Bubalo, Sylvia Gross (1928-2007) - Revision history

AlfRedekopp at 03:39, 28 April 2025

2025-04-28T03:39:49Z

AlfRedekopp at 19:56, 25 April 2025

2025-04-25T19:56:05Z

AlfRedekopp at 19:54, 25 April 2025

2025-04-25T19:54:04Z

AlfRedekopp at 19:52, 25 April 2025

2025-04-25T19:52:29Z

AlfRedekopp at 19:48, 25 April 2025

2025-04-25T19:48:27Z

AlfRedekopp at 19:47, 25 April 2025

2025-04-25T19:47:30Z

AlfRedekopp at 19:41, 25 April 2025

2025-04-25T19:41:16Z

AlfRedekopp at 19:34, 25 April 2025

2025-04-25T19:34:01Z

AlfRedekopp at 19:31, 25 April 2025

2025-04-25T19:31:08Z

AlfRedekopp at 19:19, 25 April 2025

2025-04-25T19:19:27Z

@@ Line 3: / Line 3: @@
 <onlyinclude>
 [[File:Bubalo, Sylvia Gross, 1962.jpg|300px|thumb|right|''Sylvia Gross Bubalo, 1962. <br>Photo: Courtesty of Leonard Gross.'']]
-[[File:Strings keep blowing.jpg|300px|thumb|right|''"Martha Convent's Cap Strings Keep Blowing in the Wing" Painting by Sylvia Gross Bubalo, 1978.'']]
+[[File:Strings keep blowing.jpg|300px|thumb|right|''"Martha Convent's Cap Strings Keep Blowing in the Wind" Painting by Sylvia Gross Bubalo, 1978.'']]
 Sylvia Gross Bubalo, artist and poet, grew up in the [[Franconia Mennonite Conference (Mennonite Church USA)|Franconia Conference]] of the Mennonite Church (MC). Her created art works and poetry reflect and interpret the Mennonite culture of her times (the 1930s and following). She was most likely the first visual artist to do so within the Mennonite Church. She was born in Doylestown, [[Bucks County (Pennsylvania, USA)|Bucks County]], [[Pennsylvania (USA)|Pennsylvania]], on 25 November 1928, and died on 30 October 2007 in [[Goshen (Indiana, USA)|Goshen]], [[Indiana (USA)|Indiana]] – at which time she was a member of the [[College Mennonite Church (Goshen, Indiana, USA)|College Mennonite Church]] in Goshen. Her parents were Titus L. Gross (1902-1976) and Olive S. (Moyer) Gross (1903-1987). She was the second child of five. Her baptism took place around 1942 at the [[Doylestown Mennonite Church (Doylestown, Pennsylvania, USA)|Doylestown Mennonite Church]].
-Bubalo started out in life with a handicap. She was diagnosed with muscular dystrophy, and consequently, her highly developed intellect became her mainstay of life, which she used judiciously and effectively. She was destined to become an artist, in spite of her growing up in a traditional (old) Mennonite setting. She was ahead of her time on numerous fronts. She pushed back against the patriarchy of her time through astute biblical understanding, confounding many ministers whom she challenged with confidence. These experiences are reflected in two of her paintings, among others: ''The Last of the Red-Hot Papas'' and ''Martha Convent’s Covering Strings Keep Blowing in the Wind''. Her life in the Blackstone community of [[Chicago (Illinois, USA)|Chicago]], and her experiences in the intercultural church community of [[Woodlawn Mennonite Church (Chicago, Illinois, USA)|Woodlawn Mennonite Church]] in Chicago gave her insight into the racialization of African Americans, which also shows up in her art already in the early 1960s. She was also ahead of her time when it came to engaging with the Indigenous history and culture of North America. She was particularly interested in the [[Hopi People|Hopi Nation]] with their commitment to pacifism. Her Indigenous interests also show up in her art.</onlyinclude>
+Bubalo started out in life with a handicap. She was diagnosed with muscular dystrophy, and consequently, her highly developed intellect became her mainstay of life, which she used judiciously and effectively. She was destined to become an artist, in spite of her growing up in a traditional (old) Mennonite setting. She was ahead of her time on numerous fronts. She pushed back against the patriarchy of her time through astute biblical understanding, confounding many ministers whom she challenged with confidence. These experiences are reflected in two of her paintings, among others: ''The Last of the Red-Hot Papas'' and ''Martha Convent’s Cap Strings Keep Blowing in the Wind''. Her life in the Blackstone community of [[Chicago (Illinois, USA)|Chicago]], and her experiences in the intercultural church community of [[Woodlawn Mennonite Church (Chicago, Illinois, USA)|Woodlawn Mennonite Church]] in Chicago gave her insight into the racialization of African Americans, which also shows up in her art already in the early 1960s. She was also ahead of her time when it came to engaging with the Indigenous history and culture of North America. She was particularly interested in the [[Hopi People|Hopi Nation]] with their commitment to pacifism. Her Indigenous interests also show up in her art.</onlyinclude>
 [[File:Red Hot papas.jpg|300px|thumb|left|''"The Last of the Red Hot Papas" drawing by Sylvia Gross Bubalo, 1977.'']]
 Bubalo enjoyed drawing and painting for as long as she could remember. At Doylestown High School, art teacher Melba Lukens mentored her, returning her work with carefully written commentary and critique. At [[Goshen College (Goshen, Indiana, USA)|Goshen College]], she took all art classes offered at that time (1947-51) under artist Arthur Sprunger, completing an art minor. She also attended [[Mennonite Biblical Seminary (Chicago, Illinois, USA)|Mennonite Biblical Seminary]], at that time in Chicago. She then attended the School of the Art Institute of Chicago from 1955 to 1959, where she came into her own as an artist. It was during this time that she met, and married Vladimir Bubalo (b. 1934), in 1957. Tall and strong, she called him her “Abe Lincoln,” as he made up for her lack of physical strength. Vladimir Bubalo was a Chicago artist of Christian Serbian origin who was a convinced pacifist. They were married in Woodlawn Mennonite Church by Delton Franz.

