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Author: Melissa Dabakis
Publisher: Penn State Press
ISBN: 0271089334
Category : Art
Languages : en
Pages : 640
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Book Description
This project is made possible through support from the Terra Foundation for American Art. When Elizabeth Cady Stanton penned the Declaration of Sentiments for the first women’s rights convention, held in Seneca Falls, New York, in 1848, she unleashed a powerful force in American society. In A Sisterhood of Sculptors, Melissa Dabakis outlines the conditions under which a group of American women artists adopted this egalitarian view of society and negotiated the gendered terrain of artistic production at home and abroad. Between 1850 and 1876, a community of talented women sought creative refuge in Rome and developed successful professional careers as sculptors. Some of these women have become well known in art-historical circles: Harriet Hosmer, Edmonia Lewis, Anne Whitney, and Vinnie Ream. The reputations of others have remained, until now, buried in the historical record: Emma Stebbins, Margaret Foley, Sarah Fisher Ames, and Louisa Lander. At midcentury, they were among the first women artists to attain professional stature in the American art world while achieving international fame in Rome, London, and other cosmopolitan European cities. In their invention of modern womanhood, they served as models for a younger generation of women who adopted artistic careers in unprecedented numbers in the years following the Civil War. At its core, A Sisterhood of Sculptors is concerned with the gendered nature of creativity and expatriation. Taking guidance from feminist theory, cultural geography, and expatriate and postcolonial studies, Dabakis provides a detailed investigation of the historical phenomenon of women’s artistic lives in Rome in the mid-nineteenth century. As an interdisciplinary examination of femininity and creativity, it provides models for viewing and interpreting nineteenth-century sculpture and for analyzing the gendered status of the artistic profession.
Author: Melissa Dabakis
Publisher: Penn State Press
ISBN: 0271089334
Category : Art
Languages : en
Pages : 640
Get Book Here
Book Description
This project is made possible through support from the Terra Foundation for American Art. When Elizabeth Cady Stanton penned the Declaration of Sentiments for the first women’s rights convention, held in Seneca Falls, New York, in 1848, she unleashed a powerful force in American society. In A Sisterhood of Sculptors, Melissa Dabakis outlines the conditions under which a group of American women artists adopted this egalitarian view of society and negotiated the gendered terrain of artistic production at home and abroad. Between 1850 and 1876, a community of talented women sought creative refuge in Rome and developed successful professional careers as sculptors. Some of these women have become well known in art-historical circles: Harriet Hosmer, Edmonia Lewis, Anne Whitney, and Vinnie Ream. The reputations of others have remained, until now, buried in the historical record: Emma Stebbins, Margaret Foley, Sarah Fisher Ames, and Louisa Lander. At midcentury, they were among the first women artists to attain professional stature in the American art world while achieving international fame in Rome, London, and other cosmopolitan European cities. In their invention of modern womanhood, they served as models for a younger generation of women who adopted artistic careers in unprecedented numbers in the years following the Civil War. At its core, A Sisterhood of Sculptors is concerned with the gendered nature of creativity and expatriation. Taking guidance from feminist theory, cultural geography, and expatriate and postcolonial studies, Dabakis provides a detailed investigation of the historical phenomenon of women’s artistic lives in Rome in the mid-nineteenth century. As an interdisciplinary examination of femininity and creativity, it provides models for viewing and interpreting nineteenth-century sculpture and for analyzing the gendered status of the artistic profession.
Author: Caitlin Meehye Beach
Publisher: Univ of California Press
ISBN: 0520390105
Category : Art
Languages : en
Pages : 236
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Book Description
From abolitionist medallions to statues of bondspeople bearing broken chains, sculpture gave visual and material form to narratives about the end of slavery in the eighteenth and nineteenth centuries. Sculpture at the Ends of Slavery sheds light on the complex—and at times contradictory—place of such works as they moved through a world contoured both by the devastating economy of enslavement and by international abolitionist campaigns. By examining matters of making, circulation, display, and reception, Caitlin Meehye Beach argues that sculpture stood as a highly visible but deeply unstable site from which to interrogate the politics of slavery. With focus on works by Josiah Wedgwood, Hiram Powers, Edmonia Lewis, John Bell, and Francesco Pezzicar, Beach uncovers both the radical possibilities and the conflicting limitations of art in the pursuit of justice in racial capitalism's wake.
Author: Melissa Dabakis
Publisher: Manchester University Press
ISBN: 1526154617
Category : Art
Languages : en
Pages : 579
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Book Description
Republics and empires provides transnational perspectives on the significance of Italy to American art and visual culture and the impact of the United States on Italian art and popular culture. Covering the period from the Risorgimento to the Cold War, it reveals the complexity of the visual discourses that bound two relatively new nations together. It also gives substantial attention to literary and critical texts that addressed the evolving cultural relationship between Italy and the United States. While American art history has tended to privilege French, British and German ties, these chapters highlight a rich body of contemporary research by Italian and American scholars that moves beyond a discussion of influence as a one-way directive towards a deeper understanding of cultural transactions that profoundly affected the artistic expression of both nations.
