text:
Jeanette MacDonald

Jeanette Anna MacDonald (June 18, 1903 – January 14, 1965) was an American singer and actress best remembered for her musical films of the 1930s with Maurice Chevalier (The Love Parade, Love Me Tonight, The Merry Widow and One Hour With You) and Nelson Eddy (Naughty Marietta, Rose-Marie, and Maytime). During the 1930s and 1940s she starred in 29 feature films, four nominated for Best Picture Oscars (The Love Parade, One Hour with You, Naughty Marietta and San Francisco), and recorded extensively, earning three gold records. She later appeared in opera, concerts, radio, and television. MacDonald was one of the most influential sopranos of the 20th century, introducing opera to film-going audiences and inspiring a generation of singers.

Early years
MacDonald was born Jeannette Anna McDonald on June 18, 1903, at her family's Philadelphia home at 5123 Arch Street. She was the youngest of the three daughters of Anna May (née Wright) and Daniel McDonald, a factory foreman and a salesman for a contracting household building company, respectively, and the younger sister of character actress Blossom Rock (born Edith McDonald), who was most famous as "Grandmama" on the 1960s TV series The Addams Family. She was of Scottish, English, and Dutch descent. The extra N in her given name was later dropped for simplicity's sake, and A added to her surname to emphasize her Scottish heritage. She began dancing lessons with local dance instructor Caroline Littlefield, mother of American ballerina/choreographer Catherine Littlefield, when very young, performing in juvenile operas, recitals, and shows staged by Littlefield around the city, including at the Academy of Music. She later took lessons with Al White and began touring in his kiddie shows, heading his "Six Little Song Birds" in Philadelphia at the age of nine.

Broadway
In November 1919, MacDonald joined her older sister Blossom in New York. She took singing lessons with Wassili Leps and landed a job in the chorus of Ned Wayburn's The Demi-Tasse Revue, a musical entertainment presented between films at the Capitol Theatre on Broadway. In 1920, she appeared in two musicals: Jerome Kern's The Night Boat as a chorus replacement, and Irene on the road as the second female lead; future film star Irene Dunne played the title role during part of the tour, and Helen Shipman played the title role during the other part of the tour. In 1921, MacDonald played in Tangerine as one of the "Six Wives." In 1922, she was a featured singer in the Greenwich Village revue Fantastic Fricassee, for which good press notices brought her a role in The Magic Ring the next year. MacDonald played the second female lead in this long-running musical which starred Mitzi Hajos. In 1925, MacDonald again had the second female lead opposite Queenie Smith in Tip Toes, a George Gershwin hit show.

The following year, 1926, found MacDonald still in a second female lead in Bubblin' Over, a musical version of Brewster's Millions. She finally landed a starring role in Yes, Yes, Yvette in 1927. Planned as a sequel to producer H.H. Frazee's No, No, Nanette, the show toured extensively, but failed to please the critics when it arrived on Broadway. MacDonald also played the lead in her next two plays: Sunny Days in 1928 in her first show for the producers Lee and J.J. Shubert, for which she received rave reviews; and Angela (1928), which the critics panned. Her last play was Boom Boom in 1929, with her name above the title; the cast included young Archie Leach, who would later become Cary Grant.

While MacDonald was appearing in Angela, film star Richard Dix spotted her and had her screen-tested for his film Nothing but the Truth. The Shuberts, however, would not let her out of her contract to appear in the film, which starred Dix and Helen Kane (the "Boop-boop-a-doop girl"). In 1929, famed film director Ernst Lubitsch was looking through old screen tests of Broadway performers and spotted MacDonald. He cast her as the leading lady in The Love Parade, his first sound film, which starred Maurice Chevalier.

Paramount, controversial move to Fox Film Corporation
In the first rush of sound films during 1929 and 1930, MacDonald starred in six films—the first four for Paramount Studios. Her first, The Love Parade (1929), directed by Ernst Lubitsch and co-starring Maurice Chevalier, was a landmark of early sound films, and received a Best Picture nomination. MacDonald's first recordings for RCA Victor were two hits from the score: "Dream Lover" and "March of the Grenadiers." The Vagabond King (1930) was a lavish two-strip Technicolor film version of Rudolf Friml's hit 1925 operetta. Broadway star Dennis King reprised his role as 15th-century French poet François Villon, and MacDonald was Princess Katherine. She sang "Some Day" and "Only a Rose." The UCLA Film and Television Archive owns the only known color print of this production.

1930 was an extremely busy year for Paramount and MacDonald. Paramount on Parade was an all-star revue, similar to other mammoth sound revues produced by major studios to introduce their formerly silent stars to the public. MacDonald's footage singing a duet of "Come Back to Sorrento" with Nino Martini was cut from the release print due to copyright reasons with Universal Studios, which had recently acquired the copyright to the song for an upcoming movie, King of Jazz. Let's Go Native was a desert-island comedy directed by Leo McCarey, co-starring the likes of Jack Oakie and Kay Francis. Monte Carlo became another highly regarded Lubitsch classic, with British musical star Jack Buchanan as a count who disguises himself as a hairdresser in order to woo a scatterbrained countess (MacDonald). MacDonald introduced "Beyond the Blue Horizon," which she recorded three times during her career, including performing it for the Hollywood Victory Committee film Follow the Boys. In hopes of producing her own films, MacDonald went to United Artists to make The Lottery Bride in 1930. Despite music by Rudolf Friml, the film was not successful. MacDonald next signed a three-picture deal with the Fox Film Corporation, a controversial move in Hollywood; every other studio was far superior in the eyes of many, from their budgets to the fantastical entertainment of their films. Oh, for a Man! (1930) was more successful; MacDonald portrayed a temperamental opera singer who sings Wagner's "Liebestod" and falls for an Irish burglar played by Reginald Denny. In 1931, Don't Bet on Women was a non-musical drawing-room comedy in which a playboy (Edmund Lowe) bets his happily married friend (Roland Young) that he can seduce his friend's wife (MacDonald). Annabelle's Affairs (1931) was a farce, with MacDonald as a sophisticated New York playgirl who does not recognize her own miner husband, played by Victor McLaglen, when he turns up five years later. Although highly praised by reviewers at the time, only one reel of this film survives.

MacDonald took a break from Hollywood in 1931 to embark on a European concert tour, performing at the Empire Theater in Paris (Mistinguett and Morris Gest were said to have been in the crowd) and at London's Dominion Theatre, and was invited to dinner parties with British Prime Minister Ramsay MacDonald and French newspaper critics. She returned to Paramount the following year for two films with Chevalier. One Hour with You in 1932 was directed by both George Cukor and Ernst Lubitsch, and simultaneously filmed in French with the same stars, but a French supporting cast. Currently, no surviving print of Une Heure près de toi (One Hour With You) is known. Rouben Mamoulian directed Love Me Tonight (1932), considered by many film critics and writers to be the perfect film musical. Starring Chevalier as a humble tailor in love with a princess played by MacDonald, much of the story is told in sung dialogue. Richard Rodgers and Lorenz Hart wrote the original score, which included the standards "Mimi," "Lover," and "Isn't It Romantic?"

MGM, Nelson Eddy partnership
In 1933, MacDonald left again for Europe, and while there signed with Metro-Goldwyn-Mayer. Her first MGM film was The Cat and the Fiddle (1934), based on the Jerome Kern Broadway hit. Her co-star was Ramón Novarro. The plot about unmarried lovers shacking up just barely slipped through the new Production Code guidelines that took effect July 1, 1934. Despite a Technicolor finale—the first use of the new three-color Technicolor process other than Disney cartoons—the film was not a huge success. It lost $142,000. In The Merry Widow (1934), director Ernst Lubitsch reunited Maurice Chevalier and MacDonald in a lavish version of the classic 1905 Franz Lehár operetta. The film was highly regarded by critics and operetta lovers in major U.S. cities and Europe, but failed to generate much income outside urban areas, losing $113,000. It had a huge budget of $1.6 million, partially because it was filmed simultaneously in French as La Veuve Joyeuse, with a French supporting cast and some minor plot changes.

Naughty Marietta (1935), directed by W. S. Van Dyke, was MacDonald's first film in which she teamed with newcomer baritone Nelson Eddy. Victor Herbert's 1910 score, with songs like "Ah! Sweet Mystery of Life," "I'm Falling in Love with Someone," "'Neath the Southern Moon," "Tramp, Tramp, Tramp," and "Italian Street Song," enjoyed renewed popularity. The film won an Oscar for sound recording, and received an Oscar nomination for Best Picture. It was voted one of the Ten Best Pictures of 1935 by the New York film critics, was awarded the Photoplay Gold Medal Award as Best Picture of 1935 (beating out Mutiny on the Bounty, which won the Oscar), and in 2004 was selected to the National Film Registry. MacDonald earned gold records for "Ah! Sweet Mystery of Life" and "Italian Street Song." The following year, MacDonald starred in two of the highest-grossing films of that year. In Rose-Marie, MacDonald played a haughty opera diva who learns her young brother (pre-fame James Stewart) has killed a Mountie and is hiding in the northern woods; Eddy is the Mountie sent to capture him. Nelson Eddy and she sang Rudolf Friml's "Indian Love Call" to each other in the Canadian wilderness (actually filmed at Lake Tahoe). Eddy's definitive portrayal of the steadfast Mountie became a popular icon. When the Canadian Mounties temporarily retired their distinctive hat in 1970, photos of Eddy in his Rose Marie uniform appeared in thousands of U.S. newspapers. San Francisco (1936) was also directed by W.S. Van Dyke. In this tale of the 1906 San Francisco earthquake, MacDonald played a hopeful opera singer opposite Clark Gable as the extra-virile proprietor of a Barbary Coast gambling joint, and Spencer Tracy as his boyhood chum who has become a priest and gives the moral messages. In the summer of 1936, filming began on Maytime, co-starring Nelson Eddy, Frank Morgan, and Paul Lukas, produced by Irving Thalberg. After Thalberg's untimely death in September, production was shut down and the half-finished film scrapped. A new script was filmed with a different storyline and supporting actors (including John Barrymore, whose relationship with MacDonald was strained due to his alcoholism). The 'second' Maytime (1937), was the top-grossing film worldwide of the year, and is regarded as one of the best film musicals of the 1930s. "Will You Remember" by Sigmund Romberg brought MacDonald another gold record.

