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Editorial label

Harold LeClair Ickes' brev til Udviklingsministeriet - Et ikonisk dokument om kunst og offentlig tjenesteydelse i USA’s Nye Deal æra. Kunstreproduktion til salg!

Discover Harold LeClair Ickes (1874-1952), American politician & advocate for the arts. As Secretary of the Interior, he shaped environmental policy and supported artists – explore his legacy!

Giclée / Kunsttryk

Giclée- eller lærredstryk i museumskvalitet med hurtig produktion og fleksible muligheder for finish. ( Køb håndmalet maleri Skift til digitalt billede)

Corner sample of the P118B picture frame: støbt polystyren, 5 cm wide and 3 cm thick
P118B Dkr10
Corner sample of the P118H picture frame: støbt polystyren, 5 cm wide and 3 cm thick
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Corner sample of the P438Z picture frame: støbt polystyren, 5.5 cm wide and 3.5 cm thick
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Corner sample of the P508YH picture frame: støbt polystyren, 7 cm wide and 3.5 cm thick
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Corner sample of the P805H picture frame: støbt polystyren, 5 cm wide and 3.5 cm thick
P805H Dkr10
Corner sample of the P805Z picture frame: støbt polystyren, 5 cm wide and 3.5 cm thick
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Corner sample of the P919BZ picture frame: støbt polystyren, 7 cm wide and 3.5 cm thick
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Corner sample of the P919G picture frame: støbt polystyren, 7 cm wide and 3.5 cm thick
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Corner sample of the P919XJ picture frame: støbt polystyren, 7 cm wide and 3.5 cm thick
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Corner sample of the P959ZH picture frame: støbt polystyren, 5 cm wide and 3 cm thick
P959ZH Dkr10
Corner sample of the P968JZ picture frame: støbt polystyren, 6 cm wide and 4 cm thick
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Corner sample of the W106C picture frame: massivt træ, 5 cm wide and 3 cm thick
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Corner sample of the W218G picture frame: massivt træ, 5 cm wide and 3 cm thick
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Corner sample of the W218JH picture frame: massivt træ, 5 cm wide and 3 cm thick
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Corner sample of the W218Y picture frame: massivt træ, 5 cm wide and 3 cm thick
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Corner sample of the W307PJ picture frame: massivt træ, 6 cm wide and 3 cm thick
W307PJ Dkr10
Corner sample of the W316G picture frame: massivt træ, 6 cm wide and 3 cm thick
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Corner sample of the W316PJ picture frame: massivt træ, 6 cm wide and 3 cm thick
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Corner sample of the W316Y picture frame: massivt træ, 6 cm wide and 3 cm thick
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Corner sample of the W398PJ picture frame: massivt træ, 5 cm wide and 3 cm thick
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Corner sample of the W4111J picture frame: massivt træ, 6.5 cm wide and 3.5 cm thick
W4111J Dkr10
Corner sample of the W500HY picture frame: massivt træ, 7 cm wide and 5 cm thick
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Corner sample of the W500JH picture frame: massivt træ, 7 cm wide and 5 cm thick
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Corner sample of the W692G picture frame: massivt træ, 8 cm wide and 4 cm thick
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Corner sample of the W849H picture frame: massivt træ, 5 cm wide and 3 cm thick
W849H Dkr8
Corner sample of the W940BG picture frame: massivt træ, 7.5 cm wide and 4.5 cm thick
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Corner sample of the W953PJ picture frame: massivt træ, 6 cm wide and 3.5 cm thick
W953PJ Dkr8

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Samlet pris

Dkr 411

Editorial label

Giclée / Kunsttryk

Størrelse på reproduktion

-

Samlet pris

Dkr 411

Hurtige fakta

  • Influences: Natural history museums
  • Title: Editorial label
  • Subject or theme: Public relations
  • Movement: Not primarily an artist
  • Location: U.S. Department of the Interior Museum (Washington, United States)

Kunstquiz

Der er kun ét korrekt svar på hvert spørgsmål.

