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A guide to the famous Newcomb pottery, needlework, and handicrafts. Biographies of the craftsmen are provided.
First published in 1998. Design reform in the fields of architecture and the decorative or applied arts became objectified through writings published during the period of 1885 to 1910. This investigation includes, but is not limited to, Art Nouveau in France and Belgium, and the arts and crafts movement in England and the United States. Even though the similar processes of creativity and shared goals of Art Nouveau and the arts and crafts movement have long been recognized, attempts to explore their origins and their points of interrelation with the broader scope of art history have been largely unsuccessful—until now.
Highlights the significant historical contributions of some of Louisiana's most noteworthy and also overlooked women from the eighteenth century to the present. This volume underscores the cultural, social, and political distinctiveness of the state and showcases how these women affected its history.
In 1886, Josephine Louise Newcomb donated funds to Tulane University for the founding of the H. Sophie Newcomb Memorial College. Her contribution created the nation's first degree-granting coordinate college for women. For more than a century, Newcomb College educated thousands of young women in the liberal arts and sciences, preparing them for positions in the civic and economic world of New Orleans and the South. Newcomb College, 1886--2006 explores the rich history and tradition of the college through a diverse and multidisciplinary collection of essays. Early chapters focus on the life of Josephine Louise Newcomb and her desire to memorialize her daughter Sophie, as well as the development of student culture in the Progressive Era. Several essays explore the staples of a Newcomb education, from its acclaimed pottery and junior year abroad programs to lesser-known but trailblazing work in physical education and chemistry. Concluding biographical and autobiographical chapters recount the lives of distinguished alumnae and the personal memories of Newcomb's influence on New Orleans. The essays offer insight into the work of artists Caroline Wogan Durieux and Ida Kohlmeyer, education reformer Sarah Towles Reed, U.S. representative Lindy Boggs, and other Newcomb leaders in various fields. Throughout the book, contributors reflect on the curriculum, pedagogy, and alliances that created paths for students, not only for advanced studies, but also for their roles as friends, wives, mothers, reformers, and professionals. Touching on three centuries, the book concludes in 2006 when Tulane University closed Newcomb College and Paul Tulane College, the arts and sciences college for men, and united the two as Newcomb-Tulane College. This absorbing collection offers both a scholarly history and an affectionate tribute to a Newcomb education.
A Southern Collection presents select masterworks from the permanent collection of the Morris Museum of Art on the occasion of the institution's inaugural exhibition. Drawn from a comprehensive survey collection of painting in the South from the late eighteenth century to the present day, the museum's opening exhibit explores an artistic terrain as rich and diverse as the South itself, arranged in categories that reflect critical chronological developments in the art world. A survey of painting activity in the South begins with the travels of itinerant portrait artists working prior to the Civil War. At the same time, landscape painting encompasses a sensitive response to the swamps, bayous and fertile fields of the South. Late in the nineteenth century strong and vivid genre painting competes with the nostalgic effects realized by Southern impressionists, whose shimmering, liquid images are invested with an elusive spirit of place. In this century, those strains of realism and naturalism that characterize the classic body of Southern writing appear in the representational art of painters who defied the modern abstract dictum. And finally, the exciting, compelling works of a current generation of both self-taught artists and sophisticated contemporary painters complete this fascinating, though sometimes neglected, chapter in American art history.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana} At the height of the Arts and Crafts era in Europe and the United States, American ceramics were transformed from industrially produced ornamental works to handcrafted art pottery. Celebrated ceramists such as George E. Ohr, Hugh C. Robertson, and M. Louise McLaughlin, and prize-winning potteries, including Grueby and Rookwood, harnessed the potential of the medium to create an astonishing range of dynamic forms and experimental glazes. Spanning the period from the 1870s to the 1950s, this volume chronicles the history of American art pottery through more than three hundred works in the outstanding collection of Robert A. Ellison Jr. In a series of fascinating chapters, the authors place these works in the context of turn-of-the-century commerce, design, and social history. Driven to innovate and at times fiercely competitive, some ceramists strove to discover and patent new styles and aesthetics, while others pursued more utopian aims, establishing artist communities that promoted education and handwork as therapy. Written by a team of esteemed scholars and copiously illustrated with sumptuous images, this book imparts a full understanding of American art pottery while celebrating the legacy of a visionary collector.
The most beautiful of America's fifty statehouses, the Louisiana capitol in Baton Rouge ranks second behind the New Orleans Superdome as the state's leading tourist attraction-and this comprehensive guidebook shows why. Constructed in 1932 under the reign of Huey Long at a cost of only $5 million, the thirty-four-story tower houses some of the most impressive examples of art deco architecture in America. A companion work to Pelican's lavish pictorial volume, The Louisiana Capitol, published in 1977, this book is an ideal in-hand guide for on-site observation, appreciation, and understanding of the capitol's art and history.
Confronting Modernity: Art and Society in Louisiana examines how the conflicts and benefits of modernity's nationalizing influences were reflected and resisted by the state's artists in the first half of the twentieth century. In Louisiana, such change not only produced the turbulent politics of the Huey Long era but also provoked debate over new ideas on art and social roles for artists. By using two of Louisiana's most prominent cultural figures of the era as lenses, Megraw reveals the state's complex relationship with modernity. Artist Ellsworth Woodward and writer Lyle Saxon battled to retain artistic control over what they considered the exceptional character of Louisiana. Woodward defended localized assumptions through art in the world-renowned pottery program he established in 1892 and directed for more than forty years at Sophie Newcomb College. Saxon, on the other hand, fought against modernity's encroachment from within, serving as director of the Federal Writers Project in Louisiana. He used his position to promote literature and culture that preserved local place and historic structure from the transformations wrought by industrialism, consumerism, and the mass media. Confronting Modernity vividly explores how Louisiana's struggles with America's rush to modernize mirrored battles for autonomy happening between artists and governments across the country. Richard Megraw is associate professor of American studies at the University of Alabama in Tuscaloosa. His work has been published in Prospects: An Annual of American Cultural Studies.
The Creole praline arrived in New Orleans with the migration of formerly enslaved people fleeing Louisiana plantations after the Civil War. Black women street vendors made a livelihood by selling a range of homemade foods, including pralines, to Black dockworkers and passersby. The praline offered a path to financial independence, and even its ingredients spoke of a history of Black ingenuity: an enslaved horticulturist played a key role in domesticating the pecan and creating the grafted tree that would form the basis of Louisiana’s pecan orchards. By the 1880s, however, white New Orleans writers such as Grace King and Henry Castellanos had begun to recast the history of the praline in a nostalgic mode that harkened back to the prewar South. In their telling, the praline was brought to New Orleans by an aristocratic refugee of the French Revolution. Black street vendors were depicted not as innovative entrepreneurs but as loyal servants still faithful to their former enslavers. The rise of cultivated, shelled, and cheaply bought pecans—as opposed to the foraged pecans that early praline sellers had depended on—allowed better-resourced white women to move into the praline-selling market, especially as tourism emerged as a key New Orleans industry after the 1910s. Indeed, the praline became central to the marketing of New Orleans. Conventions often hired Black women to play the “praline mammy” role for out-of-towners, while stores sold pralines with mammy imagery, in boxes designed to look like cotton bales. After World War II, pralines went national with items like praline-flavored ice cream (1950s) and praline liqueur (1980s). Yet as the civil rights struggle persisted, the imagery of the praline mammy was recognized as an offensive caricature. As it uncovers the history of a sweet dessert made of sugar and pecans, New Orleans Pralines tells a fascinating story of Black entrepreneurship, toxic white nostalgia, and the rise of tourism in the Crescent City.