The Making Movies Film Series runs throughout the summer and features films that are highlighted in the Making Moviesexhibition. Tonight, the Ransom Center will screen King Vidor’s Duel in the Sun (1946), starring Jennifer Jones and Gregory Peck. Throughout the series, Cultural Compass will highlight an exhibition item related to each film.
This matte painting from the David O. Selznick collection was used for the opening shot in Duel in the Sun. The camera starts at the top of the painting and tilts down while zooming in on the cactus at the bottom. This perspective accounts for the stair-step configuration at the bottom of the painting.
Help the Ransom Center plan an exhibition about design by answering the questions in this survey. The survey should take about 15 minutes to complete. Those who complete the survey will be entered into a drawing to receive a first edition of The Brooklyn Museum of Art’s exhibition catalogue The Machine Age in America, 1918-1941.
In 1952, photohistorian Helmut Gernsheim rediscovered the first photograph lying forgotten in a trunk, 125 years after Joseph Nicéphore Niépce captured the famous image. “I held the foundation stone of photography in my hand,” Gernsheim recalled. “I felt myself in communication with Niépce. ‘Your nightmare existence in a trunk is over,’ I thought. ‘At long last you will be recognized as the inventor of photography.’”
Today, the first photograph is on permanent display in the Ransom Center’s lobby. In 2002, the Ransom Center and the Getty Conservation Institute began a collaborative conservation project for the first photograph. Dr. Shin Maekawa, Senior Scientist at the Getty Conservation Institute, designed an oxygen-free display case to protect the heliograph from potential oxygen-induced deterioration. Both institutions regularly monitor conditions in the display case through a website, which logs oxygen, pressure, relative humidity, and temperature.
Maekawa returned to Austin in March to teach Ransom Center Photograph Conservator Barbara Brown how to maintain the case.
“We’ve been working on maintenance for the oxygen-free case in which the photograph is housed and presented,” Brown said. “This is something that needs to be done periodically. There have been no problems, but it’s always good to double-check the sensors every couple of years to make sure everything is running the way it’s supposed to.”
In addition to assisting Brown with maintenance, Maekawa also came to help the Ransom Center determine whether or not the first photograph could possibly tour.
“When you take a sealed case into an airplane, there’s a lot of pressure acting on the case. So the idea is [to find out] whether we can transport the case or not, and how we can go about it. Since I designed the case, being here will give me a better idea of exactly what other issues there are to consider. The main issue is to maybe build a special container for traveling,” Maekawa said.
Please click the thumbnails to view full-size images.
The web exhibition highlights the immense scope of the Simmons & Co. archive and is intended to encourage research in the collection. The exhibition is organized into 10 categories of costume design and showcases 228 selected images drawn from 60 film and theater productions. The Web exhibition was funded by a grant from the National Endowment for the Humanities (NEH).
The Ransom Center acquired the voluminous archive of B. J. Simmons & Co. in two separate installments in 1983 and 1987. Comprising more than 500 boxes, the collection is one of the largest of its kind in the world.
From its founding in 1857 to its demise in 1964, Simmons & Co. created stage costumes for hundreds of theater productions in London, the provinces and overseas, ranging from Victorian pantomime to the “kitchen sink” dramas of the 1960s. Simmons & Co. also provided costumes for more than 100 films, including features directed by Alexander Korda and Laurence Olivier.
Please click on the thumbnails below to view full-size images.
The Blanton Museum of Art’s current exhibition Manuel Álvarez Bravo and His Contemporariesfeatures works from the Ransom Center’s photography collections. Blanton Associate Curator of Latin American Art Ursula Davila-Villa discusses the life and work of Álvarez Bravo.
One of the most fascinating aspects of photography is how images change the way we look at the ordinary in the world. Manuel Álvarez Bravo, a master in transforming the everyday into extraordinary images, worked during one of the most important and transformative periods in the history of Mexico. He was a prolific photographer who lived for 100 years. During the 1930s and 1940s, his photographs laid bare a city that saw rapid urban changes that reshaped the face of Mexico. Álvarez Bravo’s unique vision is characterized by intimate scenes that fused local and international artistic developments such as geometric abstraction and surrealism. In 1929, Edward Weston wrote to Álvarez Bravo: “photography’s fortunate in having someone with your viewpoint.”
Their relationship would later develop into a friendship that also included Tina Modotti. The three photographers would work in Mexico and document a country that would capture their minds and hearts. When Modotti was deported from Mexico due to her political activities, she gave Álvarez Bravo her Graflex camera as a gift. It was Modotti who introduced Álvarez Bravo to Eugène Atget’s work, which would become an important influence for Álvarez Bravo.
The exhibition Manuel Álvarez Bravo and His Contemporaries: Photographs from the Collections of the Harry Ransom Center and the Blanton Museum of Art, on view at the Blanton Museum through August 1, features iconic images by Álvarez Bravo and his contemporaries (including Henri Cartier-Bresson, Dorothea Lange, Albert Renger-Patzsch, Walker Evans, and Edward Weston) drawn from the Harry Ransom Center and the Blanton’s collections.
