46 research outputs found
[Other Offset Lithographs 25]
No full textChristmas card of three Wise Men in blue and red carrying gifts to a seated Mary with baby Jesus.happy Christmas Sisters E Catich (in handwritten script)
WE HAVE SEEN HIS STAR & HAVE COME TO ADORE HIM
FATHER CATICHTiff file: 1885x1900 pixels, 10.2 Mb; Display: jpeg, 471x475 pixels, 75dp
[Hauberg Technical Ink Drawings BOH 1536]
No full textBiology text illustrations. Eight images on one board. Drawings include: three skulls on a grid - human and non-homo sapien or ape, a spider, vertebrae, cross sections, star, and cells.Illustrations for Msgr. U.A. Hauber's BIOLOGY TEXT Drawn 1933-34 by E. Catich artery vein capillaries neural spine neural canal centrum blood canal haemal spine transverse process mesogloea endoderm ectoderm mesenteriesTiff file: 1819 x 2285 pixels, 23.8 Mb; Display: jpeg, 637 x 800 pixels, 72dp
[Calligraphy Broadsides 05]
No full textBroadside. "G" in green, rust/orange, grayAmong those who are interested in the history of the Roman alphabet it is generally taken for granted that the letter shapes throughout Europe have been derived from inscriptions which were cut in stone during the Roman Imperiare. Of paramount importance among these monumental inscriptions is that on a tablet at the base of the TRAJAN column in Rome. Indeed it is dignity, the elegance, and the legibility of these inscriptions from the age of Emperor Augustus through that of Trajan and Hadrian that has given such general acceptance to the theory that they are the origins of subsequent letter shapes used in the western world. I cannot, however, accept that theory without some reservations. In fact, I reject that theory. Oct. 29 ’67 E. Catich
Inscription letters are carefully-made display letters (littera actuaria) written with the sign-writers brush by a librarius (book scribe) turned display-sign-writer. The display letter, littera acturia, in turn, was derived from the librarial bookhand, i.e, littera libraria, - the formal, restrained calligraphic script used in books.Tiff file: 1704 x 2272 pixels, 11.1 Mb; Display: jpeg, 604x687 pixels, 75dp
[Calligraphy Broadsides 33]
No full textMixed media broadside with center image of seated Mary holding Christ child surrounded by angels singing with one playing the harp and text underneath "Let every heart that longs for the lord rejoice!"Calligraphy in Ancient Rome.
There are many obstacles to a proper understanding of writing and lettering in ancient Rome. The Romans wrote no lettering texts; left few abecedaria (alphabet models) and these few are the product of calligraphically untutored, plebian scribes – mostly children – learning to write. The scant calligraphic artifacts residing in museums tell us little about Roman lettering methods and calligraphic thinking. We are further handicapped by calligraphic-paleographic research and lettering manuals written since the Renaissance. Authors of lettering texts, typographic designers, calligraphers & historians of alphabetology have been one-sided in their approach to the lettering arts of antiquity, insisting that such lettering e.g., imperial inscriptions was of the hard tool, variety i.e., done by the square-edged reed, pen and quill, all hard-tools. They ignored the real tool-the chisel edged brush, a soft tool – responsible for fine Imperial architectonic majuscules. For example, here is what Graily Hewitt, author of the excellent text titled Lettering, and the most illustrious of Edward Johnston’s pupils, has to say about the soft tool the chisel-edged brush: “It is hard for the sign-writer to admit that his brush had nothing whatever…to do with the formation and technical development of the Roman alphabet.” p.23
Hewitt’s statement was picked up by others including the American authors Oscar Ogg, An Alphabet Source Book, p.37, and Warren Chappell, The Anatomy of lettering, p.4, both deriving that the sign-writers had anything to do w[ith] the formation of the Roman alphabet. Hewitt and his cribbers are guilty of gross error. The fact is the soft brush had EVERYTHING TO SAY ABOUT ROMAN LETTERS. The soft, square, sign-writer’s brush was the sole determinant for every facet and quirk of classic, Roman majuscules; their curves, lobes, tails, fillets, swells, flicks, internal junctures, thick-thin relationships, arms, bars, even each and every serif and stroke ending. E. Catich, 2-17-76Tiff file: 1704x2272 pixels, 11.1 Mb; Display: jpeg, 600x775 pixels, 75dp
