5 research outputs found
Juvonen (Helmi) interview, 1977
No full textButte, Montana, United StatesIn this somewhat disjointed interview, Ms. Juvonen speaks about learning to paint, attending Cornish School of the Arts, her interest in Native American culture, and her friendships with Mark Tobey and Morris Graves.
The interview was conducted at Oakhurst Convalescent Center, and various interruptions and distractions occur during the interview due to activity and caretakers in the room. Additionally, the audio was recorded as part of a larger film project, and intermittent beeps and comments from cameramen can be heard throughout the recording. Any recording pauses due to adjustments of camera equipment are noted in the transcript.
Subject timestamps: (0:44) Father was musician, (1:11) Attendance at Queen Anne High School, (2:00) Learning to paint as a child, (2:38) Attending Cornish, meeting Mark Tobey, (5:00) Teaching Pehr Halston to paint, (7:04) Interest in Native American culture, (8:23) Doing portraits in art school, (9:45) Making a living as an artist, (10:30) Native American imagery in work, (11:00) Feast of the Condor, (12:07) Bird imagery in work, (12:30) Rise of Mark Tobey, Morris Graves, (13:30) Similarity to Emily Carr's work, (14:19) Scholarship from Eddys, assistance from Dr. Fuller, (17:34) Painting made for Pope Paul, (18:00) Drawing and painting as a child, (19:04) Moving to Alki Point, (20:05) Friendship with Wesley Wehr, (21:54) Prints and puppet work, (23:26) Destruction of Alki home, (24:50) Making a living during the depression, (26:42) Working at Oakhurst, (29:13) Color choices in work, (31:27) Interest in Native American masks, ceremonies, (33:27) Use of Native American colors, (34:10) Influence of Northwest environment on Mark Tobey's work, (35:42) Giving art materials to Pehr, (36:17) Perception of career, work, (38:36) Work at Boeing during WWII, (39:40) Move to University District, (40:57) Variety in her work, importance of selling work, (42:47) Lack of gallery representation, (43:43) Artists as practical people, (44:36) Value of natural light, studio space, (46:47) Mark Tobey's white writing paintings, (47:57) Use of white oxide, (48:47) Interest in Native American masks, visual motifs, (56:57) Humor in work, (57:17) People and animals together in petroglyphs, nativity scenes, (58:57) How people become painters, (1:01:15) Show at Pacific Northwest Arts Council, (1:01:25) Stolen art
This accession is part of the Archives of Northwest Art.To request a high resolution or uncompressed reproduction, or to obtain permission to use any portion of this item, contact the University of Washington Libraries, Special Collections. Email: [email protected]. Please reference the Digital ID Number
Juvonen (Helmi) interview, 1970
No full textButte, Montana, United StatesInterview consists of a recorded conversation between Juvonen and Wes Wehr during a lunch visit and subsequent drive to Oakhurst Convalescent Center in Elma, Washington. Other conversation participants are Carol Pearl, Gary Lundell, and Sara Navarre. Juvonen speaks about her interest in various Native American tribes, her time at Oakhurst, and recalls various friends and events in her life. She frequently speaks about Mark Tobey, Morris Graves, and Nellie Cornish.
