Biographical Essay - Citations and Additional Resources
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Beaux-Arts Prodigy: Arts Education and Early Career
1. Kramer, William M., “Hugo Ballin, Artist and Director,” in ed. Shalom Saber, Steven Fine and William M. Kramer, A Crown for a King: Studies in Jewish Art, History and Archaeology (Jerusalem: Gefen Publishing House Ltd., 2000), p. 161.
2. Van Hook, Bailey, The Virgin and the Dynamo: Public Murals in American Architecture, 1893-1917 (Athens, OH: Ohio University Press, 2003), p. xvii. Details on Eaton’s life come from Carol Lowrey, “EATON, WYATT,” in Dictionary of Canadian Biography, vol. 12, University of Toronto/Université Laval, 2003–, accessed June 18, 2014, http://www.biographi.ca/en/bio/eaton_wyatt_12E.html.
3. Details from an untitled, undated clipping that appears in a scrapbook, Hugo Ballin Papers, Department of Special Collections, Charles Young Library, UCLA, Box 29, Folder 2.
4. Quote “pre-Raphaelite” from an untitled, undated clipping that appears in a scrapbook, Hugo Ballin Papers, UCLA, Box 29, folder 2; Quotation from coverage of Ballin’s exhibition in Buffalo (c. 1909), scrapbook, Hugo Ballin Papers, UCLA, Box 29, Folder 2.
5. Quotation from “Hugo Ballin” by H. St. G. unknown date, scrapbook, Hugo Ballin Papers, UCLA, Box 29, Folder 2. According to the painting’s current owners, the Smithsonian American Art Museum, its full title is “Sibylla Europa Prophesying the Massacre of the Innocents” (1909).
6. Ballin articulated these ideals in response to statements made by sculptor Gutzon Borglum who claimed U.S. Sculptors were “devoid of high creative ideas.” His response was recounted in a forum called “American Art -- From Different Points of View” that appeared in the New York Times Oct. 11th, 1908 and a clipping of an article entitled “Borglum Charges Divide Art Circles” by an unknown author on the same page of a scrapbook housed in the Hugo Ballin papers, UCLA Box 29, Folder 2. Ballin’s “determination to get some element of pure decorative beauty into every picture that he paints…” was noted in another review that appears in the scrapbook from an unknown author written Feb. 28th, 1911.
7. "Wife’s Beauty Adds Charm to Artist’s Pictures” New York Herald (c. 1910), scrapbook, Hugo Ballin Papers, UCLA, Box 29, Folder 2.
8. Van Hook, The Virgin and the Dynamo, p. xx.
Hollywood Scene-Master: Silent Film, Set Design and Hugo Ballin Productions Inc.
1. The definition of “nickelodeon” varies considerably, I have borrowed my understanding from Bowser, Eileen, The Transformation of Cinema, 1907-1915 (Berkeley, UC Press, 1990) p. 4-6.
2. Gabler, Neal, An Empire of their Own: How the Jews Invented Hollywood (New York: Crown Publishers, 1988) pp. 1-7.
3. Gabler, An Empire of Their Own, on Laemmle, pp. 56-57, 63. On Zukor and Paramount, p. 42.
4. Ovnick, Merry, “The Mark of Zorro: Silent Film’s Impact on 1920s Architecture in Los Angeles,” California History vol. 86, no 1 (2008): 28-59, esp. 29, 35-36, 40.
5. “The Picture a Medium for Art - Hugo Ballin, Goldwyn Art Director, Has Taken the Photoplay Seriously as Field for Creation,” The Moving Picture World, July 12th, 1919. Article clipping appears in the Hugo Ballin Papers, Department of Special Collections, Charles Young Library, UCLA, Box 21, Folder 3.
6. “Motion is Over-Emphasized: Ballin – Producer Declares That he has Sought a More Subtle Appeal in His Picturization of ‘East Lynne’” Exhibitor’s Herald Fen. 26th, 1921, clipping in Ballin Papers, UCLA Special Collections, Box 21, Folder 3; and “Hollywood Artist Famous” by Harriet Clay Penman, clipping (no publication or date given) appears in a scrapbook in the Ballin Papers, UCLA Special Collections, Box 29, Folder 2.
7. Clippings including details and reviews of films appear without authors or dates in a scrapbook in the Ballin Papers, UCLA Special Collections, Box 29, Folder 2.
Metropolitan Myth-Maker: Corporate Commissions in the 1920s Boom
1. Tygiel, Jules, “Metropolis in the Making: Los Angeles in the 1920s,” in ed. Tom Sitton and William Deverell, Metropolis in the Making: Los Angeles in the 1920s (Berkeley: University of California Press, 2001), pp. 1-3.