The Firefly (1937) was MacDonald's first solo-starring film at MGM with her name alone above the title. Rudolf Friml's 1912 stage score was borrowed, and a new song, "The Donkey Serenade," added, adapted from Friml's "Chanson" piano piece. With real-life Americans rushing to fight in the ongoing revolution in Spain, this historical vehicle was constructed around a previous revolution in Napoleonic times. MacDonald's co-star was tenor Allan Jones, who she demanded get the same treatment as she would, such as an equal number of close-ups. The MacDonald/Eddy team had split after MacDonald's engagement and marriage to Gene Raymond, but neither of their solo films grossed as much as the team films, and an unimpressed Mayer used this to point out why Jones could not replace Eddy in the next project. The Girl of the Golden West (1938) was the result, but the two stars had little screen time together, and the main song, "Obey Your Heart," was never sung as a duet. The film featured an original score by Sigmund Romberg, and reused the popular David Belasco stage plot (also employed by opera composer Giacomo Puccini for La fanciulla del West).

Mayer had promised MacDonald the studio's first Technicolor feature, and he delivered with Sweethearts (1938), co-starring Eddy. In contrast to the previous film, the co-stars were relaxed onscreen and singing frequently together. The film integrated Victor Herbert's 1913 stage score into a modern backstage story scripted by Dorothy Parker and Alan Campbell. MacDonald and Eddy played a husband-and-wife Broadway musical-comedy team who are offered a Hollywood contract. Sweethearts won the Photoplay Gold Medal Award as Best Picture of the Year. Mayer dropped plans for the team to co-star in Let Freedom Ring, a vehicle first announced for them in 1935. Only Eddy starred, whereas MacDonald and Lew Ayres co-starred in Broadway Serenade (1939) as a contemporary musical couple who clash when her career flourishes while his founders. MacDonald's performance was subdued, and choreographer Busby Berkeley, just hired away from Warner Bros., was called upon to add an over-the-top finale in an effort to improve the film. Broadway Serenade did not entice audiences in a lot of major cities, with Variety claiming that New York, Chicago, and Los Angeles' cinema attendances were "sad," "slow,"and "sour."

Following Broadway Serenade, and not coincidentally right after Nelson Eddy's surprise elopement with Ann Franklin, MacDonald left Hollywood on a concert tour and refused to renew her MGM contract. Months later she summoned her manager Bob Ritchie from London to help her renegotiate. After initially insisting that she wanted to film Smilin' Through with James Stewart and Robert Taylor, MacDonald finally relented and agreed to film New Moon (1940) with Eddy, which proved to be one of MacDonald's more popular films. Composer Sigmund Romberg's 1927 Broadway hit provided the plot and the songs: "Lover, Come Back to Me," "One Kiss," and "Wanting You," plus Eddy's version of "Stout Hearted Men." This was followed by Bitter Sweet (1940), a Technicolor film version of Noël Coward's 1929 stage operetta, which Coward loathed, writing in his diary about how "vulgar" he found it. Smilin' Through (1941) was MacDonald's next Technicolor project, the third adaptation filmed in Hollywood, with Brian Aherne and Gene Raymond. Its theme of reunion with deceased loved ones was enormously popular after the devastation of World War I, and MGM reasoned that it should resonate with audiences during World War II, but it failed to make a profit. MacDonald played a dual role—Moonyean, a Victorian girl accidentally murdered by a jealous lover, and Kathleen, her niece, who falls in love with the son of the murderer.

I Married an Angel (1942), was adapted from the Rodgers & Hart stage musical about an angel who loses her wings on her wedding night. The script by Anita Loos suffered serious censorship cuts during filming that made the result less successful. MacDonald sang "Spring Is Here" and the title song. It was the final film made by the team of MacDonald and Eddy. After a falling-out with Mayer, Eddy bought out his MGM contract (with one film left to make) and went to Universal, where he signed a million-dollar, two-picture deal. MacDonald remained for one last film, Cairo (1942), a cheaply budgeted spy comedy co-starring Robert Young as a reporter and Ethel Waters as a maid, whom MacDonald personally requested. Within one year, beginning in 1942, L.B. Mayer released his four highest-paid actresses from their MGM contracts; Norma Shearer, Joan Crawford, Greta Garbo, and Jeanette MacDonald. Of those four stars, MacDonald was the only one whom Mayer would rehire.

Final roles
After opening the Metropolitan Opera's membership campaign, MacDonald appeared as herself in Follow the Boys (1944), an all-star extravaganza about Hollywood stars entertaining the troops. The more than 40 guest stars included Marlene Dietrich, W.C. Fields, Sophie Tucker, and Orson Welles. MacDonald is shown during a concert singing "Beyond the Blue Horizon," and in a studio-filmed sequence singing "I'll See You in My Dreams" to a blinded soldier. She returned to MGM after five years off the screen for two films. Three Daring Daughters (1948) co-starred José Iturbi as her love interest. MacDonald plays a divorcée whose lively daughters (Jane Powell, Ann E. Todd, and Elinor Donahue) keep trying to get her back with her ex, but she has secretly remarried. The song "The Dickey Bird" made the hit parade. The Sun Comes Up (1949) teamed MacDonald with Lassie in an adaptation of a short story by Marjorie Kinnan Rawlings. MacDonald played a widow who has lost her son, but warms to orphan Claude Jarman Jr. It would prove to be her final film.

She frequently attempted a comeback movie, even financing and paying a screenwriter. One of the possible film reunions with Nelson Eddy was to be made in England, but Eddy pulled out when he learned MacDonald was investing her own funds. Eddy preferred to publicly blame the proposed project as mediocre, when in fact MacDonald was uninsurable due to her heart condition. A reunion with Maurice Chevalier was also considered. Other thwarted projects with Eddy were The Rosary, The Desert Song, and a remake of The Vagabond King, plus two movie treatments written by Eddy for them, Timothy Waits for Love and All Stars Don't Spangle. Offers continued to come in, and in 1962, producer Ross Hunter proposed MacDonald in his 1963 comedy The Thrill of It All, but she declined. 20th Century Fox also toyed with the idea of MacDonald (Irene Dunne was briefly considered) for the part of Mother Abbess in the film version of The Sound of Music. It never moved beyond the discussion stages partly because of MacDonald's failing health.

An annual poll of film exhibitors listed MacDonald as one of the top-10 box-office draws of 1936, and many of her films were among the top-20 moneymakers of the years they were released. In addition, MacDonald was one of the top-10 box-office attractions in Great Britain from 1937 to 1942. During her 39-year career, MacDonald earned two stars on the Hollywood Walk of Fame (for films and recordings) and planted her feet in the wet concrete in front of Grauman's Chinese Theater.

Musical theatre
In the mid-1950s, MacDonald toured in summer-stock productions of Bitter Sweet and The King and I. She opened in Bitter Sweet at the Iroquois Amphitheater, Louisville, Kentucky, on July 19, 1954. Her production of The King and I opened August 20, 1956, at the Starlight Theatre. While performing there, she collapsed. Officially, it was announced as heat prostration, but in fact it was a heart seizure. She began limiting her appearances, and a reprisal of Bitter Sweet in 1959 was her last professional stage appearance.

MacDonald and her husband Gene Raymond toured in Ferenc Molnár's The Guardsman. The production opened at the Erlanger Theater in Buffalo, New York, on January 25, 1951, and played in 23 Northeastern and Midwestern cities until June 2, 1951. Despite less-than-enthusiastic comments from critics, the show played to full houses for virtually every performance. The leading role of "The Actress" was changed to "The Singer" to allow MacDonald to add some songs. While this pleased her fans, the show closed before reaching Broadway.

In the 1950s, talks with respect to a Broadway return occurred. In the 1960s, MacDonald was approached about starring on Broadway in a musical version of Sunset Boulevard. Harold Prince recounts in his autobiography visiting MacDonald at her home in Bel Air to discuss the proposed project. Composer Hugh Martin also wrote a song for the musical, entitled "Wasn't It Romantic?"

MacDonald also made a few nightclub appearances. She sang and danced at The Sands and The Sahara in Las Vegas in 1953, The Coconut Grove in Los Angeles in 1954, and again at The Sahara in 1957, but she never felt entirely comfortable in their smoky atmospheres.

Concert tours, World War II charity work
Starting in 1931 and continuing through the 1950s, MacDonald engaged in regular concert tours between films. Her first European tour was in 1931, where she sang in both France and England. Her first American concert tour was in 1939, immediately after the completion of Broadway Serenade. MacDonald performed at the Mayo Civic Auditorium in Rochester, Minnesota on April 19, 1939, to open that venue before an audience. She sang several times at the Hollywood Bowl and Carnegie Hall. When America joined World War II in 1941, MacDonald co-founded the Army Emergency Relief and raised funds on concert tours. When she was home in Hollywood, she held an open house at her home on Sunday afternoons for GIs. On one occasion, at the request of Lt. Ronald Reagan, she was singing for a large group of men in San Francisco who were due to ship out to the fierce fighting in the South Pacific. She closed with "The Battle Hymn of the Republic," and 20,000 voices spontaneously joined in. She auctioned off encores for donations and raised almost $100,000 for the troops (over $1.5 million, adjusted for inflation). President Franklin D. Roosevelt, who considered MacDonald and Eddy two of his favorite film stars, awarded her a medal. She also did command performances at the White House for President Dwight D. Eisenhower.

Opera
Unlike Nelson Eddy, who came from opera to film, MacDonald in the 1940s yearned to reinvent herself in opera. She began training for this goal with Lotte Lehmann, one of the leading opera stars of the early 20th century. "When Jeanette MacDonald approached me for coaching lessons," wrote Lehmann, "I was really curious how a glamorous movie star, certainly spoiled by the adoration of a limitless world, would be able to devote herself to another, a higher level of art. I had the surprise of my life. There couldn't have been a more diligent, a more serious, a more pliable person than Jeanette. The lessons which I had started with a kind of suspicious curiosity turned out to be sheer delight for me. She studied Marguerite with me—and lieder. These were the ones which astounded me most. I am quite sure that Jeanette would have developed into a serious and successful lieder singer if time would have allowed it."

