Cover Page

Vol 15, No 1 (2017)

Election Day at the State House.” Painted by John Lewis Krimmel, 1815, oil, canvas. The painting depicts a festive scene in front of the Statehouse in Philadelphia, capturing the excitement of elections in the early years of American independence. Winterthur Museum of Art, Winterthur, DE.


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Vol 14, No 2 (2016)

“Shakespeare – Tempest, Act 1, Scene 1.” Painted by G. Romney, engraved by B. Smith; published by J. & J. Boydell at the Shakespeare Gallery, Pall Mall, London, 1797. The print depicts the shipwrecked sailors being washed ashore; Prospero and Miranda are standing on the right. Library of Congress Prints and Photographs Division, Washington, D.C.


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Vol 14, No 1 (2014)

“Declaration of Independence” by John Trumbull, oil-on-canvas, 1818. United States Capitol Rotunda.
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Vol 13, No 2 (2014)

Developing midwifery in the United States: Ann Brown, R.N., first African-American midwives, and young participants of a Child Health Clinic, the Mississippi Delta, 1929. Photograph from John Phillips’ family archives. Used by permission.


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Vol 13, No 1 (2013)

“Allegory of Good Government” (detail) by Ambrogio Lorenzetti, fresco, 1338. Palazzo Pubblico, Siena, Italy.


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Vol 12, No 2 (2012)

"Taking the Census" by Francis William Edmonds, oil on canvas, 1854. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.


Cover Page

Vol 12, No 1 (2011)

“The Great East River Suspension Bridge—Connecting the Cities of New York and Brooklyn,” lithograph by Currier & Ives, circa 1874. Published in: Virga, Vincent, and Curators of the Library of Congress. Eyes of The Nation: A Visual History of the United States. New York, NY: Knopf, 1997. Exhibited: American Treasures of the Library of Congress


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Vol 11, No 2 (2010)

“The Apotheosis of Washington,” 1865, by Constantino Brumidi. The fresco is located in the eye of the Rotunda of the U.S. Capitol.


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Vol 11, No 1 (2009)

Glenna Goodacre, architect. Vietnam Women’s Memorial, National Mall, Washington, DC. Dedicated November 11, 1993. Photograph by Rhonda Sincavage. Used by permission.


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Vol 10, No 2 (2008)

“In the Boss’s Office,” lithography (lubok) of the first half of the 19th century, Russia


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Vol 10, No 1 (2007)

Bas-relief sculpture on the Florida Keys Memorial, 1937. Design by Harold Lawson, development by Lambert Bemlemans.
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Vol 9, No 2 (2007)

Remington, Frederic. “Lewis and Clark on the Columbian River.” Illustration. Collier's Weekly. May 12, 1906. From Library of Congress Prints and Photographs Online Catalog.
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Vol 9, No 1 (2007)

The Celtic or Irish Harp was a favored instrument in Irish history. Harpists were policy advisors to Irish kings. Here an Irish King, before the decline of Irish nobility in the late 1600s, plays the harp himself. During the 1600s thousands of harps were destroyed in Ireland and dozens of harpists were hanged by the British who feared that they were spies fostering the seeds of revolution.


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Vol 8, No 2 (2006)

“Civil Liberties in War Times by Max Lerner: City Wide Forum,” between 1936 and 1940, Iowa Art Program, WPA. Work Projects Administration Poster Collection, Library of Congress. The Poster, showing an armored gauntlet clenched in a fist, was created for a lecture by Max Lerner, an influential liberal journalist and scholar, at Roosevelt High, Des Moines, Iowa.


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Vol 8, No 1 (2005)

“Democracy .. a challenge,” between 1936 and 1940, WPA Art Project, Chicago, Illinois. Work Projects Administration Poster Collection, Library of Congress.


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Vol 7, No 2 (2004)

“An Allegory on Public Administration,” 1656. A gravure on the cover page of the first edition of Teutscher Fürstenstaat (German Principality) by Veit Ludwig von Seckendorff (1626- 1692).