[Calligraphy Broadsides BOH 1576]
No full textLetters and decorative design in red, blue, orange. Image in center of composition depicts Mary holding infant Jesus. Both are wearing modern cloths. A cross is on Christ's t-shirt. Pasted on, around the image of Jesus, is "Let the heaven's rejoice ... because he cometh" Drops of paint, or wax, in silver and gold are on the sheet.ART IS NOT FREEDOM FROM DISCIPLINE BUT DICIPLINED FREEDOM. There is a notion among artists today that one should let his subconscious speak rather [than] allow the intellect to direct one's art production. I recall, yrs. [years] ago, one of the professors at the Univ. of Iowa urging us graduate art [students] to visit a newly installed exhibit in the University art gallery. His closing admonition to us was that "... we were "...to park our minds and intelligence at the gallery door, enter, and to let our emotions speak." Only in this way, he said, "...would we understand what the artist was aiming at." Too much art produced today by-passes the mind with the result that we have 'automatic painting' and 'kinesthetic jerkery' as well as the exteroceptive sensory response [action painting], that is, soul writing of the inner man. Of course allowing emotions & one's feelings to enter into a work of art is not wrong, indeed desirable, provided it is correctly proportioned to a legitimate end. It becomes wrong when the emotions become the guiding directrix of one's actions. We see the disastrous results of this aberration in daily life, e.g., the angry man who lets his emotions override his reason; the result, murder; or the girl who indulges her emotions whose end result is pregnancy-followed, in some instances, with murder - by way of abortion. REASON is man's highest faculty, his most precious to which all else must bow. Nothing is above reason; neither government, party, not even God who created that reason and who gave man that other gift FREEDOM of choice - even to abuse his reason and thus to to allow a lower faculty, feelings, to dominate REASON, man's highest faculty. Emotions, wonderful God given gifts - should enter into each art expression but never at the expense of reason - a much higher gift - if not man's hightest. Art is not freedom from discipline, but disciplined freedom. [At the bottom left on the matboard : "A new, eternal star, brighter than any sun has arisen, and has made a path through the pathless night."]Tiff file: 2029 x 1818 pixels, 21.1 Mb; Display: jpeg, 717 x 800 pixels, 72dp
[Demos For Students 06]
No full text8 small rural scenes. Bottom right image has full signature and date. The remainder are initialed "EC". Includes houses, cattle, people, silos, churches and other buildings.Tiff file: 3860x2940 pixels, 32.5 Mb; Display: jpeg, 600x457 pixels, 75dp
Butte Montana as I remember it
No full textThree figures walking into city, dark sky, trees, tower, ten total buildings - seven orange, one green, one blue, and one red.Butte Montana as I remember itTiff file: 1042 x 1592 pixels, 4.75 Mb; Display: jpeg, 600 x 917 pixels, 75dp
[Pictoral Slate BOH 1324]
No full textSaint, with halo, floating in the stars wearing blue robe and pink shoes. Pink, blue, silver, and gold lines fly up from bottom of slate. Surrounded by wood frame with glue decorations.Tiff file: 2578 x 1605 pixels, 23.7 Mb; Display: jpeg, 498 x 800 pixels, 72dp
[Pictorial Slates 23]
No full textSacred head of Jesus in purple with 12 red dots around green halo.Tiff file: 2272x1704 pixels, 22.2 Mb; Display: jpeg, 600x594 pixels, 75dp
[Finished Imaginary Landscapes 30]
No full textWet on wet landscape of red car driving next to lake with chickens and green and red trees on far side under grey sky.Tiff file: 1970x2940 pixels, 16.6 Mb; Display: jpeg, 493x735 pixels, 75dp
