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Daniel Kany, art critic for the Portland Press Herald, writes that "Frey's art occupies the nexus between contemporary painting and brushy traditionalism. If there is a focus to this new direction in Maine painting, his art is it." Author of a number of books on Maine art and artists, Carl Little explores art-historical influences on Frey from the Fauvists and Matisse to Rockwell Kent and Howard Hodgkin, and traces the history of landscape painting in Maine, revealing how Frey's bold colors and dynamic brushwork set him apart. "His palette is strong and fresh, his approach painterly in a manner akin to Fairfield Porter and other devoted plein air painters," writes Little. Beautiful reproductions of Frey's portraits of Maine provide eloquent testimony of Frey's vibrant originality.
From the acclaimed cultural historian Philip F. Gura comes Truth's Ragged Edge, a comprehensive and original history of the American novel's first century. Grounded in Gura's extensive consideration of the diverse range of important early novels, not just those that remain widely read today, this book recovers many long-neglected but influential writers—such as the escaped slave Harriet Jacobs, the free black Philadelphian Frank J. Webb, and the irrepressible John Neal—to paint a complete and authoritative portrait of the era. Gura also gives us the key to understanding what sets the early novel apart, arguing that it is distinguished by its roots in "the fundamental religiosity of American life." Our nation's pioneering novelists, it turns out, wrote less in the service of art than of morality. This history begins with a series of firsts: the very first American novel, William Hill Brown's The Power of Sympathy, published in 1789; the first bestsellers, Susanna Rowson's Charlotte Temple and Hannah Webster Foster's The Coquette, novels that were, like Brown's, cautionary tales of seduction and betrayal; and the first native genre, religious tracts, which were parables intended to instruct the Christian reader. Gura shows that the novel did not leave behind its proselytizing purpose, even as it evolved. We see Catharine Maria Sedgwick in the 1820s conceiving of A New-England Tale as a critique of Puritanism's harsh strictures, as well as novelists pushing secular causes: George Lippard's The Quaker City, from 1844, was a dark warning about growing social inequality. In the next decade certain writers—Hawthorne and Melville most famously—began to depict interiority and doubt, and in doing so nurtured a broader cultural shift, from social concern to individualism, from faith in a distant god to faith in the self. Rich in subplots and detail, Gura's narrative includes enlightening discussions of the technologies that modernized publishing and allowed for the printing of novels on a mass scale, and of the lively cultural journals and literary salons of early nineteenth-century New York and Boston. A book for the reader of history no less than the reader of fiction, Truth's Ragged Edge—the title drawn from a phrase in Melville, about the ambiguity of truth—is an indispensable guide to the fascinating, unexpected origins of the American novel.
This book provides the genealogical connection of the Frey, Sander and extended families. The genealogical record is traced from the late 1500’s of central Europe to the Russian Steppes near what is now Odessa Ukraine and finally to the Prairies of North America. Brief historical descriptions are included to provide some insight into the reasons why the families relocated. The major part of the book traces the ancestral lines through the years and includes church and civil records as genealogical prime sources.
In While the Women Only Wept Janice Potter-MacKinnon traces the story of Loyalist women from their experiences in the American colonies as antagonism toward the British Crown increased, through their forced exodus from the colonies in the late 1770s and early 1780s, to their eventual settlement in eastern Ontario in the area around present-day Kingston.