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New websites for the Gutenberg Bible and the First Photograph

By Alicia Dietrich

Page from new First Photograph web exhibition.
Page from new First Photograph web exhibition.

The Ransom Center launched updated websites for its two permanent exhibitions, the Gutenberg Bible and the First Photograph. The websites contain information, interactive components, and content geared toward children related to each exhibition.

The Gutenberg Bible is the first substantial book printed from movable type on a printing press. It was printed in Johann Gutenberg’s shop in Mainz, Germany, between 1450 and 1455. View a video demonstrating Gutenberg’s printing process.

Gutenberg’s invention revolutionized the distribution of knowledge by making it possible to produce many accurate copies of a single work in a relatively short amount of time. View a map that shows the spread of printing after Gutenberg.

Visitors can turn the pages of the Gutenberg Bible, view the pages in high-resolution, and browse by Books of the Bible or page characteristics, including famous passages, illuminations, and watermarks.

The Ransom Center holds one of five complete copies in the United States. View a map of where the other Gutenberg Bibles are housed.

The First Photograph, which Frenchman Joseph Nicéphore Niépce produced in 1826, is the foundation of the Ransom Center’s photography collection. The 8 x 6.5-inch heliograph depicts a view just outside the workroom window of Niépce’s estate in Le Gras in east central France.

Website visitors can watch an animated video showing how the First Photograph was made as well as create a virtual heliograph of themselves using a webcam; the virtual heliograph image replicates the photographic technique used to create the First Photograph.

The website offers content geared for younger visitors, including digital coloring pages of the Gutenberg Bible and First Photograph and the opportunity to use Gutenberg’s process to print their own message.

The website was made possible through a generous gift by Margaret Hight.

"Martin Scorsese" exhibition features items from Ransom Center

By Edgar Walters

Makeup stills from "Raging Bull."
Makeup stills from "Raging Bull."

Martin Scorsese’s influential filmmaking legacy is the focus of a new exhibition, aptly titled Martin Scorsese, at the Deutsche Kinemathek—Museum für Film und Fernsehen in Berlin. The exhibition, which opened in January and runs through May 12, purports to examine “the rich spectrum of Scorsese’s oeuvre,” including his sources of inspiration, working methods, and lasting contributions to American cinema. The Ransom Center loaned 19 items from the Robert De Niro and Paul Schrader archives to supplement materials from Scorsese’s private collection. Together, they constitute the first international exhibition about Scorsese.

Martin Charles Scorsese grew up in New York’s Little Italy neighborhood in the 1950s, surrounded by a large Italian family and the high-pressure world faced by working-class immigrants. While life on the streets proceeded according to the rules of local gangsters, Scorsese’s asthma kept him largely confined to the house; he followed the outside world from his perch at the window. His older brother Frank recalls: “Marty had a tough childhood. But I used to keep him close. Take him to movies.”

The role of family, blood kin or otherwise, has been a central theme in Scorsese’s works, starting with the short films he made as a student. Throughout his career, he repeatedly cast family members as extras. Brotherly relationships are particularly prominent in Scorsese films, perhaps a product of growing up with tight bonds to his own brothers, or of the close partnerships he had with friends like Robert De Niro. For example, Scorsese’s 1980 film Raging Bull features brothers Jake La Motta (Robert De Niro) and Joey (Joe Pesci) as a New York boxer and his manager, respectively. Six Ransom Center items related to Raging Bull appear in the exhibition, including De Niro’s boxing gloves and trunks, and makeup test photographs with De Niro’s annotations.

Keychain used in "Cape Fear" by Robert De Niro. Photo by Pete Smith.
Keychain used in "Cape Fear" by Robert De Niro. Photo by Pete Smith.

Scorsese’s extensive knowledge of film history has undoubtedly reinforced his talents as a filmmaker. His 1991 remake of Cape Fear, originally a 1962 thriller directed by J. Lee Thompson, was met with positive critical reception, even inspiring a parody episode of The Simpsons. De Niro received Academy Award and Golden Globe nominations for Best Actor for his role in the film. Five items related to Cape Fear are featured at the Deutsche Kinemathek.

The exhibition pays tribute not only to Scorsese’s legacy as an American cinematic icon, but also to his commitment to the preservation of our international film heritage. The items on display are a testament to the enduring presence of film history as a referential guide for the ever-changing medium.

Frida Kahlo's "Self-portrait with Thorn Necklace and Hummingbird" back on display today

By Alicia Dietrich

Photo by Pete Smith.
Photo by Pete Smith.

Mexican artist Frida Kahlo’s Self-portrait with Thorn Necklace and Hummingbird (1940), one of the Ransom Center’s most famous and frequently borrowed works of art, is on display through July 28.

Since 1990 the painting has been on almost continuous loan, featured in exhibitions in more than 25 museums in the United States and around the world in countries such as Australia, Canada, France, and Spain. View a map of where the painting has traveled in recent years.