2. Schippers, Donald J., “Walker and Eisen: Twenty Years of Los Angeles Architecture, 1920-1940,” Southern California Quarterly, vol. 46, no. 4 (Dec., 1964): 371-394, quotation p. 382. See also Jeremiah B. C. Axelrod, “’KEEP THE ‘L’ OUT OF LOS ANGELES’: Race, Discourse and Urban Modernity in 1920s Southern California,” Journal of Urban History, vol. 34, no. 3 (November, 2007): 3-33.
3. Monica Jovanovich-Kelley, “The Apotheosis of Power: Corporate Mural Commissions in Los Angeles during the 1930s,” Public Art Dialogue vol. 4 no. 1 (Spring 2014): 42-70 [DOI:10.1080/21502552.2014.878483] and “Power and Patronage: Public Art and Corporate Mural Commissions in Los Angeles, 1928 – 1935” PhD diss., University of California San Diego, 2014.
4. Description from Arthur Millier, “Mural Painted for Bank” Los Angeles Times (no date given), appears as clipping in a scrapbook in the Hugo Ballin Papers, Department of Special Collections, Charles Young Library, UCLA, Box 29, Folder 1.
5. Ballin’s descriptions of the mural is part of his essay “Power” which appears in a scrapbook in the Ballin Papers, UCLA, Box 15, Folder 5.
6. Phrasing from Van Hook, Bailey, The Virgin and the Dynamo: Public Murals in American Architecture, 1893-1917 (Athens, OH: Ohio University Press, 2003.
Reluctant Modernist: the Great Depression and Public Art in 1930s Los Angeles
1. Unemployed statistics come from William H. Mullins, The Great Depression on the Urban West Coast, 1929-1933, (Bloomington, IN: Indiana University Press, 1991), p. 56, 91 and Leonard Leader, Los Angeles and the Great Depression (New York: Garland Publishing, Inc., 1991), 198.
2. “The Incoming hobo army” comes from the title of an article by James S. Carter published in the Los Angeles Times Nov. 1st, 1931.
3. According to George Sanchez, the number of Mexican born residents fell from 56,304 in 1930 to 38,040 in 1940. See Becoming Mexican American: Ethnicity, Culture, and Identity in Chicano Los Angeles, 1900-1945 (New York : Oxford University Press, 1993), pp. 224-225, 228.
4. Ballin’s “determination to get some element of pure decorative beauty into every picture that he paints…” was noted in a clipping that appears in a scrapbook from an unknown author written Feb. 28th, 1911, housed in the Hugo Ballin Papers, Department of Special Collections, Charles Young Library, UCLA, Box 29, Folder 2.
5. Schrank, Sarah, Art and the City: Civic Imagination and Cultural Authority in Los Angeles (Philadelphia: University of Pennsylvania Press, 2009), p. 57.
6. Schrank, Art and the City, p. 44.
7. Quotations appear in Schrank, Art and the City, p. 49.
8. Schrank, Sarah, "Public Art at the Global Crossroads: the Politics of Place in 1930s Los Angeles," Journal of Social History, Vol. 44 Issue 2 (Winter, 2010): 435-457, p. 447. See also Art and the City, pp. 58-59.
9. The incident appears in articles in the Los Angeles Express Jan. 14th, 1936 and Los Angeles Times, Jan. 2nd, 1936, both of which appear in a scrapbook in the Ballin Papers, Box 29, Folder 2.
10. Wilson, Richard Guy, “Gordon B. Kaufmann and Modernism,” in ed. Jay Belloli, Lauren Weiss Bricker et al., Johnson, Kaufmann, Coate: Partners in the California Style (Claremont, CA: Scripps College; Santa Barbara: Capra Press, 1992).
11. Monica Jovanovich-Kelley, “The Apotheosis of Power: Corporate Mural Commissions in Los Angeles during the 1930s,” Public Art Dialogue vol. 4 no. 1 (Spring 2014): 42-70 [DOI:10.1080/21502552.2014.878483].
12. Monica Jovanovich-Kelley, “The Apotheosis of Power: Corporate Mural Commissions in Los Angeles during the 1930s,” Public Art Dialogue vol. 4 no. 1 (Spring 2014): 42-70 [DOI:10.1080/21502552.2014.878483]. See also her dissertation, “Power and Patronage: Public Art and Corporate Mural Commissions in Los Angeles, 1928 – 1935” PhD diss., University of California San Diego, 2014.