MacDonald made her opera debut singing Juliette in Gounod's Roméo et Juliette in Montreal at His Majesty's Theatre (May 8, 1943). She quickly repeated the role in Quebec City (May 12), Ottawa (May 15 and 17), Toronto (May 20 and 22), and Windsor (May 24). Her U.S. debut with the Chicago Opera Company (November 4, 11 and 15, 1944) was in the same role. She also sang Marguerite in Gounod's Faust with the Chicago Opera. In the summer of 1945, she appeared with the Cincinnati Opera as Juliette in two performances of Roméo et Juliette (July 10 and 25) and one as Marguerite in Faust (July 15). That November, she did two more performances of Roméo et Juliette and one of Faust in Chicago. On December 12, 1951, she did one performance of Faust with the Philadelphia Civic Grand Opera Company at the Academy of Music.

Claudia Cassidy, the music critic of the Chicago Tribune wrote, "Her Juliet is breathtakingly beautiful to the eye and dulcet to the ear." The same critic reviewed Faust: "From where I sit at the opera, Jeanette MacDonald has turned out to be one of the welcome surprises of the season ... her Marguerite was better than her Juliet ... beautifully sung with purity of line and tone, a good trill, and a Gallic inflection that understood Gounod's phrasing ... You felt if Faust must sell his soul to the devil, at least this time he got his money's worth."

Radio and television
MacDonald's extensive radio career may have begun on a 1929 radio broadcast of the Publix Hour. She was on the Academy Awards ceremony broadcast in 1931. She hosted her own radio show, Vicks Open House, from September 1937 to March 1938, for which she received $5,000 a week. However, the time demands of doing a weekly live radio show while filming, touring in concerts, and making records proved enormously difficult, and after fainting on-air during one show, she decided not to renew her radio contract with Vicks at the end of the 26-week season. Thereafter, she stuck to guest appearances.

MacDonald appeared in condensed radio versions of many of her films on programs such as Cecil B. DeMille's Lux Radio Theater, often with Nelson Eddy, and the Railroad Hour, which starred Gordon MacRae. These included The Merry Widow, Naughty Marietta, Rose Marie, Maytime, Sweethearts, Bitter Sweet, Smilin' Through, and The Sun Comes Up, plus other operettas and musicals such as Victor Herbert's Mlle Modiste, Irene, The Student Prince, Tonight or Never with Melvyn Douglas, A Song for Clotilda, The Gift of the Magi, and Apple Blossoms. Other radio shows included The Prudential Family Hour, Screen Guild Playhouse, and The Voice of Firestone, which featured the top opera and concert singers of the time. In 1953, MacDonald sang "The Star-Spangled Banner" at the inauguration of President Dwight D. Eisenhower, broadcast on both radio and TV.

MacDonald sang frequently with Nelson Eddy during the mid-1940s on several Lux Radio Theater and The Screen Guild Theater productions of their films together. She also appeared as his guest several times on his various radio shows such as The Electric Hour and The Kraft Music Hall. He was also a surprise guest when she hosted a war-bonds program called Guest Star, and they sang on other World War II victory shows together. The majority of her radio work in the mid to late 1940s was with Eddy. Her 1948 Hollywood Bowl concert was also broadcast over the air, in which she used Eddy's longtime accompanist, Theodore Paxson.

MacDonald appeared on early TV, most frequently as a singing guest star. She sang on The Voice of Firestone on November 13, 1950. On November 12, 1952, she was the subject of Ralph Edwards' This Is Your Life. Her surprise guests included her sisters, a sailor she danced with at the Hollywood Canteen, her former English teacher, her husband and the clergyman who married them, and Nelson Eddy appeared as a voice from her past, singing the song he sang at her wedding; his surprise appearance brought her to tears. Shortly thereafter, she appeared as the mystery guest on the December 21, 1952, episode of What's My Line? After the panelists guessed her identity, she told John Daly she was in New York for the holidays and would have a recital at Carnegie Hall on January 16. On February 2, 1956, MacDonald starred in Prima Donna, a television pilot for her own series, written for her by her husband Gene Raymond. The initial show featured guest stars Leo Durocher and Larraine Day, but it failed to find a slot. In December 1956, MacDonald and Eddy made their first TV appearance as a team on the Lux Video Theatre Holiday Special. In 1957, Eddy and she appeared on Patti Page's program The Big Record, singing several songs. On Playhouse 90 (March 28, 1957), MacDonald played Charley's real aunt to Art Carney's impersonation in "Charley's Aunt."

Personal life
When MacDonald was born, her father quickly doted on her. Although he had hoped for a son who would pursue "an American dream" life that he believed he had failed to live himself, he advised his three daughters to do this instead. MacDonald was the only daughter in the family that had inherited both her father's red hair and blue-green eyes, although she often admired her sisters' beauty, such as Blossom's dimples and her elder sister Elsie's (1893—1970) blonde hair and blue eyes. Elsie could play the piano, and taught toddler MacDonald a variety of popular waltzes and Stephen Foster's compositions. At this time, MacDonald discovered that she was an extrovert who enjoyed socializing with friends and performing for others, admitting that "[I] needed people to watch and applaud me as much as I needed food and drink." At the end of her first performance in the local church as a child, "I paused ever so slightly and then, when I realized they needed prodding, I promptly began clapping my hands and said to the congregation, 'Now everybody's got to clap!'"

MacDonald cited the number thirteen as her lucky number. Her characters always had a name beginning with M, the first letter of her surname and the 13th letter of the English alphabet, a ritual upon which she had insisted. Interestingly, thirteen became a recurring number throughout her life, such as the thirteen-year gap between her overseas tours in Europe; principal photography for The Merry Widow had taken thirteen weeks to film; her first movie, The Love Parade, was the number-one box-office draw for 13 weeks; MacDonald performed opera for the first time for a screen test thirteen years after meeting Newell (who was also on set); the thirteen-year gap between her and sister Blossom's death; and husband Gene Raymond's birthday was August 13. On sets, MacDonald would never lip-sync, instead singing along to song playbacks during filming, which Lew Ayres discovered when he starred alongside her in Broadway Serenade, whereupon he was supplied with earplugs after the volume nauseated him.

A recurrent issue throughout MacDonald's career was her health. Her handwritten letter from August, 1929 indicates that MacDonald, age 26, had recently suffered a heart attack. She also suffered from stage fright throughout her life to the point that her therapist told her to imagine that all of the members of the audience were lettuce. Due to her heart condition, she could not carry a pregnancy to term; she had blackouts and fainting spells, became stressed to the point of not being able to eat, and was frequently in and out of hospitals and trying different treatments (one being massage therapy), which only worked for a limited time. A few years before her death, MacDonald became a Religious Scientist. Her illnesses would not allow her to perform early morning filming shoots, much to her colleagues' annoyance.

MacDonald was a Republican, but she mostly avoided commenting on politics. When approached by the House Un-American Activities Committee about whether she had heard any gossip about Communist activity in Hollywood, she replied, "As at any focal point, there are some belligerents, but they are no more numerous than in any other community." Neither she nor Gene Raymond were ever considered or subpoenaed for a HUAC hearing; in a radio interview, MacDonald was quoted as saying, "Let he who is without sin cast the first stone" in response to what her opinion was on the investigations. She fired her manager Charles Wagner for anti-Semitic abuse of her Jewish friend Constance Hope, and declared during the 1940 presidential election, "I sing for Democrats and Republicans, black and white, everyone, and I just can't talk politics."

Relationships
MacDonald met Jack Ohmeis (1901-1967) at a party during her appearance in Tangerine. He was an architecture student at New York University and the son of a successful bottle manufacturer. His family was hesitant about the relationship, assuming that MacDonald was a gold-digger, but accepted her after they met. She and Ohmeis became engaged a year later, but their future plans and aspirations forced them to go their separate ways; the sudden death of MacDonald's father was another factor in the break-up. Unfortunately, the Ohmeis family would lose a lot of their fortune after the Wall Street Crash, so MacDonald loaned money to Jack, and he repaid her as soon as he could, which was as late as the 1950s. MacDonald next dated Irving Stone (1901-1968) from around 1926–28; they met when she was touring in Chicago in The Magic Ring. Stone, who lived in Milwaukee, was the nephew of the founder of the Wisconsin Boston Store, and worked in the family business. Few details were known of Stone's romance with MacDonald until the discovery of hundreds of pages of handwritten love letters she wrote to him that were found in his apartment after his death, which happened three years after her death.

MacDonald eventually dated a Wall Street rep named Robert Ritchie (died 1972), 12 years her senior, who claimed that he was the son of a fallen millionaire. They traveled with MacDonald's family to Hollywood, and he became a press agent for MGM. Rumors circulated that they were engaged and/or secretly married, since Ritchie was by MacDonald's side during her European tour and they lived together—MacDonald even signing her return address as "JAR" (Jeanette Anna Ritchie) and referring to him as her "darling husband." Despite Ritchie's family claiming that he was married to MacDonald but the marriage had been annulled in 1935, he never confirmed the claims. He later relocated to Europe as an MGM representative, becoming responsible for recruiting Greer Garson, Hedy Lamarr, and Luise Rainer. MacDonald married Gene Raymond in 1937. She met him at a Hollywood party two years earlier at Roszika Dolly's home; MacDonald agreed to a date, as long as it was at her family's dinner table. Despite the strong relationship, Raymond's mother did not like MacDonald, attempting to snub her a few times (such as arranging her son with Janet Gaynor as a plus-one at a charity ball), and did not attend the wedding. The Raymonds lived in a 21-room Mock Tudor mansion named Twin Gables with their pet dogs and their horse White Lady, which Raymond gave to MacDonald as a birthday present; after MacDonald's death, it was briefly owned by John Phillips and Michelle Phillips of The Mamas and Papas. MacDonald often worried about her husband's self-esteem; his acting career was constantly shaky, and RKO Pictures eventually sold out his contract when he had two movies left to make with them in the 1950s. Although she appreciated his support, MacDonald wished that their success was equal.