The painting was most recently on view in the three-venue exhibition In Wonderland: The Surrealist Activities of Women Artists in Mexico and the United States, organized by the Los Angeles County Museum of Art and exhibited subsequently at the Musée National des beaux-arts du Quebec in Quebec City and at the Museo de Arte Moderno in Mexico City. The painting travels next to The ARKEN Museum of Modern Art in Ishøj, Denmark, for the exhibition Frida Kahlo & Diego Rivera, running from September 7, 2013 to January 5, 2014.

Kahlo (1907–1954) taught herself to paint after she was severely injured in a bus 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.

Kahlo’s affair in New York City with Hungarian-born photographer Nickolas Muray (1892–1965), which ended in 1939, and her divorce from artist Diego Rivera at the end of that same year left her heartbroken and lonely. 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 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).

View the video documentary “A World of Interest: Frida Kahlo’s Self-portrait with Thorn Necklace and Hummingbird,” which highlights the painting’s return to the Ransom Center.

Now open: “Arnold Newman: Masterclass”

By Alicia Dietrich

Graphic identity for the exhibition "Arnold Newman: Masterclass."
Graphic identity for the exhibition "Arnold Newman: Masterclass."

The exhibition Arnold Newman: Masterclass opens today at the Harry Ransom Center and runs through May 12.

This exhibition explores the career of photographer Arnold Newman (1918–2006), who created iconic portraits of some of the most influential innovators, celebrities, and cultural figures of the twentieth century. Newman’s archive resides at the Ransom Center.

A bold modernist with a superb sense of compositional geometry, Newman is known for a crisp, spare style that situates his subjects in their personal surroundings rather than in a photographer’s studio. Marlene Dietrich, Harry Truman, John F. Kennedy, Arthur Miller, Salvador Dalí, and Pablo Picasso are only a few of his celebrated sitters. Featuring more than 200 of these well-known masterworks, Arnold Newman: Masterclass also includes rarely seen work prints and contact sheets.

The first major exhibition of the photographer’s work since his death, Arnold Newman: Masterclass showcases the entire range of Newman’s photography, featuring many prints for the first time.

Admission to the exhibition is free, but donations are welcome. Free docent-led tours of the exhibition are offered Tuesdays at noon, Thursdays at 6 p.m., and Saturdays and Sundays at 2 p.m.

The exhibition can be seen in the Ransom Center Galleries on Tuesdays through Fridays from 10 a.m. to 5 p.m., with extended Thursday hours until 7 p.m. On Saturdays and Sundays the galleries are open from noon to 5 p.m. The galleries are closed on Mondays.

Become a member now to receive complimentary admission and valet parking at “Face to Face,” the opening celebration for the photography exhibition Arnold Newman: Masterclass. If you are not yet a member, you may purchase individual tickets for $20 (valet parking not included) at the door.

Win tickets to "Face to Face" exhibition opening

By Kelly Dewitt

Arnold Newman, "Marilyn Monroe and Carl Sandburg" (Detail), 1962. © Arnold Newman/Getty Images.
Arnold Newman, "Marilyn Monroe and Carl Sandburg" (Detail), 1962. © Arnold Newman/Getty Images.

The galleries are being transformed in preparation for the Ransom Center’s new photography exhibition Arnold Newman: Masterclass. We hope you will join us for “Face to Face,” the opening celebration for the exhibition from 7 to 9 p.m. on Friday, February 15.

Sip on refreshments from Austin Wine Merchant and Dripping Springs Vodka, pose in an Arnold Newman-inspired analog photo booth created by the Lomography Gallery Store, enjoy treats at The Cupcake Bar’s dessert station, and view screenings of Arnold Newman interviews and film clips.

Be among the first to explore photographer Arnold Newman’s iconic portraits of celebrities and cultural figures including John F. Kennedy, Salvador Dalí, Ansel Adams, and Pablo Picasso, among others. Newman’s archive resides at the Ransom Center.

Guests will have the opportunity to enter a drawing for a Newman-inspired prize package that includes brunch for two at Fonda San Miguel, a stay at the Heywood Hotel in East Austin, a darkroom class with photographer Anthony Maddaloni, a Lomography camera, a membership to Austin Center for Photography, and more.

Ransom Center members enjoy complimentary admission and valet parking at this event. If you are not yet a member, you may join or order individual $20 tickets at the door. Tickets are also available online until Friday, February 8. Valet parking is not included for non-members.

The Ransom Center is giving away a pair of tickets to “Face to Face.” Email hrcgiveaway@gmail.com with “Arnold Newman” in the subject line by midnight CST tonight to be entered in a drawing for complimentary admission for two. The winner will be notified by email on Monday, February 11.

Special thanks to these sponsors: Anthony Maddaloni Photography, Austin Center for Photography, Austin Wine Merchant, Dripping Springs Vodka, Fonda San Miguel, Heywood Hotel, Lomography Gallery Store, and Thames & Hudson.

