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Cutaway of the Chrysler Gas Turbine Engine Model A-249
No full textThis preliminary drawing for the Chrysler gas turbine engine model A-249 was executed by the design supervisor Robert F. Pauley (1924-2020) of the Chrysler Corporation. A respected engineer and designer in the Chrysler Research Department to engineers and draftsmen, he worked twenty-seven years at the Chrysler Corporation in Highland Park, Michigan on the Turbine Engine Program. This department was started in 1933 by the design engineer Carl Breer and became instrumental in the creation of airflow cars, the XI-2220 aircraft engine and the engine for the turbine automobile, which later developed into the M1 tank engine. The intricacy of this drawing is representative of the work of Robert F. Pauley who furthered the advancement of gas turbine technology. He was greatly admired for his ability to translate design concepts spontaneously in meetings with Chrysler engineers as they collaborated on projects. A noted author on aviation history, he was a founding member of the Society of Air Racing Historians.https://digitalcommons.kettering.edu/selections_archives_humanitiesartcenter/1004/thumbnail.jp
Consequential Referendum
No full textConsequential Referendum, lithograph, 1992.6 (above)
Flower Children 1, lithograph, 1992.5.1 (additional attachment)
Flower Children 2, lithograph, 1992.5.2 (additional attachment)
John Stockton De Martelly (1903-1979) was an internationally known lithographer, painter and illustrator, who studied at the Academy of Fine Arts in Philadelphia, the Carnegie Institute of Technology in Pittsburgh, the Accademia di Belle ArtI in Florence and the Royal College of Design at the Victoria and Albert Museum School in London. In the 1930-1940\u27s, he taught printmaking at the Kansas City Art Institute as the Head of the Graphic Arts Department and became friends with the American Regionalist painter Thomas Hart Benton. His early works were inspired by Thomas Hart Benton and they shared an interest in the depiction of the rural American landscape. When Thomas Hart Benton was fired at the Institute, John De Martelly was offered his position as the head of the painting department, however he refused and severed his association with the school. He then left for New Hampshire to concentrate on producing lithographs for the Associated American Artists Galleries, Inc in New York. By the late 1940\u27s he abandoned the regionalist style for abstract art and was acknowledged as an expert lithographer and teacher of the medium. The three pieces illustrated in the Kettering University Collection are examples from his later period, which he described in his writings as influenced by cubism, surrealism, and expressionism. In 1943, he was asked to join Michigan State University as a Professor of Art and later Artist-In-Residence, a position he held for twenty-six years. A retrospective of his work was held at the university in 1970 honoring his teaching and art career. He also was a Consultant Director in printmaking at the Cranbrook Academy of Art in Bloomfield Hills, Michigan for over seventeen years and a juror and exhibitor at the General Motors Styling Center in Warren, Michigan, The Flint Institute of Arts, the Detroit Artists Market and the Detroit Institute of Arts. He also published work in Time and Life magazines, created advertising work, as well as created illustrations in fine art books. His work is held in numerous museums throughout the United States.https://digitalcommons.kettering.edu/selections_archives_humanitiesartcenter/1016/thumbnail.jp
Automobile Sketch, Black Sedan
No full textRichard Howard Stout (1920-1996) received a degree in Physics from Williams College and afterwards took a course in the Harley Earl Corporation Detroit Institute of Automotive Styling. Harley Earl was the General Motors Head of Design 1925-1958. The advertisements for the course exclaimed, This course is scientifically tested. It explains the techniques in creating tomorrow\u27s cars for one of the big three.
Stout soon began his career in 1947 at General Motors as a designer and from 1950-1966 he worked for Lincoln-Mercury, Studebaker-Packard, and Edsel as a product planner. He is known for his work in the General Motors \u27body interchangeability program\u27, in which basic car bodies were utilized in various models. This study was documented in his article, \u27Body Politics: An Explanation of General Motors 1950-1953 B and C interchangeability program by one of the designers who helped make it work\u27 published in 1977. He was a noted consultant on automotive history and in 1988 published the book \u27Make \u27em Shout Hooray!\u27 which details his career in the industry.
These sketches were created during his early styling course period in 1946-1947. They are reflective of the streamlined automotive body concepts designed by Harley Earl. The accentuated white highlights emphasize an interest in aerodynamics through the use of curvilinear glass, the voluminous car body, and highly polished chrome.https://digitalcommons.kettering.edu/selections_archives_humanitiesartcenter/1009/thumbnail.jp
Seven Ages of Man
No full textIn recognition of National Library Week, April 2-9, 2022, the artwork \u27The Seven Ages of Man\u27 by Rockwell Kent is being highlighted. The illustrations, \u27Boy with Books\u27 and \u27Embrace\u27, are from a 1918 portfolio inspired by As You Like It by William Shakespeare.
Rockwell Kent (1882-1971) began his studies at the Columbia University School of Architecture, however, his summers spent at William Merritt Chase\u27s art school in Long Island shifted his educational focus to the permanent study of art. His scholarship to the Art Students League in New York expanded his network of American artists, which included Robert Henri, George Bellows, Abbott Handerson Thayer and Edward Hopper. His early landscape paintings were first shown at the Society of American Artists in 1904 and his first solo show was held at the Clausen Galleries in 1907 in New York.
In the 1920\u27s, Rockwell Kent began experimenting in various forms of printmaking, which included bookplates and illustrations for classic literature limited book editions such as Moby Dick by Herman Melville and Chaucer\u27s Canterbury Tales. His art and writing were inspired by his explorations to rugged terrains as Alaska and St. John\u27s Newfoundland between 1935-1962. His 1930 memoir, N by E, documented his voyage from New York Harbor to Greenland and is an example of his literary work. His work features symbolic motifs from the natural world as mountains and starry landscapes to create a sense of wonder.https://digitalcommons.kettering.edu/selections_archives_humanitiesartcenter/1001/thumbnail.jp