Raymond was sometimes mistaken for Nelson Eddy by MacDonald's fans and passersby, which MacDonald later admitted that she never liked: "Of course we always laughed it off—sometimes Gene even obliged by signing Nelson's name—but no one will ever know the agonies I suffered on such occasions. More than anything else in the world those days, I wanted to see him receive as much acclaim as I, to spare him these humiliations." When she reunited with Chevalier in 1957, he asked her why she had retired from films, to which she replied, "Because for exactly twenty years I've played my best role, by his [Raymond's] side. And I'm perfectly happy."

Death
MacDonald died at the Houston Methodist Hospital from heart failure on January 14, 1965, with Raymond by her hospital bed. Two years before, she had been assigned Dr. Michael DeBakey, who had recently operated successfully on the Duke of Windsor, in the hope that he could save her. Despite the surgery, MacDonald became ill with pleurisy the week after, and was in Houston Methodist Hospital for over a month. In December 1964, her condition worsened and she was rushed to UCLA Medical Center. DeBakey suggested open-heart surgery, and Raymond brought MacDonald into the hospital January 12. On the afternoon of the 14th, Raymond was at her bedside massaging her feet when she died. He said that their last conversation was when MacDonald said, "I love you," and he replied, "I love you too;" she then sighed deeply, and her head hit the pillow.

The funeral took place on January 18. Along with close family and widower Raymond, it was notably attended by a handful of MacDonald's costars (such as Eddy, Allan Jones, Chevalier, Joe E. Brown, Spencer Tracy, Lloyd Nolan, etc.), representatives of her fan club, former presidents Harry S. Truman and Dwight D. Eisenhower, Senator George Murphy, former vice-president Richard Nixon, future governor & president Ronald Reagan, and Mary Pickford; Dr. Gene Emmet Clark of the Church of Religious Science officiated. Newsreel footage shows Nelson Eddy as the last person to exit the church, with Lauritz Melchior and other celebrities offering him condolences. MacDonald was interred in a pink-marbled crypt at Forest Lawn Memorial Park, Glendale, which reads "Jeanette MacDonald Raymond." Hers is next to Nat King Cole, and George Burns and Gracie Allen.

Honors and commemorations
For her contribution to the motion picture industry, MacDonald has a star on the Hollywood Walk of Fame at 6157 Hollywood Blvd. For her contribution to recording, MacDonald has a star on the Hollywood Walk of Fame at 1628 Vine Street.

MacDonald was crowned as the Queen of the Movies in 1939 with Tyrone Power as her king. The ceremony was filmed and presented by Ed Sullivan.

MacDonald was awarded an honorary doctor of music degree from Ithaca College in 1956.

MacDonald was named Philadelphia's Woman of the Year in 1961. Of the award, she said, "It is strange how awards, decorations, doctorates, etc., can be conferred from various parts of the country, and even the world. And yet, the funny satisfaction of being recognized in one's home town seems to be a more gratifying recognition than all."

Posthumous
Shortly after MacDonald's death, surviving classmates from her high school contributed a $150 donation in her name to the Children's Heart Hospital of Philadelphia.

The USC Thornton School of Music built a Jeanette MacDonald Recital Hall in her honor.

A bronze plaque for MacDonald was unveiled in March 1988 on the Philadelphia Music Alliance's Walk of Fame in Raymond's presence.

Autobiography
MacDonald began developing an autobiography in the 1950s. She wanted her readers to both be inspired by her career and understand how she had coped with balancing a public and personal life. In one early version she intended to candidly discuss Nelson Eddy but dropped that idea when Eddy feared public fallout. She hired and fired other ghostwriters and wrote a manuscript solo but it was rejected by the publisher for being "too genteel"; MacDonald refused to include many personal details about Eddy and she deleted already typed pages admitting to one single pregnancy that ended in miscarriage. Her last ghost writer, Fredda Dudley Balling, noted that MacDonald was too ill to work more than a couple hours a day, so a final draft was never completed. The unfinished manuscript was published and annotated in 2004. MacDonald said that publishers wanted her to spice up her story. She refused to gossip about her colleagues and said she did not live that kind of life. In the last year of her life, despite declining health, she still was trying to find a publisher. An early version of the book, written with James Brough, is in the Cinematic Arts Library, Doheny Memorial Library, University of Southern California.

Relationship with Nelson Eddy
Despite public denials from the stars themselves of any personal relationship between Jeanette MacDonald and Nelson Eddy, documentation shows otherwise. In a handwritten 1935 letter by Nelson to "Dearest Jeanette," written on his letterhead, Nelson Eddy writes: "I love you and will always be devoted to you."

In the biography Sweethearts by Sharon Rich, the author presents MacDonald and Eddy as continuing an adulterous affair after their marriages. Rich, who was a close friend of MacDonald's older sister Blossom Rock, also knew Gene Raymond, and documents that the relationship lasted—with a few breaks—until MacDonald's death. Newsreel footage from MacDonald's funeral shows Eddy as the last person exiting the chapel, circled by other celebrities, such as Lauritz Melchior, who offer him condolences.

MacDonald had a reported eight pregnancies by Eddy, the first while they were filming Rose Marie. This was before she had an intimate relationship with Gene Raymond. Raymond was physically unable to father children, and MacDonald alluded to this fact in her unfinished autobiography, writing that she returned from her Hawaii honeymoon with Raymond with the knowledge and accurate admittance that "The MacRaymonds had no children." Nevertheless, MacDonald had additional, later, documented and visible pregnancies while married to Raymond, all of which ended in miscarriage.

Rich's findings also included documentation that Raymond physically and emotionally abused MacDonald, and had affairs as early as their honeymoon when MacDonald allegedly discovered Raymond in bed with Buddy Rogers. Raymond was arrested three times, the first in January 1938, as verified by a court document, and also in England during his army service, for his behavior. Raymond's wedding to MacDonald, orchestrated by Louis B. Mayer, forced MacDonald to become Raymond's "beard," and the 1938 arrest resulted in Mayer blacklisting him in Hollywood for almost two years.

Biographer E. J. Fleming also alleged that Eddy had confronted Raymond for abusing MacDonald, who was visibly pregnant with Eddy's child while filming Sweethearts, which ended with Eddy attacking him and leaving him for dead, though newspapers reported Raymond was recovering from a fall down the stairs.

At that time Mayer adamantly refused to allow MacDonald to annul her marriage and elope. The situation ended with MacDonald losing her baby at nearly 6 months. The boy was named Daniel Kendrick Eddy, and Nelson buried him (or his ashes) on private property in Ojai, California.

Other co-stars and friends verified the MacDonald/Eddy relationship.

Over the decades, MacDonald and Eddy privately occupied several homes together. In 1938, they had a small Burbank house located at 812 S. Mariposa Street in Burbank. In the 1940s, Nelson leased and remodeled for himself and MacDonald the old cowboy bunkhouse at 1330 Angelo Drive, Beverly Hills. Starting in 1947, they used 710 N. Camden Drive, which had been the home of MacDonald's mother until her death. They also alternately stayed at favorite hotels and homes across the country owned by celebrity friends including Lily Pons and Irene Dunne. In 1963, MacDonald and Raymond moved into two adjoining apartments at the Wilshire Comstock in Westwood, on the 8th floor in the East building. Nelson Eddy had his own apartment on the 7th floor of the West building, and allowed MacDonald to decorate it; they used it as a rendezvous spot until she was too weak to walk the few yards over to his building. (After Eddy's death, his widow Ann learned of the apartment and moved into it.)

Forbidden to marry early on by MGM studio boss Louis B. Mayer, MacDonald and Eddy performed a mock wedding ceremony at Lake Tahoe while filming Rose Marie. They considered that "by God's laws" they were married, although they were never able to do so legally. Every autumn, they returned to Lake Tahoe to renew their vows. As late as 1948, MacDonald's desk diary has a "Lake Tahoe" entry. After their 1943 visit, Eddy wrote a lengthy diary entry about their trip and his love for her, calling her "my wife," which he did in private to the end of her life.

Discography
MacDonald performed and recorded more than 50 songs during her career, working exclusively for RCA Victor in the United States. She also did some early recordings for HMV in England and France while she was there on a concert tour in 1931. She earned three gold records, one for the LP album, Favorites in Stereo that she did with Nelson Eddy in 1959.

 * MacDonald in Song (1939)
 * Religious Songs (1945)
 * Operetta Favorites (1946)
 * Romantic Moments (1950)
 * Favorites (c. 1951)
 * Favorites in Stereo (1959)
 * Smilin' Through (1960)
 * Jeanette MacDonald Sings Songs of Faith and Inspiration (1963)

title: Jeanette MacDonald


text:
User talk:Noia~enwiki

Much beloved fictional alien character from Futurama: "Numerous and Belligerant"

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Noia. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Noia~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 02:10, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 17:01, 22 April 2015 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:Noia~enwiki


text:
Talk:Buddhist temples in Korea

Temples in North Korea
Any temples in North Korea? Kokiri 17:11, 2 Mar 2004 (UTC)

 * There must be, although I assume they wouldn't be used for religious purposes. --Sewing 01:13, 3 Mar 2004 (UTC)

 * Any way we can find out about them? After all the article says *Korean* Buddhist temples... Kokiri 09:24, 3 Mar 2004 (UTC)

 * I've searched the web, but the result is very patchy... I've added a few temples (the ones I could find). Kokiri 10:08, 3 Mar 2004 (UTC)

title: Talk:Buddhist temples in Korea


text:
Normalization

Normalization or normalisation refers to a process that makes something more normal or regular.