Spørgsmål 1:
Hvad er hovedtemaet i billedet \"Editorial label\"?
Spørgsmål 2:
Hvornår blev billedet taget, dokumenterende denne brevekørsel?
Spørgsmål 3:
Harold Leclair Ickes var Sekretær for Interiør under hvilken præsident?
Spørgsmål 4:
Hvilken teknik kendes billedet efter?
Spørgsmål 5:
Hvad symboliserer udsendelsen af dette brev?

Editorial Label - Harold LeClair Ickes: Et Udtryk for Pragmatisk Idealisme

Harold Leclair Ickes’s legacy extends far beyond his unprecedented thirteen-year tenure as Secretary of the Interior under Franklin D. Roosevelt – en præstation der cementerede hans plads som en af amerikansk historie mest betydningsfulde figurer. Hans tidlige liv var præget af vanskeligheder; tabet af hans mor i ung alder og et forhold til hans far, der var lidt fjollet, fik ham til at udvikle selvstændighed og dyb empati for dem, der stod over for udfordringer – kvaliteter, der ville definere hans karriere. Han studerede ved Chicagos Universitet og finansierede sine studie økonomisk, hvorved han senere fik både en bachelorgrad i kunst og jura. Denne akademiske baggrund gav ham et fundament til at forstå kompleksiteten af offentlig ansvarlighed og vigtigheden af kulturel udvikling – noget han ville bringe med sig ind i hans arbejde som minister. Denne enkelte fotograf præsenteres ikke blot som dokumentation af en historisk begivenhed, men som et udtryk for Ickes’ filosofi om kunstens rolle i samfundet. Fotografiet er taget omkring 1941, hvilket placerer det direkte i konteksten af Anden Verdenskrig – en tid præget af akut nationale bekymringer. På trods af denne angst var Ickes fast besluttet på at videreføre sin vision om et museum, der skulle tjene som både uddannelsesmæssig ressource og symbol på amerikanske værdier – hvilket understreger hans forståelse for kunstens transformative kraft til at inspirere en borgerskab i stand til at møde komplekse udfordringer med visdom og compassion. Fotografiet er præget af et klassisk fokus på detaljer og klarhed, hvilket afspejler Ickes’ værdier om effektiv kommunikation og offentlig ansvarlighed. Det centrale tema i fotografiet er en officiel brevekschang mellem præsident Harry S Truman og Harold LeClair Ickes – Sekretær for Interiøret. Brevet blev udstedt den 19. juni 1941 og repræsenterer ikke blot et eksempel på politisk kommunikation, men også et ønske om at fremme kunstneriske initiativer inden for statslige institutioner. Fotografiet fanger en øjeblikkelig dokumentation af denne vigtige dialog mellem to prominente personer – hvilket vidnesbyrd om Ickes’ tro på regeringens mulighed for aktivt bidrage til kulturel udvikling og miljøbeskyttelse. Det er et udtryk for hans erkendelse af, at kunst ikke blot skal være en æstetisk oplevelse, men også en katalysator for samfundsmæssig refleksion og engagement. Udtrykket "Diorama" – eller lille modell – har været brugt i naturhistoriske museer siden slutningen af 1800-tallet, hvor kunstnere begyndte at skabe små scenarier, der efterlignede naturlige miljøer. Denne teknik blev perfektioneret af Harold LeClair Ickes og hans kollega Ned J. Burns, som var ansvarlige for at udvikle museets nye udstillingstilgang. Fotografiet illustrerer denne metode ved hjælp af en lille scenisk modell, hvor detaljer er præcist gengivet i forhold til den større baggrundsbillede – hvilket skaber illusionen om større dybde og perspektiv. Denne kunstneriske stil blev valgt for at kommunikere komplekse ideer på en effektiv måde og samtidig fremhæve museets fokus på miljøbeskyttelse og naturhistorisk forskning. Fotografiet er et vidnesbyrd om Ickes’ engagement i både kunst og videnskab – hvilket afspejler hans forståelse for vigtigheden af interdisciplinære samarbejde til at løse globale udfordringer.

Spørgsmål og svar

Hvilken stemning og hvilke følelser forenes i "Editorial label"?

Stemningen i "Editorial label" af Harold LeClair Ickes er Elegant, og dens følelsesmæssige tone er Rolig.

Hvilken størrelse og orientering anbefales til et print af "Editorial label" af Harold LeClair Ickes?

