worthy of being marketed to as consumers.
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158:, the production of posters was elevated worldwide from what H.C. Bunner had called a "primitive system" in which woodblocks were harshly carved allowing for an imprecision of color and shape. Color lithography provided American advertisers with the means of creating eye-catching and beautifully rendered pictures, often of fashionable women. Poster design in America was influenced by a number of emerging styles from countries such as France and Britain. French poster design, largely influenced by
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Exposition, and postcards depicting the Temple of Music, together with portraits of McKinley, were distributed. After the
Exposition closed on November 2, the halls, including the Temple of Music, were disassembled and destroyed. The sole surviving structure from the Pan-American Exposition, the New York State Building still stands and was converted into Buffalo's Historical Society Museum where Glenny's mural remains.
90:(1858–1924) was an American painter, sculptor, and graphic artist who lived and worked in Buffalo, New York. Glenny was a fixture of the thriving artistic scene in Buffalo in the early twentieth century. From 1893-1894 and 1903–1904, she served as president of the Buffalo Society of Artists. She studied under top teachers, such as
214:. A World's Fair, the Pan-American Exposition sought to emphasize good relations between North and South America. After much deliberation and competition, Buffalo, New York was chosen as the site of the exposition due to its large population of 350,000 people and easy access by railroad. Following the
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shot him twice. Despite the presence of the newly invented X-ray machine, doctors decided not to use it on the president for fear of possible radiation side effects. As a result of his wound in the abdomen, McKinley developed gangrene and died on
September 14. The assassination cast a pall over the
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began to support education and culture, enabling the U.S. to be a fertile ground for the creation of a new style of art. It was not only the upper-class who strove for cultural edification, but the also middle-class who were exposed to emerging art styles through magazines. These magazines provided a
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to create covers in 1889, 1891, 1892, and in April 1893. Exposure to these international styles ignited a "poster craze" in which
American graphic designers developed a style commonly "depicting bourgeois scenes" and utilizing more stylized lines filled with blocks of color, similar to the designs of
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was a magazine that aimed to bring the "world to
Buffalo." The purpose was to help middle class citizens cultivate their leisure time into worthwhile pursuits that promoted culture and erudition. Articles provided opportunities for citizens to become involved with a multitude of activities such as
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the study of photography, microscopic experimentation, and even anthropology. Glenny was the Art
Director of this magazine. Her name can be found on the mast head. This demonstrates Glenny's continued involvement and authority regarding the arts even up until four years before her death.
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demonstrates her creativity representing the idyllic, idealized female form. The coral color choice was not an accident. As part of the spectacle of the Pan-American
Exposition, each building was painted a different, vibrant color, with the Temple of Music painted red and salmon.
122:
In 1858, Alice
Russell was born in Detroit, Michigan. As a young woman, she moved to New York to study art, where she met and married John Clark Glenny of Buffalo (1859–1909). The couple had two daughters. Living in New York, Glenny trained under American painter and art teacher
233:, erected a cross following the rescue of a starving garrison. The scene shows Milet, surrounded by a small group of soldiers and American Indians, blessing the raised cross while a faint figure of Christ hovers behind him. In addition to
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visually elucidates the uniqueness of the
American posters when compared to French posters of the same time period. The insertion of Glenny's poster in this collection demonstrates that women artists helped shape American graphic design.
261:. Many of the works exhibited emphasized the achievements of American society and technology. Glenny's cover design for the booklet, "Music at the Pan-American Exposition: Organists, Orchestras, Bands", also known as
218:, the exhibition emphasized the economic connections of the United States and Latin America, especially Cuba and Puerto Rico. Upon learning of the theme of the World's Fair, President
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Alice
Russell Glenny is a historically significant figure in the realm of late nineteenth to early twentieth century American women artists as evidenced by her presence in
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push for the opening of new museums and travel abroad. Women's Clubs were integral in establishing cultural spaces as well as publishing these art magazines.
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98:, in both the United States and France, and was considered in her time to be one of the city's top artists. Today, Glenny is best remembered for her
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declared, "I shall be very glad to do anything I can for
Buffalo." The Pan-American Exposition ran from May 1 through November 2, 1901.
321:, she was also a prominent local figure in Buffalo, NY during her lifetime. For example, she was an editor of a local magazine called
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In 1900, Glenny won a mural competition to decorate the Pan-American Exposition's New York State Building. Her painting,
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American Art Posters of the 1890s in The Metropolitan Museum of Art, including the Leonard A. Lauder Collection.
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American Art Posters of the 1890s in The Metropolitan Museum of Art, including the Leonard A. Lauder Collection
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American Women: A Library of Congress Guide for the Study of Women's History and Culture in the United States
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American Women: A Library of Congress Guide for the Study of Women's History and Culture in the United States
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Through the proliferation of print culture as well as industrial expansion, American millionaires such as
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While also being a muralist and sculptor, Glenny's work as a graphic artist consisted of American
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294:. The exhibition catalogue includes prints and posters that are housed in the collection of the
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A Library of Congress Guide for the Study of Women's History and Culture in the United States.