Science

 * Normalization process theory, a sociological theory of the implementation of new technologies or innovations
 * Normalization model, used in visual neuroscience
 * Normalization in quantum mechanics, see and normalized solution
 * Normalization (sociology) or social normalization, the process through which ideas and behaviors that may fall outside of social norms come to be regarded as "normal"

Mathematics and statistics

 * Normalization of an algebraic variety, the operation consisting in taking locally the integral closure of the ring of regular functions
 * Normalization (statistics), adjustments of values or distributions in statistics
 * Quantile normalization, statistical technique for making two distributions identical in statistical properties
 * Normalizing (abstract rewriting), an abstract rewriting system in which every object has at least one normal form
 * Normalization property (abstract rewriting), a property of a rewrite system in mathematical logic and theoretical computer science
 * Normalizing constant, in probability theory a constant to make a non-negative function a probability density function
 * Noether normalization lemma, result of commutative algebra
 * Vector normalization
 * Normalized number, adjusting a floating point number's exponent so that the decimal point is in a fixed position

Technology and computer science

 * A metallurgic process used in annealing
 * Normalization (image processing), changing the range of pixel intensity values
 * Audio normalization, a process of uniformly increasing or decreasing the amplitude of an audio signal
 * Data normalization, general reduction of data to canonical form
 * Database normalization, used in database theory
 * Dimensional normalization, or snowflaking, removal of redundant attributes in a dimensional model
 * NFD normalization (normalization form canonical decomposition), a normalization form decomposition for Unicode string searches and comparisons in text processing
 * Spatial normalization, a step in image processing for neuroimaging
 * Text normalization, modifying text to make it consistent
 * URL normalization, process to modify URLs in a consistent manner
 * Normalized frequency (digital signal processing), unit of frequency cycles/sample in digital signal processing

Other

 * The process of establishing normal diplomatic relations between two countries
 * Normalization (people with disabilities), principle to make conditions of everyday living available to people with disabilities
 * Normalization (Czechoslovakia), the restoration of the conditions prevalent before the reform in Czechoslovakia, 1969

title: Normalization


text:
User:Noia~enwiki

The one, the only, the extreemly paranoid dilusional freak.

title: User:Noia~enwiki


text:
User talk:Tedclapham

Stop adding messages to blank pages. Red links should stay empty and red, until someone actually has an article for them. -- user:zanimum

 * You have been warned once (above). Creating articles with just  as the main text is considered vandalism. Graham  :) 17:41, 2 Mar 2004 (UTC)

title: User talk:Tedclapham


text:
Federal Department of Environment, Transport, Energy and Communications

The Federal Department of Environment, Transport, Energy and Communications (DETEC, Eidgenössisches Departement für Umwelt, Verkehr, Energie und Kommunikation, Département fédéral de l'environnement, des transports, de l'énergie et des communications, Dipartimento federale dell'ambiente, dei trasporti, dell'energia e delle comunicazioni, ) is one of the seven departments of the Swiss federal government, headed by a member of the Swiss Federal Council.

Organisation
The department is composed of the following offices:

 * General Secretariat
 * Federal Office for Spatial Development (ARE): Coordinates area planning between the federal agencies, the cantons and the municipalities.
 * Federal Office for the Environment (FOEN): Responsible for matters of the environment, including the protection of plants and animals and the protection against noise, air pollution or natural hazards.
 * Federal Office for Civil Aviation (FOCA): Regulates civil aviation.
 * Federal Office of Communications (OFCOM): Regulates radio and TV stations, notably the Swiss Broadcasting Corporation.
 * Federal Office of Energy (FOE): Responsible for the provision of electrical energy at the federal level, as well as for the supervision of dams.
 * Federal Office of Transport (FOT): Responsible for public transport at the federal level, including the development of the federal rail network and navigation on the Rhine.
 * Federal Roads Office (FEDRO): Responsible for the construction, maintenance and operation of the national highway network.

The following independent authorities are affiliated to the DETEC for administrative purposes:
 * Swiss Transportation Safety Investigation Board (STSB, formerly Aircraft Accident Investigation Bureau and Investigation Bureau for Railway, Funicular and Boat Accidents).
 * Federal Communications Commission (ComCom): Regulates the telecommunications market, awards service licences, rules on interconnection disputes and approves frequency and numbering plans.
 * Federal Electricity Commission (ElCom): monitors electricity prices, rules as a judicial authority on disputes relating to network access and payment of cost-covering feed-in of electricity produced from renewable energy, monitors electricity supply security and regulates issues relating to international electricity transmission and trading.
 * Federal Postal Services Commission (PostCom): Regulates the Swiss Post and Swiss postal market.
 * Rail Transport Commission (RailCom): Arbitrates in disputes over access to the rail network and the calculation of fees for the use of infrastructure.
 * Independent Complaints Authority for Radio and Television (ICA): Decides on complaints related to radio and television programmes.
 * Safety Office (formerly known as the Civil Aviation Safety Office, CASO): supports the development of safety in land, sea and air transport, in the use, transport and distribution of energy, and for communications infrastructures
 * Reporting Office for Just Culture in Civil Aviation (ROJCA): strengthens Just Culture through the protection of the information source of an occurrence reporting in Swiss Civil Aviation.
 * Federal Inspectorate for Heavy Current Installations (ESTI): Responsible for inspecting low and heavy-current electrical installations.
 * Swiss Federal Nuclear Safety Inspectorate (ENSI): Assesses and monitors security and radiation protection in Swiss nuclear installations.
 * Federal Pipelines Inspectorate (ERI): Responsible for the planning, construction and operation of fuel pipeline systems in Switzerland and Liechtenstein.

Name of department

 * 1848–1859: Department of Posts and Construction
 * 1860–1872: Department of Posts
 * 1873–1878: Department of Posts and Telegraph
 * 1879–1962: Department of Posts and Railways
 * 1963–1978: Department of Transport, Communications and Energy
 * 1979–1997: Federal Department of Transport, Communications and Energy
 * Since 1998: Federal Department of Environment, Transport, Energy and Communications

List of heads of the department
• 1848–1852: Wilhelm Matthias Naeff

• 1853–1854: Josef Munzinger

• 1855–1866: Wilhelm Matthias Naeff

• 1867 only: Jakob Dubs

• 1868 only: Jean-Jacques Challet-Venel

• 1869 only: Jakob Dubs

• 1870–1872: Jean-Jacques Challet-Venel

• 1873–1875: Eugène Borel

• 1876 only: Joachim Heer

• 1877–1879: Emil Welti

• 1880–1881: Simeon Bavier

• 1882–1883: Emil Welti

• 1884 only: Adolf Deucher

• 1885–1891: Emil Welti

• 1892–1901: Josef Zemp

• 1902 only: Robert Comtesse

• 1903–1907: Josef Zemp

• 1908–1911: Ludwig Forrer

• 1912 only: Robert Comtesse

• 1912 only: Louis Perrier

• 1911–1917: Ludwig Forrer

• 1918–1929: Robert Haab

• 1930–1940: Marcel Pilet-Golaz

• 1940–1950: Enrico Celio

• 1950–1954: Josef Escher

• 1955–1959: Giuseppe Lepori

• 1960–1965: Willy Spühler

• 1966–1968: Rudolf Gnägi

• 1968–1973: Roger Bonvin

• 1974–1979: Willy Ritschard

• 1980–1987: Leon Schlumpf

• 1988–1995: Adolf Ogi

• 1995–2010: Moritz Leuenberger

• 2010–2018: Doris Leuthard

• 2019–2022: Simonetta Sommaruga

• Since 2023: Albert Rösti


text:
User:Insomniak

Too lazy to edit Wikipedia anymore. Constantly consulting it for INFORMATION!

Licensing
A question in case Insomniak is still active here: The current version says "Mezzanine marked the parting of band member Andrew Vowles, due to creative conflicts." I can't tell if he left before, during or after the work on the album. Thanks.

title: User:Insomniak


text:
User talk:206.176.127.131

This is a static public IP for a South Dakota school. If someone could block it from editing content permanently, it would help many problems it appears Wikipedia is having.

Thanks for experimenting with Wikipedia. Your test worked, and has now been removed. Please use Sandbox for any other tests you want to do, since testing material in articles will normally be removed quickly. Please see the welcome page if you would like to learn more about contributing here. Thanks. User:Francs2000 17:15, 2 March 2004 (UTC)

Please stop adding nonsense to Wikipedia. It is considered vandalism. If you would like to experiment, use the sandbox. Thank you. WikiDon 17:27, 4 November 2005 (UTC)

April 2006

 * 1) It might not have been your intent, but you recently removed content from Brett Favre. Please be careful not to remove content from Wikipedia without a valid reason, which you should specify in the edit summary or on the article's talk page. Thank you.  --P e ruvianLlama(spit) 15:11, 12 April 2006 (UTC)
 * 2) Please refrain from removing content from Wikipedia, as you did to Brett Favre. It is considered vandalism. If you want to experiment, please use the sandbox. Thank you.  --P e ruvianLlama(spit) 15:14, 12 April 2006 (UTC)
 * 3) Please stop. If you continue to vandalize pages, as you did to Brett Favre, you will be blocked from editing Wikipedia.   --P e ruvianLlama(spit) 15:15, 12 April 2006 (UTC)
 * 4) [[Image:Stop_hand.svg|left|30px]] This is your last warning. The next time you vandalize a page, you will be blocked from editing Wikipedia.   --P e ruvianLlama(spit) 15:16, 12 April 2006 (UTC)

Your edit to Rwandan Genocide
Your recent edit to Rwandan Genocide (diff) was reverted by an automated bot that attempts to recognize and repair vandalism to Wikipedia articles. If the bot reverted a legitimate edit, please accept my humble creator's apologies – if you bring it to the attention of the bot's owner, we may be able to improve its behavior. Click here for frequently asked questions about the bot and this warning. // AntiVandalBot 14:45, 20 November 2006 (UTC)

Thank you for experimenting with Wikipedia. Your test worked, and it has been reverted or removed. Please use the sandbox for any other tests you may want to do. Take a look at the welcome page to learn more about contributing to our encyclopedia. - Dinnerbone (Talk/Cont) 15:40, 20 November 2006 (UTC)

Welcome to Wikipedia. We invite everyone to contribute constructively to our encyclopedia. Take a look at the welcome page if you would like to learn more about contributing. However, unconstructive edits are considered vandalism. If you continue in this manner you may be blocked from editing without further warning. Please stop, and consider improving rather than damaging the work of others. Thank you. - Dinnerbone (Talk/Cont) 20:53, 20 November 2006 (UTC)

This is your last warning. The next time you vandalize a page, you will be blocked from editing Wikipedia.

