The sun. [volume] (Newberry, S.C.) 1937-1972, June 26, 1969, Image 7
The Newberry Sun, Newberry, S. C., Thursday, June 26, 1969 — PAGE 7
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SENIOR CITIZENS of historic Saint
John’s Evangelical Lutheran Church of
Pomaria were honored in special services
Sunday. The ladies were given corsages,
and the gentlemen boutonnieres. They
are shown above, left to right, first row,
W. D. Summer, Sr., and Mrs. Summer,
Mrs. Maude Harris, Miss Julia Setzler,
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Mrs. Jessie Stoudemayer, Mrs. Sam Ber-
ley, Mrs. Janie Chapman, Miss Eula Ep-
ting, Mrs. Andrew Mayer, Mrs. Dan Ber-
ley; 2nd row, Dave Miller, Clarence Miller,
Charlie B. Stuck, Claude Boland; 3rd
row, John Mayer, G. I. Epting, J. L. Lind-
ler and Houseal Counts. (Sunphoto.)
UDC Chapter
hears talk by
Mrs. Bishop
The Calvin Crozier Chapter of
the UDC met June 2 at the home
of Mrs. A. T. Neely, Sr.
Mrs. Judson Bishop gave an
informative program on art,
music and the theatre during
the Civil War period, telling
something of the work in gen
eral and the more prominent
people of the field. Excerpts
from her program follow:
The art of this period was di
vided into three groups, land
scape genre and portrait paint
ings.
The landscape paintings of
this period followed Horace
Greeley’s advice—go West. The
mark of the school is bigness,
the artists sought grandoise and
distant scenes—The Rockies,
The Sierras, and the Andes.
Albert Bierstadt was bom in
Germany and brought to New
Bedford, Mass, as an infant. In
1863 he visited the Rocky Moun
tains and there applied himself
to great composite canvases of
that great scenery. These pic
tures won him a fortune. His
ideals correspond to that era of
expansion and discovery that
followed the Civil War.
Frederic Edwin Church filled
his canvases with the most min
utely studied details, yet kept
within reasonable breadth of ef
fect. He lacked the gift of sim
plification and selection and
therefore failed to be ranked as
a great painter.
Many of the landscape artists
were studying in Europe about
the time of the Civil War. Some
of them were Inness, Wyant,
and Martin. With these three
men the early American Land
scape school culminates.
Inness’s painting never be
came rigid. He worked in dif
ferent manners to suit his sub
jects and seemed to have two
opposing styles—one impetuous
and eager; the other classical
and elegant.
Wyant made no such varied
appeal as Inness. Much of his
work consists of variations on
a single note. In 1873 he joined
a government exploring expedi
tion to Arizona and New Mex
ico in hopes of benefitting his
health. Instead of improving,
his condition resulted in para
lysis of his right hand. He learn
ed to paint with his left hand
with no loss of skill.
The alterations of Homer D.
Martin are far more abrupt ad
ronfusing. He turned naturally
to painting and after only two
weeks instruction began to pro
duce pictures. Martin studied
nature more intimately and
more profoundly than others of
his time.
The Civil War passed leaving
no one comparable to Trumbull,
who painted scenes of the Re
volutionary War, to celebrate its
glories. Photography supplied
the record that painting failed
to provide. We get our vivid
scenes of how things looked
around the camp from Winslow
Homer. Homer was trained in
commercial lithography, but he
went to war as an artist cor
respondent. The painting which
won him recogntion was “Pris
oners at the Front”.
Eastman Johnson painted pic
tures of single figures such as
“Daydreams” > or “Knitting for
Soldiers” or in groups like “Old
Kentucky Home”.
Many of our better artists
were studying in Europe and do
ing European subjects at this
time. When they returned after
the War they found a great
change in the interest in art.
There was a change from aris
tocracy by birth to a new plu
tocracy whose interest in art
was slight and knowledge was
less. The wealthy folk visited
the New York branches of Eng
lish and French art dealers in
stead of our own American art
ists. It was difficult for an art
ist to keep his Americanism and
live.
Portrait painting was hurt by
photography by the 1840’s.
Some of the better painters of
this time were Charles Loring
Elliot and George Peter Alex
ander Healy.
Elliott was a skilful portrait
ist and about the best of his
time. He was born in Auburn,
N. Y. His father disapproved of
his profession but finally allow
ed him to go to New York where
he studied under Trumbull. Af
ter two or three years he fin
ally produced a couple of pic
tures which gave him some re
nown.
Healy made no attempt to
draw or paint until he was 16,
and only then because some of
his schoolmates showed h i m
some of their work and said he
could not do the like. He suc
ceeded beyond expectation and
was fired with ambition to per
fect himself. At 18 he opened
his studio. Work was scarce at
first. When he was 19 years old
he asked one of the social lead
ers of the time to sit for him.
She was pleased with his work
and secured other sitters for
him. His prosperity increased.
It is doubtful if any of his con
temporaries painted as many,
or of more variously distinguish
ed sitters. Webster and Clay,
Louis Philippe,and Luizot, Lin
coln and Grant, Thiers and Bam-
betta and many hundreds more
passed before his easel.
We cannot help but mention
James Abbot McNeill Whistler
who was born in Lowell, Mass,
in 1834. He attended West Point
but was discharged for a chem
istry deficiency. He found other
employment, but left that to go
to London where years later he
made his name as a painter.
