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Charleston's greatest contribution to American painting was timely patronage of men of ability. Contents: Historical intro.; Art and artists from the 16th to the mid-18th cent.; Jeremiah Theus, Alexander Gordon, and the mid-18th cent.; Prosperous Pre-Revolutionary years; The Revolutionary years; Federal years; The academic tradition and native talent in the first quarter of the 19th cent.; Fraser, Allston, White, and Cogdell; The South Carolina Acad. of Fine Arts; Sculpture; Theatrical and decorative painters; The silhouettists; Backgrounds; Native talent and visiting strangers; "Female artists" and talented families; The daguerreotype and photography; Pre-war decades; and The war years -- 1861-1865. Illus. This is a print on demand publication.
A standard source on one of the most enigmatic colonies in North America In this modern and complete history, Robert Weir explicates the apparent paradoxes that defined colonial South Carolina. In doing so he offers provocative observations about its ascension to the pinnacle of mid-eighteenth-century prosperity, escalating racial tension, struggles for political control, and push toward revolution.
At the close of the American Revolution, Charleston, South Carolina, was the wealthiest city in the new nation, with the highest per-capita wealth among whites and the largest number of enslaved residents. Maurie D. McInnis explores the social, political, and material culture of the city to learn how--and at what human cost--Charleston came to be regarded as one of the most refined cities in antebellum America. While other cities embraced a culture of democracy and egalitarianism, wealthy Charlestonians cherished English notions of aristocracy and refinement, defending slavery as a social good and encouraging the growth of southern nationalism. Members of the city's merchant-planter class held tight to the belief that the clothes they wore, the manners they adopted, and the ways they designed house lots and laid out city streets helped secure their place in social hierarchies of class and race. This pursuit of refinement, McInnis demonstrates, was bound up with their determined efforts to control the city's African American majority. She then examines slave dress, mobility, work spaces, and leisure activities to understand how Charleston slaves negotiated their lives among the whites they served. The textures of lives lived in houses, yards, streets, and public spaces come into dramatic focus in this lavishly illustrated portrait of antebellum Charleston. McInnis's innovative history of the city combines the aspirations of its would-be nobility, the labors of the African slaves who built and tended the town, and the ambitions of its architects, painters, writers, and civic promoters.
Often called the most "Southern" of Southern cities, Charleston was one of the earliest urban centers in North America. It quickly became a boisterous, brawling sea city trading with distant ports, and later a capital of the Lowcountry plantations, a Southern cultural oasis, and a summer home for planters. In this city, the Civil War began. And now, in the twentieth century, its metropolitan area has evolved into a microcosm of "the military-industrial complex." This book records Charleston's development from 1670 and ends with an afterword on the effects of Hurricane Hugo in 1989, drawing with special care on information from every facet of the city's life—its people and institutions; its art and architecture; its recreational, social and intellectual life; its politics and city government. The most complete social, political, and cultural history of Charleston, this book is a treasure chest for historians and for anyone interested in delving into this lovely city, layer by layer.
For black women in antebellum Charleston, freedom was not a static legal category but a fragile and contingent experience. In this deeply researched social history, Amrita Chakrabarti Myers analyzes the ways in which black women in Charleston acquired, de
From the Potomac to the Gulf, artists were creating in the South even before it was recognized as a region. The South has contributed to America's cultural heritage with works as diverse as Benjamin Henry Latrobe's architectural plans for the nation's Capitol, the wares of the Newcomb Pottery, and Richard Clague's tonalist Louisiana bayou scenes. This comprehensive volume shows how, through the decades and centuries, the art of the South expanded from mimetic portraiture to sophisticated responses to national and international movements. The essays treat historic and current trends in the visual arts and architecture, major collections and institutions, and biographies of artists themselves. As leading experts on the region's artists and their work, editors Judith H. Bonner and Estill Curtis Pennington frame the volume's contributions with insightful overview essays on the visual arts and architecture in the American South.
This volume offers a thematic exploration of the migrant artist’s experience in Europe and its colonies from the early modern period through to the Industrial Revolution. The influence of the transient artist, both on their adoptive country as well as their own oeuvre and native culture, is considered through a collection of essays arranged according to geographic location. The contributions here examine the impetuses behind artistic migrations and the status of the foreign artist at home and abroad through the patterns of patronage, contemporary responses to their work and the preservation of their artistic legacy in domestic and foreign settings. Objects and sites from across the visual arts are considered as evidence of the migrant artist’s experience; talismans of cultural exchange that yielded hybrid artistic styles and disseminated foreign tastes and workshop practices across the globe.