This is your last warning for editing Rwandan Genocide (diff). The next time you vandalize a page, you will be blocked from editing Wikipedia. // AntiVandalBot 20:57, 20 November 2006 (UTC)

You have been blocked from editing  because of . Please note that page blanking, addition of random text or spam, deliberate misinformation, privacy violations, personal attacks, and other deliberate attempts to disrupt Wikipedia are considered vandalism. If you wish to make useful contributions, you may come back after the block expires. - SimonP 21:09, 20 November 2006 (UTC)

December 2006
Please do not replace Wikipedia pages with blank content. Blank pages are harmful to Wikipedia because they have a tendency to confuse readers. If it is a duplicate article, please redirect it to an appropriate existing page. If the page has been vandalised, please revert it to the last legitimate version. If you feel that the content of a page is inappropriate, please edit the page and replace it with appropriate content. If you believe there is no hope for the page, please see the deletion policy for how to proceed. // Sasuke  -kun  27  20:28, 7 December 2006 (UTC)

Regarding edits made during January 9 2007
It might not have been your intention, but your recent edit removed content from. Please be careful not to remove content from Wikipedia without a valid reason, which you should specify in the edit summary or on the article's talk page. Take a look at our welcome page to learn more about contributing to this encyclopedia. Thank you. If this is an IP address, and it is shared by multiple users, ignore this warning if you did not make any unconstructive edits. Tangotango (talk) 15:10, 9 January 2007 (UTC)

Regarding edits made during January 9 2007
Please stop. If you continue to vandalize pages, you will be blocked from editing Wikipedia. If this is an IP address, and it is shared by multiple users, ignore this warning if you did not make any unconstructive edits. Tangotango (talk) 15:13, 9 January 2007 (UTC)

The next time you vandalize a page, you will be blocked from editing Wikipedia. Tangotango (talk) 15:17, 9 January 2007 (UTC)
 * [[Image:Stop_hand.svg|left|30px]] This is your last warning.

Regarding your edit to Cuba:
Your recent edit to Cuba (diff) was reverted by automated bot. The edit was identified as adding either vandalism, link spam, or test edits to the page. If you want to experiment, please use the sandbox. If this revert was in error, please contact the bot operator. Thanks! // VoABot II 15:24, 9 January 2007 (UTC)

This is your last warning. The next time you vandalize a page, you will be blocked from editing Wikipedia. Fan-1967 15:25, 9 January 2007 (UTC)

You have been blocked from editing Wikipedia for repeated vandalism. If or when the block expires, feel free to come back, but please make useful contributions instead, and refrain from vandalising or this account will face longer blocks, and action could be taken against the individual who uses it. --Deathphoenix ʕ 15:58, 9 January 2007 (UTC)

19 January
Please do not add nonsense to Wikipedia. It is considered vandalism. If you would like to experiment, use the sandbox. Thank you. --Guinnog 18:26, 19 January 2007 (UTC)

This is the only warning you will receive. Your recent vandalism will not be tolerated. The next time you vandalize a page, you will be blocked from editing Wikipedia. GhostPirate 18:56, 19 January 2007 (UTC)

January 29
More vandalism to Paul Klee (self-cleaned edit) and Leonardo da Vinci -- Big Brother 1984 19:13, 29 January 2007 (UTC)

March 2007
Please stop. If you continue to vandalize pages, you will be blocked from editing Wikipedia. McKay 15:38, 9 March 2007 (UTC)

Anon editing from this ip# reblocked due to continued vandalism. -- Infrogmation 19:04, 9 March 2007 (UTC)

October 2007
Please refrain from making test edits in Wikipedia articles even if your ultimate intention is to fix them. Such edits appear to be vandalism and have been reverted. If you would like to experiment again, please use the sandbox. Shalom (Hello • Peace) 16:42, 3 October 2007 (UTC)

This is the last warning you will receive for your disruptive edits. The next time you vandalize Wikipedia, you will be blocked from editing. Shalom (Hello • Peace) 16:44, 3 October 2007 (UTC)

Blocked
If you wish to contribute to this encyclopedia, please create an account and log in Due to, editing by anonymous users from your school, library or institution's IP address  currently disabled. If you are logged in but still unable to edit, please follow these instructions. To prevent abuse, account creation via this IP address is probably also disabled. If accounts need to be created at school for class projects, please have your teacher or network administrator contact us (with reference to this IP address) at [mailto:unblock-en-l@lists.wikimedia.org unblock-en-l] from an email address listed on your school's website. Alternatively, if you have no Internet access at home, you may [mailto:unblock-en-l@lists.wikimedia.org email us] using your school-issued email address, telling us your preferred username. An account will be created for you. Please check on this list that the username you choose has not already been taken. Thank you.

October 2008
Thank you for experimenting with Wikipedia. Your test worked, and it has been reverted or removed. Please use the sandbox for any other tests you may want to do. Take a look at the welcome page to learn more about contributing to our encyclopedia. P HARMBOY ( TALK ) 18:44, 15 October 2008 (UTC)

Please refrain from making unconstructive edits to Wikipedia. Your edits appear to constitute vandalism and have been reverted. If you would like to experiment, please use the sandbox. P HARMBOY ( TALK ) 18:42, 15 October 2008 (UTC)

May 2010
Please refrain from making unconstructive edits to Wikipedia, as you did at Norway. Your edits appear to constitute vandalism and have been reverted or removed. If you would like to experiment, please use the sandbox. Thank you. -- The High Fin Sperm Whale 20:21, 21 May 2010 (UTC)
 * If this is a shared IP address, and you didn't make the edit, consider creating an account for yourself so you can avoid further irrelevant notices.

You have been blocked from editing for a period of 2 years for repeated abuse of editing privileges. Please stop. You are welcome to make useful contributions after the block expires. If you would like to be unblocked, you may appeal this block by adding the text below, but you should read our guide to appealing blocks first. gadfium 19:11, 24 May 2010 (UTC)

October 2012
Please do not remove content or templates from pages on Wikipedia, as you did to Cleverbot, without giving a valid reason for the removal in the edit summary. Your content removal does not appear constructive and has been reverted. Please make use of the sandbox if you'd like to experiment with test edits. Thank you. -- WikHead (talk) 18:11, 4 October 2012 (UTC)

October 2013
Hello, I'm EuroCarGT. I wanted to let you know that I undid one of your recent contributions, such as the one you made with this edit to Norway, because it didn’t appear constructive to me. If you think I made a mistake, or if you have any questions, you can leave me a message on my talk page. Thanks. ///Euro Car GT  18:09, 24 October 2013 (UTC)

November 2016
Your recent edit appears to have added the name of a non-notable entity to a list that normally includes only notable entries. In general, a person or organization added to a list should have a pre-existing article before being added to most lists. If you wish to create such an article, please first confirm that the subject qualifies for a separate, stand-alone article according to Wikipedia's notability guideline. Thank you. – Gilliam (talk) 07:07, 4 November 2016 (UTC)
 * If this is a shared IP address, and you did not make the edits, consider creating an account for yourself so you can avoid further irrelevant notices.

December 2016
Hello, I'm CLCStudent. I wanted to let you know that one or more of your recent contributions to Jeff Kinney (author) have been undone because they did not appear constructive. If you would like to experiment, please use the sandbox. If you think a mistake was made, or if you have any questions, you can leave me a message on my talk page. Thanks. CLCStudent (talk) 16:21, 13 December 2016 (UTC)
 * If this is a shared IP address, and you did not make the edits, consider creating an account for yourself or logging in with an existing account so you can avoid further irrelevant notices.

Please refrain from making unconstructive edits to Wikipedia, as you did with this edit to Jeff Kinney (author). Your edits appear to constitute vandalism and have been reverted or removed. If you would like to experiment, please use the sandbox. Repeated vandalism can result in the loss of editing privileges. Thank you. Patient Zerotalk 16:23, 13 December 2016 (UTC)

You may be blocked from editing without further warning the next time you vandalize Wikipedia, as you did at Brazos River. KylieTastic (talk) 20:30, 19 December 2016 (UTC)
 * If this is a shared IP address, and you did not make the edits, consider creating an account for yourself or logging in with an existing account so you can avoid further irrelevant notices.

January 2020
Hello, and welcome to Wikipedia. This is a message letting you know that one or more of your recent edits to Chester A. Arthur has been undone by an automated computer program called ClueBot NG.

Thank you. ClueBot NG (talk) 17:34, 6 January 2020 (UTC)
 * ClueBot NG makes very few mistakes, but it does happen. If you believe the change you made was constructive, please read about it, [ report it here], remove this message from your talk page, and then make the edit again.
 * For help, take a look at the introduction.
 * The following is the log entry regarding this message: Chester A. Arthur was changed by 206.176.127.131 (u) (t) ANN scored at 0.920342 on 2020-01-06T17:34:26+00:00

Please stop your disruptive editing. If you continue to vandalize Wikipedia, as you did at List of Ubisoft games, you may be blocked from editing. CLCStudent (talk) 15:07, 28 January 2020 (UTC)
 * If this is a shared IP address, and you did not make the edits referred to above, consider creating an account for yourself or logging in with an existing account so that you can avoid further irrelevant notices.

Please refrain from attempting to make unconstructive edits to Wikipedia. Your edits appear to constitute vandalism and have been [ disallowed by an edit filter.] If you would like to experiment, please use the sandbox. Repeated vandalism may result in the loss of editing privileges. Thank you. Materialscientist (talk) 15:08, 5 February 2020 (UTC)

hey
if you continue to do this, you might get your ability to edit this page revoked.

stop 🇺🇲JayCubby✡ please edit my user page! Talk 14:53, 2 April 2024 (UTC)

I have removed talk page access.-Gadfium (talk) 19:42, 2 April 2024 (UTC)

title: User talk:206.176.127.131


text:
Berenice Abbott

Berenice Alice Abbott (July 17, 1898 – December 9, 1991) was an American photographer best known for her portraits of cultural figures of the interwar period, New York City photographs of architecture and urban design of the 1930s, and science interpretation of the 1940s to the 1960s.

Early years
Abbott was born in Springfield, Ohio and brought up in Ohio by her divorced mother, née Lillian Alice Bunn (m. Charles E. Abbott in Chillicothe OH, 1886).