@@ Line 4: / Line 4: @@
 [[File:Bubalo, Sylvia Gross, 1962.jpg|300px|thumb|right|''Sylvia Gross Bubalo, 1962. <br>Photo: Courtesty of Leonard Gross.'']]
 [[File:Strings keep blowing.jpg|300px|thumb|right|''"Martha Convent's Cap Strings Keep Blowing in the Wing" Painting by Sylvia Gross Bubalo, 1978.'']]
-[[File:Red Hot papas.jpg|300px|thumb|right|''"The Last of the Red Hot Papas" drawing by Sylvia Gross Bubalo, 1977.'']]
+Sylvia Gross Bubalo, artist and poet, grew up in the [[Franconia Mennonite Conference (Mennonite Church USA)|Franconia Conference]] of the Mennonite Church (MC). Her created art works and poetry reflect and interpret the Mennonite culture of her times (the 1930s and following). She was most likely the first visual artist to do so within the Mennonite Church. She was born in Doylestown, [[Bucks County (Pennsylvania, USA)|Bucks County]], [[Pennsylvania (USA)|Pennsylvania]], on 25 November 1928, and died on 30 October 2007 in [[Goshen (Indiana, USA)|Goshen]], [[Indiana (USA)|Indiana]] – at which time she was a member of the [[College Mennonite Church (Goshen, Indiana, USA)|College Mennonite Church]] in Goshen. Her parents were Titus L. Gross (1902-1976) and Olive S. (Moyer) Gross (1903-1987). She was the second child of five. Her baptism took place around 1942 at the [[Doylestown Mennonite Church (Doylestown, Pennsylvania, USA)|Doylestown Mennonite Church]].
 Bubalo started out in life with a handicap. She was diagnosed with muscular dystrophy, and consequently, her highly developed intellect became her mainstay of life, which she used judiciously and effectively. She was destined to become an artist, in spite of her growing up in a traditional (old) Mennonite setting. She was ahead of her time on numerous fronts. She pushed back against the patriarchy of her time through astute biblical understanding, confounding many ministers whom she challenged with confidence. These experiences are reflected in two of her paintings, among others: ''The Last of the Red-Hot Papas'' and ''Martha Convent’s Covering Strings Keep Blowing in the Wind''. Her life in the Blackstone community of [[Chicago (Illinois, USA)|Chicago]], and her experiences in the intercultural church community of [[Woodlawn Mennonite Church (Chicago, Illinois, USA)|Woodlawn Mennonite Church]] in Chicago gave her insight into the racialization of African Americans, which also shows up in her art already in the early 1960s. She was also ahead of her time when it came to engaging with the Indigenous history and culture of North America. She was particularly interested in the [[Hopi People|Hopi Nation]] with their commitment to pacifism. Her Indigenous interests also show up in her art.</onlyinclude>
+[[File:Red Hot papas.jpg|300px|thumb|left|''"The Last of the Red Hot Papas" drawing by Sylvia Gross Bubalo, 1977.'']]
 Bubalo enjoyed drawing and painting for as long as she could remember. At Doylestown High School, art teacher Melba Lukens mentored her, returning her work with carefully written commentary and critique. At [[Goshen College (Goshen, Indiana, USA)|Goshen College]], she took all art classes offered at that time (1947-51) under artist Arthur Sprunger, completing an art minor. She also attended [[Mennonite Biblical Seminary (Chicago, Illinois, USA)|Mennonite Biblical Seminary]], at that time in Chicago. She then attended the School of the Art Institute of Chicago from 1955 to 1959, where she came into her own as an artist. It was during this time that she met, and married Vladimir Bubalo (b. 1934), in 1957. Tall and strong, she called him her “Abe Lincoln,” as he made up for her lack of physical strength. Vladimir Bubalo was a Chicago artist of Christian Serbian origin who was a convinced pacifist. They were married in Woodlawn Mennonite Church by Delton Franz.