Størrelse Stor, Portrætformat orientering: dette er den anbefalede printopsætning til "Editorial label" af Harold LeClair Ickes.

Hvilken teknik er "Editorial label" udført med?

"Editorial label" af Harold LeClair Ickes er udført i Akryl på lærred. Reproduktionerne har til formål at gengive denne tekniks visuelle udtryk.


Kunstnerbiografi

A Life Dedicated to Public Service and the Arts: Harold LeClair Ickes

Harold LeClair Ickes, born in Altoona, Pennsylvania, in 1874, was a figure whose influence extended far beyond the realm of American politics. Though best known for his unprecedented thirteen-year tenure as Secretary of the Interior under President Franklin D. Roosevelt – the longest anyone has held that office – Ickes’s commitment to progressive ideals and his quiet but significant support for the arts cemented his place as a pivotal figure in 20th-century American history. His early life was marked by hardship; the loss of his mother at a young age and a somewhat distant relationship with his father instilled in him a sense of self-reliance and a deep empathy for those facing adversity, qualities that would define his career. He pursued higher education at the University of Chicago, initially working to finance his studies, eventually earning both a Bachelor of Arts and a law degree. This academic foundation provided him with the tools he needed to navigate the complex world of politics and public administration.

The New Deal Architect and Champion of Social Justice

Ickes’s appointment as Secretary of the Interior in 1933 coincided with the depths of the Great Depression, and he immediately threw himself into implementing President Roosevelt's ambitious New Deal programs. He oversaw the Public Works Administration (PWA), a massive undertaking that constructed vital infrastructure across the nation – bridges, dams, schools, hospitals – providing employment to millions during a time of widespread economic hardship. Beyond simply building structures, Ickes envisioned these projects as catalysts for social and economic revitalization. He was known as “Honest Harold” due to his meticulous management of funds and unwavering commitment to transparency, a rare quality in an era often plagued by corruption. But his dedication wasn’t limited to infrastructure; Ickes was a vocal advocate for civil rights at a time when such positions were politically risky. He championed the cause of African Americans, integrating the Department of the Interior and supporting artists like Marian Anderson when she faced discrimination. His actions demonstrated a profound belief in equality and social justice, principles that guided his decisions throughout his career.

A Patron of the Arts: Fostering American Creativity

While not an artist himself, Harold Ickes played a crucial role in fostering the arts during the New Deal era. Recognizing the power of art to uplift spirits and provide employment, he championed programs that supported artists through the PWA and other initiatives. He understood that artistic expression was essential to the cultural fabric of the nation and actively worked to ensure its survival during challenging economic times. Ickes’s support wasn't merely financial; he genuinely appreciated the work of American artists and believed in their ability to capture the spirit of the age. Though often overshadowed by his political achievements, this aspect of his legacy is increasingly recognized as a vital contribution to the flourishing of American art during the 1930s and 40s. His influence helped shape a generation of artists who would go on to define American artistic identity.

Legacy and Historical Significance

Harold LeClair Ickes’s impact resonates far beyond his years in public office. His unwavering commitment to social justice, environmental conservation, and the arts left an indelible mark on American society. He was a complex figure – often described as gruff and uncompromising – but beneath that exterior lay a deep sense of integrity and a genuine desire to improve the lives of others. His tenure as Secretary of the Interior laid the groundwork for many of the environmental policies we rely on today, and his advocacy for civil rights helped pave the way for future progress. He was a man ahead of his time, recognizing the interconnectedness of social, economic, and cultural well-being. His story serves as a reminder that true leadership requires not only political acumen but also a profound moral compass. Even today, his name is associated with public housing projects in Chicago – the Harold L. Ickes Homes – a testament to his enduring commitment to providing affordable housing for all Americans. His legacy continues to inspire those who strive to create a more just and equitable world.
Harold LeClair Ickes

Harold LeClair Ickes

1874 - 1952 , United States of America

Kort om kunstneren

  • Full Name: Harold Leclair Ickes
  • Nationality: American
  • Date Of Birth: 1874
  • Date Of Death: 1952
  • Place Of Birth: Altoona, United States of America
  • Notable Artworks: ['Editorial label']
  • Artistic Movement Or Style: Not primarily an artist
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