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Railroad Heritage #14 2005 #14 From Icon: The Railroad in American Art
Railroad Heritage 2005 Number 14 From ICON: the Railroad in American Art April 2004 72 pages
Railroad Heritage #14
The Engine as Art: the Railroad as Cultural Icon, page 4
Betsy Fahlman
Professor of Art History, School of Art Arizona State University
Tempe, Arizona
The View from the Passenger Car Vestibule: Travelers Interact with the Passing Landscape, page 10
Carlos A. Schwantes
St. Louis Mercantile Library Endowed Professor of Transportation Studies, Department of History
University of Missouri-St. Louis St. Louis, Missouri
The American Railroad Advertising Booklet, 1870-1950, page 20
Michael E. Zega
Co-Author of Travel by Train: the American Railroad Poster, 1870-1950
New York, New York
Vision of the West: The Burlington Northern & Santa Fe Railway Collection, page 26
Suzanne L. Burris
(Former) Curator and Archivist
BNSF Railway Company
Instructor of Art, Department of Art, Graphic Communication & Photography Tarrant County College
Fort Worth, Texas
Thomas Cole and the Railroad: Ungentle "Maledications," page 32
Alan Wallach
Ralph H. Wark Professor of Art &
Art History and Professor of American Studies
College of William & Mary
Williamsburg, Virginia
The Train in the Pastoral Landscape, page 40
Kenneth W. Maddox
Art Historian, Newington Cropsey Foundation
Hastings-on-Hudson, New York
"And Picturesque It Everywhere": The Baltimore & Ohio Artists' Excursion of 1858, page 48
Leo G. Mazow
Curator of American Art, Palmer Museum Pennsylvania State University
University Park, Pennsylvania
The Most Picturesque and Wonderful Scenery: Illustrations from the Pacific Railroad Surveys, page 56
Ron C. Tyler
Professor of History,
Center for Studies in Texas History University of Texas at Austin
Austin, Texas
An Electrifying View of Chicago: Interurban Railway Posters, page 67
John Gruber
President,
Center for Railroad Photography & Art Madison, Wisconsin
Cover. Land of the Pueblos, ca. 1949, by Willard F. Elms is one of the last images in a poster campaign that ran for some 50 years. The Santa Fe Railway featured the southwestern landscape and its native inhabitants in its marketing. Collection of John W. Barriger III National Railroad Library, University of Missouri-St. Louis.
Title page: Implicit in this depiction of the Chicago, Burlington & Quincy's Railroad's streamlined Zephyr from 1934 was a renunciation of railroading's past and an embrace of the modern. From a menu illustration by Ralph Haigh. Collection of John W. Barriger III National Railroad Library, University of Missouri-St. Louis.
Preface
"They felt a railway train as power," wrote Henry Adams about the artists of his day in The Virgin and the Dynamo (1900), "yet they ... constantly complained that the power embodied in a railway train could never be embodied in art." If the artists of Adams' day lacked the stylistic means to convey railroading's power, they soon learned-as poets had before them-how to do just that. They recognized power as an essential, even emblematic aspect of railroading. Yet power was (and is) but one aspect of the railroad's multifaceted challenge to artists. Railroading's visual drama is as diverse as it is timeless; as long as flanged wheels roll on steel rails, artists will be drawn to capture its essence, whatever they perceive it to be.
Accordingly, railroad art offers researchers of all kinds an inexhaustible trove of themes to explore. Attendees of the John W. Barriger III National Railroad Library's symposium, Iron Icon: the Railroad in American Art, experienced that diversity firsthand through nine presentations ranging in time and theme from the very beginning of railroad painting in which trains were sometimes seen as intruders in the landscape to today when railroad travel offers a self-consciously aesthetic view of the landscape in sharp contrast to air travel. We are pleased to make the work of the scholars who participated in this symposium more widely available. Henry Adams himself, we think, would be impressed by the scope of their topics and the depth of their insights.
Special thanks are extended to our speakers, as well as Julie Dunn-Morton, Woodcock Curator of American Art at the St. Louis Mercantile Library, who helped organize Iron Icon, and for his advice and assistance, John Neal Hoover, Executive Director of the St. Louis Mercantile Library. Most of all, we are grateful to the Burlington Northern Santa Fe Foundation, without whose generous financial support this symposium and its publication would not have taken place.
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