@@ Line 2: / Line 2: @@
 __TOC__
 <onlyinclude>
-[[File:Bubalo, Sylvia Gross, 1962.jpg|300px|thumb|right|''Sylvia Gross Bubalo, 1962. <br>Photo: Courtesty of Leonard Gross.'']]</onlyinclude>
+[[File:Bubalo, Sylvia Gross, 1962.jpg|300px|thumb|right|''Sylvia Gross Bubalo, 1962. <br>Photo: Courtesty of Leonard Gross.'']]
 [[File:Strings keep blowing.jpg|300px|thumb|right|''"Martha Convent's Cap Strings Keep Blowing in the Wing" Painting by Sylvia Gross Bubalo, 1978.'']]
 [[File:Red Hot papas.jpg|300px|thumb|right|''"The Last of the Red Hot Papas" drawing by Sylvia Gross Bubalo, 1977.'']]

@@ Line 2: / Line 2: @@
 __TOC__
 <onlyinclude>
-[[File:Bubalo, Sylvia Gross, 1962.jpg|300px|thumb|right|''Sylvia Gross Bubalo, 1962. <br>Photo: Courtesty of Leonard Gross.'']]
+[[File:Bubalo, Sylvia Gross, 1962.jpg|300px|thumb|right|''Sylvia Gross Bubalo, 1962. <br>Photo: Courtesty of Leonard Gross.'']]</onlyinclude>
 [[File:Strings keep blowing.jpg|300px|thumb|right|''"Martha Convent's Cap Strings Keep Blowing in the Wing" Painting by Sylvia Gross Bubalo, 1978.'']]
 [[File:Red Hot papas.jpg|300px|thumb|right|''"The Last of the Red Hot Papas" drawing by Sylvia Gross Bubalo, 1977.'']]
-Sylvia Gross Bubalo, artist and poet, grew up in the [[Franconia Mennonite Conference (Mennonite Church USA)|Franconia Conference]] of the Mennonite Church (MC). Her created art works and poetry reflect and interpret the Mennonite culture of her times (the 1930s and following). She was most likely the first visual artist to do so within the Mennonite Church. She was born in Doylestown, [[Bucks County (Pennsylvania, USA)|Bucks County]], [[Pennsylvania (USA)|Pennsylvania]], on 25 November 1928, and died on 30 October 2007 in [[Goshen (Indiana, USA)|Goshen]], [[Indiana (USA)|Indiana]] – at which time she was a member of the [[College Mennonite Church (Goshen, Indiana, USA)|College Mennonite Church]] in Goshen. Her parents were Titus L. Gross (1902-1976) and Olive S. (Moyer) Gross (1903-1987). She was the second child of five. Her baptism took place around 1942 at the [[Doylestown Mennonite Church (Doylestown, Pennsylvania, USA)|Doylestown Mennonite Church]].</onlyinclude>
+<onlyinclude>Sylvia Gross Bubalo, artist and poet, grew up in the [[Franconia Mennonite Conference (Mennonite Church USA)|Franconia Conference]] of the Mennonite Church (MC). Her created art works and poetry reflect and interpret the Mennonite culture of her times (the 1930s and following). She was most likely the first visual artist to do so within the Mennonite Church. She was born in Doylestown, [[Bucks County (Pennsylvania, USA)|Bucks County]], [[Pennsylvania (USA)|Pennsylvania]], on 25 November 1928, and died on 30 October 2007 in [[Goshen (Indiana, USA)|Goshen]], [[Indiana (USA)|Indiana]] – at which time she was a member of the [[College Mennonite Church (Goshen, Indiana, USA)|College Mennonite Church]] in Goshen. Her parents were Titus L. Gross (1902-1976) and Olive S. (Moyer) Gross (1903-1987). She was the second child of five. Her baptism took place around 1942 at the [[Doylestown Mennonite Church (Doylestown, Pennsylvania, USA)|Doylestown Mennonite Church]].