Author: Paul H. D. Kaplan
Publisher: Penn State Press
ISBN: 0271088222
Category : Art
Languages : en
Pages : 313
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Book Description
In his best-selling travel memoir, The Innocents Abroad, Mark Twain punningly refers to the black man who introduces him to Venetian Renaissance painting as a “contraband guide,” a term coined to describe fugitive slaves who assisted Union armies during the Civil War. By means of this and similar case studies, Paul H. D. Kaplan documents the ways in which American cultural encounters with Europe and its venerable artistic traditions influenced nineteenth-century concepts of race in the United States. Americans of the Civil War era were struck by the presence of people of color in European art and society, and American artists and authors, both black and white, adapted and transformed European visual material to respond to the particular struggles over the identity of African Americans. Taking up the work of both well- and lesser-known artists and writers—such as the travel writings of Mark Twain and William Dean Howells, the paintings of German American Emanuel Leutze, the epistolary exchange between John Ruskin and Charles Eliot Norton, newspaper essays written by Frederick Douglass and William J. Wilson, and the sculpture of freed slave Eugène Warburg—Kaplan lays bare how racial attitudes expressed in mid-nineteenth-century American art were deeply inflected by European traditions. By highlighting the contributions people of black African descent made to the fine arts in the United States during this period, along with the ways in which they were represented, Contraband Guides provides a fresh perspective on the theme of race in Civil War–era American art. It will appeal to art historians, to specialists in African American studies and American studies, and to general readers interested in American art and African American history.
Author: Laurence Madeline
Publisher: Yale University Press
ISBN: 0300223935
Category : Art
Languages : en
Pages : 289
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Book Description
Paris was the epicenter of art during the latter half of the nineteenth century, luring artists from around the world with its academies, museums, salons, and galleries. Despite the city's cosmopolitanism and its cultural stature, Parisian society remained strikingly conservative, particularly with respect to gender. Nonetheless, many women painters chose to work and study in Paris at this time, overcoming immense obstacles to access the city's resources. 'Women Artists in Paris, 1850-1900' showcases the remarkable artistic production of women during this period of great cultural change, revealing the breadth and strength of their creative achievements. Guest Curator Laurence Madeline (Chief Curator at Musées d'art et d'histoire, Geneva) has selected close to seventy compelling paintings by women of varied nationalities, ranging from well-known artists such as Berthe Morisot, Mary Cassatt, and Rosa Bonheur, to lesser-known figures such as Kitty Kielland, Louise Breslau, and Anna Ancher.
Author: Lee Ann Timreck
Publisher: Univ. Press of Mississippi
ISBN: 1496845897
Category : Social Science
Languages : en
Pages : 91
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Book Description
The history of racism in America is also the history of ordinary Black Americans who accomplished extraordinary things in their pursuit of freedom. Faced with oppression throughout their journey, they built vibrant communities and lived purposeful lives. Pieces of Freedom: The Emancipation Sculptures of Edmonia Lewis and Meta Warrick Fuller brings that history to life by analyzing the first fifty years of Black freedom through the emancipation sculptures of two nineteenth-century African American sculptors, Mary Edmonia Lewis (1844–1909) and Meta Warrick Fuller (1877–1968). Lewis's and Fuller’s sculptures—and their visual narrative of a people’s strength and humanity in the face of oppression—present a textured historical diorama of Black life during an era of transformative, yet sorrowful, events. In this book, Lee Ann Timreck integrates Lewis's and Fuller’s visual narrative with oral narratives of the newly emancipated, all set within the historical context of Reconstruction, segregation, and Jim Crow. The sculptures also reflect the artists’ gendered perspective of emancipation, conveying a strong narrative on the contributions and sacrifices made by newly freed Black women. These emancipation sculptures provide both a historical narrative of the Black emancipation experience and a moral narrative of America’s failure to create a nation where “all men are created equal.” Pieces of Freedom challenges the twenty-first-century reader to learn and accept this history so we might address our nation’s lingering social and economic injustices.