The year 2010 marks the 200th anniversary of Mexico’s independence from Spain and the 100th anniversary of the Mexican Revolution, pivotal events in Mexico’s struggle for self-governance. In honor of this bicentennial and centennial, the Ransom Center’s exhibition ¡Viva! Mexico’s Independence showcases items from the Center’s holdings that relate to the history of Spain’s original conquest of Mexico, Mexico’s independence from Spain and subsequent revolutionary activities within Mexico.
Rosalba Ojeda, Consul General of México in Austin, discusses the value of seeing original materials that illuminate these historic touchstones. The video is also available in Spanish.
The Harry Ransom Center is displaying Mexican artist Frida Kahlo’s Self–portrait with Thorn Necklace and Hummingbird (1940) through March 21.
The painting, one of the Ransom Center’s most famous and frequently borrowed art works, has been on almost continuous loan since 1990. During that time, the painting has been featured in exhibitions in more than 25 museums in the United States and around the world.
You can view an interactive map that illustrates the travels of Kahlo’s Self–portrait with Thorn Necklace and Hummingbird.
The painting was most recently exhibited in Frida Kahlo, a traveling retrospective exhibition organized by the Walker Art Center in Minneapolis to celebrate the 100th anniversary of the artist’s birth.
Kahlo (1907–1954) taught herself how to paint after she was severely injured in an accident at the age of 18. For Kahlo, painting became an act of cathartic ritual, and her symbolic images portray a cycle of pain, death and rebirth.
In 1939, Kahlo was left heartbroken and lonely after the end of an affair with Hungarian-born photographer Nickolas Muray (1892–1965) and her divorce from artist Diego Rivera. But she produced some of her most powerful and compelling paintings and self–portraits during this time.
Muray purchased the self–portrait from Kahlo to help her during a difficult financial period. It is now part of the Ransom Center’s Nickolas Muray collection of more than 100 works of modern Mexican art, which was acquired by the Center in 1966. The collection also includes Kahlo’s Still Life with Parrot and Fruit (1951) and the drawing Diego y Yo (1930).
Later this year, Self–portrait with Thorn Necklace and Hummingbird will be on view in Berlin and Vienna.
The art director, in creating the environment that a character inhabits, reveals much about a character’s personality through the type of house, the style of furniture, the pictures on the walls, and even the items on the coffee table or in the kitchen sink. Furthermore, the sets designed by an art director must correspond to the geographic and historical context of the story.
Here, producer David O. Selznick writes in a memo to director Alfred Hitchcock and art director Lyle Wheeler that their movie’s title character, Rebecca, would have decorated her boathouse in a style reflecting her personality, and that the inside would look much different from the outside.
“I have been thinking about the furnishing of the boathouse,” Selznick writes, “and I feel that we may be missing an opportunity here in not dressing the interior as incongruously with the exterior as possible. I think that it was after all Rebecca’s pet rendezvous and she would certainly have done it up beautifully. I have accordingly asked Wheeler to submit some new sketches on this.”
This is just one item from the “Art Director” section of the Making Movies exhibition, which runs through August 1 at the Ransom Center.
The contributions of the actor can be seen throughout the Making Movies exhibition. The primary and most visible interpreter of character is the actor, who interacts with or is affected by every creative artist on the production team.
Gloria Swanson’s performance as the aging film star Norma Desmond in Sunset Boulevard (1950) is now widely regarded as one of the most powerful in the history of film. The inner life of the character was first developed in the screenplay by Billy Wilder and Charles Brackett, who tailored specific details to Swanson’s own life and career. But Swanson also drew on her own experience as a silent-screen film actor when she relied primarily on facial expressions and pantomime to convey emotion and action to the audience. Her perfect balance of all the aspects of Desmond’s character created a truly memorable performance.
In this audio clip, Swanson talks about working with director Cecil B. DeMille and the violin players kept on the film sets to help actors get “into the mood” for happy or sad scenes. She also discusses acting technique for silent films with subtitle cards.
This audio excerpt is just one item from the “Actor” section of the Making Movies exhibition, which runs through August 1 at the Ransom Center. Follow our RSS and Twitter feeds or become a fan on Facebook to see new items from the exhibition revealed each day for the next few days as part of “Script to Screen.”
The Harry Ransom Center extends a big thank you to the many generous sponsors who are helping us turn the Making Moviesred carpet premiere into an amazing event. Cornucopia is providing a gourmet popcorn bar full of sweet and salty treats. Guests will also receive gift bags compliments of The University of Texas Press, the Blanton Museum of Art, ROSCAR Chocolates, Austin Monthly, Skin by Anne Webb, I LUV VIDEO, and Téo Gelato.*
One lucky guest will also win a “Hollywood Getaway.” Guests at the opening may enter to win two round-trip tickets on Southwest Airlines to LA and a two-night stay at the Four Seasons Hotel in Los Angeles, plus a year of free rentals at I LUV VIDEO, two SXSW Film Festival Passes, a year membership to the Austin Film Society, and a year membership to the Harry Ransom Center, along with a Ransom Center hat and sweatshirt.