In the Galleries: Norman Bel Geddes’s 1931 film of "Hamlet" production

By Ady Wetegrove

By the time Norman Bel Geddes began work on a contentious adaptation of William Shakespeare’s Hamlet in 1931, he was considered an established theatrical designer and a pioneer of the New Stagecraft movement in America. Collaborating with literary advisor Clayton Hamilton, Bel Geddes abridged the play in order to communicate Shakespeare’s text through the characters’ actions, rather than rely on realistic backdrops or extended soliloquies. In addition to marking Raymond Massey’s American theater debut, the production of Hamlet served as the subject of Bel Geddes’s own amateur documentary film.

Throughout his career, Norman Bel Geddes filmed the genesis of his design projects to record each stage of the creative process. Bel Geddes also used film to produce amateur motion pictures on subjects such as insect behavior and ones in which he portrays an imaginary naturalist named Rollo.

Of the major American productions of Hamlet in 1931, critics deemed Bel Geddes’s version the most radical. Serving as both designer and director, Bel Geddes sought to transform the classical literary piece into a modernized, emotionally charged, melodramatic production. Bel Geddes’s controversial Hamlet elicited outcries from many Shakespearean enthusiasts who found Bel Geddes’s experimentation distasteful. Bel Geddes’s aim, however, was not to recreate a traditional depiction of the Shakespearean tragedy but instead, to “produce upon a modern audience an emotional response as similar as possible to that which Shakespeare produced upon his Elizabethan audience.”

Although Bel Geddes had experimented with powerful bursts of focused colored lighting in earlier productions such as The Miracle, his lighting innovations in Hamlet eclipsed all previous techniques. Highly concentrated light illuminated actors on one raised platform, while stagehands worked in darkness to prepare other scenes on adjacent platforms. A technologic innovation in 1931, the sharply focused light contributed to Bel Geddes’s vision of an updated and modernized Hamlet.

Bel Geddes developed a spatial arrangement that aligned with the characters’ actions rather than the traditional patterns of movement. Specifically, he positioned steps and platforms diagonally on stage at New York’s Broadhurst Theater. The austere, architectural set and minimalist style of the geometric blocks fostered dynamic movement on the stage, and the production adopted a swift, cinematic pace.

Hamlet is one of the few filmed theater productions that survives in Bel Geddes’s archive. The 16-millimeter black and white footage shown here is an excerpt from an hour-long amateur documentary in which Bel Geddes captures every phase of the development of Hamlet—from the creation of models and action charts, to rehearsals, and opening night. The Hamlet documentary, which offers a rare behind-the-scenes glimpse into the inner workings of 1930s theater productions and of Bel Geddes’s creative process, is one of over 300 short films by Norman Bel Geddes housed in the Ransom Center’s moving image archives.

Because Bel Geddes filmed Hamlet with two different types of 16-millimeter film—reversal film and negative film—on the same reel, the film deteriorated at different rates, causing preservation difficulties. The digitization of Bel Geddes’s films was made possible by grant support from the National Film Preservation Foundation.

Learn more about Bel Geddes in the Ransom Center’s exhibition I Have Seen the Future: Norman Bel Geddes Designs America, on display through today.

Three degrees of separation: Industrial designers find inspiration with Norman Bel Geddes

By Harry Ransom Center

 

A group of Dell employees visit the exhibition “I Have Seen the Future: Norman Bel Geddes Designs America.” Photo by Pete Smith.
A group of Dell employees visit the exhibition “I Have Seen the Future: Norman Bel Geddes Designs America.” Photo by Pete Smith.

Scott Lauffer, an Industrial Design Director at Dell’s Enterprise Product Group, recently visited the exhibition I Have Seen the Future: Norman Bel Geddes Designs America with a group of colleagues, primarily industrial designers and engineers. The group takes occasional offsite visits to find inspiration. This is the third visit the group made to the Ransom Center over the past few years. Lauffer shares his observations from the visit.

As designers I think we all drew inspiration from the versatility that Norman Bel Geddes displayed not only in the types of work that he consulted on, but the salesmanship he exhibited to convince many of his clients to invest in creating better human experiences in a time before it was expected and demanded by consumers. His background in theater probably served him well in being a better storyteller for his vision. His approach for researching and understanding human behavior along with model building and storytelling are all techniques that we draw on heavily as designers today.

It was interesting to see how Bel Geddes not only influenced our group’s profession of industrial design, but also our industry, albeit indirectly. Elliot Noyes, who founded the Industrial Design program for IBM and pioneered the corporate design discipline in 1956, was previously employed by Bel Geddes. We later discovered there were only three degrees of separation for some of us: Bel Geddes to Elliot Noyes to Tom Hardy, with whom some of us previously worked in his capacity as design director at IBM.

The exhibition was crafted to educate a wide audience through thoughtfully selected examples that represent the breadth of Bel Geddes’s work, without overwhelming. The courage Bel Geddes showed in proposing the visionary and using this to stretch the imagination of his clients is inspirational.