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Smith College art professors Davis and Leshko showcase 100 paintings and sculptures from their institution's vaunted collection, encompassing Americans from Gilbert Stuart to Louise Nevelson and Europeans from Corot to Henry Moore. In the introduction, how and why Smith became steward of such a fine body of work is ascribed to the school's high-minded mission and its generous alumni donors. The rest of the book is divided into two sections, one American and the other European. Each individual full-color reproduction is accompanied by an informative one-page essay and a brief reading list. During several years of renovations at Smith, the items featured in this book are traveling to diverse sites, which should increase the book's appeal. 118 colour & 1 b/w illustrations
This unique book explores the lives and work of nearly 300 New Jersey women from the Colonial period to the present century. Included are biographies of notable, often nationally known individuals, as well as less celebrated people, whose vibrant personal stories illustrate the richness of women's experiences in New Jersey—and, really, in America—from 1600 to the present. Researched, written and illustrated by The Women's Project of New Jersey, this volume both recovers and re-tells the life stories of women who have helped shape our world. Past and Promise is a long-overdue celebration of the accomplishments of these individuals who succeeded, often against overwhelming odds. Past and Promise: Lives of New Jersey Women incorporates an inclusive view of history that understands the past as the history of all of the people, not merely those who held a monopoly of power. As such this work contains biographies of artists, activists, entertainers, scientists, scholars, teachers, factory and agricultural workers, businesswomen, social engineers, and community builders. This easy-to-use and beautifully presented volume is indexed, and full of illustrations. The biographies are arranged alphabetically within four sections covering the following time periods: 1600-1807, 1808-1865, 1866-1920, and 1921 to the present. Each section is introduced by a historical overview, and each biographical entry includes a brief bibliography for further reading and research. This unique and very readable collection of biographies belongs in every public and personal library and deserves a wide audience of general readers from high school age through college and beyond.
Tales from the Easel features seventy full-color reproductions that convey the expressive, allusive powers of narrative painting. Though they range widely in subject and setting, all of the paintings gathered here are rendered in a representational, or realistic, style. Carrying moral, social, or patriotic messages, the paintings are meant to teach, enlighten, or inspire. Then again, the paintings can also tweak the very conventions that define them, with results that range from the delightfully idiosyncratic to the visionary. Thomas Hart Benton, Winslow Homer, Andrew Wyeth, and Jacob Lawrence are just some of the household names whose work appears in Tales from the Easel. Others, like Elihu Vedder and Lilly Martin Spencer, are less well known, but still vital to the development of narrative painting. While some of the artists, including George Caleb Bingham and Paul Cadmus, were classically trained, self-taught painters such as Carlos "Shiney" Moon and Thomas Waterman Wood are also represented. American rivers, cities, and battlefields are among the native surroundings shown in many of the paintings. However, artists also looked elsewhere for settings--to Europe, the Holy Land, or even some imagined realm. Charles C. Eldredge's essay discusses the rich and varied sources of American narrative painting--from literature and history to childhood and domestic life--and an essay by William Underwood Eiland provides a discussion of the southern tale-telling tradition. Artist biographies by Reed Anderson and Stephanie J. Fox appear opposite the paintings, adding further context. Tales from the Easel, a companion volume to the national touring exhibit of the same name is a stunning reminder of a tradition in American painting that has endured across two centuries and numerous art movements.
The “hush” of the title comes suddenly, when first Elizabeth Cady Stanton dies on October 26, 1902, and three years later Susan B. Anthony dies on March 13, 1906. It is sudden because Stanton, despite near blindness and immobility, wrote so intently right to the end that editors had supplies of her articles on hand to publish several months after her death. It is sudden because Anthony, at the age of eighty-five, set off for one more transcontinental trip, telling a friend on the Pacific Coast, “it will be just as well if I come to the end on the cars, or anywhere, as to be at home.” Volume VI of this extraordinary series of selected papers is inescapably about endings, death, and silence. But death happens here to women still in the fight. An Awful Hush is about reformers trained “in the school of anti-slavery” trying to practice their craft in the age of Jim Crow and a new American Empire. It recounts new challenges to “an aristocracy of sex,” whether among the bishops of the Episcopal church, the voters of California, or the trustees of the University of Rochester. And it sends last messages about woman suffrage. As Stanton wrote to Theodore Roosevelt on the day before she died, “Surely there is no greater monopoly than that of all men, in denying to all women a voice in the laws they are compelled to obey.” With the publication of Volume VI, this series is now complete.
Art historian David Lubin examines the work of six nineteenth-century American artists to show how their paintings both embraced and resisted dominant social values. Lubin argues that artists such as George Bingham and Lily Martin Spencer were aware of the underlying social conflicts of their time and that their work reflected the nation's ambivalence toward domesticity, its conflicting ideas about child rearing, its racial disharmony, and many other issues central to the formation of modern America.--From publisher description.
More than Petticoats: Remarkable New Jersey Women features 12 exceptional women born prior to 1900. Portraits include Alice Huyler Ramsey, the first woman to drive across America; Hannah Silverman, a labor activist during the Paterson silk strikes who fought fearlessly for better working conditions; Abigail Goodwin, a gentle Quaker who bravely conducted many slaves to freedom from her home on the Underground Railroad; and Clara Maass, a nurse who gave her life to stop the scourge of yellow fever. Each woman in this book made lasting contributions to society and embodied a fierce determination and independent spirit that is as inspiring now as it was then.
This first-ever encyclopedia of the Midwest seeks to embrace this large and diverse area, to give it voice, and help define its distinctive character. Organized by topic, it encourages readers to reflect upon the region as a whole. Each section moves from the general to the specific, covering broad themes in longer introductory essays, filling in the details in the shorter entries that follow. There are portraits of each of the region's twelve states, followed by entries on society and culture, community and social life, economy and technology, and public life. The book offers a wealth of information about the region's surprising ethnic diversity -- a vast array of foods, languages, styles, religions, and customs -- plus well-informed essays on the region's history, culture and values, and conflicts. A site of ideas and innovations, reforms and revivals, and social and physical extremes, the Midwest emerges as a place of great complexity, signal importance, and continual fascination.
Often seen as backward-looking and convention-bound, genre painting representing scenes of everyday life was central to the work of twentieth-century artists such as John Sloan, Norman Rockwell, Jacob Lawrence, and others, who adapted such subjects to an era of rapid urbanization, mass media, and modernist art. Re-envisioning the Everyday asks what their works do to the tradition of genre painting and whether it remains a meaningful category through which to understand them. Working with and against the established narrative of American genre painting’s late nineteenth-century decline into obsolescence, John Fagg explores how artists and illustrators used elements of the tradition to picture everyday life in a rapidly changing society, whether by appealing to its nostalgic and historical connotations or by updating it to address new formal and thematic concerns. Fagg argues that genre painting enabled twentieth-century artists to look slowly and carefully at scenes of everyday life and, on some occasions, to understand those scenes as sites of political oppression and resistance. But it also limited them to anachronistic ways of seeing and tied them to a freighted history of stereotyping and condescension. By surveying genre painting when its status and relevance were uncertain and by looking at works that stretch and complicate its boundaries, this book considers what the form is and probes the wider practice of generic categorization. It will appeal to students and scholars of American art history, art criticism, and cultural studies.