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237:, Glenny had four other works displayed in the Exposition's Exhibit of Fine Arts, including
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posters and magazine illustrations. Her posters were featured prominently in Buffalo's
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249:. The Exhibit boasted the largest collection of contemporary American artists such as
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Pan-American Exposition, Buffalo May 1 to November 1, 1901. Its Purpose and Plan
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Highly advertised, the Exposition saw several noteworthy visitors, including
744:. Revised Edition. Edited by Glenn B. Opitz. Poughkeepsie, NY: Apollo, 1983.
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Besides Glenny's historical legacy on the national stage in the MET and
127:. Traveling to Paris, Glenny also studied with French figure painter
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Cate, Phillip Dennis, Nancy Finlay, and David W. Kiehl, eds. (1987).
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University at Buffalo Libraries, "Pan-American Exhibition of 1901."
778:"Notes from the 1895 Exhibition of the Buffalo Society of Artists."
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of 1901, famous for being the location of the shooting of President
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in Buffalo, New York. She, along with other poster artists such as
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Cover: Women's Edition Buffalo Courier (1895) also published in
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Harvey, Sheridan, Janice Ruth, Barabara Natanson, eds. (2001).
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Barney, William J. (1979). "The Art and Artists of Buffalo".
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Glenny's legacy is also solidified by her inclusion in the
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Cate, Phillip D., Nancy Finlay, and David W. Kiehl, eds.
761:. Chicago: The Art League Publishing Association, 1905.
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Dictionary of American Painters, Sculptors and Engravers
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Dictionary of American Painters, Sculptors and Engravers
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in Washington D.C. Her artwork can be found in the tome
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Harvey, Sheridan, Janice Ruth, Barabara Natanson, eds.
110:. She also regularly contributed illustrations to the
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Barney, William J. "The Art and Artists of Buffalo."
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depicts a scene from New York history where a priest,
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624:. Washington, D.C.: Library of Congress. pp.
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817:Glenny's posters for the Pan-American Exposition
698:Weierheiser, Ruth V., ed. (July 1920). "Cover".
584:. New York: Doubleday and Company. p. 1032.
569:. Buffalo: Pan-American Exposition. p. 81.
730:Ex. cat. New York: Harry N. Abrams Inc., 1987.
582:The World's Work: A History of Our Time, VOL 2
458:. New York: Harry N. Abrams Inc. p. 187.
395:. New York: St. Martin's Press. pp. 9–12.
194:Glenny was a part of a women's club named The
162:, was well received in the United States when
797:http://library.buffalo.edu/pan-am/exposition/
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804:Hobbies: Buffalo Society of Natural Sciences
700:Hobbies: Buffalo Society of Natural Sciences
681:Hobbies: Buffalo Society of Natural Sciences
679:Weierheiser, Ruth (July 1920). "Mast Head".
440:. London: Trefoil Publications. p. 123.
425:. London: Trefoil Publications. p. 119.
766:American Posters of the Turn of the Century
393:American Posters of the Turn of the Century
286:Historical significance and artistic legacy
235:Blessing of the Cross by Father Milet, 1688
227:Blessing of the Cross by Father Milet, 1688
210:Glenny's prints were exhibited at the 1901
822:Photograph of Alice Russell Glenny c. 1899
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661:CS1 maint: multiple names: authors list (
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567:Catalogue of the Exhibition of Fine Arts
355:. Poughkeepsie, NY: Apollo. p. 330.
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154:posters. With the development of color
65:William Merritt Chase; Gustav Boulanger
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721:Adventures in Western New York History
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206:The Pan-American Exposition in Buffalo
788:. Buffalo: the Courier Company, 1901.
775:. London: Trefoil Publications, 1990.
773:The Flowering of Art Nouveau Graphics
768:. New York: St. Martin's Press, 1975.
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806:Volume 1, Number 3 (July 1920): 3.
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782:, vol. XXXIV, no. 1 (Jan., 1895).
534:Niagara Land: The First 200 Years
507:"Pan-American Exhibition of 1901"
410:. New York: Phiadon. p. 268.
300:American Art Posters of the 1890s
292:American Art Posters of the 1890s
166:commissioned Franco-Swiss artist
862:American women graphic designers
118:Early life and artistic training
852:Sculptors from New York (state)
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536:. Buffalo: The Courier Express.
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135:Involvement in the graphic arts
847:Artists from Buffalo, New York
757:Hosking, Arthur Nicholas, ed.
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532:Peterson, Harold F. (1976).
596:"Anarchy and Assassination"
565:Coffin, William A. (1901).
160:woodblock printing in Japan
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737:. New York: Phaidon, 2000.
296:Metropolitan Museum of Art
406:Escritt, Stephen (2000).
351:Fielding, Mantle (1983).
247:The Figure of Electricity
173:Henri de Toulouse-Lautrec
837:American women sculptors
580:Page, Walter H. (1901).
367:"Mrs. John Clark Glenny"
145:Les Maîtres de l'Affiche
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298:. Glenny's artwork in
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635:0844410489
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602:. 2017.
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