Subject timestamps: (2:40) Current work with petroglyph paintings and rice paper, (4:00) Portrait subjects, (4:37) Recollections of Glenn Kerry and Nellie Cornish, (5:25) Tobey's role at Cornish, (6:11) Tobey's painting advice to Helmi, Pehr Hallsten, (8:00) Her health and updates on old friends, (10:00) Work on isometric perspectives for Boeing, (11:24) Experience with Yakamas, other Native American tribes, (15:00) Tobey's musical compositions, (15:43) Working with puppets at Cornish, (16:22) Henry Art Gallery, (17:22) Tobey's exhibit at Bon Marche, common perceptions of modern art, (19:00) Difficulty in obtaining supplies for her art, (21:30) Finnish background, early family history, (24:25) Sending letters and drawings, correspondence with President Lyndon Johnson, (25:37) Mention of Pablo Picasso, Georges Pompidou, and Marc Chagall, (28:38) Selling sketches at department stores during the Depression, (29:07) Tobey and Morris Graves' work for Federal Art Project, (29:07) Morris Graves, property in La Conner, (31:53) Japanese arts, Bon Odori painting for newspaper, (34:26) First show of paintings at Harry Hartman's, (36:36) Changes to neighborhood around University Way, (37:11) Benefits of traveling, (38:52) Interest in books on Northwest Native American Art, National Geographic, (40:59) Use of white in paintings, (41:46) Studies at Cornish, (44:13) Work at Bon Marche doing murals and Christmas displays, (45:26) Giving Pehr Hallsten his first paint set, (47:03) First meeting of Helmi and Wes at Henry Art Gallery, (51:11) Tobey's occasional discouragement with painting, (52:34) Trips to Neah Bay, (54:04) Superstitions, feelings about the past and future, (57:21) Exhibiting in a museum, making a living as an artist, (59:09) Writing poetry and children's stories, illustrating books, (1:00:41) Mystical qualities in Morris Graves' paintings, (1:01:55) Salish reservation in Oakville, (01:02:48) Paintings of political leaders- Hitler, Churchill, and Eisenhower, (1:03:43) Childhood activities- flying kites, playing instruments, square dances, (1:08:56) Dinners at Tobey and Pehr's house, (1:10:01) Attending Baha'i meetings with Tobey and Pehr, (1:10:52) Religious beliefs of Native American tribes, founding of Shaker religion, (1:14:02) Collecting petrified mussels, berries, (1:15:42) Sketches of Native Americans, painting museum objects, (1:19:10) Teaching lessons in Sunday school, (1:20:44) Description of life at Oakhurst
Recording begins mid-conversation. Background noise is prevalent throughout interview, which takes place in a cafe and car. Recording stops and starts at various points during interview as group finishes lunch and changes locations. Transcript includes handwritten notes and corrections.
This accession is part of the Archives of Northwest ArtTo request a high resolution or uncompressed reproduction, or to obtain permission to use any portion of this item, contact the University of Washington Libraries, Special Collections. Email: [email protected]. Please reference the Digital ID Number
Woodcut, "Tlingit Inside House Post" by Helmi Juvonen, ca. 1930-1950
No full textIt is thought that this print features two lodge poles that were on display at the Burke Museum of Natural History & Culture in Seattle for many years. The poles depict the story of Kaats' and they were stolen from the Gaash Village in Cape Fox, Alaska, as part of the Harriman Alaska Expedition in 1899. In 2001, these two poles were part of a major repatriation case whereby they were returned to the Saanya Kwáan Tlingit people of Cape Fox. Helmi Juvonen (1903-1985) was a Seattle artist and a member of the Northwest school. Her parents were Finnish immigrants whose family moved to Seattle in 1918 where she attended Queen Anne High School and Cornish College of the Arts. Helmi is best known for her prints, paintings, and drawings, and she had an interest in native art as shown in this woodcut.1 Woodcut; Materials: rice paper --ink; Dimensions: 17 in.H x 11.75 in.
Islamic financial contracting forms in Saudi Arabia: Law and practice
No full textThis thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel UniversityThe main objective of this research is to examine whether the current practices of Islamic banking and financial activities in Saudi Arabia are compatible with the principles of Shariah. This examination includes the current uses of sukuk (Islamic bonds), the models of takaful (Islamic insurance) and accepted risk transfer mechanisms in Islamic structured finance (Islamic derivatives). The second purpose is to investigate the basic laws of banking and financial activities in Saudi Arabia and examine whether they are compatible with Shariah principles. The final aim is to suggest solutions to the absence of regulatory and supervisory systems of Islamic finance in Saudi Arabia by proposing a legislative and regulatory framework for Islamic banking and finance in Saudi Arabia.
The research findings show that there are no specific laws and regulations governing Islamic banking and financial activities in Saudi Arabia. In addition, there is no independent central Shariah board to regulate and supervise Islamic banking and financial activities in Saudi Arabia, nor are there are any specialised commercial courts to look into banking issues. The research finds that there are some articles in the law of supervision of cooperative insurance companies in Saudi Arabia, and its implementing regulations, which do not comply with Shariah, and in addition, there is some incompatibility between the law and its implementing regulations. The final finding is that the issuance of sukuk and Islamic financial derivatives in Saudi Arabia are not consistent with Shariah requirements, due to the absence of regulatory policies and supervisory harmonisation, while Islamic insurance needs to amend some articles of the law of supervision of cooperative insurance companies in Saudi Arabia, and its implementing regulations, in order to comply with Shariah and also to avoid incompatibility between them