-Bubalo started out in life with a handicap. She was diagnosed with muscular dystrophy, and consequently, her highly developed intellect became her mainstay of life, which she used judiciously and effectively. She was destined to become an artist, in spite of her growing up in a traditional (old) Mennonite setting. She was ahead of her time on numerous fronts. She pushed back against the patriarchy of her time through astute biblical understanding, confounding many ministers whom she challenged with confidence. These experiences are reflected in two of her paintings, among others: ''The Last of the Red-Hot Papas'' and ''Martha Convent’s Covering Strings Keep Blowing in the Wind''. Her life in the Blackstone community of [[Chicago (Illinois, USA)|Chicago]], and her experiences in the intercultural church community of [[Woodlawn Mennonite Church (Chicago, Illinois, USA)|Woodlawn Mennonite Church]] in Chicago gave her insight into the racialization of African Americans, which also shows up in her art already in the early 1960s. She was also ahead of her time when it came to engaging with the Indigenous history and culture of North America. She was particularly interested in the [[Hopi People|Hopi Nation]] with their commitment to pacifism. Her Indigenous interests also show up in her art.
+Bubalo started out in life with a handicap. She was diagnosed with muscular dystrophy, and consequently, her highly developed intellect became her mainstay of life, which she used judiciously and effectively. She was destined to become an artist, in spite of her growing up in a traditional (old) Mennonite setting. She was ahead of her time on numerous fronts. She pushed back against the patriarchy of her time through astute biblical understanding, confounding many ministers whom she challenged with confidence. These experiences are reflected in two of her paintings, among others: ''The Last of the Red-Hot Papas'' and ''Martha Convent’s Covering Strings Keep Blowing in the Wind''. Her life in the Blackstone community of [[Chicago (Illinois, USA)|Chicago]], and her experiences in the intercultural church community of [[Woodlawn Mennonite Church (Chicago, Illinois, USA)|Woodlawn Mennonite Church]] in Chicago gave her insight into the racialization of African Americans, which also shows up in her art already in the early 1960s. She was also ahead of her time when it came to engaging with the Indigenous history and culture of North America. She was particularly interested in the [[Hopi People|Hopi Nation]] with their commitment to pacifism. Her Indigenous interests also show up in her art.</onlyinclude>
 Bubalo enjoyed drawing and painting for as long as she could remember. At Doylestown High School, art teacher Melba Lukens mentored her, returning her work with carefully written commentary and critique. At [[Goshen College (Goshen, Indiana, USA)|Goshen College]], she took all art classes offered at that time (1947-51) under artist Arthur Sprunger, completing an art minor. She also attended [[Mennonite Biblical Seminary (Chicago, Illinois, USA)|Mennonite Biblical Seminary]], at that time in Chicago. She then attended the School of the Art Institute of Chicago from 1955 to 1959, where she came into her own as an artist. It was during this time that she met, and married Vladimir Bubalo (b. 1934), in 1957. Tall and strong, she called him her “Abe Lincoln,” as he made up for her lack of physical strength. Vladimir Bubalo was a Chicago artist of Christian Serbian origin who was a convinced pacifist. They were married in Woodlawn Mennonite Church by Delton Franz.