She attended The Ohio State University for two semesters, but left in early 1918 when her professor was dismissed because he was a German teaching an English class. She moved to New York City, where she studied sculpture and painting. In 1921 she traveled to Paris and studied sculpture with Emile Bourdelle. While in Paris, she became an assistant to Man Ray, who wanted someone with no previous knowledge of photography. Abbott took revealing portraits of Ray's fellow artists.

Trip to Europe, photography, and poetry
Her university studies included theater and sculpture. She spent two years studying sculpture in Paris and Berlin. She studied at the Académie de la Grande Chaumière in Paris and the Prussian Academy of Arts in Berlin. During this time, she adopted the French spelling of her first name, "Berenice," at the suggestion of Djuna Barnes. In addition to her work in the visual arts, Abbott published poetry in the experimental literary journal transition. Abbott first became involved with photography in 1923, when Man Ray hired her as a darkroom assistant at his portrait studio in Montparnasse. Later, she wrote: "I took to photography like a duck to water. I never wanted to do anything else." Ray was impressed by her darkroom work and allowed her to use his studio to take her own photographs. In 1921 her first major works was in an exhibition in the Parisian gallery Le Sacre du Printemps. After a short time studying photography in Berlin, she returned to Paris in 1927 and started a second studio, on the rue Servandoni.

Abbott's subjects were people in the artistic and literary worlds, including French nationals (Jean Cocteau), expatriates (James Joyce), and others just passing through the city. According to Sylvia Beach, "To be 'done' by Man Ray or Berenice Abbott meant you rated as somebody". Abbott's work was exhibited with that of Man Ray, André Kertész, and others in Paris, in the "Salon de l'Escalier" (more formally, the Premier Salon Indépendant de la Photographie), and on the staircase of the Théâtre des Champs-Élysées. Her portraiture was unusual within exhibitions of modernist photography held in 1928–1929 in Brussels and Germany.

In 1925, Man Ray introduced her to Eugène Atget's photographs. She became interested in Atget's work, and managed to persuade him to sit for a portrait in 1927. He died shortly thereafter. She acquired the prints and negatives remaining in Eugène Atget's studio at his death in 1927. While the government acquired much of Atget's archive – Atget had sold 2,621 negatives in 1920, and his friend and executor André Calmettes sold 2,000 more immediately after his death — Abbott was able to buy the remainder in June 1928, and quickly started work on its promotion. An early tangible result was the 1930 book Atget, photographe de Paris , in which she is described as photo editor. Due to a lack of funding, Abbott sold a one-half interest in the collection to Julien Levy for $1,000. Abbott's work on Atget's behalf would continue until her sale of the archive to the Museum of Modern Art in 1968. In addition to her book The World of Atget (1964), she provided the photographs for A Vision of Paris (1963), published a portfolio, Twenty Photographs, and wrote essays. Her sustained efforts helped Atget gain international recognition.

Changing New York

In early 1929, Abbott visited New York City, ostensibly with the goal of finding an American publisher for Atget's photographs. Upon seeing the city again, Abbott recognized its photographic potential. She went back to Paris, closed up her studio, and returned to New York in September. There, over the next decade, she focused on documentary photography and on portraying the city as it underwent a transformation into a modern metropolis. During this period, Abbott became a central figure and important bridge between the photographic hubs and circles of Paris and New York City.

Her first photographs of New York were taken with a hand-held Kurt-Bentzin camera, but soon she acquired a Century Universal camera, which produced 8 × 10-inch negatives. Using this large format camera, Abbott photographed the city with the diligence and attention to detail she had so admired in Eugène Atget. After Atget's death in 1927, she and Julien Levy had acquired a large portion of his negatives and glass slides, which she then brought over to New York in 1929. Her subsequent work provides a historical chronicle of many now-destroyed buildings and neighborhoods in Manhattan. Abbott had her first exhibition in New York in 1937 entitled "Changing New York" at the Museum of the City of New York. A book under the same title was also published, depicting the city's physical transformation, including changes to its neighborhoods and the replacing of low rise buildings with skyscrapers.

Abbott worked on her New York project independently for six years, unable to get financial support from organizations (such as the Museum of the City of New York), foundations (such as the Guggenheim Foundation), or individuals. She supported herself with commercial work and with teaching gigs at the New School of Social Research beginning in 1933.

In 1935, Abbott was hired by the Federal Art Project (FAP) as a project supervisor for her "Changing New York" project. While she continued to take photographs of the city, she hired assistants to help her in the field and in the office. This arrangement allowed Abbott to devote all her time to producing, printing, and exhibiting her photographs. By the time she resigned from the FAP in 1939, she had produced 305 photographs that were then deposited at the Museum of the City of New York.

Abbott's project was primarily a sociological study embedded within modernist aesthetic practices. She sought to create a broadly inclusive collection of photographs that together suggest a vital interaction between three aspects of urban life: the diverse people of the city; the places they live, work and play; and their daily activities. It was intended to empower people by making them realize that their environment was a consequence of their collective behavior (and vice versa). Moreover, she avoided the merely pretty in favor of what she described as "fantastic" contrasts between the old and the new, and chose her camera angles and lenses to create compositions that either stabilized a subject (if she approved of it), or destabilized it (if she scorned it).

Abbott's ideas about New York were highly influenced by Lewis Mumford's historical writings from the early 1930s, which divided American history into a series of technological eras. Abbott, like Mumford, was particularly critical of America's "paleotechnic era", which, as he described it, emerged at the end of the American Civil War, a development other historians have dubbed the Second Industrial Revolution. Like Mumford, Abbott was hopeful that, through urban planning efforts (aided by her photographs), Americans would be able to wrest control of their cities away from paleotechnic forces and bring about what Mumford described as a more humane and human-scaled, "neotechnic era". Abbott's agreement with Mumford can be seen especially in the ways that she photographed buildings that had been constructed in the paleotechnic era – before the advent of urban planning. Most often, buildings from this era appeared in Abbott's photographs in compositions that made them look downright menacing.

In 1935, Abbott moved into a Greenwich Village loft with art critic Elizabeth McCausland, with whom she lived until McCausland's death in 1965. McCausland was an ardent supporter of Abbott, writing several articles for the Springfield Daily Republican, as well as for Trend and New Masses (the latter under the pseudonym Elizabeth Noble). In addition, McCausland contributed the captions for Changing New York which was published in 1939. Although well-received, the final book showed important differences from the one initially envisioned by Abbott and McCausland, especially with respect to captions and sequencing. In 1949, her photography book Greenwich Village Today and Yesterday was published by Harper & Brothers.

Ralph Steiner wrote in PM that Abbott's work was "the greatest collection of photographs of New York City ever made."

As the city and architecture are two main themes in Abbott's photographs, her work has been commented on and reviewed together with the work of Eugène Atget and Amanda Bouchenoire, in the book ''Architecture and Cities. Three Photographic Gazes'', where author Jerome Saltz analyzes historicist perspectives and considers their aesthetic implications: "(...) the three authors coincide in the search for and exaltation of intrinsic beauty in their objectives, regardless of quality and clarity of their references."

Beyond New York City
In 1934, Henry-Russell Hitchcock asked Abbott to photograph two subjects: antebellum architecture and the architecture of H. H. Richardson. Two decades later, Abbott and McCausland traveled US 1 from Florida to Maine, where Abbott photographed small towns and growing automobile-related architecture. The project resulted in more than 2,500 negatives.

Shortly after the trip, Abbott underwent a lung operation. She was told she should move from New York City due to air pollution. She purchased a rundown home in Blanchard, Maine along the banks of the Piscataquis River for US$1,000. Later, she moved to nearby Monson and remained in Maine until her death in 1991. Most of her work is shown in the United States, but a number of photographs are shown in Europe.

Abbott's last book was A Portrait of Maine (1968).

In 1943, Abbott was commissioned by Hudson D. Walker to photograph operations at the Red River Lumber Company in Westwood, California. Selections from her work in Westwood became part of a touring exhibition, "Lumbering and Logging in the Pine Forest of California."

Approach to photography
Abbott was part of the straight photography movement, which stressed the importance of photographs being unmanipulated in both subject matter and developing processes. She also disliked the work of pictorialists who had become popular during a substantial span of her career, leaving her work without support from this school of photographers. Most of Abbott's work was influenced by what she described as her unhappy and lonely childhood. This gave her the strength and determination to follow her dreams.

Throughout her career, Abbott's photography was very much a reflection of the rise in development of technology and society. Her works documented and extolled the New York landscape. This was guided by her belief that a modern-day invention such as the camera deserved to document the 20th century.

Scientific work
In addition to her photography, Abbott co-founded a company, the "House of Photography," which developed, promoted and sold photographic equipment and devices from 1947 to 1959. Abbott's inventions included a distortion enlarging easel, which created unusual effects on images, and the telescopic lighting pole, known today by many studio photographers as an "autopole", to which lights can be attached at any level. Owing to poor marketing, the House of Photography quickly lost money, and with the deaths of two designers, the company closed.

Abbott's style of straight photography helped her make important contributions to scientific photography. She once stated, "We live in a world made by science. There needs to be a friendly interpreter between science and the layman. I believe photography can be this spokesman, as no other form of expression can be."

From 1958 to 1960, she produced a series of photographs for a high-school physics textbook, developed by the Physical Science Study Committee project based at MIT to improve secondary school physics teaching. Her work included images of wave patterns in water and stroboscopic images of moving objects, such as Bouncing ball in diminishing arcs, which was featured on the cover of the textbook. She contributed to the understanding of physical laws and properties of solids and liquids though her studies of light and motion.

Between 1958 and 1961, she made a series of photographs for Educational Services Inc., which were later published. They were subsequently presented by the Smithsonian Institution in an exhibition titled Image of Physics. In 2012, some of her work from this era was displayed at the MIT Museum in Cambridge, Massachusetts.

Personal life
The film Berenice Abbott: A View of the 20th Century, which showed 200 of her black and white photographs, suggests that she was a "proud proto-feminist"; someone who was ahead of her time in feminist theory. Before the film was completed she questioned, "The world doesn't like independent women, why, I don't know, but I don't care." She identified publicly as a lesbian.

She lived with her partner, art critic Elizabeth McCausland, for 30 years.

Abbott's life and work are the subject of the 2017 novel The Realist: A Novel of Berenice Abbott, by Sarah Coleman.