Author: Karl Kusserow
Publisher: Princeton University Press
ISBN: 0691978875
Category : Art
Languages : en
Pages : 200
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Book Description
A rich exploration of American artworks that reframes them within current debates on race, gender, the environment, and more Object Lessons in American Art explores a diverse gathering of Euro-American, Native American, and African American art from a range of contemporary perspectives, illustrating how innovative analysis of historical art can inform, enhance, and afford new relevance to artifacts of the American past. The book is grounded in the understanding that the meanings of objects change over time, in different contexts, and as a consequence of the ways in which they are considered. Inspired by the concept of the object lesson, the study of a material thing or group of things in juxtaposition to convey embodied and underlying ideas, Object Lessons in American Art examines a broad range of art from Princeton University’s venerable collections as well as contemporary works that imaginatively appropriate and reframe their subjects and style, situating them within current social, cultural, and artistic debates on race, gender, the environment, and more. Distributed for the Princeton University Art Museum
Author: Sharon Worley
Publisher: Cambridge Scholars Publishing
ISBN: 1527521613
Category : Literary Criticism
Languages : en
Pages : 249
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Book Description
The shadow of Napoleon never left the nineteenth-century and continued to haunt the histories and wars that followed in curious and circuitous ways. The empires of Napoleon I and his nephew, Napoleon III, set the stage for the pendulum swing of time from revolution to its antithesis, empire. The Anglo-Italian style developed as a reaction to these empires, the widespread devastation caused by power, and the monuments it created. Lord Byron, Percy Bysshe Shelley, Margaret Fuller, Elizabeth Barrett Browning, Harriet Hosmer, William Wetmore Story, Nathaniel Hawthorne, Henry James and Vernon Lee responded to recurring themes in Italian Risorgimento politics and culture in the post-Napoleonic era and Second Empire periods. Many of them were ex-patriots, who adopted Italy as their new home. Their unique contribution aligns them with a style that is distinguished by the themes of national independence, feminism, the abolition of slavery and republicanism. They perceived their own time in terms of parallel dimensions in which the past and present converged in national histories at home, in America and England, and in Italy, their new ideal state. The language of their new nationalism evolved from the chronological study of Ancient Rome up to the Renaissance, and the style of both revolution and empire, neoclassicism, while their perspective was largely shaped by a reactionary contrast between the empires of Napoleon I and III, and an ideal state they envisioned for Italy.
Author: Gloria Jane Bell
Publisher: Duke University Press
ISBN: 1478059842
Category : Art
Languages : en
Pages : 185
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Book Description
In 1925, Pius XI staged the Vatican Missionary Exposition in Rome’s Vatican City. Offering a narrative of the Catholic Church’s beneficence to a global congregation, the exposition displayed thousands of cultural belongings stolen from Indigenous communities across Turtle Island, which were seen by one million pilgrims. Gloria Bell’s Eternal Sovereigns offers critical revision to that story. Bell reveals the tenacity, mobility, and reception of Indigenous artists, travelers, and activists in 1920s Rome. Animating these conjunctures, the book foregrounds competing claims to sovereignty from Indigenous and papal perspectives. Bell deftly juxtaposes the “Indian Museum” of nineteenth-century sculptor Ferdinand Pettrich with the oeuvre of Indigenous artist Edmonia Lewis. Bell analyzes Indigenous cultural belongings made by artists from diverse nations including Cree, Lakota, Anishinaabe, Nipissing, Kanien’kehá:ka, Wolastoqiyik, and Kwakwaka’wakw. Drawing on years of archival research and field interviews, Bell provides insight into the Catholic Church’s colonial collecting and its ongoing ethnological display practices. Written in a voice that questions the academy’s staid conventions, the book reclaims Indigenous belongings and other stolen treasures that remain imprisoned in the stronghold of the Vatican Museums.
Author: Juilee Decker
Publisher: University Press of Kentucky
ISBN: 0813178649
Category : Art
Languages : en
Pages : 369
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Book Description
Louisville-born and nationally renowned sculptor Enid Yandell (1869–1934) was ahead of her time. She began her career when sculpture was considered too physical, too messy, and too masculine for women. Yandell challenged the gender norms of early-twentieth-century artistic practice and became an award-winning sculptor, independent artist, and activist for women's suffrage. This study examines Yandell's life and work: how she grew from a young, Southern dilettante— the daughter of a Confederate medical officer—into a mature, gifted artist who ran in circles with more established male artists in New York and Paris, such as Frederick MacMonnies and Auguste Rodin. At the World's Columbian Exposition in Chicago in 1893, she was one of a select group of women sculptors, known as the White Rabbits, who sculpted the statues and architectural embellishments of the fair. As a result of her success in Chicago, Yandell was commissioned to create a twenty-five foot figure of Pallas Athena for Nashville's Centennial Exposition in 1897. Newspapers hailed it as the largest statue ever created by a woman. Yandell's command of classical subject matter was matched by her abilities with large-scale, figurative works such as the Daniel Boone statue in Cherokee Park, Louisville. In 1898 Yandell was among the first women to be selected for membership in the National Sculpture Society, the first organization of professional sculptors formed in the United States. Presented to coincide with the 150th anniversary of her birth, this study demonstrates the ways in which Yandell was a pioneer and draws attention to her legacy.