Beaux-Arts Revival: Final Commissions and End of Career
1. Hugo Ballin, “Insanity in Modern Art” and Eduard Buk-Ulrecih, “Abreast of the Times” appeared as part of a Special Section in Design, vol. 50 no.9 (June, 1949): 7-11, 25.
Beaux-Arts Prodigy: Arts Education and Early Career
1. Kramer, William M., “Hugo Ballin, Artist and Director,” in ed. Shalom Saber, Steven Fine and William M. Kramer, A Crown for a King: Studies in Jewish Art, History and Archaeology (Jerusalem: Gefen Publishing House Ltd., 2000), p. 161.
2. Van Hook, Bailey, The Virgin and the Dynamo: Public Murals in American Architecture, 1893-1917 (Athens, OH: Ohio University Press, 2003), p. xvii. Details on Eaton’s life come from Carol Lowrey, “EATON, WYATT,” in Dictionary of Canadian Biography, vol. 12, University of Toronto/Université Laval, 2003–, accessed June 18, 2014, http://www.biographi.ca/en/bio/eaton_wyatt_12E.html.
3. Details from an untitled, undated clipping that appears in a scrapbook, Hugo Ballin Papers, Department of Special Collections, Charles Young Library, UCLA, Box 29, Folder 2.
4. Quote “pre-Raphaelite” from an untitled, undated clipping that appears in a scrapbook, Hugo Ballin Papers, UCLA, Box 29, folder 2; Quotation from coverage of Ballin’s exhibition in Buffalo (c. 1909), scrapbook, Hugo Ballin Papers, UCLA, Box 29, Folder 2.
5. Quotation from “Hugo Ballin” by H. St. G. unknown date, scrapbook, Hugo Ballin Papers, UCLA, Box 29, Folder 2. According to the painting’s current owners, the Smithsonian American Art Museum, its full title is “Sibylla Europa Prophesying the Massacre of the Innocents” (1909).
6. Ballin articulated these ideals in response to statements made by sculptor Gutzon Borglum who claimed U.S. Sculptors were “devoid of high creative ideas.” His response was recounted in a forum called “American Art -- From Different Points of View” that appeared in the New York Times Oct. 11th, 1908 and a clipping of an article entitled “Borglum Charges Divide Art Circles” by an unknown author on the same page of a scrapbook housed in the Hugo Ballin papers, UCLA Box 29, Folder 2. Ballin’s “determination to get some element of pure decorative beauty into every picture that he paints…” was noted in another review that appears in the scrapbook from an unknown author written Feb. 28th, 1911.
7. "Wife’s Beauty Adds Charm to Artist’s Pictures” New York Herald (c. 1910), scrapbook, Hugo Ballin Papers, UCLA, Box 29, Folder 2.
8. Van Hook, The Virgin and the Dynamo, p. xx.
Hollywood Scene-Master: Silent Film, Set Design and Hugo Ballin Productions Inc.
1. The definition of “nickelodeon” varies considerably, I have borrowed my understanding from Bowser, Eileen, The Transformation of Cinema, 1907-1915 (Berkeley, UC Press, 1990) p. 4-6.
2. Gabler, Neal, An Empire of their Own: How the Jews Invented Hollywood (New York: Crown Publishers, 1988) pp. 1-7.
3. Gabler, An Empire of Their Own, on Laemmle, pp. 56-57, 63. On Zukor and Paramount, p. 42.
4. Ovnick, Merry, “The Mark of Zorro: Silent Film’s Impact on 1920s Architecture in Los Angeles,” California History vol. 86, no 1 (2008): 28-59, esp. 29, 35-36, 40.
5. “The Picture a Medium for Art - Hugo Ballin, Goldwyn Art Director, Has Taken the Photoplay Seriously as Field for Creation,” The Moving Picture World, July 12th, 1919. Article clipping appears in the Hugo Ballin Papers, Department of Special Collections, Charles Young Library, UCLA, Box 21, Folder 3.
6. “Motion is Over-Emphasized: Ballin – Producer Declares That he has Sought a More Subtle Appeal in His Picturization of ‘East Lynne’” Exhibitor’s Herald Fen. 26th, 1921, clipping in Ballin Papers, UCLA Special Collections, Box 21, Folder 3; and “Hollywood Artist Famous” by Harriet Clay Penman, clipping (no publication or date given) appears in a scrapbook in the Ballin Papers, UCLA Special Collections, Box 29, Folder 2.
7. Clippings including details and reviews of films appear without authors or dates in a scrapbook in the Ballin Papers, UCLA Special Collections, Box 29, Folder 2.