@@ Line 1: / Line 1: @@
 __FORCETOC__
 __TOC__
 [[File:Bubalo, Sylvia Gross, 1962.jpg|300px|thumb|right|''Sylvia Gross Bubalo, 1962. <br>Photo: Courtesty of Leonard Gross.'']]
 [[File:Strings keep blowing.jpg|300px|thumb|right|''"Martha Convent's Cap Strings Keep Blowing in the Wing" Painting by Sylvia Gross Bubalo, 1978.'']]
 [[File:Red Hot papas.jpg|300px|thumb|right|''"The Last of the Red Hot Papas" drawing by Sylvia Gross Bubalo, 1977.'']]
-<onlyinclude>Sylvia Gross Bubalo, artist and poet, grew up in the [[Franconia Mennonite Conference (Mennonite Church USA)|Franconia Conference]] of the Mennonite Church (MC). Her created art works and poetry reflect and interpret the Mennonite culture of her times (the 1930s and following). She was most likely the first visual artist to do so within the Mennonite Church. She was born in Doylestown, [[Bucks County (Pennsylvania, USA)|Bucks County]], [[Pennsylvania (USA)|Pennsylvania]], on 25 November 1928, and died on 30 October 2007 in [[Goshen (Indiana, USA)|Goshen]], [[Indiana (USA)|Indiana]] – at which time she was a member of the [[College Mennonite Church (Goshen, Indiana, USA)|College Mennonite Church]] in Goshen. Her parents were Titus L. Gross (1902-1976) and Olive S. (Moyer) Gross (1903-1987). She was the second child of five. Her baptism took place around 1942 at the [[Doylestown Mennonite Church (Doylestown, Pennsylvania, USA)|Doylestown Mennonite Church]].</onlyinclude>
+Sylvia Gross Bubalo, artist and poet, grew up in the [[Franconia Mennonite Conference (Mennonite Church USA)|Franconia Conference]] of the Mennonite Church (MC). Her created art works and poetry reflect and interpret the Mennonite culture of her times (the 1930s and following). She was most likely the first visual artist to do so within the Mennonite Church. She was born in Doylestown, [[Bucks County (Pennsylvania, USA)|Bucks County]], [[Pennsylvania (USA)|Pennsylvania]], on 25 November 1928, and died on 30 October 2007 in [[Goshen (Indiana, USA)|Goshen]], [[Indiana (USA)|Indiana]] – at which time she was a member of the [[College Mennonite Church (Goshen, Indiana, USA)|College Mennonite Church]] in Goshen. Her parents were Titus L. Gross (1902-1976) and Olive S. (Moyer) Gross (1903-1987). She was the second child of five. Her baptism took place around 1942 at the [[Doylestown Mennonite Church (Doylestown, Pennsylvania, USA)|Doylestown Mennonite Church]].</onlyinclude>
 Bubalo started out in life with a handicap. She was diagnosed with muscular dystrophy, and consequently, her highly developed intellect became her mainstay of life, which she used judiciously and effectively. She was destined to become an artist, in spite of her growing up in a traditional (old) Mennonite setting. She was ahead of her time on numerous fronts. She pushed back against the patriarchy of her time through astute biblical understanding, confounding many ministers whom she challenged with confidence. These experiences are reflected in two of her paintings, among others: ''The Last of the Red-Hot Papas'' and ''Martha Convent’s Covering Strings Keep Blowing in the Wind''. Her life in the Blackstone community of [[Chicago (Illinois, USA)|Chicago]], and her experiences in the intercultural church community of [[Woodlawn Mennonite Church (Chicago, Illinois, USA)|Woodlawn Mennonite Church]] in Chicago gave her insight into the racialization of African Americans, which also shows up in her art already in the early 1960s. She was also ahead of her time when it came to engaging with the Indigenous history and culture of North America. She was particularly interested in the [[Hopi People|Hopi Nation]] with their commitment to pacifism. Her Indigenous interests also show up in her art.