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Vol 7, No 1 (2003)

The National Maine Monument, 1913

Detail: Peace, Courage and Fortitude

Attilio Piccirilli (sculptor) and H. Van Buren Magonigle (architect)

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Vol 6, No 2-3 (2003)

"Hope," by Joy Yaffa, September 2001. Joy is a M. Sc. Student at the University of British Columbia, Vancouver, Canada. 


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Vol 6, No 1 (2002)

Poster by Vera Bock, New York, NY, the Federal Art Project of the Works Progress Administration, 1935-1943
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Vol 5, No 3 (2002)

"Teacher's Birthday," by Norman Rockwell, Saturday Evening Post, March 17, 1956


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Vol 5, No 1-2 (2001)

"On My Honor," by Norman Rockwell, "Boy Scouts" Series


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Vol 4, No 3 (2000): Public Administration History

State of Illinois poster for the Civilian Conservation Corps, part of FDR's New Deal, from the 1930's.

In March of 1933, President Franklin D. Roosevelt established the Civilian Conservation Corps (CCC), one of the many social programs to provide unemployement relief during the Great Depresssion and to develop rural areas of the United States.  The CCC provided employment to over 3 million young, unmarried men across the United States during the nine years it was in existence.  By 1942, with the outbreak of World War II, most young unmarried men were serving in the military and the CCC program came to an end.  The cover poster from the State of Illinois is representative of New Deal poster art.  


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Vol 4, No 1 (1999)

The Bureaucrat - Drawing by pen on a newspaper page.  This Soviet cartoon from the 1920s is from Red Tape from Red Square, a collection of Russian political art soon to be available on CD-ROM from Chatelaine Press. 

Artist: S. Eisenstein (world famous director of "Battleship Potemkin"), 1920s.


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Vol 3, No 3 (1998)

Cover Art

The State, War and Navy Building, Washington, D.C.

A view across 17th Street of the State, War and Navy Building, now named the Old Executive Office Building (OEOB). The west wing housed the War Department until completion of the Pentagon. Built between 1871 and 1888, for many years this was the largest federal office building in Washington, D.C. and the nation. Photograph by Charles T. Goodsell.


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Vol 3, No 2 (1997)

The Average Bureaucrat
Salvador Dali
© Salvador Dali Museum, Inc., St. Petersburg, Florida, U.S.A. Reproduced by permission of the Salvador Dali Museum, Inc.
As a Surrealist, Dali had an aversion to bureaucrats. His father,who had expelled Dali from the family home, was a notary, which is a respected bureaucratic position in Spain. The bureaucrat's portrayal is not complimentary, for seashells occupy the space in his virtually empty head. Yet, Dali's continual devotion to his estranged father is represented by the two small figures to the left of bureaucrat's head, representing the father and son as in
First Days of Spring. Ironically, nine years later a bureaucrat would be a key figure in the fate of Dali. When the artist fled Spain and the Civil War, his life or death clung to the rubber stamp of a bureaucrat at the border. The shadow, reminiscent of the shadow of Mt. Pani which overlooks the Bay of Cadaques, dominates one-third of this painting. This adds an ominous tone to the realistic portrayal of the landscape so familiar to Dali.

Caption provided by the Salvador Dali Museum, Inc.

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Vol 3, No 1 (1997)

Rene Magritte "The Blank Signature" 1965
Collection of Mr. and Mrs. Paul Mellon Board ofTrnstees,
National Gallery of Art, Washington, D.C.


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Vol 2, No 3 (1996)

The Paper "Stream"

Artist - V. Kunnap

Poet - V. Suslov

"The Fighting Pencil Group"

Leningrad, Russia, 1960

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Vol 2, No 2 (1996)


Photo by Kira Corser, Copyright 1992

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Vol 2, No 1 (1996)

Portrait of a Chinese Civil Official

Late 19th Century, Ink and Color on Paper

from the collection of the Newark Museum


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Vol 1, No 3 (1995)

Bloated Bureaucracy

by B. Semenov, "The Fighting Pencil Group"

Leningrad, Russia, Soviet Union


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Vol 1, No 2 (1994)

"Relief Blues"

by O. Louis Gugliemi, 1938-39


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Vol 1, No 1 (1993)

"Freedom of Speech," by Norman Rockwell.

Reproduced with the permission of the Curtis Archives.  

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