Metropolitan Myth-Maker: Corporate Commissions in the 1920s Boom
1. Tygiel, Jules, “Metropolis in the Making: Los Angeles in the 1920s,” in ed. Tom Sitton and William Deverell, Metropolis in the Making: Los Angeles in the 1920s (Berkeley: University of California Press, 2001), pp. 1-3.
2. Schippers, Donald J., “Walker and Eisen: Twenty Years of Los Angeles Architecture, 1920-1940,” Southern California Quarterly, vol. 46, no. 4 (Dec., 1964): 371-394, quotation p. 382. See also Jeremiah B. C. Axelrod, “’KEEP THE ‘L’ OUT OF LOS ANGELES’: Race, Discourse and Urban Modernity in 1920s Southern California,” Journal of Urban History, vol. 34, no. 3 (November, 2007): 3-33.
3. Monica Jovanovich-Kelley, “The Apotheosis of Power: Corporate Mural Commissions in Los Angeles during the 1930s,” Public Art Dialogue vol. 4 no. 1 (Spring 2014): 42-70 [DOI:10.1080/21502552.2014.878483] and “Power and Patronage: Public Art and Corporate Mural Commissions in Los Angeles, 1928 – 1935” PhD diss., University of California San Diego, 2014.
4. Description from Arthur Millier, “Mural Painted for Bank” Los Angeles Times (no date given), appears as clipping in a scrapbook in the Hugo Ballin Papers, Department of Special Collections, Charles Young Library, UCLA, Box 29, Folder 1.
5. Ballin’s descriptions of the mural is part of his essay “Power” which appears in a scrapbook in the Ballin Papers, UCLA, Box 15, Folder 5.
6. Phrasing from Van Hook, Bailey, The Virgin and the Dynamo: Public Murals in American Architecture, 1893-1917 (Athens, OH: Ohio University Press, 2003.
Reluctant Modernist: the Great Depression and Public Art in 1930s Los Angeles
1. Unemployed statistics come from William H. Mullins, The Great Depression on the Urban West Coast, 1929-1933, (Bloomington, IN: Indiana University Press, 1991), p. 56, 91 and Leonard Leader, Los Angeles and the Great Depression (New York: Garland Publishing, Inc., 1991), 198.
2. “The Incoming hobo army” comes from the title of an article by James S. Carter published in the Los Angeles Times Nov. 1st, 1931.
3. According to George Sanchez, the number of Mexican born residents fell from 56,304 in 1930 to 38,040 in 1940. See Becoming Mexican American: Ethnicity, Culture, and Identity in Chicano Los Angeles, 1900-1945 (New York : Oxford University Press, 1993), pp. 224-225, 228.
5. Schrank, Sarah, Art and the City: Civic Imagination and Cultural Authority in Los Angeles (Philadelphia: University of Pennsylvania Press, 2009), p. 57.
6. Schrank, Art and the City, p. 44.
7. Quotations appear in Schrank, Art and the City, p. 49.
8. Schrank, Sarah, "Public Art at the Global Crossroads: the Politics of Place in 1930s Los Angeles," Journal of Social History, Vol. 44 Issue 2 (Winter, 2010): 435-457, p. 447. See also Art and the City, pp. 58-59.
9. The incident appears in articles in the Los Angeles Express Jan. 14th, 1936 and Los Angeles Times, Jan. 2nd, 1936, both of which appear in a scrapbook in the Ballin Papers, Box 29, Folder 2.
10. Wilson, Richard Guy, “Gordon B. Kaufmann and Modernism,” in ed. Jay Belloli, Lauren Weiss Bricker et al., Johnson, Kaufmann, Coate: Partners in the California Style (Claremont, CA: Scripps College; Santa Barbara: Capra Press, 1992).
11. Monica Jovanovich-Kelley, “The Apotheosis of Power: Corporate Mural Commissions in Los Angeles during the 1930s,” Public Art Dialogue vol. 4 no. 1 (Spring 2014): 42-70 [DOI:10.1080/21502552.2014.878483].
12. Monica Jovanovich-Kelley, “The Apotheosis of Power: Corporate Mural Commissions in Los Angeles during the 1930s,” Public Art Dialogue vol. 4 no. 1 (Spring 2014): 42-70 [DOI:10.1080/21502552.2014.878483]. See also her dissertation, “Power and Patronage: Public Art and Corporate Mural Commissions in Los Angeles, 1928 – 1935” PhD diss., University of California San Diego, 2014.
Beaux-Arts Revival: Final Commissions and End of Career
1. Hugo Ballin, “Insanity in Modern Art” and Eduard Buk-Ulrecih, “Abreast of the Times” appeared as part of a Special Section in Design, vol. 50 no.9 (June, 1949): 7-11, 25.
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