The first comprehensive biography was published in 2018, Berenice Abbott: A Life in Photography by Julia Van Haaften (W. W. Norton); it was nominated for a PEN America award and a Lammy in biography, and excerpted in The Paris Review April 10, 2018.

Notable photographs

 * Under the El at the Battery, 1932.
 * New York at Night, 1932.
 * Tempo of the City I, 1938.
 * James Joyce, 1928.
 * Jay Street #115, New York, c.1936.
 * Automat, 977 Eighth Avenue, New York, 1936.
 * Radio Row, Cortland Street, Manhattan, c. 1936.
 * Marie Laurencin, Paris, c.1925.
 * Triboro Barber School, New York, 1935.
 * The Hands of Jean Cocteau, 1927.
 * Fifth Avenue Coach Company, New York, 1932.
 * Edward Hopper in His Studio, 1949.
 * Fifth Avenue, Nos. 4,6,8, 1936.
 * Flatiron Building, Broadway and Fifth Avenue, New York City, 1938.
 * Father Duffy, Times Square, 1937.
 * Gunsmith and Police Department Headquarters, 1937.
 * Church of God, 1936.
 * Eugene Atget, 1927.
 * Edna St. Vincent Millay, c.1929.
 * Wall Street and Stock Exchange, 1933.
 * Esso Gasoline Station, Tenth Avenue, New York, 1935.

Books

 * Books of photographs by Abbott
 * 1939 Changing New York. New York: Dutton, 1939. With text by Elizabeth McCausland.
 * Reprint: New York in the Thirties, as Photographed by Berenice Abbott (New York: Dover, 1973).
 * Catalog raisonné edition: augmented, annotated by Bonnie Yochelson, ed., Berenice Abbott: Changing New York (New York: New Press and the Museum of the City of New York, 1997) ISBN 1-56584-377-0 /.
 * Critical edition:
 * 1949 Greenwich Village: Yesterday and Today. New York: Harper, 1949. With text by Henry Wysham Lanier.
 * 1968 A Portrait of Maine. New York: Macmillan, 1968. With text by Chenoweth Hall.

 * Other books by, or with major contributions from, Abbott
 * 1930 Atget, photographe de Paris. Paris: Henri Jonquières; New York: E. Weyhe, 1930. (As photograph editor.)
 * 1941 A Guide to Better Photography. New York: Crown, 1941 Revised edition: New Guide to Better Photography (New York: Crown, 1953)
 * 1948 The View Camera Made Simple. Chicago: Ziff-Davis, 1948
 * 1956 Twenty Photographs by Eugène Atget 1856–1927 (portfolio of silver prints by Abbott from original Atget negatives in her possession)
 * 1963 A Vision of Paris: The Photographs of Eugène Atget, the Words of Marcel Proust. New York: Macmillan, 1963. Edited by Arthur D. Trottenberg
 * 1964 The World of Atget. New York: Horizon, 1964. (And later editions.)
 * 1964 Magnet. Cleveland: World, 1964. With text by Evans G. Valens.
 * 1965 Motion. London: Longman Young, 1965. With text by Evans G. Valens
 * 1968 A Portrait of Maine. NY: Macmillan, 1968. With text by Chenoweth Hall
 * 1969 The Attractive Universe: Gravity and the Shape of Space. Cleveland: World, 1969. With text by Evans G. Valens
 * 2008 Berenice Abbott. Germany/New York: Steidl, 2008. 2v. Edited by Hank O'Neal and Ron Kurtz. ISBN 3-86521-592-0
 * 2010 Berenice Abbott". London: Thames & Hudson, 2010, Introduction by Hank O'Neal
 * 2012 Berenice Abbott: Documenting Science. Göttingen: Steidl, 2012. Edited by Ron Kurtz, with introduction by Julia Van Haaften.
 * 2014 The Unknown Berenice Abbott. Göttingen: Steidl, 2014. 5v. Edited by Ron Kurtz and Hank O'Neal
 * 2015 Berenice Abbott: Paris Portraits. Göttingen, Germany: Steidl; New York: Commerce Graphics, 2016. Edited by Hank O'Neal

 * Anthologies of and/or about Abbott's works
 * 1970 Berenice Abbott: Photographs. New York: Horizon, 1970; reprinted, Washington, D.C.: Smithsonian Institution Press, 1990
 * 1982 O'Neal, Hank. Berenice Abbott: American Photographer. New York: McGraw-Hill, 1982. British title: Berenice Abbott: Sixty Years of Photography. London: Thames & Hudson, 1982
 * 1986 Berenice Abbott, fotografie / Berenice Abbott: Photographs. Venice: Ikona, 1986
 * 1989 Van Haaften, Julia, ed. Berenice Abbott, Photographer: A Modern Vision. New York: New York Public Library, 1989. [Winner, American Association of Museums' exhibition catalog design award] ISBN 0-87104-420-X
 * 2009 Shimizu, Meredith Ann TeGrotenhuis. "Photography in Urban Disclosure: Berenice Abbott's Changing New York and the 1930s," Ph.D. dissertation, Northwestern University, 2009
 * 2012 Morel, Gaëlle. Berenice Abbott. Paris: Éditions Hazan, 2012
 * 2015 Berenice Abbott. Aperture Masters of Photography 9, by Julia Van Haaften. New York: Aperture, 1988; trilingual edition, 1997; completely revised edition, with new photos and text, 2015. [Chinese translation 2015

Solo exhibitions

 * Weyhe Gallery, New York, NY, November 1930
 * Photographs by Berenice Abbott at Julien Levy Gallery, New York, NY, September 26 – October 15, 1932
 * New York Photographs by Berenice Abbott at Museum of the City of New York, New York, NY, October 1934 – January 1935
 * New York Photographs by Berenice Abbott at Museum of Fine Arts, Springfield, MA, March 1935
 * New York Photographs by Berenice Abbott at Jerome Stavola Gallery, Hartford, CT, April 1935
 * New York Photographs by Berenice Abbott at Fine Arts Guild, Cambridge, MA, April 10–15, 1935
 * Changing New York, Washington Circuit, Federal Art Project, traveling exhibition, 1936
 * Changing New York at Museum of the City of New York City, NY, October 20, 1937 – January 3, 1938
 * Changing New York at Teachers College Library, New York, NY, November 1937
 * Solo exhibition at Hudson D. Walker Gallery, New York, NY, April 1938
 * Changing New York at New York State Museum, Albany, NY, July 1938
 * Changing New York at Federal Art Gallery, New York, NY, April 11–22, 1939
 * Solo exhibition at Architectural League, New York, NY, April 1939
 * Changing New York at Lawrenceville School, Lawrence Township, NJ, May 1939
 * Changing New York at Photo League Gallery, New York, NY, July 1939
 * Changing New York at New York State Employment Service, New York, NY, November–December 1939
 * Changing New York at Walton High School, New York, NY, December 1939
 * Photographs of New York by Berenice Abbott at The Cooper Union Library, New York, NY, November–December 1940
 * Berenice Abbott, The Museum of Modern Art, New York, NY, December 1970 – February 1971
 * Berenice Abbott: The Red River Photographs at Hudson D. Walker Gallery at the Fine Arts Work Center, Provincetown, Massachusetts, August–September 1979
 * Berenice Abbott: The 20s and the 30s, International Center of Photography, New York City, November 22, 1981 – January 10, 1982
 * Beauty of Physics at New York Academy of Sciences, New York, NY, January–April 1987
 * Berenice Abbott, Photographer: A Modern Vision, The New York Public Library, New York NY, October 1989 – January 1990 (Traveled to Metropolitan Museum of Photography [Tokyo, Japan], Toledo [Ohio] Museum of Art, Corcoran Gallery of Art [Washington DC], and Portland [ME] Museum of Art, 1990–1992)
 * Documenting New York: Photographs by Berenice Abbott, Dallas Museum of Art, Dallas, Texas,1992
 * Berenice Abbott: Portraits, New York Views, and Science Photographs from the Permanent Collection, International Center of Photography, New York, NY, 1996
 * Berenice Abbott's Changing New York, National Museum of Women in the Arts, Washington D.C.,1935–1939, 1998–99
 * Berenice Abbott: Vintage Photographs of New York from the 1930s, Lee Gallery, Winchester, MA, September 1999
 * Berenice Abbott: Science Photographs, The New York Public Library, New York NY, October 1999 – January 2000
 * Berenice Abbott: All About Abbott, Howard Greenberg Gallery, New York, NY, September–November 2006
 * Making Science Visible: The Photography of Berenice Abbott, The Fralin Museum of Art, Virginia, 2012
 * Berenice Abbott (1898–1991), Photographs, Jeu de Paume, Paris, France, February–April 2012
 * Berenice Abbott: Photography and Science: An Essential Unity, MIT Museum, Cambridge, Massachusetts, May–December 2012
 * Berenice Abbott, Beetles & Huxley Gallery, London, England, October–November 2015
 * Berenice Abbott – Photographs, Martin-Gropius-Bau, Berlin, Germany, January–March 2016
 * Berenice Abbott's New York Album, 1929. Metropolitan Museum of Art, New York, March 2–September 2023

Collections
Abbott's work is held in the following permanent collections:

 * National Gallery of Art, Washington, DC

 * New York Public Library
 * Museum of the City of New York
 * The Jewish Museum of New York
 * New York State Museum, Albany, NY
 * Smithsonian American Art Museum
 * The Phillips Collection, Washington, DC
 * Minneapolis Institute of Art
 * Pérez Art Museum Miami, FL
 * Walker Art Center, Minneapolis, MN
 * Weisman Art Museum, Minneapolis
 * Cleveland Museum of Art
 * New Mexico Museum of Art, Santa Fe, NM
 * Hunter Museum of American Art, Chattanooga, TN
 * International Photography Hall of Fame, St. Louis, MO
 * Rare Books and Manuscripts Library, Ohio State University libraries
 * National Portrait Gallery, London, UK
 * Conway Library, The Courtauld Institute of Art, London, UK
 * Canadian Centre for Architecture, Montreal, Canada
 * Museum of Modern Art, New York: 79 prints (as of 28 August 2023)

title: Berenice Abbott