More than any other region
of America, the South is haunt
ed by its past. In song and in
story its past is gracious and
warmly romantic; it is also
The South’s social framework
filled with tragedy and violence,
was formed by English aristo
crats who established many of
the early colonies. Their sons
who were reared in true “cava
lier” tradition became gallant
officers for the Confederacy.
Also from England came the
rural settlers to the South who
provided the base for the demo
cratic traditions of Andrew Jack-
son. Southern mountaineers in
isolated farming communities
still sing Elizabethan ballads
much like the English of Shake
speare’s time. And from Africa
came the Negro to work the
cotton fields, and add to the
South his rich blend of sorrow
and humor and his awe at the
supernatural. Probably the fin
est contribution to American
folk music is the Negro spirit
ual. A wealth of spirituals ori
ginated at St. Helena Island off
the coast of Beaufort. Nell
Gray don in her “Tales of Ed-
isto” vividly describes how mu
sic has always played a part
in the lives of the Negroes along
the Carolina coast. The songs
have been handed down orally
for generations.
Stephen Collins Foster, the
greatest American composer of
folk music, wrote many songs
about the South. It is too bad
that the original words have
been changed in all of his Negro
dialect songs.
• The theatre remained a part
of Southern social life even dur
ing the War. We remember it
was in the Ford Theatre in
Washington, D. C. that Lincoln
was shot. It is interesting to
note that the Dock Street Theat
er is one of the landmarks of
Charleston, and I am proud to
mention the Opera House in our
own home town.
Between 1861 and 1865 some
of the playwrights occasionally
took their themes from the war,
sometimes dramatizing events
almost as soon as they happen
ed. During this time the plays
that were performed by the
most successful companies were
in main standard British pieces.
Of course, many actors left the
stage to join the colors; others
used their talents to entertain
the soldiers.
During the 1860’s the most
brilliant company in America
was under the Wallack banner.
It is said that it could not have
been matched except by com
bining the best actors of a doz
en companies in America. It
was a company of comedians
of whom Wallack was one of
the best. Some of the outstand
ing actors of the company were
Madelin Henriques, John Gil
bert and Mark Smith.
Another great actor of the
time was Edwin Booth, the son
of an actor and brother of John
Wilkes Booth. Edwin was well
cast in many Shakespearean pro
ductions and also did memorable
performances of Julius Caesar.
After his brother shot President
Lincoln, Edwin Booth retired
from the stage for several
months. He returned and was
as great as ever.
. In 1850 Jenny Lind, “Swedish
Nightingale” made her debut in
America due to the efforts of
P. T. Barnum. She captured her
American audience not only by
her voice, but also by the grac
iousness and generosity of her
nature. She married a Boston
pianist in 1852 and returned to
England later that same year.
Major Wicker
given medals
ROME, N.Y.—U. S. Air Force
Major Arthur R. Wicker, son
of Mrs. Sudie C Wicker, 1905
Benedict St, has received the
Distinguished Flying Cross, the
Bronze Star Medal and 12 aw-
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Ful-O-Pep scientists learned how
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ards of the Air Medal for ser
vice in Southeast Asia.
Major Wicker was decorated
with the DFC for aerial achieve
ment as a forward air control
ler. He was cited for his extra
ordinary achievement while fly
ing his unarmed 0-2A aircraft
in an area of extreme enemy
fire in an attempt to locate a
downed pilot.
The Bronze Star Medal was
for his service as a forward
operating locations coordinator
at Da Nang AB, Vietnam. He
contributed to the mission of
his unit by improving living and
operational conditions.
His Air Medals were for out
standing airmanship and cour
age on successful and impor
tant missions under hazardous
conditions. He holds 13 Air
Medals.
Major Wicker was presented
the medals during ceremonies
at Griffiss AFB, N.Y., where he
is now serving as a KC-135
Stratotanker aircraft comman
der in a unit of the Strategic
Air Command.
The major, a graduate of
Newberry High School, received
his B.S.M.E. degree in 1952 at
Clemson University, where he
was commissioned through the
Air Force Reserve Officers
Training Corps program.
Major Wicker’s wife, Phyllis,
is the daughter of Mrs. O. R.
Hayden of Blackwell, Okla. Her
father resides at Lower Lake,
Calif.
The major’s father, Arthur H.
Wicker, lives on Caldwell Street.
County Building
Permits
H. B. Dominick, Prosperity,
Route 1, five room concrete
block dwelling, $20,000.
Abraham Shelton, Route 4,
improvement to dwelling, $2000.
Herman Perry, Columbia, 4-
room split level lake house,
$10,000.
Larry B. DeHart, Pomaria
Route 2, six room brick veneer
dwelling, $15,000.
Cattle-iz«r feed boosts milk
production
In test after test, cows on Ful-O-Pep
Cattle-izer feed increased better
than 10% in milk production over
control cows. In some cases the
improvement showed up within a
week, and within a month in all
cases.
Butterfat and body weight
maintained
Cows on Cattle-izer maintained their
butterfat tests and kept their body
weight as well or better than con
trol cows.
See or Call Your Local Representative
JOHN M. THOMPSON
Ph. 276-6791 Newberry, S. C.
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